setting in the Interplay Folder
Setting window. Then, when multiple editors work in the 01Moday project, there will be one
01Monday folder populated by the bins from each system. This keeps the organization easier to
maintain.
1224
Defining the Media Creation Settings
To instruct the system to automatically check in bins when the editor closes the application,
select the Bins option in the Editor Database Settings window in the Interplay Administration
tool. The default is to ask the editor before checking in the bin.
Defining the Media Creation Settings
Use the Media Creation dialog box to define the video resolution and the drives where you want
the Avid editing application to store newly created media.This is could be a locally-connected
storage or a workspace on shared storage that is monitored by the Interplay Media Indexer High
Availability Group.
To define the Media Creation settings:
1. Click the Settings tab in the Project window of the Avid editing application.
2. Double-click Media Creation.
3. (Option) On the Drive Filtering and Indexing tab, click Auto-index local drives as they come
online.
4. If you are connected to a baseband device such as a tape deck, click the Capture tab.
5. Select the video resolution and shared storage workspace for capturing new material.
6. Set similar options for video resolution and storage areas for Import, Mixdown, Transcode
and Render.
1225
Connecting to Avid Shared Storage and Mounting Workspaces
Connecting to Avid Shared Storage and Mounting
Workspaces
If you need to manually connect to your Avid shared-storage system and mount workspaces, use
one of the procedures in “Mounting Workspaces on an Avid ISIS System” on page 1226.
For complete information, see your Avid shared-storage documentation.
Mounting Workspaces on an Avid ISIS System
If your system is connected to an Avid ISIS media network, you can use the Client Manager to
mount a workspace before you begin your work session.
n
You must be connected to an Avid ISIS System Director before you can mount workspaces. For
more information, see the Avid ISIS Client Manager Help.
To connect to the Avid ISIS network:
1. Do one of the following:
t
(Windows) If the Client Manager icon is not available in the Windows taskbar, select
Start > All Programs > Avid > ISIS Client > ISIS Client Manager.
t
(Windows) Click the Client Manager icon in the Windows taskbar.
t
(Windows) Right-click the Client Manager icon and select ISIS Client Manager.
t
(Macintosh) Double-click the Client Manager alias icon on the desktop, or double-click
the Client Manager alias icon in the dock.
t
(Macintosh) If the Client Manager alias icon is not available, select Go > Applications,
and then double-click the AvidISIS folder. In this folder, double-click the
ClientManager file.
The ISIS Client Manager opens.
1226
Connecting to Avid Shared Storage and Mounting Workspaces
The Avid ISIS Client Manager. The three panels contain the Connections list (top), the Workspaces list
(center), and messages (bottom). Highlighted on the left is the Workspaces filtering area. Highlighted on the
right are the Retrieve Details buttons and the toolbar.
2. Select the System Director you want to connect to from the Connections list.
3. Do one of the following:
t
(Windows) Type your account name in the Username text box, and type your password
in the Password text box.
t
(Windows) If your ISIS system is configured to use the Windows user name and
password for your local system, select OS Login. By default, the Username and
Password text boxes are inactive when you select this option.
t
(Macintosh) Type your Avid ISIS account name in the Username text box, and type your
password in the Password text box.
4. Click the Connect button.
When the connection is successful:
-
Workspaces you have been given access to are listed in the workspace list.
-
The Connect button changes to Disconnect when the connection is complete.
-
The Change Password and Launch Management Console buttons become active.
5. (Option — Windows only) If you used the OS Login option, and you want to connect to the
network automatically every time you start your system, select the Auto-Connect box.
1227
Connecting to Avid Shared Storage and Mounting Workspaces
To mount an Avid ISIS workspace on your system:
1. Open the Client Manager.
The Workspaces list opens. The Online field displays a green ball for workspaces that are
already mounted. You can filter the Workspaces list by Workspace name.
2. Do one of the following:
n
t
Click (mount) in the Online column for the selected workspace.
t
Click to select a workspace, then right-click, and select Mount.
t
(Option) Right-click, and select “Mount to drive” from the menu.
Selecting this option will override the current drive mapping option settings. for the selected
workspace.
The Client Manager mounts the selected workspace on your client and the Online icon for
the mounted workspace changes to green. The Workspaces list displays the drive the
workspace is mounted to. If you use letterless drive mappings, the Workspaces list displays
“UNC path” next to the Online icon.
3. (Option) If you want the selected workspace remounted the next time you log in, do one of
the following:
t
Click (enable) in the Auto column for the mounted workspace.
t
Right-click, and select “Enable auto mount”.
The next time you log in to your client system, the Client Manager automatically mounts the
selected workspace.
To mount multiple Avid ISIS workspaces on your system:
1. Open the Client Manager.
The Workspaces list opens. The Online field displays a green ball for workspaces that are
already mounted. You can filter the Workspaces list by Workspace name.
2. Do one of the following:
t
Select multiple non-contiguous workspaces with Control+click.
t
Select a range of contiguous workspaces by clicking on the first workspace row in the
range, then Shift+clicking on the last.
t
Select all workspaces by right-clicking in the Workspaces list and selecting “Select all”.
t
Select all workspaces by pressing Ctrl+A.
3. Right-click, and select Mount.
1228
Editing with Remote Assets
The Client Manager mounts the selected workspaces on your client and the Online icons for
the mounted workspaces change to green. The Workspaces list displays the drives the
workspaces are mounted to. If you use letterless drive mappings, the Workspaces list
displays “UNC path” next to the Online icons.
4. (Option) If you want the selected workspaces remounted the next time you log in,
right-click, and select “Enable auto mount”.
The next time you log in to your client system, the Client Manager will automatically mount
the selected workspaces.
Editing with Remote Assets
When you edit with remote assets in a workgroup environment, you need to keep in mind that
other users might share the clips and sequences in your project. When you first set up your
project, you can load the assets you want to work with to the Source monitor, mark In and Out
points, and add them to your sequence in the Timeline where you can create your effects and edit
your footage. You can then check in your sequence, including titles and effects, to the database
so others can access your work. Also, you should update the sequence in your bin to ensure that
the remote assets in your sequence include the most recent changes you and other users have
made.
Checking Avid Assets Out Using the Interplay Window
You can copy assets from the Interplay database to a bin. This process is called checking out.
Checking out assets from the Interplay database creates a local copy of the assets but does not
create a local copy of the associated media. When you check the assets back in to the Interplay
database, Interplay looks for any changes to the assets and copies the changes back to the
database. See “Checking Avid Assets In to the Interplay Database” on page 1232.
n
You can load clips directly from the Interplay Window. See “Editing with Avid Assets in the
Interplay Window” on page 1236.
To check Avid assets out of the Interplay database using the Interplay Window:
1. Start your Avid editing application, and either create a new project or open a bin in an
existing project.
2. Log in to the Interplay Production database.
For more information, see “Connecting to the Interplay | Production Database” on
page 1214.
3. Select Tools > Interplay Window.
4. Navigate to the project containing the master clips and sequences (assets) you want to use,
and click the folder that contains the assets.
1229
Editing with Remote Assets
The Interplay Window displays the Avid assets in the selected folder.
5. Click the assets you want to check out, and drag them to your bin.
The bin displays the clips and sequences.
If you check out an asset and modify it (for example, you edit a sequence), and check out the
asset again without checking in the modified version, the following warning is displayed:
1230
Editing with Remote Assets
This message could also appear if another user has checked in a modified version of the
asset after you checked it out. Click “Update anyway” to overwrite the local version with the
version on the database, or click “Keep local modifications” to preserve the local version.
Creating a Duplicate Asset When Dragging to a Bin
In some cases you might want to create a duplicate of an Avid asset that you drag from the
Interplay database to a local bin, for example, if you want to create a new version of a sequence
while preserving the original. You can then work on the duplicate without affecting the original.
To automatically create a duplicate asset when dragging to a bin:
t
Hold down the Control key (Windows) or Option key (Macintosh) and drag an asset from
the Interplay window to a local bin.
A duplicate copy of the asset is listed in the bin. The name of the duplicate includes the file
name extension .Copy.n, where n is the number of duplicates created from the original asset.
Checking Out the Same Sequence to More than One Bin
Avid editing applications have a long-standing internal rule that a sequence cannot
simultaneously exist in two open bins. If you Alt-drag a sequence from one bin to another, the
sequence is copied and renamed as it is placed in the second bin.
n
It is possible, under some circumstances, to have the same sequence in two bins when one or
both bins are closed. Previously, if you opened one bin and then the other, the sequence was
duplicated without renaming in the second bin. Now the sequence is duplicated and renamed in
the second bin.
If you attempt to check out a sequence that already exists in a different open bin, a message
informs you that a duplicate sequence will be created and renamed (with the extension Copy.n).
You can respond to the message in one of the following ways:
n
•
Click OK to check out the sequence and create a duplicate.
•
Click Cancel to end the operation without checkout.
•
Click “OK and don't show again” to check out the sequence and create a duplicate; if you
repeat the operation the message is not shown again until you restart your Avid editing
application
You can force a new copy of an object to be created with a different name by holding down the
Ctrl key (Windows) or Option key (Macintosh) when dragging from the Interplay Window to a
bin. (See “Creating a Duplicate Asset When Dragging to a Bin” on page 1231).
1231
Editing with Remote Assets
Checking Avid Assets Out Using Interplay Access
When you are working with an Avid editing application, you might want to use the advanced
search in Interplay Access to look for particular Avid assets. After finding the assets, you can
drag them from Interplay Access into a bin (checking out the assets), which creates local copies
of the assets (but not the media).
If you then modify the asset and want to save the changes in the database, you must use the menu
commands in your Avid editing application to check the asset back in to the database. You
cannot drag assets from a bin to Interplay Access.
To check Avid assets out of the Interplay database using Interplay Access:
1. Start your Avid editing application, and either create a new project or open a bin in an
existing project.
2. Log on to the Interplay Production database, as described in “Connecting to the
Interplay | Production Database” on page 1214.
3. Open Interplay Access and browse or search for the assets you want.
4. Select the assets you want to use and drag them to a bin.
The Avid assets are checked out from the Interplay database. A link is created to the asset,
and the bin displays the assets you checked out.
Checking Avid Assets In to the Interplay Database
The process of adding Avid assets to the Interplay database or updating Avid assets already in the
database is called checking in. There are two basic ways to check in Avid assets:
•
By using menu commands or automatic checkin
•
By dragging assets to the Interplay Window
When you use a menu command or automatic checkin to check in assets, the Interplay Engine
checks them into a subfolder named after the bin, in a folder that you selected in the Interplay
Folder settings (see “Configuring Interplay Settings on the Editing Workstation” on page 1214).
When you use the drag-and-drop method for checking in assets, you can select any appropriate
Interplay folder to store your assets.
The following table describes the methods available for checking in Avid assets.
1232
Editing with Remote Assets
Method
Description
Check in assets by You can check in assets to a bin using the Bin > Check In Bin to Interplay command or the
checking in a bin Bin > Check in All Open Bins to Interplay command. These commands check in the
following items:
•
Items that have been modified since they were last checked in or out
•
Items that have been added to a bin.
•
Items that do not exist in the database because they were deleted from the target folder
(the folder into which you are checking in)
If an item exists in the database but does not exist in the target folder (the folder into which
you are checking in), a link for the item is created in the target folder. Adding a link takes
much less time than performing a full checkin.
n
The command File > Check In Open Bins in Project performs the same actions as
Bin > Check In All Open Bins to Interplay.
Automatically
Automatic checkin is a setting enabled in the Application Database Settings in the Interplay
check in assets by Administrator that lets you check in assets when closing a bin, a project, or your Avid
closing a bin
editing application. Automatic checkin is optimized to work more quickly than the menu
commands. If a bin contains any new or modified items, it is processed exactly as when you
use menu commands described above. If there are no new or modified items in a bin, no
items in the bin are checked in. In this case, automatic checkin will not detect if any items
have been deleted from the bin’s database folder. See “Automatically Checking In Avid
Assets” on page 1235.
Force a check-in
of selected items
If you want to make sure items are checked into the database (including items that have not
been modified and items that do not exist in the database), select the items, right-click, and
select Check In To Interplay.
Select assets and This command also forces a checkin of all selected items.
drag them to the
Interplay Window
n
By default, a 24-hour reservation is automatically placed on a folder whenever a new or
modified Avid asset is checked in to the Interplay database from a bin. An Interplay
administrator sets the default duration of the reservation in the Application Database Settings in
the Avid Interplay Administrator. For more information on reservations, see “Understanding
Reservations” on page 1242.
To add Avid assets from your bin to the Interplay database by using menu commands:
1. Open the bin that contains your clips or sequences.
2. Log in to the Interplay database if you have not already done so.
1233
Editing with Remote Assets
For more information, see “Connecting to the Interplay | Production Database” on
page 1214.
3. Do one of the following:
t
To check in all Avid assets in a bin, select the bin and then select Bin > Check In Bin To
Interplay or File > Check In All Open Bins to Interplay, or right-click the Bin Fast menu
and select Check In Bin To Interplay.
t
To check in Avid assets in all open bins, select Bin > Check In All Open Bins to
Interplay or right-click the Bin Fast menu and select Check In Bin To Interplay.
t
To check in one or more Avid assets, select the assets and select File > Check In To
Interplay or right-click and select Check In To Interplay.
t
To check in a sequence for use in a Pro Tools project, select File > Check In to Interplay
for Pro Tools or right-click and select Check In to Interplay for Pro Tools.
The Interplay Engine checks in the assets to a subfolder of the folder you specified in the
Interplay Folder settings (see “Configuring Interplay Settings on the Editing Workstation”
on page 1214).
4. (Option) You can set an option to display a message box that asks you to verify the folder
into which the assets will be checked in.
t
Click OK to accept the directory path and complete the checkin.
t
Change Setting to cancel the checkin and open the Interplay Folder Settings dialog box.
t
Click Cancel to cancel the checkin.
The message box is shown the first time you check in from a project. See “Verifying the
Interplay Checkin Folder” on page 1218.
To add Avid assets from your bin to the Interplay database using drag and drop:
1. Open the bin that contains your clips or sequences.
2. Log in to the Interplay database if you have not already done so.
For more information, see “Connecting to the Interplay | Production Database” on
page 1214.
1234
Editing with Remote Assets
3. Select Tools > Interplay Window.
4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New
Folder, and then type a name for the folder.
5. Select one or more items in the bin and drop them in a folder in the Interplay Window.
Automatically Checking In Avid Assets
You can automatically check in media assets by setting the appropriate option in the Avid
Interplay Administrator. The “Check in bins when closing” setting in the Application Database
Settings provides the following options for checking in media from bins:
Option
Description
Always check in
Your Avid editing application checks in media assets in a bin whenever
you close it (for example, when you close an individual bin or a super bin,
close a project, or quit your Avid editing application).
Never check in
Your Avid editing application does not check in media assets in a bin when
you close it.
Ask User
A dialog box asks you if you want to check in a bin or bins to Interplay
that you are closing (this is the default setting).
When you automatically check in media assets from a bin, assets are checked in to a subfolder
within the folder specified in the Interplay Folder settings (see “Configuring Interplay Settings
on the Editing Workstation” on page 1214).
1235
Editing with Remote Assets
Automatic checkin is optimized to work more quickly than the menu commands described in
“Checking Avid Assets In to the Interplay Database” on page 1232. If a bin contains any new or
modified items, it is processed exactly as when you use the menu commands. If there are no new
or modified items in a bin, no items in the bin are checked in. In this case, automatic checkin will
not detect that items have been deleted from the bin’s database folder. You can force these items
to be checked in by selecting them and then selecting File > Check in To Interplay.
If you are not sure which option is set for automatic checkin, see your Interplay administrator.
Updating Remote Assets in Bins
After you have added remote assets to a bin, you can update the assets by dragging them from
the Interplay Window to the bin. You can also update assets by using the Update Bin from
Interplay command. This command automatically checks out the most recent version of the clips
or sequences in a bin. You can update all items in a bin, or you can update only selected items.
This command is useful if you are working with an in-progress clip. See “Editing with
In-Progress Clips” on page 1238.
n
If an Interplay folder contains assets that are not contained in its corresponding bin, the Update
Bin from Interplay command does not add these assets to the bin.
To update remote assets:
1. Open the bin that contains the local copies of your remote assets.
2. To update all items in a bin, select the bin and do one of the following:
t
Select Bin > Update Bin from Interplay.
t
Click the Bin fast menu, and select Update Bin from Interplay.
3. To update selected items in a bin, select the items, right-click, and select Update from
Interplay.
The latest versions of the items are checked out to the bin.
Editing with Avid Assets in the Interplay Window
You use the Interplay Window to access master clips and sequences in the Interplay database.
When you locate the appropriate Avid asset, you can open the asset in the Source monitor where
you can preview it and mark In and Out points. You can then add the assets to a sequence in the
Timeline just as you would any other media clip. You then save your sequence to a bin, and you
drag it to an Interplay folder in the Interplay Window, which checks in the sequence to the
database.
n
You cannot edit a sequence directly from an Interplay folder. To edit a sequence, copy it to a bin
(check out), edit it, and copy the modified sequence to the Interplay database (check in).
1236
Editing with Remote Assets
You can also edit files that have been checked into Interplay from Pro Tools. For more
information, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
For more information about using and customizing the Interplay Window, see “Managing
Remote Assets with the Interplay Window” on page 1241.
To view Avid assets in the Source monitor:
1. Start your Avid editing application, and either create a new project or open an existing
project.
2. Log in to the Interplay database.
For more information, see “Connecting to the Interplay | Production Database” on
page 1214.
3. Select Tools > Interplay Window.
4. Navigate to the project containing the master clips and sequences you want to use, and click
the project folder.
The Interplay Window displays the Avid assets in the Interplay folder.
5. Select the clip or sequence you want to view
6. Do one of the following:
t
Drag the clip or sequence from the Interplay Window into the Source monitor.
t
Double-click the clip or sequence in the Interplay Window.
The Source monitor displays the remote asset.
1237
Editing with Remote Assets
Understanding In-Progress Clips
If your Avid editing application is part of a workgroup environment managed by Avid Interplay,
you can edit using in-progress clips. In-progress clips are created using Frame Chase capture
capabilities, either on another Avid editing application or with a line feed or ingest device such as
an Avid AirSpeed®.
In-progress clips are available for viewing and for use in editing while the capture is still in
progress. The length of in-progress clips is based on their expected duration in the capture
device. Portions of the clip that have already been captured are available for viewing in monitors,
and you can edit those portions into a sequence. Portions of the clip that have not yet been
captured are represented in monitors by a “Capture in Progress” slide.
You can send a sequence that includes material from in-progress clips to playback at any time.
You do not have to wait until the capture completes.
For more information on how the Frame Chase capture process works, see “Frame Chase
Capture” on page 247.
Editing with In-Progress Clips
The following procedure outlines the basic steps for editing using an in-progress clip when you
use the Interplay Window to access the Interplay database.
To edit using an in-progress clip:
1. Open your Avid editing application, open a project, and open the Interplay Window.
2. In the Interplay Window, navigate to the folder that holds the clip that you want to use for
editing.
If you know some information about the clip, you can use the Search feature.
A clip that is being captured displays an in-progress icon.
3. Load the clip into the Source monitor and play the clip.
The clip plays in the Source monitor at the same time the media is being captured. Portions
of a clip that are not currently available display a “Capture in Progress” slide until those
portions are captured.
1238
Editing with Remote Assets
4. Create a sequence in a bin.
5. Use standard editing techniques to build a sequence incorporating any parts of the
in-progress clip that you can view in the Source monitor.
6. (Optional) To get updated information about the clip (metadata), select Bin > Update Bin
from Interplay. For more information, see “Updating Remote Assets in Bins” on page 1236.
7. When the clip is completely captured, select Bin > Update Bin from Interplay.
This command ensures that the latest version of the clip is used in your sequence and
removes restrictions related to in-progress clips.
8. Save the sequence.
Limitations When Working With In-Progress Clips
During the Frame Chase capture process the final length of the clip is unknown until the capture
is complete and the clip information is updated. Because of this, there are some limitations when
you work with in-progress clips.
You can use the following editing functions only when you are working with the available
captured media of an in-progress clip:
Function
Description
Editing in-progress You can edit the captured portions of in-progress clips into a sequence.
clips into a sequence
Subclips
When creating a subclip from an in-progress clip, you must place the IN and OUT points
where media has already been captured and is available.
1239
Editing with Remote Assets
Function
Description
Trimming
The right-side trim limit of an in-progress clip is determined by the currently available
media. When you trim an in-progress clip to the end of available media, the trim functions
as if it had reached the end of the clip. As more media is captured, the trim limit increases.
Performing the trim at a later time might allow more trimming because more media might
become available.
The following editing functions are not available when you are working with in-progress clips:
Function
Description
Clip duplication
Duplication of an in-progress clip is not allowed because the duplicated clip loses its
relationship with the original in-progress master clip.
Group clips
You cannot use an in-progress clip in a group clip, because the length of an in-progress clip is
unknown until the capture is complete. Group clips are based on the length of the
contributing clips. This limitation applies to all of the related grouping operations, such as
AutoSync, Group Clips, and MultiGroup.
Consolidate,
You cannot consolidate, transcode, or perform audio conversion with an in-progress clip. All
Transcode, and
the media must be available and the length of the clip known before you can perform these
Audio Conversion functions. However, you can consolidate and transcode subclips and sequences that reference
or contain in-progress clips. In these cases, any right-side handles are restricted by the known
media duration of the in-progress clip at the time of the operation.
For example, if you set 2-second handles but there is only 1-second of media available for a
handle at the time the consolidate or transcode operation is executed, then the right-side
handle is restricted to 1 second.
Decompose
The restrictions for decompose are the same as consolidate and transcode. The right-side
handles cannot exceed the known media duration of the clip.
Non-Check-in
export
You cannot export an in-progress clip or a sequence that contains in-progress clips because
the final clip length might be different than the clip length at the time of the export.
Variable-bit-rate
media
The only variable-bit-rate (variable-frame-size) media supported for Frame Chase editing is
low-res long-GOP MPEG-2 media captured by the Avid Interplay low-res encoder. Only
media captured by supported ingest devices is supported for Frame Chase editing.
Using the
Capture tool
Frame Chase editing is not available on an Avid editing system that is using the Capture tool
to capture media.
1240
Managing Remote Assets with the Interplay Window
Managing Remote Assets with the Interplay Window
You access remote assets through the Interplay Window. This lets you see all of the Avid assets
available to your project, manage your assets, and access the Avid assets stored in Interplay
folders so you can edit the clips in your sequence.
The Interplay Window, showing the Media Directory panel (left), the Research panel (right), and the Layout button
(bottom)
The Interplay Window lists your active content, which includes sequences, master clips, and all
the media files and metadata files that are associated with them. The Media Directory panel lets
you browse and navigate to all of the shared Interplay folders that contain those Avid assets
available for your project. The Research panel shows you the contents of the selected folders and
the results of media searches. You can use the Layout button to customize the display of the
Media Directory panel and the Research panel, see “Modifying the Appearance of the Interplay
Window” on page 1246.
You can load clips and sequences from the Interplay Window, which keeps track of your assets in
tabbed windows. You also use the tool to search projects and folders. When you start a search, a
Media Search tab displays in the Research panel. The Media Search tab lets you search the
database for all media files that fit the search parameters you specify. For more information on
searching, see “Finding Remote Assets” on page 1260.
n
By default, a Media Search tab is always open in the Research panel.
1241
Managing Remote Assets with the Interplay Window
Assets can carry two different kinds of markers:
•
Reservations: Reservations protect assets from deletion and moving. Assets protected by a
reservation are marked by a Reservation icon in Avid Interplay Access. For more
information on reservations, see “Understanding Reservations” on page 1242.
•
Restriction markers: Restrictions indicate limitation warnings on the use of media assets.
Assets that include a restriction are marked by a Restriction icon. For more information on
restrictions, see “Understanding Restrictions” on page 1243.
In Interplay Access, an administrator can set the text color of the names of folders and assets (the
default is black). This colored text is also visible in the Interplay Window.
Understanding Reservations
Reservations are time-based protections that authorized users can set on Interplay database
folders. Usually reservations are assigned by a user with appropriate privileges using Interplay
Access. By default, a 24-hour reservation is automatically placed on a folder whenever a new or
modified Avid asset is checked in to the Interplay database from a bin.
n
The default duration of automatic reservations is set in the Application Database Settings in the
Avid Interplay Administrator.
When you reserve a folder, the system adds a Reservation icon to the folder and sets the
reservation on all of the Avid assets in the folder, including any subfolders and their contents.
The reservation protects the assets — which include sequences, master clips, and all the media
files and metadata files that are associated with them — from deletion and moving.
Reservation icons on folders in the Media Directory panel
Only the owner of a reservation or the Administrator can remove the reservation or delete or
move the contents of a reserved folder. Since folders can have reservations set by multiple users
with multiple end dates, you might not be able to move or delete the asset even if you placed a
reservation on it. Unless one of the reservations expires or is revoked by the user that created it,
only your Interplay administrator can move or delete the asset.
1242
Managing Remote Assets with the Interplay Window
Understanding Restrictions
Restrictions are placed on Avid assets by adding the restrictions to markers in Avid Interplay
Assist. A restriction can represent material that should not be used. It might contain material that
needs to be used only after rights are available on a certain date, that the organization must pay
for upon use, or that has copyright requirements or other legal restrictions limiting its use.
Restriction marker on a clip icon in the Research panel
You can see the restriction markers on the clip icons in the Interplay Window and in your bin.
Your Avid editing application warns you about the restriction when you display the restricted
material in the monitor, perform a digital cut, send it to playback, or export it. You can choose to
continue the operation, and you can view the reason for the restriction in the Restrictions tool.
You can change restriction comments by using Interplay Assist and then view them in your Avid
editing application. For more information on setting restrictions and on using Interplay Assist,
see the Avid Interplay Assist User’s Guide.
The clip icon of any clip that contains restricted material displays the Restriction icon. For more
information about working with restrictions, see “Working with Restricted Material” on
page 388.
You can use extended search capabilities to search for restrictions in Avid Interplay Access. Use
the DRM property. For general information about searching in Interplay Access, see the Avid
Interplay Access User's Guide.
Understanding Access Control for Avid Assets
Access control protects assets in a workgroup environment. The Interplay administrator uses the
Avid Interplay Administrator application to assign access levels to groups and to particular
folders. For example, you might have permission to read, write, and delete some assets, but only
have permission to read other assets. For more information, see the Avid Interplay Engine and
Avid Interplay Archive Engine Administration Guide.
When you check in an Avid asset to the database, the system creates a link to the clip or sequence
and displays the link in the Interplay Window. When you create a copy of a master clip or
sequence, the system creates a copy of the link.
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Managing Remote Assets with the Interplay Window
Each individual link to an asset has its own access control. This means that it is possible to have
read/write/delete access to an asset in folder A, but only read access to another instance of the
asset in folder B. For example, if a master clip is visible in two folders, one with a reservation
and one without, when you delete the master clip in the non-reserved folder, the master clip in
the reserved folder (and the related media) is not deleted.
Moving, Copying, Duplicating, and Deleting Avid Assets
You can move, copy, and duplicate clips and sequences to other folders in the Interplay Window
in order to group and organize various types of material based on project needs. When you copy
clips from one folder to another, any custom columns that you created in the first folder are also
copied to the second folder. The custom columns appear in the order in which you created them.
Remember that there is a difference between copying and duplicating:
c
•
When you copy a clip, you create a reference clip (link) to a clip in another folder, and any
change you make to the copy affects the original as well.
•
When you duplicate a clip, you create a new asset. This asset points to the same media files
(audio and video) but is associated with a completely new set of metadata (by default, a new
name and new creation date). Any modifications that you make to the duplicated clip, such
as adding markers, do not affect the original clip's metadata.
Because a duplicated clip points to the same media as the original clip, be careful when
deleting duplicated clips that you do not unintentionally delete media.
If you have delete access control within your workgroup, you can delete Avid assets in the
Interplay Window and in bins. You can also delete copies of the assets (links). Users without
delete access cannot delete assets or perform any tasks that require delete privileges. For more
information, see “Understanding Access Control for Avid Assets” on page 1243.
You cannot delete assets that carry reservations. Reservations can only be applied to folders and
they apply only to Avid assets (clips and sequences). Also, you cannot delete a relative of a
reserved asset. For example, if a master clip is not reserved, but it is used in a reserved sequence,
you cannot delete the master clip until the reserved sequence is unreserved. For information on
reservations, see “Understanding Reservations” on page 1242.
n
n
If you are working with MultiRez, you might see more than one resolution associated with a clip.
For information about deleting multiple resolutions, see “Deleting MultiRez Clips and Media
from a Bin” on page 1365.
You might need to press F5 to refresh the Interplay Window display to see the updated contents of
the folder or bin.
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Managing Remote Assets with the Interplay Window
To move clips or sequences from one folder to another:
1. In the Research panel, select the clip or sequence that you want to move.
2. Drag the clip or sequence to the destination folder in the Media Directory panel, and release
the mouse button.
To copy clips from one folder to another:
1. In the Research panel, select the clip or sequence that you want to copy.
2. Press and hold the Ctrl key (Windows) or the Command key (Macintosh), drag the clip or
sequence to the destination folder in the Media Directory panel, and release the mouse
button. This creates a link to the original clip (and thus a copy of the asset) within the new
folder.
When you press and hold the Ctrl key or the Command key and drag a clip to make a copy,
the system does not append a number to the clip or sequence as it does when duplicating.
To duplicate a clip:
t
Right-click the clip or sequence and select Duplicate.
A new copy of the clip or sequence with a new Creation date is created. The system appends
a number such as .01 to the end of the name, creating a new name.
c
The duplicated clip refers to the original media; be careful not to delete media accidentally
if you delete the duplicated clip.
To delete clips or sequences from a folder or bin:
1. Select the clips and sequences that you want to delete.
2. Press the Delete key or right-click and select Delete.
The Delete dialog box opens, showing information about the selected items.
3. Select the items for deletion.
4. (Option) Delete the associated media files for master clips and effect clips.
You can select both clips and media files for deletion, or you can select only the media files
if you want to retain the clips for recapture later.
5. Click OK.
If you choose to delete media files, a message box opens and asks you to confirm the
deletion.
6. Click Delete.
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Managing Remote Assets with the Interplay Window
Creating Folders and Shortcuts in the Interplay Window
If you have the appropriate rights, you can create folders in the Avid Interplay database to help
organize your projects. You can also save time accessing remote assets you use often by creating
shortcuts to Interplay folders and catalogs in the Media Directory panel.
To create a new folder in the Interplay Window:
1. Right-click an Interplay folder in the Media Directory panel, and select Create Folder.
2. Type a name for the folder and click OK.
To create a shortcut to a folder in the Interplay Window:
t
Right-click an Interplay folder in the Media Directory panel, and select Create Shortcut.
The shortcut appears in italic above the Interplay database name in the Media Directory
panel.
A shortcut above an Interplay database name in the Media Directory panel
To remove a shortcut to an Interplay folder or a catalog:
t
Right-click the folder in the Media Directory panel, and select Delete Shortcut.
The shortcut is removed.
Modifying the Appearance of the Interplay Window
You can modify the appearance of the Interplay Window to hide the Media Directory panel or to
split the tool horizontally (so the Media Directory panel and the Research panel display on the
left and right sides of the tool) or vertically (so they display at the top and bottom of the tool).
You can also specify which media objects you want to display in the Interplay Window.
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Managing Remote Assets with the Interplay Window
Location of the Layout button in the Interplay Window
To modify the display properties of the Interplay Window, do one of the following:
t
Click the Layout button until the layout you want displays in the Interplay Window.
t
Press Ctrl+L (Windows) or Command+L (Macintosh) until the layout you want displays in
the Interplay Window.
Understanding Column Display in the Interplay Window
You can modify the display of columns in the Interplay Window in a variety of ways. You can:
•
Sort the information in all of the columns in the media tabs in the Research panel except the
Frame column
The Type column sorts alphabetically based on the type of media object (audio clip, master
clip, sequence, subclip).
•
Move columns to rearrange their order
•
Select individual or multiple columns to be displayed or hidden in the Interplay Window
•
Add columns to the display in the Research panel in the Interplay Window in order to
display additional properties for media objects
Available column headings are determined by selections in the Interplay Administrator.
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Managing Remote Assets with the Interplay Window
Added columns appear only for the selected folder and for the current work session. If you
want to use the same columns the next time you log in to your Avid editing application, you
must save a custom layout. See “Using Custom Layouts for the Interplay Window” on
page 1256.
•
Create new column headings in the Research panel.
New column headings (custom properties) are added to the database. Be careful when
creating custom properties. Currently, you cannot delete custom properties, but you can turn
off their display.
If the new heading has the same name as a system property or a user property — for
instance, FPS (frames per second) — the new column displays the properties for the heading
already in the database. You cannot create two headings with the same name.
•
Enlarge or reduce the width of any column in the Research panel.
When you change the size of the Frame column, the head frames increase or decrease in
size. You must enlarge or reduce all frames in the Research panel together. You cannot
change the size of an individual frame.
For instructions on modifying column display in the Interplay Window, see “Modifying Column
Display in the Interplay Window” on page 1248.
Modifying Column Display in the Interplay Window
To sort information in columns:
t
Click the column heading. To reverse the sort order, click the column heading again.
To move a column in the Interplay Window:
t
Click the heading of the column in the Research panel that you want to move, then drag the
column to the position you want and release the mouse button.
The column appears in the new position, and the other columns shift to make room.
To hide a column:
t
Right-click the column heading and select Hide this Column.
When you hide columns, they are listed on the menu below the Hide this Column option.
To display a hidden column:
t
Right-click a column heading and select Show heading name.
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Managing Remote Assets with the Interplay Window
To add columns to the Research panel:
1. Right-click a column heading and select Select Working Set of Columns.
The Select Working Set of Columns dialog box opens. The dialog box displays four sections
of properties as defined in the Interplay Administrator, separated by dotted lines: System,
Custom, Video Resolutions and Audio Resolutions.
2. Select the columns you want to display.
For MultiRez clips, you can select a column for each resolution (1:1, DV 25, and so on). See
“Single Clip, Multiple Resolutions” on page 1335.
3. Click OK.
The new columns appear to the right of the existing columns in the Research panel.
To create a new column:
1. Right-click a column heading and select New Column.
2. Type a name for the new column.
The new column appears to the left of the active column in the Research panel.
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Managing Remote Assets with the Interplay Window
To enlarge or to reduce the size of columns:
t
Click the border of a column in the Research panel, and drag it to the right or the left to
resize it.
Selecting Values for a Custom Property
You can select a property value from a list for a custom property rather than typing it in. You can
select this value from a column in the Research Panel.Your system administrator needs to first
create a custom property in Interplay Administrator and then import an XML file containing the
values into Interplay Administrator. For more information, see “Adding a Custom Property” in
the Avid Interplay Engine and Interplay Archive Engine Administration Guide.
For example, you might want to specify the status of a particular asset. The XML file might
contain status values such as Opened, Approved, and so on. In the Research panel, you can click
the Status column cell for an asset and select a value rather than typing it in each time.
To select a value for a custom property in the Research panel:
1. Make sure your Administrator has set up the custom property and imported the list of values.
2. Right-click a column heading and select Select Working Set of Columns.
The Select Working Set of Columns dialog box opens. The dialog box displays three
sections of properties as defined in the Interplay Administrator, separated by dotted lines:
System, Custom, and Resolutions.
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Managing Remote Assets with the Interplay Window
3. Navigate to the new custom column heading, select it, and click OK.
4. Locate the custom column in the Research panel and click it in the cell for the asset you
want to label.
The list of values for the property appears.
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Managing Remote Assets with the Interplay Window
5. Select a value.
The value appears in the cell.
6. Select values for additional assets.
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Managing Remote Assets with the Interplay Window
Selecting Asset Types
To select asset types and reference clips to display:
1. Right-click the Type column heading in the Research panel and select Set Type Filter.
n
You need to right-click the column heading. If you right-click elsewhere in the column, the option
does not appear in the context menu.
The Set Type Filter dialog box opens.
2. Select the asset types you want to display.
3. (Option) Select “Show reference clips” to display objects that are referenced by sequences.
4. Click OK.
5. (Option) Save the layout if you want to preserve your type filter settings.
Media Objects in the Interplay Window
The following table describes the media objects that you can display in the Interplay Window.
Media Object
Description
Sequences
A clip that represents an edited program, partial or complete, that you
create from other clips
Master Clips
A clip that references audio and video media files formed from captured
footage or imported files
Subclips
A clip that references a selected portion of a master clip
Effects
A clip that references an unrendered effect that you create
Rendered Effects
A clip that references an effect media file generated when you render an
effect
Motion Effects
A file in the bin that references effect media files generated when you
create motion effects
Group Clips
(For MultiCamera editing) Clips containing two or more grouped clips,
strung together sequentially according to common timecodes
Show reference clips
Clips and other objects that are referenced by sequences, even if these
objects were not previously displayed in the bin.
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Managing Remote Assets with the Interplay Window
Renaming Clips in the Interplay Window
You can rename a clip in a folder directly by modifying the information displayed in the
Research panel.
n
This action also renames copies of these clips. It does not rename duplicated clips.
To change the name of a clip:
1. Click the cell in the Name column that you want to modify.
The clip row is highlighted.
2. Click the cell again to enter text.
The pointer changes to an I-beam.
3. Type the new clip name, and press Enter.
Adding Comments in the Interplay Window
You can add comments to the clip information in any media tab in the Research panel to help you
keep track of details not displayed in the other columns.
To add a comment to the Research panel:
t
Click in the Comment column of the clip you want to annotate, and type your comment in
the Comment text box.
You might have to scroll right to see the Comment column.
Updating the Display in the Interplay Window
If material is ingesting as you are working or other people are working in the same project, you
might need to update the display in your Avid editing application to see the latest content.
To update your Avid editing application display:
t
Press F5.
The Directory panel and the Research panel update to the latest content. In the Research
panel, this includes only the tab in front if you have more than one tab. Tabs that are behind
the active tab don’t update. If you try to update before a previous update operation has
completed, your Avid editing application ignores the second attempt. Search result tabs are
also not updated.
To refresh just the front tab in the Research panel:
t
Click the Refresh button.
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Managing Remote Assets with the Interplay Window
The Refresh button on a tab in the Research panel
To update a search result tab:
t
Execute the search again.
Navigating to a Folder that Contains a Selected Asset
You can use a command to navigate (go to) to a folder that contains a selected asset.
To navigate to a folder that contains a selected asset:
1. Right-click an asset in the Research panel (any tab) and select Open Enclosing Folder.
The Open Enclosing Folder dialog box opens and displays a list of folders that contain the
asset.
2. Select a folder and click OK.
The folder is selected in the directory tree and the contents of the folder are displayed in a
tab in the Research panel, with the selected asset highlighted.
Updating Writable Properties in the Property Merge Dialog Box
If you have Write privileges in your Interplay environment, you can change several of the
properties associated with assets, for example, Comments or Name. These are called writable
properties. If you try to change a writable property that another user modified after you accessed
the asset, the Property Merge dialog box opens.
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Managing Remote Assets with the Interplay Window
For example, someone else who accessed a clip in Interplay Access after you loaded the same
clip in the Research panel might have changed the name of the clip on the server; when you then
try to rename that clip, the Property Merge dialog box opens. The change could have been made
in any Interplay application, including Assist, Instinct, Interplay Access, or the Interplay
Window.
You can view the original status of the writable property, your change, and the current status of
the property on the server, and you can choose to update the asset on the server or to update the
asset on your system. You can update the asset on the server by merging the changes; you can
also can create the text of the change.
To update your asset with the change from the server:
t
Select Update from Server.
The asset is updated with the change from the server.
To update the server with your change:
1. Select the version of the property you want to see in the Merged Value text box:
-
Original - the state of the asset before you accessed it
-
Your change - this version is selected by default
-
Current (on server)
You can select any combination of the versions.
The versions appear in the Merged Value text box in the order in which you select them.
2. (Option) Edit the text in the Merged Value text box to create the change you want.
3. Select Submit to Server.
The asset is updated with the text in the Merged Value text box.
Using Custom Layouts for the Interplay Window
Any time you modify a column, the Interplay Window maintains the custom layout for the
individual folder during your current work session. When you quit your session, the customized
layout is lost unless you save it. You can apply saved layouts to any display in the Interplay
Window. Your Avid editing application uses the last saved layout to display assets in the
Interplay Window. Layouts are saved as Interplay user settings.
The Interplay Window also saves the default layout which appears when you first open your
Avid editing application. You cannot save or delete the default layout.
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Managing Remote Assets with the Interplay Window
To save a layout:
1. Open a folder.
2. Modify the display or the columns according to preference.
3. Click the Layout menu, and select Save Layout As.
The initial layout name is “Default.” Once you save a layout, the Layout menu displays the
saved layout name.
If you want to save changes to an existing layout, click Save Layout.
Location of the Layout menu in the Interplay Window
The Enter Column Layout Name dialog box opens.
4. Type a name for the custom view, and click OK.
The layout is saved and added to the list of layouts in the Layout menu. You can select any of
the saved layouts from the Layout menu.
To change to another saved layout:
t
Click the Layout menu, and select a saved menu from the menu list.
If you select Default, the Interplay Window reverts to the layout that appears when you first
open your Avid editing application.
To delete a layout:
1. Click the Layout menu, and select the layout you want to delete from the menu list.
2. Click the Layout menu, and select Delete Current Layout.
A confirmation box opens.
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Managing Remote Assets with the Interplay Window
3. Click Yes.
Opening Multiple Tabs in the Interplay Window
When you open a new Interplay folder, its contents replace the current contents displayed in the
Interplay Window. If you want to keep the contents of more than one folder open at a time, you
can save the Research panel display as a tab in the Interplay Window and then open the contents
of the new folder as a separate tab. This way, you can keep multiple folders open at once.
To open multiple folders in the Interplay Window:
1. Click the active tab in the Research panel, and then click the Pin button.
The contents of the folder are saved as a tab in the Research panel.
2. In the Media Directory panel, click a new folder.
The folder opens as a new tab in the Research panel.
Left to right: Media tabs, the Pin button, and the Close button in the Research panel of the Interplay Window
To close a tab in the Interplay Window:
t
On the tab you want to close, click the Close button.
Selecting Font Options from the Context Menu in the Interplay Window
You can change the default fonts and font sizes in the Research panel and the Directory panel
from a context menu.
Font changes are saved as user settings and do not affect other systems.
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Managing Remote Assets with the Interplay Window
To change the font from the Research Panel context menu:
1. Right-click and select Set Research Panel font.
The Select Research Panel Font dialog box opens.
n
On Windows XP, the dialog box lets you select and preview options other than Font and Size, but
those options do not affect the font in your Avid editing application. You can change only Font
and Size.
2. Select a font and a size, and then click OK.
The font in the panel changes.
1259
Finding Remote Assets
To change the font from the Directory panel context menu:
1. Right-click in the Directory panel and select Set Directory Panel font.
The Select Directory Panel Font dialog box opens.
2. Select a font and a size, and then click OK.
The font in the panel changes.
Finding Remote Assets
You find Avid assets stored in the Interplay database by searching Interplay folders.
The most common method of finding remote assets is to perform a search based on attributes.
The Interplay Window searches for the attributes associated with Avid assets. Each attribute can
define statistical information (such as the date) or descriptive information (such as clip name).
The search function lets you search by a date, a word, or a few characters.
The database returns the results of any search in the Research panel, which lets you access more
detailed information about displayed assets.
n
You can have multiple searches running at the same time.
Typically, you conduct database searches for Avid assets based on their associated attributes. For
example, you could find all master clips modified in the last hour, all sequences in a particular
project, or all subclips in a particular project that have the word “feature” in their names.
n
Interplay Access includes an extended search with additional features for searching the Interplay
database.
Performing Searches on Interplay Folders
A search tab is always available in the Research panel (labeled Media Search before you perform
a search). You can define your search based on standard media attributes, described in “Search
Attributes for the Interplay Window” on page 1262. You can open multiple search tabs and keep
the additional tabs open, as described in “Keeping Search Results in the Interplay Window” on
page 1263.
n
To get the best response times for your searches, make them as specific as possible.
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Finding Remote Assets
To perform a search:
1. Click the Media Search tab.
To open an additional search tab, do one of the following:
-
Press Ctrl+F (Windows) or Command+F (Macintosh).
-
Right-click an Interplay folder and select Search. The folder you select is displayed in
the Search In field.
2. In the Text field, type a search term.
You can specify words or characters for your search. Search terms are not case-sensitive and
apply to all searchable text attributes of the Avid assets in your search.
3. Expand the Text Fields field and select the kinds of text fields to search in
4. Expand the Search In field and navigate to the folder you want to search.
If you do not specify a location, the Interplay Window searches the entire Interplay database.
If you right-clicked a folder and selected Search, the Search In field displays the name of the
selected folder.
5. Expand the Types field and select the type of media object you want to search for.
6. Expand the Category field and select the asset category you want to search for.
You can select multiple categories.
7. Click the Time menu, and select a time parameter for your search.
If you accept the default settings and specify no additional attributes, the search returns all
clips, subclips, and sequences in the database.
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Finding Remote Assets
8. Click Search.
The Interplay Window performs the specified search and returns all matching records in the
Research panel. The name of the search tab changes to the text that you searched for.
9. (Option) To start a new search, click Reset or open a new search tab. Then repeat steps 2
through 8.
If necessary, click the show/hide arrow in the upper left of the tab to show the Reset button
and the search fields.
For information on keeping your search results when you open a second tab, see “Keeping
Search Results in the Interplay Window” on page 1263.
Search Attributes for the Interplay Window
The following table describes the search attributes available in the Media Search tab in the
Interplay Window.
Attribute
Options
Text
User supplied text Lets you search the following text-based attributes:
Text Fields
•
Any system
property or
custom
metadata
containing a
text field
•
Select All
•
Clear All
Search In
Types
Description
•
Name
•
Tape
•
VideoID
•
Comments
•
User-created fields
Lets you search in any text field you select; Name is selected by
default.
Lets you search in any Interplay folder in the database
Master Clip
Subclip
Sequence
Lets you specify the type of media object for your search (you
must select at least one type for each search)
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Capturing Media to Interplay Folders
Attribute
Options
Description
Category
Examples:
Weather
Sports
Local News
Lets you specify which category to search. The specific
categories listed for this attribute are defined by the system
administrator.
Time
Whenever
Last 10 minutes
Last hour
Last 24 hours
Last week
Last month
Last year
Lets you set a time parameter for your search (time parameters
refer to the date the media object was last modified)
Keeping Search Results in the Interplay Window
One search tab is always open in the Research panel. If you want to keep the results of your
search after you open a second search tab, you must “pin” the search tab. Pinning the search tab
keeps it available if you open a another search tab.
To keep your search results:
t
Click the Pin button.
The search results are kept open as a tab in the Research panel.
Capturing Media to Interplay Folders
By using the Interplay Window to connect to the Interplay database, you can capture media
directly to an Interplay folder. You can capture to any folder currently open in the Interplay
Window.
n
You can open multiple Interplay folders by using multiple tabs in the Research panel of the
Interplay Window. For more information, see “Opening Multiple Tabs in the Interplay Window”
on page 1258.
To capture media to an Interplay folder:
1. Select Tools > Interplay Window.
2. Navigate to the Interplay folder to which you want to capture media, and click the folder.
The Interplay Window displays the Avid assets in the Interplay folder.
3. Select Tools > Capture.
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Using the MediaCentral | UX Messages Window
The Interplay Folders selection button (top) and the Bin menu (bottom) in the Capture tool
4. Set up the Capture tool as described in “Capturing Media” on page 232.
5. Click the Interplay Folders selection button.
6. Click the Bin menu, and select an open Interplay folder.
7. Start capturing as usual.
Using the MediaCentral | UX Messages Window
MediaCentral UX accommodates a number of workflows and gives users the freedom to write,
edit, produce, and manage media through a Web-based interface. MediaCentral UX enables a
variety of production roles by providing media access and collaborative media production. If you
work in a MediaCentral environment, you can share text messages, media assets stored on your
Interplay Production database, and links to Internet sites using Universal Resource Locators
(URLs) using the MediaCentral UX Messages window.
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Using the MediaCentral | UX Messages Window
The MediaCentral UX messaging system allows you to share Interplay Production assets
between MediaCentral users within your workgroup. Once you to log in to Interplay using the
Interplay User Settings dialog box, you can then log in to MediaCentral UX using the
MediaCentral UX Messages window.
Viewing Messages and Linked Media Assets
The MediaCentral UX Messages window displays all of the messages received from other users
logged in to your MediaCentral workgroup. The messages can contain both text and links to
Interplay media.
If you log in to Interplay and your MediaCentral credentials match your Interplay user name and
password, you do not need to log in to MediaCentral UX separately. If the user name and
password used in the Interplay User Settings dialog box are not the same as your MediaCentral
credentials, the MediaCentral UX Message window prompts you to log in to MediaCentral UX.
n
You must be a MediaCentral client and logged in to Interplay to use the MediaCentral UX
Messages window.
To view messages:
1. Select Tools > MediaCentral | UX Messages
The MediaCentral UX Messages window opens.
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Using the MediaCentral | UX Messages Window
If you have signed into Interplay, the MediaCentral UX Messaging pane attempts to log in to
the MediaCentral portal associated with your Interplay workgroup using your Interplay
credentials. If your Interplay and MediaCentral credentials are different, you must log in to
MediaCentral UX before using the message window.
2. If required, type your MediaCentral UX user name and password, and then click Sign In.
The MediaCentral UX Messages window displays the Messages pane, with the most recent
messages at the top of the list. A notification bar indicates if you received any new messages
since the last time you logged in to MediaCentral UX.
n
Messages sent by you display in the message list with a blue background, while messages
received by you display with a green background.
3. Click the notification bar if you received new messages. You can also scroll up to display
hidden messages.
New messages display at the top of the message list.
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Using the MediaCentral | UX Messages Window
4. If the message includes a media asset, do one of the following:
t
Double-click the head frame in the asset area to view the media. You can view master
clips, subclips, group clips, and sequences.
t
Drag the head frame from the message to a bin.
The clip opens in the Source monitor or displays in a bin.
To log out of MediaCentral UX, do the following:
t
Close the MediaCentral UX Messages window.
Quitting your Avid editing application also logs you out of MediaCentral UX.
Sending Messages
The Messages pane allows you to share both text messages and Interplay Production assets with
other MediaCentral users. You can also share messages with editing application users who log on
to MediaCentral UX.
When you share an Interplay Production asset, the recipient can double-click the asset to open it
in the MediaCentral UX Media pane. An asset shared with an editing application user opens in
the Source/Record monitor in the Avid editing application.
You can share links to master clips, subclips, group clips, and sequences. Shared assets must be
checked in to Interplay first so other users can view them. MediaCentral UX users cannot see a
any changes you make to an asset that you have not first checked in to Interplay.
n
You must be a MediaCentral client and logged in to Interplay to use the MediaCentral UX
Messages window.
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Using the MediaCentral | UX Messages Window
To write a new message and share media assets:
1. Select Tools > MediaCentral | UX Messages
The MediaCentral UX Messages window opens.
If you have signed into Interplay, the MediaCentral UX Messaging pane attempts to log in
to the MediaCentral portal associated with your Interplay workgroup using your Interplay
credentials. If your Interplay and MediaCentral credentials are different, you must log in to
MediaCentral UX before using the message window.
2. If required, type your MediaCentral UX user name and password, and then click Sign In.
The MediaCentral UX Messages window displays the Messages pane, with the most recent
messages at the top of the list.
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Using the MediaCentral | UX Messages Window
3. In the address text box at the top of the Messages pane, start typing the name of the recipient
for your message.
A list of MediaCentral users displays as you type.
Online users are indicated by a green dot next to the name. A red dot indicates an offline
user.
n
If you type an invalid name, the name changes to red and you receive an error message. You can
only send messages to recipients on the MediaCentral user list.
4. Select a name from the list or complete the name by typing it in the address box.
n
You can add multiple names to the address box.
If you type an invalid name, the name changes to red and you receive an error message. Type
the name again or select a name from the list of MediaCentral users that displays when you
start typing in the address text box.
5. If you want to share a media asset, click a clip in a bin and drag it to the asset area of the
message:
A head frame of video clip or a clip icon for an audio clip displays in the message, along
with metadata describing the asset.
You can remove the clip by clicking the Remove button in the asset area.
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Using the MediaCentral | UX Messages Window
Asset area of the message, with the Remove button
6. In the message text box, type your message.
A character count below the message displays the number of characters allowed in your
message. You can type a total of 256 characters.
7. Click Send.
The message is sent to the MediaCentral users listed in the address text box and displays as a
sent message at the top of your message list. Messages sent by you display with a blue
background.
To reply to a message:
1. Position the mouse pointer over the address line of the message to which you want to reply.
The Reply button displays on the right side of the address line.
2. Click Reply.
The address text box in the top of the Messages pane automatically adds the names of the
recipients from the selected message.
3. In the message text box, type your message. You can also share a media asset by dragging it
to the asset area of the message.
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Performing a Send-to-Playback as a Background Process from an Avid Editing Application
A character count below the message displays the number of characters allowed in your
message. You can type a total of 256 characters. If you share an asset, a head frame of video
clip or a clip icon for an audio clip displays in the message
4. Click Send.
The message is sent to the MediaCentral users listed in the address text box and displays as a
sent message at the top of your message list.
Performing a Send-to-Playback as a Background
Process from an Avid Editing Application
Depending on your workgroup configuration, the send to playback operation of Long GOP OP1a
media can run in the background, allowing the Avid editing system to perform other tasks. The
workgroup must have an Avid Interplay STP Encode service installed. For information about
setting up a workgroup for background processing of send-to-playback requests, see the Avid
Interplay Help.
To send assets and media files for playback using an Avid editing application:
1. Make sure the Media Services Engine and Avid Interplay STP Encode service are running.
2. In the Avid editing application bin, select the asset or assets whose media files you want to
send to the playback server.
3. Select Transfer > Send To Playback, and select the profile for the server to which you want
to send the sequence.
The Send to Playback dialog box opens.
4. Do the following:
t
Type a tape ID name.
t
(Option) Select PWT (Play While Transferring), if you want to send the sequence as a
high-priority.
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Performing a Send-to-Playback as a Background Process from an Avid Editing Application
t
(Option) Select Overwrite, to overwrite the tape ID name in the Interplay Transfer if the
same name exists.
t
Select Use STP Encode to use the STP Encode provider for processing the
send-to-playback operation.
The system immediately starts the send to playback operation. If Interplay Access is
installed on the Avid editing system, you can track the status of the job by opening Interplay
Access, selecting Tools > Interplay Media Services Status, and clicking the Jobs tab.
5. Click OK.
1272
27 Interplay Synced Projects
Interplay Synced Projects provide you with a way to link your bins and projects in the editing
application with the folder structure for assets stored in your Avid Interplay database. When you
make changes in your project, the changes are saved to Interplay. Other users can work on the
same synced project and update their bins and folders by updating them from Interplay. With the
synced bins and media asset folders updated, you can easily collaborate on projects with other
users, adding bins and editing media that you can sync through Interplay. When you share a
synced project with a user or a group of users, they can access the same synced bins and media
you set up for your project.
A synced project consists of an Avid editing project on your local machine and an Interplay
synced project, which consists of a folder hierarchy matching folders and bins in your local
project. By default, you create a local project in a folder on your local machine called Avid
Synced Projects, which is in the same folder as your Avid Shared Projects. Interplay synced
project are created in a root-level folder called Synced Projects. As you create local projects,
folders, and bins, you also create corresponding Interplay folders.
n
To use Interplay Synced Projects with the editing application, you must be a valid workgroup
client. For Windows systems, you must have Interplay Access installed as well as either the Avid
ISIS Client Manager or the Media Composer | Cloud components installed.
•
Synced Projects
•
Enabling Interplay Synced Projects
•
Working with Synced Projects
•
Creating a New Synced Project
•
Opening an Existing Synced Project
•
Deleting Synced Projects
•
Updating a Synced Project
Synced Projects
Synced Projects
When you start your Avid editing application and select Synced Project in the Select Project
dialog box, you see the list of Interplay Synced Projects you can access, depending on the
permissions attached to the projects. Interplay Synced Projects appear locally as synced projects
in the synced projects path on your local machine.
Updating and saving a project in the editing application updates the asset folders in Interplay.
When you add bins to your project, corresponding folders are created in the Interplay database as
subfolders within your project. Clips in your synced project are checked in to Interplay
automatically, avoiding the need for using the Unchecked-in Avid Assets folder.
Because synced projects use Interplay to update synced bins and folders, you must be connected
to Interplay in order to work with synced projects. You can manually copy your synced project
out of the synced projects folder to the shared projects folder on your system and then open it as
a shared project, but doing so prevents you from using the functionality of synced projects
necessary for collaboration with other users. Also, if you then move your project back to the
synced projects folder, you lose any changes made to your project.
Synced project, showing two tabbed bins and the corresponding Interplay asset folders
Synced project icons identify folders in the Interplay database created from bins in a synced
project. The synced project folders function the same way any asset folder does in Interplay.
Reservations and restrictions apply to synced folders and media assets as they do for all other
assets stored in Interplay. You should restrict changes to your bins and folders to your Avid
editing application, allowing Interplay to update with the changes so other users can access the
same updated project.
1274
Enabling Interplay Synced Projects
Synced project asset folders in Interplay Access, with the synced project icon
Changes to a bin — for example, moving assets, importing master clips, or creating new
sequences — are automatically saved to Interplay folders. You can also update the Interplay
folder by saving or checking in a bin. When other users make changes to a synced project, you
can update a bin or update the entire project.
When you delete items from a bin, the corresponding Interplay assets are deleted if the clips have
no restrictions so that deleting assets in a synced project follows the same rules followed when
deleting assets from any Interplay project. You cannot remove an item from your bin without
also deleting it from the Interplay database.
If you make changes to your synced folder on Interplay — for example, if you add or delete
media clips to your project — you can update your bins in your synced project by closing and
opening the project in your Avid editing application, or by selecting Update from Interplay. If
another user makes changes to the project — for example, by changing bins or folders or items in
a bin — you can update your synced project to see these changes. For more information, see
“Updating a Synced Project” on page 1282.
Enabling Interplay Synced Projects
Before you can use synced projects, your Interplay administrator needs to enable the Synced
Projects setting in the Interplay Administrator window.
For more information on using the Interplay Administrator, see Avid Interplay Engine and Avid
Interplay Archive Engine Administration Guide.
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Working with Synced Projects
To enable synced projects:
1. Do one of the following:
t
Click the Start button and then select All Programs > Avid >
Avid Interplay Access Utilities > Avid Interplay Administrator.
t
From Interplay Access, select Tools > Open Interplay Administrator.
The Avid Interplay Administrator Server Login screen appears.
2. Select the server you want to work with, type a user name and password, and then click
Connect.
The Interplay Administrator window opens.
3. In the Site Settings section of the Interplay Administrator window, click the Synced Project
Settings icon.
The Synced Project Settings view opens.
4. Select Enable, and then click Apply.
The application enables synced projects for the selected workgroup.
Working with Synced Projects
When you enable synced projects, a folder for that project is created in the Synced Projects
folder in Interplay. A message warns you if the project name conflicts with an existing project
name so you can rename the project.
To create a synced project, you must have write permissions in Interplay. If you have Read/Write
or Read/Write/Delete privileges, you can create synced projects. If you have Read Only
permission, you cannot create an Interplay project in the Select Project dialog box.Your Interplay
1276
Creating a New Synced Project
administrator can grant access to the Interplay synced project folder for other users. For
information, see “Managing Users, User Groups, and User Rights” in the Avid Interplay Engine
and Avid Interplay Archive Engine Administration Guide or the Interplay Help.
When you create a new synced project, Interplay saves your project settings in the top level
Interplay project folder so others working on the project inherit the same settings. If you change
the core project settings, the synced project updates the saved settings on Interplay.
When you close a synced project without closing your Avid editing application, you remain
logged in to Interplay. This allows you to create a new synced project without having to log in
again to the application.
n
After you first log in, you do not need to configure the Interplay User, Interplay Folder, or
Interplay Server settings before creating an Interplay synced project.
Creating a New Synced Project
Your Interplay administrator must enable synced projects in the Interplay Administrator window
before you can create or open a synced project. Also, you must log in to Interplay to create a new
synced project and see the list of synced projects to which you have access.
To create a new synced project:
1. Start your Avid editing application.
The Select Project dialog box opens.
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Creating a New Synced Project
2. If you are not already signed in to Interplay, do the following:
a.
In the Host Name text box, type the computer name or IP address of your Interplay
server.
b.
In the User Name text box, type a user name.
This name must be a known user on your workgroup system.
c.
In the Password text box, type your password, and click Login.
When the blinking yellow light turns green and the Login button changes to the Logout
button, you are connected to the Interplay database.
3. In the Select Project dialog box, select Synced.
4. Create a new project. For more information, see “Creating a New Project” on page 156.
5. Click OK.
Your Avid editing application creates the new project files and folder, and then returns to the
Select Project dialog box. The project name is highlighted in the Projects list.
6. Double-click the project name to open the project.
The Project window, the Composer window, and the Timeline open with your User settings
loaded.
1278
Opening an Existing Synced Project
Interplay creates a synced project folder. To view the folder structure in Interplay, open the
Interplay Window.
Opening an Existing Synced Project
When you open an Interplay synced project that you have not opened before, your Avid editing
application creates a new project based on the settings saved for the project in Interplay. The
project contains bins based on the asset folders in the database that the original project created.
When you open a synced project that already exists on your system, the project automatically
updates some settings and assets for the project in Interplay. The project automatically updates
the core project settings and the folder and bin hierarchy, adding and deleting folders and bins if
necessary. Bins update from Interplay when you open them.
Opening a synced project does not check out media assets from Interplay if those assets have not
changed.
n
If the Select Project dialog box displays synced projects that are stored on your local system but
which have been deleted from Interplay, a dialog box opens and asks you if you want to convert
the projects to shared projects by moving them to the shared projects folder or if you want to
delete them. You can choose to move or delete them, or you can click Cancel to keep the project
in the project list. The dialog box appears each time you open a new project until you remove the
deleted synced projects from your local system.
To open an existing synced project:
1. Start your Avid editing application.
The Select Project dialog box opens.
2. If you are not already signed in to Interplay, do the following:
a.
In the Host Name text box, type the computer name or IP address of your Interplay
server.
b.
In the User Name text box, type a user name.
This name must be a known user on your workgroup system.
c.
In the Password text box, type your password, and click Login.
When the Login button changes to the Logout button, you are connected to the Interplay
database.
3. In the Select Project dialog box, select Synced.
1279
Opening an Existing Synced Project
A list of synced projects displays, depending on your permissions. Synced projects you have
opened before are stored on your local system and appear at the top of the project list.
Synced projects that you have not opened on your system are listed in the Select Project
dialog box as “add [project name].”
4. Do one of the following:
t
Select a project in the Select Project dialog box, and then click OK.
t
Double-click a project name in the Projects list.
The Project window, the Composer window, and the Timeline open with the User settings
loaded.The title bar of the Project window contains the project name and the user profile
selected in the Select Project dialog box.
For synced projects, one of the following occurs:
-
When you open a synced project that you have opened before on your local system, all
bins appear in the Project window and are updated from Interplay.
-
When you open a synced project for the first time on your system, a dialog box opens
and asks if you want to create a local project synced to the Interplay project. Click OK
to create a local copy of the synced project.
1280
Deleting Synced Projects
Deleting Synced Projects
If you delete a synced project, a dialog box provides you with the following options:
•
You can delete the project and its folder on your local system.
•
You can delete the Interplay project folder, including subfolders, bins, and all media assets in
your synced project. This moves the Interplay project folders to the Synced Projects Trash.
Your Interplay administrator can then delete the projects from this folder.
•
You can delete both the locally stored project and the synced project on Interplay.
If you use Interplay Access to delete the synced project folder while the project is open in the
editing application, you can choose from the following options when you close the project:
•
You can delete the project on your local system.
•
You can convert the project to a shared project.
If you try to open a bin in your synced project that has been deleted from Interplay, the project
updates to reflect the deletion. If you move a bin or folder that has been deleted from Interplay,
or if you drag an item to a folder that has been deleted, the project updates to reflect the deletion
in Interplay.
Deleting bins or folders from a local project moves them to the Trash folder. You cannot use the
Empty Trash function with synced projects. In Interplay, deleting assets moves them to the
Deleted Items folder. Using Interplay Access, you can delete the Trash folder if you have
administrative privileges. Updating your synced project brings changes made in Access to the
project on your local system. For information on deleting media assets and folders in Access, see
“Deleting Avid Assets and Media” in the Avid Interplay Access User’s Guide.
To delete a synced project:
1. Start your Avid editing application.
The Select Project dialog box opens.
2. Click the project you want to delete.
3. Press the Delete key.
A message box opens.
1281
Updating a Synced Project
4. Do one of the following:
t
To delete the synced project from your local system but keep the project in Interplay,
click Local. This moves the project to the bottom of the project list and changes the
project name to “add [project name].”
t
To delete the synced project from Interplay but keep the project on your local system,
click Interplay. A dialog box asks you to move the local project or delete it.
t
To delete the synced project from both your local system and Interplay, click Both.
t
To cancel the deletion, click Cancel.
If you select Both, the deleted project no longer appears in the Select Project dialog box.
c
n
Deleting a project also deletes any bins that are in that project.
Media related to a deleted project is not deleted with the project folder. For more information on
deleting media files, see “Deleting Items from a Bin” on page 354 and “Deleting Media Files
with the Media Tool” on page 475.
Updating a Synced Project
When you add, move, rename, or delete media, bins, or folders, or edit your sequence, your
changes automatically are updated on Interplay. When you make edits to your sequence, you
save your changes to Interplay by saving your local sequence or bin, or by allowing the system to
automatically save bins based on the Auto-Save settings in the Bin Settings dialog box. You can
also update your project with Interplay by closing your project.
When other users make changes to your synced project and update the Interplay database, you
can update your project in the editing application by closing and then opening your editing
project or by manually updating your project from Interplay by selecting Update Project from
Interplay.
When you update your synced project, changes made to the settings and the bin and folder
hierarchies are updated. When you sync bins, changes to the clips and sequences in the bin are
updated.
1282
Updating a Synced Project
When updating bins in your synced project, keep in mind the following:
n
•
Local bins update to match the media assets in Interplay when you open the bins. This
update might include adding, modifying, deleting, or renaming items in the bin. You can
also update open bins by selecting Update Project from Interplay.
•
When you open a synced project, all open bins are updated.
•
Whether you update with the Update Project from Interplay command, by closing and
opening the project, or by closing and opening a bin, the update operation only affects the
items that have changed. This update might miss some property changes on some items.
Selecting Bin > Update Bin from Interplay updates all items in the bin, including media
property changes.
Saving a sequence in your synced project saves it to Interplay. However, Interplay does not
automatically create a new version of your sequence as it does when you save changes to a
sequence in a non-synced project. New Interplay versions are created for synced projects only
when a sequence is manually checked in to Interplay, or when a different user modifies a
sequence in a synced project and checks it in.
When you make changes to your synced project, those changes are saved to Interplay
dynamically with the exception of changes to sequences.
To save sequence changes to Interplay, do one the following:
t
Click the bin to activate it, and then select File > Save Bin.
t
Click the Bins tab in the Project window, and then select File > Save All.
The system saves the selected bins and saves any modified sequences to Interplay.
You might have to refresh the display in the Interplay Window or in Interplay Access to see
the changes.
To update a synced project with changes made by other users and saved to Interplay, do
one of the following:
t
With the Project window active, select File > Close Project, and then open the project again.
t
Click the Close button in the Project window, and the open the project again.
t
Right-click in the Project window, and then select Update Project from Interplay.
t
To update the contents of a bin, close the bin, and then open it again.
To update all the items in a bin, whether the items have changed or not, do the following:
t
Select a bin, and then select Bin > Update Bin from Interplay.
1283
28 Using Your Avid Editing Application with
Media Composer | Cloud
When you use Media Composer Cloud, you can edit media either stored locally on your system
or stored on an Interplay server back at your production facility or broadcast station. With Media
Composer Cloud, you connect to your Interplay server by way of a Virtual Private Network
(VPN) using either a Wi-Fi or a wireless connection. The ability to edit both local and remote
media allows you to create and edit your sequence in the field, using all of the media captured
from your camera locally as well as the media available in your Interplay database.
Using Media Composer Cloud, for remote editing also provides for the quick uploading of your
content from the field and checking it in to Interplay as you work. The transfer of media assets
works automatically and in the background so that you can continue editing without having to
spend your time creating separate output files, compressing sequences, uploading files to a
server, and checking them in to Interplay.
n
Media Composer | Cloud is not supported in Avid Unity MediaNetwork configurations.
The remote editing workflow consists of all or some of the following components, depending on
your configuration and needs:
•
Installation and configuration of an Avid editing remote applications on a local computer.
•
Configuration of Interplay servers to support remote editing.
•
Access to a remote broadcast or production facility network using a Wi-Fi or mobile
connection and a VPN protocol.
•
Access to an Interplay system using the Avid editing application installed on a local system.
•
Ability to browse and use media stored on the Interplay system.
•
Creation of remote Avid Media Access (AMA) clips. These clips use a configured
MediaCentral Platform Services (MCS) server to stream media from the remote Interplay
system to the local computer for editing.
•
Edit both remote clips and local media in a single sequence.
•
Background consolidate or transcode of the sequence prior to uploading remote clips to
Interplay. This creates a sequence with locally-managed clips.
Working with Remote Editing
•
Check in of consolidated sequence to Interplay. Clips are transferred to the Interplay system
using a local transfer manager service that runs in the background without the need of
additional configuration. The remote upload service can first upload clips at a proxy
resolution, and then upload the full-resolution clips when time and bandwidth allow. The
clips are automatically checked in to Interplay.
•
Check out the uploaded clips at the broadcast or production facility. You need to use
dynamic relink to link the uploaded clips to the uploaded media files now checked in to
Interplay.
You can also download remote clips and then edit with Media Composer Cloud while your
system is disconnected from Interplay Production. For information on downloading remote clips,
see “Using Remote Download” on page 1305.
The following workflows are not supported with Media Composer | Cloud while working as a
remote client:
•
Editing or playing in-progress clips (edit while capture media)
•
Editing or playing multicamera media
•
Performing a digital cut or exporting sequences that include remote media
For more information, see the following topics:
•
Working with Remote Editing
•
Using the Disk Cache to Manage Cached Media
•
Setting Playback Quality for Remote Media
•
Uploading Media Using the Remote Upload Service
•
Media Composer | Cloud and Dynamic Relink
•
Upload/Download Queue Dialog Box
•
Using Remote Download
•
Send-to-Playback and Media Composer | Cloud (Windows Only)
•
Supported Project Types and Formats
Working with Remote Editing
There are several configuration steps you need to complete before you can access remote media
or upload clips to Interplay using the Media Composer Cloud, workflow with your Avid editing
application. Before you start using remote editing features, you should have installed and
configured your Interplay applications and services. These services must be running before you
start the editing application.
1285
Working with Remote Editing
n
The remote editing feature does not require that the Avid Unity ISIS Client Manager is installed
on your system. However, if you have installed Client Manager, you should not mount any ISIS
workspaces.
Configuring Interplay Settings on the Remote Editing System
You need to specify three Interplay settings before you can view or use remote editing:
n
•
Interplay Server — Use this setting to specify the computer name of the Interplay Server.
•
Interplay User — Use this setting to specify the Interplay user account to use when logging
into Interplay.
The Interplay user must also be listed as an ISIS client with read/write privileges in order to use\
the remote upload functionality of Media Composer Cloud.
•
Interplay Folder — Use this setting to specify where assets are checked into the Interplay
database when you use remote upload function.
You need to log in to the Interplay database through the Interplay User setting before you can
specify the Interplay Folder settings.
To configure Interplay settings:
1. Start your Avid editing application.
2. Click the Settings tab in the Project window.
3. Double-click Interplay Server.
The Interplay Server Settings dialog box opens.
4. In the Interplay Server Name text box, type the computer name or IP address of your
Interplay server, and then click OK.
It is important to type the correct computer name or IP address. This is the location where
the editing system looks to access the database and to check in and check out Avid assets.
5. In the Settings list, double-click Interplay User.
The Interplay User Settings dialog box opens.
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Working with Remote Editing
6. In the User Name text box, type a user name.
This name must be a known user on your workgroup system.
n
The Interplay user must also be listed as an ISIS client with read/write privileges in order to use\
the remote upload functionality of Media Composer Cloud.
7. Select “Automatic Login at Project Selection” if you want to log in to the Interplay database
automatically every time you open a project.
If you do not select this option, you must open this dialog box when you want to access the
database.
8. Click Login to establish the connection to the Interplay database.
The Interplay Login dialog box opens, with the server name you specified in the Interplay
Server Settings as the Host Name.
9. In the Interplay Login dialog box, select Remote Client, and then type your password, and
click OK.
When the blinking yellow light in the upper left of the dialog box turns green, you are
connected to the Interplay database and the dialog box closes.
10. In the Project Settings, double-click Interplay Folder.
The Interplay Folder Settings dialog box opens.
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Working with Remote Editing
11. Click the Set button, and a directory tree is displayed for the Interplay database that you
logged in to.
12. Select a folder to use as the default Interplay Root Folder for your project and click OK.
The Interplay Folder setting defines where assets are checked into the Interplay database
when you use the remote upload function. Interplay checks media in to a subfolder of the
folder you specify in this dialog box. The subfolder is named after the bin whose assets you
are checking in.
13. (Option) Select options to verify the directory path.
-
On login: If this setting is selected, a message box asks you to confirm the directory path
after you log in to Interplay. Select “for new projects only” if you want this message box
displayed only after you create a new project.
-
On first checkin: If this setting is selected, a message box asks you to confirm the
directory path the first time you check in from a project. This message is displayed once
each time you work in a project.
14. Click OK.
Interplay Settings for the Media Composer | Cloud User
For users to play back remote media from their Interplay | Production system, the Interplay
administrator must set two matching user credentials, one in the Application Settings in the
Interplay Administrator tool and the other in System Settings in MediaCentral | UX. The
credentials must be identical and unique for Media Composer Cloud users. For more
information, see your Interplay or MediaCentral administrator.
n
The Interplay user must also be listed as an ISIS client with read/write privileges in order to use\
the remote upload functionality of Media Composer Cloud.
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Working with Remote Editing
Stopping and Starting Media Indexer on a Mac OS X System
In an Interplay environment, if your Avid editing application cannot connect to the Media
Indexer running on your system the application displays the following message when it starts:
“Could not connect to the Media Indexer. Verify the health of the Media Indexer service.” Failure
to connect to the Media Indexer prevents the application from finding the online media for your
project. To correct this problem, you need to stop and then restart the Media Indexer service.
For Media Composer Cloud users, you need to restart the Media Indexer service when the IP
address of your system changes — for example, when you switch from an Ethernet connection to
a wireless (Wi-Fi or 4G) connection.
n
You must be logged in to your Mac OS X system with an administrative account to stop and
restart the Media Indexer service.
To stop and restart the Media Indexer service using the Terminal window:
1. Open a Terminal window by selecting Applications > Utilities > Terminal.
2. At the prompt, type the following and press Return:
cd /Applications/Avid\ Media\ Indexer/bin
3. The Terminal window might prompt you for your password. Type your administrative
password and press Return.
4. To stop the service, type the following and press Return:
sudo ./mi.sh remove
The Media Indexer service stops.
5. To restart the Media Indexer service, type the following and press Return:
sudo ./mi.sh install
The Media Indexer service restarts. You might have to wait up to 30 seconds for the service
to complete the restart operation.
Using Remote Media
Once you configure the Interplay settings on your Avid editing application, you can remotely
view, play, and edit media checked in to Interplay. When you access Interplay assets remotely,
audio and video master clips are streamed to your remote system using the MediaCentral
Platform Services (MCS) server.
n
Depending on your connection, it might take up to 30 seconds to connect to the Media Indexer
when you first open your Avid editing application or when you first open the Interplay Window. If
you experience a delay and a message box opens, you can choose to Cancel the operation or to
Wait. If you select Wait, the connection to Media Indexer should complete after a few moments.
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Working with Remote Editing
Remote clips and subclips use icons different from the usual clip icons to differentiate them from
local master clips and clips checked out of Interplay.
Remote clip icon
Remote subclip icon
Remote sequence icon
To access remote media clips:
1. In the Settings list, double-click Interplay User and log in to Interplay.
If you have not configured your Interplay settings, follow the procedure in “Configuring
Interplay Settings on the Remote Editing System” on page 1286.
2. Select Tools > Interplay Window.
The Interplay Window opens.
3. Open your Interplay project folder and drag a clip to your bin.
Remote master clips appear in bins with the remote clip icon.
Limitations on Remote Playback
Clips that you access from a remote location play back the same as locally managed clips.
However, because the MCS streams clips to your Avid editing application, your Internet
connection might cause some slowness while playing back clips. Avid recommends using either
a Wi-Fi network connection or a 4G wireless connection.
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Using the Disk Cache to Manage Cached Media
The following limitations also apply to remote playback:
•
Remote sequences that include rendered effects play back on the remote client without the
rendered media. However, sequences maintain the data for the effects. To view an effect, you
can render it on your system. You then need to render any locally-rendered effect again once
you relink your uploaded media to the source media back at the station or production
facility.
•
Remote clips that include an alpha channel — for example, titles — do not play back on the
local system. You can, however, use Avid Access to acquire the media from your Interplay
system, open the clip in a bin, and use the Re-create Title Media command to regenerate
titles locally. For information on how to generate title media, see “Re-creating Title Media”
on page 560.
•
If there are tracks in your sequence you do not need to play back, you can disable those
tracks. For example, if your clip has eight audio tracks but you only need to monitor two of
those, you can make the others inactive by deselecting the Active/Inactive buttons for the
tracks in the Track Control panel. Avid recommends that you limit your video streams to two
and your audio channels to four to optimize playback performance.
•
You can set the playback quality of your remote media to Low (the default setting) or High.
You should only play back remote media at high quality when your connection to Interplay
supports high resolution playback — for example, if you have an Ethernet connection to
your Interplay system. For more information, see “Setting Playback Quality for Remote
Media” on page 1293.
Using the Disk Cache to Manage Cached Media
When you remotely play back media from your Interplay environment, the Avid editing
application caches media to enhance playback performance. The application stores the cached
media in a folder on your local system called CloudCache so that each subsequent playback of
the clip proceeds smoothly. The cache folder can fill up quickly with unneeded media files, so
the editing application deletes the cached files periodically. You can control the size of the cache
folder and you can clear the cache manually if needed.
You can also clear the cache both locally and on the MCS system that streams the remote media
if you want to ensure that the media playing back reflects the most current version of your
sequence.
To configure the Media Composer Cloud cache settings:
1. Click the Settings tab in the Project window.
2. Double-click Cloud Playback.
The Cloud Playback Settings dialog box opens.
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Using the Disk Cache to Manage Cached Media
3. If you want to change the default folder for cached media files, click Browse and navigate to
the appropriate folder on your system.
4. If you want to modify the maximum size of the cache folder, click the Disk Cache Size text
box and enter a new number. The default size is 2 GB.
To clear the disk cache of cached media:
1. Click the Settings tab in the Project window.
2. Double-click Cloud Playback.
The Cloud Playback Settings dialog box opens.
3. Click Clear Local Caches.
The Avid editing system deletes all files in the CloudCache folder. The folder is recreated
the next time you play back remote media.
To refresh the remote media cache on your local disk and the MCS system, do one of the
following:
t
Right-click a clip or sequence in the bin, and then select Refresh Remote Media.
t
Select Bin > Refresh Remote Media.
The Avid editing system deletes all files for the clip in the CloudCache folder and on the
MCS system. The folder is recreated the next time you play back remote media.
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Setting Playback Quality for Remote Media
Setting Playback Quality for Remote Media
You can choose to play back either low or high resolution remote media. The default setting is
Low. You should only play back remote media at high quality when your connection to Interplay
supports high resolution playback — for example, if you have an Ethernet connection to your
Interplay system. If your connection appears slow, set the playback quality to Low
If you change your playback setting from Low to High, you must clear the media cache and
reload your clip in the Source/Record monitor. For information on clearing the cache, see “Using
the Disk Cache to Manage Cached Media” on page 1291.
To set the playback quality for remote media:
1. Click the Settings tab in the Project window.
2. Double-click Cloud Playback.
The Cloud Playback Settings dialog box opens.
3. Select either Low (the default setting) or High.
4. Click OK.
Uploading Media Using the Remote Upload Service
You can use Media Composer Cloud to upload clips and segments within sequences stored on
your system and check them in to Interplay using a VPN connection. The upload operation
automatically transcodes your media to the resolution specified in the Cloud Upload Settings
dialog box and stores the transcoded media in a folder called Avid Transcode. When you upload
a sequence, only the segments of clips used in your sequence are transcoded.
When you remotely upload sequences or clips, the Avid editing application creates a new
subfolder in Interplay as a destination for the uploaded clips. The Upload folder is located in the
Interplay folder named for your bin. All uploaded clips appear with an appended tag to indicate
their upload status. For example, if you use a clip called ClipA in a sequence stored in Bin1,
enable Remote Sync, and then save Bin1, ClipA is uploaded to the subfolder Bin1/Upload with
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Uploading Media Using the Remote Upload Service
the clip name ClipA,upload, n, where n is incremented each time Bin1 is saved and ClipA is
uploaded during the Remote Sync operation. This prevents your bin folder in Interplay from
filling up with multiple versions of your uploaded clip.
In the Avid editing application
In Avid Interplay
Bin1
Bin1\Upload
•
•
ClipA,upload,1
•
ClipA,upload,2
•
ClipA,upload,3
ClipA
When you remotely upload a sequence, the following occurs:
•
The clips in your sequence are uploaded and checked in to Interplay. The operation only
uploads the frames from the segments used in the sequence.
•
If your sequence uses multiple clips, each segment is transcoded separately. The upload
service then creates one job for each transcoded clip, which are listed in the
Upload/Download Queue window.
•
The upload service checks to see if the clip being uploaded already exists in the Interplay
database at the requested resolution. If it does, the job is marked as complete and the
Upload/Download Queue window displays the message, “Clip Already Exists.” When the
segment selected for upload composes part of a larger clip, the upload service checks to see
if the clip that is already checked in to Interplay includes the selected frames in the clip you
want to upload. If so, the service marks the upload as complete. You can click the Details
button in the Upload/Download Queue window to view information about the completed
upload.
•
If you enable Start Remote Sync Sequence, you can automatically upload sequence content
when you make a change to the sequence by adding a new clip or modifying the frames
contained in a segment — for example, by trimming a clip. The sync operation starts when
the bin containing the sequence is saved. Remote sync does not upload clips that have not
changed, although they do appear in the Upload/Download Queue window as completed
jobs since they already exist in the Interplay database. For more information on remote sync,
see “Syncing Sequences” on page 1300.
•
When Remote Sync Sequence is first enabled for a sequence, the sequence begins uploading
immediately. Subsequent changes to the sequence are uploaded when the bin containing the
sequence is saved (either manually or automatically).
•
Because the uploaded proxy clips still point to the source clips on your local system, you
need to enable dynamic relink from the production facility and relink to the online resolution
in order to view the media from systems other than your local system.
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Uploading Media Using the Remote Upload Service
Limitations on Remote Upload and Remote Download
The following limitations apply to remote upload:
•
You cannot upload or download effects and precomputes for rendered effects and titles.
-
You must render all effects and sequences at the production facility that includes your
Interplay environment or render the downloaded effects once the download completes.
-
For imported graphics with alpha channels — for example, titles and matte effects —
you must re-import any graphics that contain alpha channels. If you are working on a
remote Media Composer Cloud system, a user at the station or broadcast facility might
need to send you the graphics so you can re-import them into the sequence.
-
If you have a sequence with title media, checking in the sequence to Interplay or
downloading the sequence from Interplay does transfer metadata for the title with the
sequence. Once the operation completes, you can either check out the sequence at the
production facility or import the title media on your remote system, and then use the
Re-create Title Media command to restore the title to your sequence. For information on
how to generate title media, see “Re-creating Title Media” on page 560.
-
For Avid key effects — for example, ChromaKey, Animatte, and Spectramatte
effects — you only need to render the effects once the download or upload completes.
•
You cannot automatically transcode and upload sequences with mixed frame rates. You must
first manually transcode clips with frame rates different from the project frame rate.
•
You can only transcode and upload audio clips in the PCM (MXF) format. WAVE (OMF)
and AIFF-C (OMF) audio files are not supported.
•
Audio transcode defaults to an audio bit depth of 16 bits. If your audio clips uses a different
bit rate you should select the Same As Source setting in the Cloud Upload settings dialog
box.
•
Audio transcode defaults to an audio sample rate of 48 kHz. If your audio clips uses a
different sample rate you should select the Same As Source setting in the Cloud Upload
Settings dialog box. You cannot transcode audio clips to a 44kHz sample rate.
•
For more information on limitations on remote upload, see “Supported Project Types and
Formats” on page 1310 and the Avid Media Composer | Cloud ReadMe.
Uploading Media
You can upload clips and sequences at specified resolutions. The remote upload operation
transcodes your media and uploads clips in the background so you can continue working on your
project.
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Uploading Media Using the Remote Upload Service
When you upload media from your remote system to your Interplay environment, you can select
which workspace you want to use for your upload. If your Interplay administrator sets the
workspace options in the Interplay Administrator window, you can select a workspace from a
menu in the Cloud Upload Settings dialog box. If the workspace options have not been set, you
can type the name of the workspace in the Workspace text box. For more information, see your
Interplay administrator.
To upload a clip or sequence from a remote client and check it in to Avid Interplay:
1. Open a bin with a clip or sequence you want to upload.
2. Right-click the clip or sequence, and then select Remote Upload.
The Cloud Upload Settings dialog box opens.
3. Select the appropriate options for your upload, including the upload quality, the local
volume used for creating the proxy media, and a priority for upload jobs. For a description of
upload options, see “Cloud Upload Settings” on page 1451. For information on selecting the
Interplay workspace for remote uploads, see “Selecting the Upload Workspace” on
page 1298.
4. .Do one of the following:
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Uploading Media Using the Remote Upload Service
t
Select a workspace from the Workspace menu.
t
Type the name of your workspace in the Workspace text box.
5. Click OK.
The Remote Upload Service begins to upload your clip or sequence, and the Remote Sync
Progress button changes to a revolving icon to indicate the remote upload is in progress.
6. To view the progress of the upload operation, select Tools > Upload/Download Queue.
The Upload/Download Queue window opens and displays all current jobs.
7. (Option) If you upload multiple clips and want to change the upload priority of one or more
clips — for example, to upload the most important clips first — click the Priority menu and
select one of the following:
n
t
High Priority
t
Normal Priority
t
Low Priority
You can change the priority of your upload at any time during the transcode and upload
operation. Changing the priority does not affect an upload operation currently in progress.
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Uploading Media Using the Remote Upload Service
Selecting the Upload Workspace
When you upload media from your remote system to your Interplay environment, you can select
which workspace you want to use for your upload. If your Interplay administrator sets the
workspace options in the Interplay Administrator window, you can select a workspace from a
menu in the Cloud Upload Settings dialog box in your Avid editing application. If the workspace
options have not been set, you can type the name of the workspace in the Workspace text box.
To set the available workspaces for remote upload:
1. Do one of the following:
t
Click the Start button and then select All Programs > Avid >
Avid Interplay Access Utilities > Avid Interplay Administrator.
t
From Interplay Access, select Tools > Open Interplay Administrator.
The Interplay Administrator Server Login screen appears.
2. Type the name of the server that you want to log in to. You can also use an IP address.
3. Type a user name and password for an account with administration rights.
4. Click Connect.
The Interplay Administrator window opens.
5. In the Application Settings area of the Interplay Administrator window, click the Media
Composer | Cloud Settings icon.
The Media Composer | Cloud Settings display in the Interplay Administrator window.
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Uploading Media Using the Remote Upload Service
6. Select a workspace from the Add menu, and then click Add.
The workspace displays in the Active list.
Repeat this step for each workspace you want to add.
7. Click Apply Changes.
To select a workspace for remote upload:
1. In Media Composer, open a bin with a clip or sequence you want to upload.
2. Right-click the clip or sequence, and then select Remote Upload.
The Cloud Upload Settings dialog box opens.
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Uploading Media Using the Remote Upload Service
3. .Do one of the following:
t
Select a workspace from the Workspace menu.
t
Type the name of your workspace in the Workspace text box.
4. Click OK.
Syncing Sequences
You can set the sequence you work on to update the clips checked in to Interplay every time you
save your bin. When you make a change in your sequence with remote sync turned on, your Avid
editing application automatically initiates a new remote upload operation so that the clips
checked in to Interplay match the clips used in your sequence. Syncing your sequence checks in
the clips to Interplay, but it does not automatically check in the sequence. Sequences get checked
in to Interplay only when you remotely upload the sequence itself.
When you upload and sync sequences, the sequence icon in the bin changes to a remote sequence
icon.
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Uploading Media Using the Remote Upload Service
To sync a sequence with Avid Interplay:
1. Do one of the following:
t
Right-click the sequence in the bin, and then select Start Remote Sync Sequence.
t
Click the Start Remote Sync Sequence button in the Timeline.
The Cloud Upload Settings dialog box opens.
1301
Media Composer | Cloud and Dynamic Relink
2. Select the appropriate options for your remote sync operation. For a description of upload
options, see “Cloud Upload Settings” on page 1451.
3. Click OK.
The Remote Upload Service begins to sync your sequence with the clips already checked in
to Interplay, and the Remote Sync Progress button changes to a revolving icon to indicate the
sync is in progress.
4. To view the progress of the sync operation, select Tools > Upload/Download Queue.
The Upload/Download Queue window opens and displays all current jobs.
To stop remote sync:
1. Do one of the following:
t
Right-click the sequence in the bin, and then select Stop Remote Sync Sequence.
t
Click the Stop Remote Sync Sequence button in the Timeline.
Media Composer | Cloud and Dynamic Relink
When you upload media to your Interplay environment at the broadcast station or production
facility, you use dynamic relink to link the clips in your sequence to the high resolution uploaded
media.
1302
Upload/Download Queue Dialog Box
n
To use dynamic relink, you need to transfer your remote media to your Interplay environment
using a standard Ethernet connection.
Because the clips in your sequence initially link to the source clips’ original location and not to
the uploaded media, they might display as offline when you open your sequence back at the
station or production facility, or when you open the sequence from another remote system, unless
you first enable dynamic relink. If you check the clips in Interplay Access, you might see the file
paths for uploaded clips point to their original remote editing location, and the status of the
media displays as offline or not available in the target resolution. You use dynamic relink to
resolve the links between the sequence and clips checked in to Interplay and the uploaded media:
1. On a system at the station or production facility where you uploaded your media, enable
dynamic relink in the Dynamic Relink Settings dialog box. Set the appropriate target and
working settings for your project so that the clips used in your sequence correctly link to the
online (uploaded) media.
2. Open your sequence in an Avid editing application.
3. Check in your sequence to Interplay.
4. To update the file paths in Interplay Access, you need to update your media by either
right-clicking your clips in your bins and selecting Update from Interplay, or right-clicking
your master clips in Access and selecting Update Status from Media Indexer.
For more information on dynamic relink, see “Using MultiRez and Dynamic Relink” on
page 1327
There are some differences in how dynamic relink functions with the clips you upload remotely
as opposed to with standard MXF media clips:
•
Unlike typical dynamic relink operations, relinking with AMA media clips requires that you
first load the clips associated with the AMA clip in a bin before you can relink.
•
For some formats, AMA clips might not provide full media quality description. In this case,
the Avid editing application relinks your clip to the available media that most closely
matches the dynamic relink settings, ignoring any unspecified parameters.
•
Dynamic relink always privileges managed media (Avid media that you have captured,
consolidated, or transcoded) over linked AMA media because the quality of managed media
is higher than linked AMA clips. Dynamic relink always selects managed media
corresponding to an AMA clip if it is available and has been indexed by the media indexer.
Upload/Download Queue Dialog Box
The Upload/Download Queue dialog box displays the status of all media selected for remote
upload.
1303
Upload/Download Queue Dialog Box
1
2
3
4
5
6
Element
1 Tool menu
Description
Provides options for the Upload/Download Queue window:
•
Clear Inactive Jobs — clears the Upload/Download Queue window of
all jobs not currently transcoding or uploading.
•
Show Job Groups — allows you to display or hide specific job groups
listed in the menu.
2 Clip or Sequence name
Lists either the name of the uploaded sequence above the clips within the
sequence or the name of the uploaded clip.
3 Cancel/Resume button
Changes from a Cancel button (for upload operations) to a Resume button
(for suspended uploads).
4 Completed icon
Indicates that the upload operation has completed successfully.
5 Progress bar
Displays the percentage of the transcode and upload processes that have
completed.
6 Priority menu
Sets or modifies the priority level assigned to an uploaded clip or sequence.
Options are High Priority, Normal Priority (default), Low Priority. The
priority level affects which clips get uploaded first.
1304
Using Remote Download
Using Remote Download
Media Composer Cloud allows you to play media checked in to your Interplay Production
system at the station or production facility. You can also download remote sequences, clips, or
subclips to a local drive on your Media Composer Cloud client system using the remote
download feature. This allows you to edit the remote media locally even when you do not have a
connection to Interplay Production.
When you download a remote master clip, the whole clip is copied to your system. When you
download subclips or sequences, only those parts of the source master clips used by the subclip
or sequence are downloaded, along with the specified handles for your media.
When you download media from Interplay Production to your system, the resolution that
downloads is the resolution that matches the dynamic relink settings specified in Media
Composer. You cannot specify a different resolution for your download.
n
You must have dynamic relink enabled to use the remote download feature.
After the job is finished and you reload the downloaded media in the Source/Record monitor, the
remote clip icon in the bin changes to the standard clip icon to indicate that the media is now
local, and Media Composer uses the relinked local media. Once you reload the clip in the
monitor, you can disconnect from Interplay Production and use the local media that you
downloaded.
To download remote media to your system:
1. Select a remote clip or sequence in your bin. Ctrl+click (Windows) or Cmd+click
(Macintosh) multiple clips to add them to your selection.
Remote clips are identified in the bin by the remote clip icon.
2. Do one of the following:
t
Select Bin > Remote Download.
t
Right-click the clip or sequence and select Remote Download.
The Cloud Download Settings dialog box opens.
1305
Using Remote Download
3. Set the appropriate options for your download:
-
n
Local Volume — Select a local drive to store the downloaded media.
An Avid ISIS system is not supported as local storage for Media Composer Cloud.
-
Priority — You can select High, Normal, or Low for the download priority (the default
is Normal). The priority level affects which clips get downloaded first.
-
Handles — You can specify a handle for the clip in frames (the default is 30 frames).
4. Click OK.
Media Composer Cloud initiates a download of the media that includes all cuts (including
handles) from the Interplay Production database at the station or production facility.
If you do not have dynamic relink enabled, an dialog box informs you that you cannot use
the downloaded media. You can click Cancel, enable dynamic relink, and then start the
download again.
5. To view the progress of the upload operation, select Tools > Upload/Download Queue.
The Upload/Download Queue window opens and displays all current jobs.
6. (Option) If you have multiple download jobs and want to change the priority a job so that it
downloads before other jobs, click the Priority menu and select one of the following:
t
High Priority
t
Normal Priority
t
Low Priority
Priority applies to jobs. If your download job includes multiple clips, you cannot change the
priority on individual clips.
1306
Send-to-Playback and Media Composer | Cloud (Windows Only)
n
You can change the priority of your download at any time during the download operation.
Changing the priority does not affect a download operation currently in progress.
7. When the process completes, reload the media from your bin to the Source/Record monitor
to use the local copy of your downloaded media.
n
You must reload the downloaded clips or sequences in the monitor to relink it to the local media.
If you disconnect from Interplay Production before you relink your clips, Media Composer
cannot use the local media.
Send-to-Playback and Media Composer | Cloud
(Windows Only)
You can send media files on your Media Composer Cloud client system to a workgroup playback
device or to a generic file transfer protocol (FTP) playback location. Before you can begin a
send-to-playback operation, you must install the standalone Interplay Transfer client software
and configure your settings in the Transfer Settings dialog box. For information on installing and
configuring Interplay Transfer, see the Media Composer Cloud Installation and Configuration
Guide.
n
You must connect to your Interplay system before you can use remote send-to-playback.
The send-to-playback functionality has the following limitations when using Media
Composer Cloud:
•
To use the send-to-playback functionality from a Media Composer Cloud remote client, you
must have sufficient bandwidth for the transfer. Depending on the stability and bandwidth of
your connection, you might not experience the same performance you would with an
installation of the standalone Transfer client in a typical, non-remote configuration.
•
Using the STP Encode or Play While Transferring options is not supported.
•
You cannot use remote send-to-playback for incoming transfers, ingest operations, or
workgroup to workgroup transfers.
When you want to send a sequence on your Media Composer Cloud system to playback, you can
use the standalone Interplay Transfer to send your media to playback directly from your remote
client, using a basic Send to Playback command from Media Composer Cloud to a playback
device or a general FTP site. However, if most of the media in your sequence is already available
at your facility, it might be more practical to send the sequence to playback from your broadcast
facility.
n
The following procedure assumes you have installed the Interplay Transfer standalone client
application and configured your transfer settings.
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Send-to-Playback and Media Composer | Cloud (Windows Only)
To send assets and media files for playback using Media Composer Cloud:
1. Make sure you are connected to your Interplay system.
2. In the Avid editing application, click the Settings tab in the Project window.
3. Double-click Transfer in the Settings list.
The Transfer Settings dialog box opens.
4. Click the TMClient.ini tab.
5. In the Other Workgroups area, click Add.
The Add Workgroup To List dialog box opens.
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Send-to-Playback and Media Composer | Cloud (Windows Only)
If you want to edit the names of any of the Interplay Transfer servers or workstations listed
in the Other Workgroups area, select the name, click Edit, and make the changes.
6. In the Server text box, type the computer name of other workstation, and in the Workgroup
text box, type the name you want to see in the Transfer menu.
7. Click OK.
The name you typed displays in the Other Workgroups list.
8. Click OK to close the Transfer Settings dialog box.
9. Select the sequence you want to send to a playback device or FTP location.
10. Select Transfer > Send To Playback, and select the profile for the server to which you want
to send the sequence.
The Send to Playback dialog box opens.
11. Do the following:
t
Type a tape ID name.
t
(Option) Select Overwrite, to overwrite the tape ID name in the Interplay Transfer if the
same name exists.
12. Click OK.
The system immediately starts the send to playback operation.
1309
Supported Project Types and Formats
Supported Project Types and Formats
For information on the supported Project types and Formats for Media Composer Cloud, see the
Media Composer | Cloud ReadMe.
1310
29 Using Interplay Transfer to Export Media
Avid Interplay Transfer lets you transfer Avid assets to and from another workgroup, send
finished sequences to a configured playback device, and capture media from a configured ingest
device. You can also use Interplay Transfer in a standalone environment (an environment other
than Avid shared storage) to move Avid assets between workstations.
When you use Interplay Transfer in a workgroup environment, you can use several types of
transfers.
•
You can perform a transfer from within the Avid editing system to another workgroup or
playback device. See “Transferring Avid Assets from an Avid Editing Application” on
page 1320.
•
You can transfer finished sequences to a configured playback device. See “Transferring Avid
Assets to a Playback Device” on page 1320.
•
You can edit media during the capture process. See “Frame Chase Capture” on page 247.
•
You can monitor the transfer of items from an Avid editing application so you can see the
assets you transferred. See “Monitoring Transfers from Within the Avid Editing
Application” on page 1324.
•
You can also perform other transfer operations from Interplay workgroups to your editing
application, from ingest devices, from FTP servers, and between Avid MediaManager
workgroups and Avid Interplay. For complete information on using Interplay Transfer, see
the Avid Interplay Transfer Setup and User’s Guide.
Installing the Interplay Transfer Client Software
You must install the Interplay Transfer client software on each Avid editing client in the
workgroup that plans on transferring Avid assets to another workgroup or playback device.
Depending on your workflow and workgroup environment, you might need to install one of the
Interplay Transfer support software products. If your workflow requires auto transferring of
assets, you need to install the Avid Interplay Auto Media Services service that includes the Auto
Transfer service. If you want to monitor transfers from a standalone system on your network,
you should install the Avid Interplay Media Services and Transfer Status software.
Setting Transfer Settings in the Avid Editing Application
For more information on installing Interplay Transfer, see the Avid Interplay Transfer Setup and
User’s Guide.
Setting Transfer Settings in the Avid Editing
Application
To activate Interplay Transfer each time you start your Avid editing application and to have
the application notify you of incoming transfers:
1. In the Avid editing application, click the Settings tab in the Project window.
2. Double-click Transfer in the Settings list.
The Transfer Settings dialog box opens.
3. Click the Settings tab.
1312
Setting Transfer Settings in the Avid Editing Application
4. In the Standalone/Incoming Requests area, do one of the following:
t
Select “Refuse All Requests,” if you do not want to receive files from another
workgroup.
t
Select “User Dialog To Accept/Refuse,” and one of the following methods for accepting
transfers:
-
Wait for User Action (No Timeout) — You receive a message request for a transfer. You
must click OK for the transfer to occur.
-
Accept After Timeout — The system automatically accepts the file after the timeout.
-
Refuse After Timeout — The system does not accept the file after the timeout.
1313
Setting Transfer Settings in the Avid Editing Application
-
In the Timeout (seconds) text box, type the amount of time you want to set for the
timeout.
5. In the Status Window area, do the following:
a.
In the text box, type the number of seconds you want the status window to update.
b.
(Option) Select “Bring up window if error occurs” if you want errors to display.
6. (Option) In a workgroup environment, if you want mixed-resolution items highlighted in the
bin, select “Highlight mixed-resolution items” in the Send to Playback area.
If a sequence contains DV 25 and DV 50 media within the same sequence, that sequence is
highlighted in red in the bin. Interplay Transfer cannot send sequences that contain both
DV 25 and DV 50 media to playback. This feature allows you to easily identify those
sequences.
7. In the Output Audio Mix area, select the type of audio output you want.
t
Direct channel output — Send to Playback transfers audio tracks without performing a
mixdown.
t
Stereo output — Send to Playback mixes all of the tracks to a stereo pair, using pan
controls to split the tracks. The sequence is copied before the mixdown is edited in, and
the suffix .transfer is added to the name (same as in the direct output option).
t
Multiple Mixes — Send to Playback mixes selected tracks to specified output channels,
using the mapping specified in the Multiple Mix Editor dialog box. The operation
copies the sequence before editing in the mixdown, and it adds the suffix .transfer to the
name (same as in the direct output option). For information on mapping audio tracks to
output channels, see “Mapping Audio Tracks to Output Channels” on page 1316.
8. In the Transcode area, if you want to allow the transcoding of clips before performing a send
to playback operation, do the following:
t
Select “Transcode before sending to playback.”
t
From the Minimum resolution warning threshold menu, select the lowest resolution
allowed for the playback device before a warning message is displayed.
For example, if you select MPEG30, a warning message will display during a send to
playback operation, if a clip in the sequence has a resolution below MPEG30. Therefore, no
warning message displays when clip resolutions are MPEG30 and above.
n
Dynamic Relink must be enabled to use the Transcode before sending to playback option.
For more information about using these settings, see “Transcoding of Mixed Resolution
Clips During a Send to Playback” on page 1323.
9. Click the TMClient.ini tab.
1314
Setting Transfer Settings in the Avid Editing Application
10. In the Other Workgroups area, click Add.
The Add Workgroup To List dialog box opens.
If you want to edit the names of any of the Interplay Transfer servers or workstations listed
in the Other Workgroups area, select the name, click Edit, and make the changes.
11. Do one of the following:
t
In a workgroup environment, type the name of the other Interplay Transfer server in the
Server text box, and type the name of the your workgroup in the Workgroup text box.
t
In a standalone environment, in the Server text box, type the computer name of other
workstation, and in the Workgroup text box, type the name you want to see in the
Transfer menu.
12. Click OK.
The name you typed displays in the Other Workgroups list.
13. Click the Settings tab, and then click OK.
1315
Setting Transfer Settings in the Avid Editing Application
Send to Playback with Multichannel Audio Tracks
This section describes a best practice for sending a sequence containing multichannel audio
tracks to playback when using Direct Out mode. For information on sending multichannel audio
to playback using Multiple Mixes, see “Mapping Audio Tracks to Output Channels” on
page 1316.
When using Direct Out mode, keep the multichannel audio tracks at the bottom of your audio
tracks. When you send to playback in Direct Out mode the system expands the stereo tracks to
separate mono tracks. If there are single tracks at the bottom of the track list you may get
unexpected results after the top tracks expand. For example, a single track that was on track 5
may now be on a different track. If you keep the single tracks at the top you can avoid this kind
of problem. See the editing application Help for additional information on multichannel audio.
Mapping Audio Tracks to Output Channels
The Multiple Mix Editor dialog box allows you to map any combination of audio tracks to any of
the 16 available output channels when you send a sequence to playback using Interplay Transfer.
The Send To Playback operation performs a mixdown on the selected tracks before the
application sends the sequence to Interplay Transfer.
The mappings you create in the Multiple Mix Editor affect any sequence you send to playback. If
you want to use different mixes for different sequences, create a custom Transfer Settings
template for each separate type of mixdown.
•
You can map a single audio track in the Timeline to a single output track — for example,
you can map audio tracks 2, 4, 6, and 8 to output channels 1, 2, 3, and 4, respectively. Stereo
tracks require two output channels in the sequence that you send to playback unless you
want to perform a stereo-to-mono mixdown.
•
You can select multiple audio tracks and map them to a singe output channel — for example,
you can map audio tracks 4, 5, 8, and 9 to output channel 1.
•
You can map a single track to multiple channels — for example, you can map track 2 to
output channels 1, 3, and 5.
•
You can save your map as a custom Transfer settings template.
Each stereo output requires two channels, but you can mix mono and stereo channels for your
Send to Playback operation as long as you do not exceed the maximum of 16 output channels.
To create a map of audio tracks to output channels:
1. In the Avid editing application, click the Settings tab in the Project window.
2. Double-click Transfer in the Settings list.
The Transfer Settings dialog box opens.
1316
Setting Transfer Settings in the Avid Editing Application
3. Click the Settings tab.
4. In the Output Audio Mix area, select Multiple Mixes, and then click Edit.
The Multiple Mix Editor dialog box opens.
1317
Setting Transfer Settings in the Avid Editing Application
5. Click the Format buttons to cycle through the available options until you find the appropriate
format:
Option
Description
Mono tracks
Maps audio tracks to mono channels, with any assigned stereo tracks
mixed down to a mono channel.
Stereo tracks
Maps audio tracks to a single stereo channel, using the pan
information on the input tracks to generate stereo output.
6. In the track selector row, click the channel or channels for each audio track you want to
include in your output. If the track is not visible, use the scroll bar to locate the track you
want to map to an output channel.
The audio channel button and the corresponding Output button change to purple. You can
click the channel button again to remove it from the output mixdown. You can also click the
Output button to remove it from the from the output. Only active output channels are sent to
playback.
7. (Option) In the Label text box, type a label to identify the type of output for your mixdown.
You can use the labels to describe the kind of mixdown for your output, but the Avid editing
application does not send this information to the playback device.
1318
Setting Transfer Settings in the Avid Editing Application
8. Repeat steps 5 through 8 to map additional audio tracks to output channels.
9. When you finish assigning tracks to output channels, click OK to save your mixdown
sequence.
The Multiple Mix Editor closes.
10. In the Transfer Settings dialog box, click OK.
To save a custom map of output audio channels as a settings template:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click Transfer.
3. Select Edit > Duplicate.
A duplicate setting appears in the Settings list.
4. Name the setting by doing the following:
n
a.
Click the custom name column.
b.
Type a name.
c.
Press Enter (Windows) or Return (Macintosh).
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.
1319
Transferring Avid Assets from an Avid Editing Application
You can select this new setting whenever you send a sequence to playback using Interplay
Transfer.
Transferring Avid Assets from an Avid Editing
Application
If Interplay Transfer is properly installed and enabled on your Avid editing system, it starts
automatically whenever you start the Avid editing application. When you complete a sequence,
you can transfer it from the Avid editing application to any other connected workgroup or to a
playback device. Once you send the sequence, you can work on another project while the
transfer is taking place.
For information about configuring the Avid editing application for transferring assets, see the
Avid Interplay Transfer Setup and User’s Guide.
To send clips or sequences to another workgroup from within the Avid editing application:
1. (Option) If you want to use a Transfer setting template, select the custom Transfer setting in
the Settings tab in the Project window. For more information on creating a custom map for
sending sequences to Interplay Transfer, see “Mapping Audio Tracks to Output Channels”
on page 1316.
2. Open the bin that contains the clips or sequences you want to send.
3. Select a clip or sequence in a bin. Ctrl+click to select multiple clips or sequences.
4. Do one of the following:
t
Right-click the sequence and select Transfer > Send To Workgroup and then select the
available workgroup to which you want to send the assets.
t
Select Transfer > Send To Workgroup and then select the available workgroup to which
you want to send the assets.
The assets are sent to the Interplay Transfer server, where they are then sent to the selected
workgroup. You can now work on another project while the transfer is taking place.
For information on monitoring the transfer of assets, see “Monitoring Transfers from Within
the Avid Editing Application” on page 1324.
Transferring Avid Assets to a Playback Device
In a broadcast environment, you can transfer a finished sequence to a configured playback
device. For information about configuring the playback device for transfers, see the Avid
Interplay Transfer Setup and User’s Guide.
1320
Transferring Avid Assets to a Playback Device
To send a finished sequence to a playback device:
1. (Option) If you want to use a Transfer setting template, select the custom Transfer setting in
the Settings tab in the Project window. For more information on creating a custom map for
sending sequences to Interplay Transfer, see “Mapping Audio Tracks to Output Channels”
on page 1316.
2. Open the bin that contains the clips or sequences you want to send.
3. Select a clip or sequence in a bin. Ctrl+click to select multiple clips or sequences.
4. Do one of the following:
t
Select Transfer > Send To Playback, and select the available playback device to which
you want to send the sequence.
t
Right-click the clip or sequence in the bin, and select Send To Playback, and select the
available playback device to which you want to send the sequence.
The Send to Playback dialog box opens.
n
c
If necessary, you can set the sequence to high priority by clicking the circle in the PWT (Play
While Transferring) column next to the sequence.
If you try to send a sequence or clip with the same tape ID as one the Interplay Transfer
already has, you receive an error message. If you want to overwrite the tape ID name, select
the Overwrite option. Overwrite the tape ID only if you are sure you want to overwrite the
previous tape ID name.
5. Click OK.
The sequence is sent to the Interplay Transfer server, which then sends it to the selected
playback device. You can now work on another project while the transfer is taking place.
For information on monitoring the transfer of assets, see “Monitoring Transfers from Within
the Avid Editing Application” on page 1324.
1321
Transferring Avid Assets to a Playback Device
Working with Rundowns (NewsCutter Option)
In a broadcast environment, you can enable the Interplay Transfer scheduling feature to allow
interaction with the Newsroom Computer System (NRCS). You can select the assets to send to
playback, and the schedule list from the NRCS determines the order in which the assets are
played back.
To use the Interplay Transfer with rundowns:
1. On your Interplay Transfer server, click Start, and select All Programs > Avid > Avid
Interplay Transfer Engine Configuration.
The Interplay Transfer Engine Configuration window opens.
2. In the Playlist Information area, select “Use Newsroom rundowns to schedule transfers.”
3. Type the computer name of the Newsroom Server.
4. Type the user name and password.
5. If you know the name of the schedule file, type it in the Schedule File Name text box.
The schedule file specifies which rundowns to use at which time. See “Creating a Rundown
Schedule File (NewsCutter Option)” on page 1323.
6. Click OK.
7. Restart the Interplay Transfer server.
Anytime the configuration information changes, you must restart the server.
8. On your Avid editing system, open the bin that contains the sequences you want to send.
9. Select the sequences.
10. Select Transfer > Send To Playback and select the available playback device to which you
want to send the sequence.
The Send to Playback dialog box opens.
1322
Transferring Avid Assets to a Playback Device
11. Click OK.
The sequences play back based upon the order in which they appear in the NRCS rundown
list.
In the Send to Playback dialog box, if you set one of the sequences to high priority by
clicking the circle in the PWT column next to the sequence, that sequence has priority over
the rundown list.
For information on monitoring the transfer of assets, see the Avid Interplay Transfer Setup and
User’s Guide.
Creating a Rundown Schedule File (NewsCutter Option)
A rundown schedule file tells the Interplay Transfer server which rundown to schedule at what
time. The format is the time to start monitoring the rundown followed by the name of the
rundown. A sample rundown schedule is as follows:
# Rundown Schedule File
# Number of elements
9
#Time (after) Rundown Name
00:00:00 5a
05:55:00 6a
06:55:00 7a
11:45:00 noon
14:45:00 3pmcutin
15:45:00 4pmcutin
17:55:00 6p
20:45:00 9pmcutin
21:10:00 10p
Transcoding of Mixed Resolution Clips During a Send to Playback
When you perform a Send to Playback operation, the application automatically renders effects
and relinks your sequence to the target resolution. You can use the Send to Playback command
with sequences that contain clips of different resolutions. Any clips in the sequence with
resolutions not matching the target resolution settings in the Dynamic Relink dialog box are
transcoded to the target resolution. The application creates a new master clip (with the extension
.new) and associates the new clip with the new transcoded media.
Before the Send to Playback operation begins, the application searches the sequence for any
clips with an undesirable resolution for the transcode operation, such as clips with low
resolutions that would create a low quality output after the clip is transcoded. If clips are found, a
warning message is displayed to let you decide if the Send to Play operation should continue
1323
Monitoring Transfers from Within the Avid Editing Application
with a lower quality output. You can set the minimum resolution allowed before displaying the
warning message by using the Transfer Settings dialog box. For setup information, see the Avid
Interplay Transfer Setup and User’s Guide.
n
Dynamic Relink must be enabled to use the Transcode before sending to playback option. For
information about using Dynamic Relink, see the Avid editing application Help system.
Monitoring Transfers from Within the Avid Editing
Application
After you transfer an asset from within the Avid editing application, you can monitor
the transfer.
To monitor the asset transfer:
1. Display the Transfer Status window by doing one of the following:
t
For the Avid Instinct and Avid Interplay Assist applications, select File > Interplay
Transfer > Show Status.
The Interplay Transfer tab displays the transfers.
t
For other Avid editing applications, select Transfer > Status Window.
The Transfer Status window opens.
2. Right-click the status of a particular transfer to display the status options.
See “Transfer Status Window Options” on page 1325.
A plus sign in the PWT column indicates the clip or sequence has been set to a high priority.
1324
Monitoring Transfers from Within the Avid Editing Application
Transfer Status Window Options
The following table lists the status options available when you right-click a transfer displayed in
the Transfer Status window during a transfer.
Status
User Options
Transferring
Pause or cancel the transfer.
Paused
Resume or cancel the transfer.
Error (plus information indicating the error)
Retry or clear the transfer.
Pending
Cancel the transfer.
Completed or Canceled
Clear the transfer.
Sorting the Transfer Status Columns
You can sort the transfer status column into either ascending or descending alphabetical order.
For example, you might want to view the status or locations of the transfers in alphabetical order.
This makes it easy to view all the completed, paused, or canceled transfers together.
To sort a transfer status column:
1. From the Transfer Status window or Interplay Transfer tab, right-click the column to display
the Sort options.
2. Select either Sort, Sort Reversed, or No Sort.
Sort lists the information in alphabetical order.
1325
Monitoring Transfers from Within the Avid Editing Application
Clearing the Transfer Status Window
When you are using the Transfer Status window from within the Avid editing application to view
the status of any transfers, you should periodically clean up the Transfer Status window. The
Transfer Status window is cleared of any leftover status messages when you exit the Avid editing
application and then restart it. If you have not restarted the Avid editing application in a while,
and your Avid editing system appears to be sluggish, clear the messages in the Transfer Status
window.
To clear the Transfer Status window:
1. Do one of the following:
t
In the Avid Instinct and Avid Interplay Assist applications, select File > Interplay
Transfer > Clear Status.
t
In the Avid editing application, select Transfer > Status Window.
The Transfer Status window opens.
2. Press Ctrl+A to select all the items in the Status window.
3. Press Delete.
All the items are removed from the Transfer Status window.
1326
30 Using MultiRez and Dynamic Relink
This chapter provides information about using MultiRez and dynamic relinking. MultiRez is
available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
•
Understanding MultiRez and Proxy Editing
•
Acquiring Media at Multiple Resolutions
•
Understanding How Clips are Associated with Multiple Resolutions
•
Options for Clip and Media Association
•
Understanding Dynamic Relink
•
Workflow: Editing a Film or HD Project using MultiRez
•
Considerations When Working with Dynamic Relink
•
Using the Dynamic Relink Settings Dialog Box
•
Relinking in Frame Chase Editing
•
Using the Relink Dialog Box in an Avid Interplay Environment
•
Displaying Whether Media Is Available for Dynamic Relinking
•
MultiRez Button Menu
•
MultiRez Bin Headings
•
Understanding Options for Deleting MultiRez Clips and Media
•
Deleting MultiRez Clips and Media from a Bin
•
Working with Partially Online Files
•
Quality Matching
Understanding MultiRez and Proxy Editing
MultiRez (a term derived from “multiple resolutions”) lets you create a master clip that is
associated with multiple media files of different resolutions. For example, you can use the Avid
Interplay Low-Res Encoder to simultaneously capture a single master clip that is associated with
both low-resolution and high-resolution media files. MultiRez also lets you capture an audio clip
with more than one sample rate.
Understanding MultiRez and Proxy Editing
Proxy editing is a workflow where you edit with a low-resolution version of media and then
conform the edits into a composition that refers to an equivalent high-resolution version of the
same content.
In a post-production workflow, you capture material at a low resolution and perform what is
referred to as offline editing, then batch capture the same clips at a higher, online resolution and
relink the sequence to the higher resolution.
In a newsroom, Avid products might be configured to capture high-resolution and low-resolution
versions of a clip at the same time. Editors work with the low-resolution version and then use
MultiRez to relink to the high-resolution version for final output.
A news workgroup might also consist of a number of finish editing stations in addition to the
journalist stations. The journalist systems can work effectively with a lower bit-rate version of
the media, which uses less network bandwidth. The finishing systems use online-quality media,
which requires a large amount of disk space and network bandwidth. The journalists or editors
can use dynamic relink to switch to the high-resolution media when it comes to adding effects or
sending the final sequence to a playback device.
MultiRez and Archiving
You can combine proxy editing and MultiRez with archiving to conserve disk resources. A
newsroom editor can delete high-resolution material that is archived, continue editing a
low-resolution version, and then restore the needed high-resolution material from the archive
later. Archiving also allows a newsroom editor to keep a viewable version of a sequence online in
case a story becomes active again — the editors can restore the high-resolution version of the
sequence from the archive.
MultiRez and the Media Indexer
MultiRez is managed by the Avid Interplay Media Indexer. The Media Indexer is a background
service that keeps track of the media files in storage locations that you identify. On Avid
Interplay clients, it works with both local storage and shared storage. For more information about
the Media Indexer, see the Avid Interplay Software Installation Guide and Avid Interplay Best
Practices.
n
The Media Tool and Relink dialog box work differently in an Avid Interplay environment. For
more information, see “Using the Media Tool in an Avid Interplay Environment” on page 473
and “Using the Relink Dialog Box in an Avid Interplay Environment” on page 1356.
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Acquiring Media at Multiple Resolutions
Acquiring Media at Multiple Resolutions
In an Avid Interplay environment, you can create and store multiple resolutions of the same
media. These can be acquired in several ways. You can configure a workgroup to ingest both
high and low-res media simultaneously. You can also first create master clips with high-res
media, and if your hardware permits it, you can re-capture these clips as low-res proxies. If
multi-rez batch capturing is not supported, you must use your Avid software to transcode to a
low-res proxy.
Dual-Ingest Configuration
In a newsroom environment, you can use CaptureManager™ or Interplay Capture, an AirSpeed®
or AirSpeed Multi Stream system, and an Avid Interplay Low-Res Encoder to simultaneously
ingest high-resolution and low-resolution versions of the same master clip. You can use an
AirSpeed Multi Stream to ingest both high-resolution and low-resolution (Avid H.264) versions
of the same master clip.
Batch Capture Multiple Resolutions
You can capture more than once from the same tape at different resolutions and associate the new
resolutions with the same master clip. You can batch capture from any system that has access to
the master clip and original tape. For example, you can batch capture from the same system that
acquired the media originally, or you can use Avid Interplay to check out a clip on another
system and perform the batch capture there.
Capture High-Res and Transcode to Low-Res
•
You can use the Avid Interplay Media Services from within your Avid editing application to
capture at a high resolution and then use Avid Interplay Transcode to create different
resolutions of the same clip. Interplay Transcode keeps the same master clip and associates it
with the new resolution.
•
You can use the Consolidate/Transcode command within your Avid editing application to
create different resolutions of the same master clip. If you consolidate, your Avid editing
application creates a new clip for each resolution. If you transcode, you have the choice of
associating the new resolution with the original master clip, or creating a new clip. See
“Understanding How Clips are Associated with Multiple Resolutions” on page 1333.
Batch Capturing Media at a Different Resolution
Batch capturing lets you create different resolutions of media through the same process that the
original media was captured from hardware. To perform a batch capture, you must have a master
clip containing either a clip log or previously captured media.
1329
Acquiring Media at Multiple Resolutions
n
You can only create one new resolution at a time using batch capture. To capture multiple
resolutions at the same time (ie: high-res and a proxy simultaneously), use the Interplay Low-Res
Encoder. See the Interplay documentation for more information.
To batch capture a different resolution:
1. Prepare your system for batch capturing, as described in the Help for your Avid editing
application. Be sure to select the new resolution you would like to capture in the Media
Creation settings Capture tab or in the Capture tool.
2. Select the clips or sequences you want to batch capture.
3. Select Clip > Batch Capture.
The Batch Capture dialog box opens.
4. Deselect “Offline media only” to specify that you want to re-capture media that is already
online, in addition to offline media.
The “Discard original local media” option appears.
5. Deselect “Discard original local media” to keep the original resolution of your clips or
sequences.
6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend
before the beginning and after the end of the original master clip.
When you batch capture, deselecting this option prevents capturing across a discontinuous
timecode error.
7. Click OK.
If you have not loaded a tape, your Avid editing application prompts you to load the original
tape.
8. Load the tape into the tape deck, and click Mounted.
A dialog box opens.
9. Click OK to confirm the tape and deck entries and to begin the capture process.
Your Avid editing application captures each clip from the tape, in start timecode order.
c
When you batch capture, make sure to accept the original tape name so that the new media
files are associated with the same source as the original media files.
Batch capture does not create any new master clips. As new media files are created, the
Media Indexer adds them to its database, and the original master clip is associated with
additional media files. Media files in multiple resolutions are indicated by black dots in the
appropriate bin columns. The following illustration shows a clip originally captured at 15:1s
and batch captured at 1:1 (uncompressed).
1330
Acquiring Media at Multiple Resolutions
n
For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on
page 1363.
Batch Importing File-Based Media at Different Resolutions
Using Batch Import, you can import file-based media at different resolutions. To perform a batch
import, you must have a master clip that has the media imported in another resolution.
To batch import a different resolution:
1. Mount and connect to any removable drives that hold the original file-based media.
2. Open the bin, and select the imported master clips and sequences you want to reimport.
3. Select Clip > Batch Import.
A message box opens.
4. Click All Clips to import new resolutions for media that is already online, in addition to
offline media.
The message box closes and the Batch Import dialog box opens.
1331
Acquiring Media at Multiple Resolutions
5. In the Import Target area, select the desired resolution and storage location.
6. In the Import Options area, select “Keep existing local media” and any other options.
7. Click Import.
Your Avid editing application imports the files and creates media in the resolution you
specified. The original media file is preserved, and the master clip is now associated with an
additional resolution.
Transcoding Media to Low-Res Proxies
Transcoding allows you to convert media to any Avid supported format. Use the transcode
operation only if your hardware does not support batch capturing in a desired proxy format.
Transcoding is only useful for creating lower resolution versions of high-res media; it is not
recommended that you transcode from low-res to high-res.
1332
Understanding How Clips are Associated with Multiple Resolutions
To transcode a clip using your Avid editing application:
t
Right click the clip in the bin and select Consolidate/Transcode.
To transcode a clip using the Interplay Transcode service, do one of the following:
t
In Avid Interplay Access, right-click the clip and select Transcode. Select the profile that has
been created for this transcode and click Set.
t
In your Avid editing application, right-click the clip in the bin and select Media Services >
Avid Interplay Transcode Service. Select the profile that has been created for this transcode.
t
Set up an Auto Transcode folder in Interplay Access and drag and drop clips to the folder.
The Transcode service transcodes the clip and stores the media according to the instructions in
the profile. The new media is associated with the original clip metadata. The following
illustration shows an example of a low-res proxy in the Interplay Window. You can see that the
current resolution for the clip is AVCIBP-BLL3.0.60. This is the Avid editing application
representation for 720p/59.94 proxy media.
n
720p proxy media can only be created using the Interplay Transcode service. The
Consolidate/Transcode operation in your editing application does not support 720p proxy media
in this release.
Understanding How Clips are Associated with
Multiple Resolutions
In a MultiRez environment, relinking is source based. That is, your Avid editing application
relinks a clip to its media according to the source of the clip rather than the name of the clip.
Whenever you create a new tape or import a file, your Avid editing application creates a unique
source ID that is used by your Avid editing application and is not visible to users.
1333
Understanding How Clips are Associated with Multiple Resolutions
You create a new tape by clicking the New button in the Select Tape dialog box, entering a name
for the tape, and clicking OK.
DV
Your Avid editing application then associates the new source ID with each clip that you capture
from that tape.
Example of source ID association: the source ID your Avid editing application assigns to a tape (for example,
12345) is also associated with each clip and media file you capture from that tape
Later, if you recapture a clip at a different resolution, make sure to select the tape name originally
associated with that clip. If you select the original name and use the original tape, your Avid
editing application associates the new media with the original master clip. In an Avid Interplay
environment, this source-based association is the basis for dynamic relink.
n
Avid CaptureManager also uses a source ID to associate a master clip with any media created at
the same time, such as a clip captured with two resolutions in a dual-ingest configuration.
However, instead of associating all clips from the same tape with the same source ID,
CaptureManager creates a new source ID every time it captures a new clip.
For details of the possible ways that master clips and media files might be associated with one
another in a MultiRez environment, see “Options for Clip and Media Association” on page 1335.
1334
Options for Clip and Media Association
Guidelines for MultiRez Tape Management
When working in a MultiRez workflow, it is important to name tapes properly. In particular, you
should keep the following in mind:
•
Whenever you create a new tape, your Avid editing application generates a new source ID,
even if the name you type for the new tape exactly matches that of an existing tape. You
cannot dynamically relink media that does not share a source ID.
•
Do not use the same name for two different tapes or different names for the same tape. This
might cause incorrect media association.
•
Do not use the default tape name “New Tape.”
Options for Clip and Media Association
You can associate a single master clip with multiple media files. You can also associate two or
more master clips with the same media if the clips share a source ID and timecode.
Single Clip, Multiple Resolutions
DV
The following illustration shows a single master clip that was captured in two resolutions: 15:1s
and 1:1 (uncompressed). This could be the result of a batch capture, a dual-ingest operation, or
transcoding.
In a bin, black circles in the 15:1s column and the 1:1 column show this association, as in the
following illustration.
This information also appears in the Interplay Window.
1335
Options for Clip and Media Association
For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on
page 1363.
n
You can batch capture the clip in additional resolutions; there is no limitation to the number of
media files associated with a clip.
Multiple Clips, Multiple Resolutions, and the Affinity Model
You can transcode the media associated with a clip to create media in a different resolution,
usually to create a low-resolution version of the clip. You can choose to create a new master clip
or associate the new media with the original master clip. For more information, see “Using the
Transcode Command” on page 483.
If your Avid editing application associates the new media with the original clip, the bin displays
multiple resolutions for the master clip. For more information, see “Single Clip, Multiple
Resolutions” on page 1335.
If your Avid editing application creates a new master clip (with the extension .new), it associates
the new clip with the new transcoded media. In this case, your Avid editing application copies
the source ID to the new clip and new media.
n
When the Avid Interplay Transcode transcodes a clip, it associates the new resolution with the
original clip. It does not create a new clip.
The following illustration shows a clip captured in 1:1 and transcoded to 15:1s. Your Avid
editing application associates each clip with both resolutions because they share a source ID and
a timecode span.
1336
Options for Clip and Media Association
01:00:10:00
01:00:00:00
01:00:10:00
DV
01:00:00:00
Example of associations between multiple clips and multiple resolutions. The original capture (top) creates
high-resolution media. A transcode operation (bottom) creates a new master clip and a new media file at a lower
resolution. The timecode span and length of both clips is the same. Each clip is associated with the resolution
created at the time of the capture or transcode (solid arrows), and also with the other resolution (dashed arrows).
The source ID of the original tape is associated with both clips and both media files.
In a bin, both clips appear with black circles in the 15:1s column and the 1:1 column.
Although the two clips share media, there is a special association between the clip and the media
created with that clip. In the preceding illustration, this original association is shown by solid
arrows. The tracking of the original association is referred to as the affinity model, because your
Avid editing application keeps track of the relationship (affinity) between the clip and the media
created with the clip. The media files associated with the clip are called affinity resolutions or
affinity media. The affinity model applies when you are deleting clips and media from a bin. For
more information, see “Deleting MultiRez Clips and Media from a Bin” on page 1365.
Partial Clips, Multiple Resolutions
MultiRez also supports association of clips that share only part of a timecode span. For example,
after capturing a clip at 15:1s, you might need to recapture only part of the clip at 1:1. Because
both clips share a source ID and a timecode span, your Avid editing application associates both
clips with the same resolutions and lets you dynamically relink the shared section. The following
illustration shows these associations. The original association is shown by solid lines, and the
additional association is shown by dashed lines.
1337
Understanding Dynamic Relink
01:00:10:00
DV
01:00:00:00
02:09
06:22
Example of associations between clips sharing only part of a timecode span. The original capture (top) creates
low-resolution media. A recapture operation (bottom) creates a new master clip and a new media file at a higher
resolution. The new master clip is shorter than the original but shares the same timecode span. Each clip is
associated with the resolution created at the time of the capture (solid arrows), and also with the other resolution
(dashed arrows). The source ID of the original tape is associated with both clips and both media files.
In a bin, the original clip appears with a half circle in the 1:1 column, to indicate that only part of
the clip is available in 1:1. The entire new clip (with the .01 extension) is available in both
resolutions, as indicated by the full circles in both resolution columns. The following illustration
shows these clips in a bin.
You can also create partially online files through archiving, consolidation, and transcoding a
subclip. For more information, see “Working with Partially Online Files” on page 1366.
Understanding Dynamic Relink
Dynamic relink is a feature that lets you select which media you want to use when you are
working in a MultiRez environment. Typically, you use low-res media for offline editing and
high-res media for a final master. For instance, you can edit in SD and output in HD. Dynamic
relink lets you control how your Avid editing application links your clips to the appropriate
media.
1338
Understanding Dynamic Relink
n
Dynamic relink is currently not supported for HD media that requires pulldown. Therefore, you
can only use it with projects where media has been acquired at the native frame rate (without
pulldown).
You specify two different groups of settings:
•
Working settings are the settings you want to use while you edit the sequence:
For offline editing of a sequence, your editing application uses the resolution specified in the
working settings. This is where you can specify a low-res proxy instead of high-res media so
that you can work more efficiently, and save space on your online storage.
•
Target settings are the settings you want to use for your final master:
When you finish the offline editing, the Send to Playback command automatically outputs
the sequence in your target resolution and format. The clips in the sequence do not change
— your Avid editing application dynamically relinks them to the media files in the target
resolution.
You specify these settings in the Dynamic Relink Settings dialog box, which is available in the
Settings list of the Project window. For more information, see “Using the Dynamic Relink
Settings Dialog Box” on page 1348.
1339
Understanding Dynamic Relink
The following illustration shows a bin and a sequence. The first version of the sequence shows
the clip in the working resolution (15:1s) and the second version shows the same clip in the
target resolution (1:1). The clip name is the same in both cases, but the resolution of the clip (as
shown in the text on the clip) is different.
1340
Understanding Dynamic Relink
Left: clip associated with working and target resolutions. Top right: sequence with clip in working resolution (15:1s).
Bottom right: sequence with clip in target resolution (1:1).
n
To display the clip resolution for each clip in the Timeline, click the Timeline Fast Menu button
and select Clip Text > Clip Resolutions.
Using Dynamic Relink with Media Composer | Cloud Editing Systems
Dynamic relink should be enabled when you work with remote editing systems connected with
Media Composer | Cloud. Refer to the appropriate section below depending on where your
editing system is located in the Interplay realm.
Remote Editing Systems in the Field
Generally, when editing a news story on a remote editing system, it's best to keep the dynamic
relinked enabled. This way, you will have access to a clip's media on a remote storage as soon as
it comes online. In addition, any clips linked to local or remote storage will display in the
appropriate color on the timeline to indicate availability of media corresponding to your dynamic
relink settings—see “Using Clip Coloring to Show Available Resolutions” in the help for your
editing application.
n
For clips linked to media on the remote storage, you will still only see the compressed media in
your viewer during playback.
For clips linked to media on your local storage, you will always see the media in its native
resolution. This media is transcoded according to your upload settings when it is uploaded to the
central Interplay server. However, your system will continue to display the originally-linked
media.
Interplay Editing Systems at the Broadcast Facility
In a Media Composer | Cloud workflow, editing systems at the broadcast facility need to enable
dynamic relink so that they can relink to the media associated with AMA-linked clips uploaded
by a remote Media Composer | Cloud client. In addition, they can also set the resolution of the
uploaded media to which they want to relink—see “Applying Working and Target Settings for
1341
Workflow: Editing a Film or HD Project using MultiRez
Dynamic Relink” on page 1349”.
There are some differences in how dynamic relink functions with the clips uploaded from a
remote editing system:
•
Unlike typical dynamic relink operations, relinking with AMA media clips requires that you
first load the clips associated with the AMA clip in a bin before you can relink.
•
For some formats, AMA clips might not provide full media quality description. In this case,
the Avid editing application relinks your clip to the available media that most closely
matches the dynamic relink settings, ignoring any unspecified parameters.
•
Dynamic relink always privileges managed media (Avid media that you have captured,
consolidated, or transcoded) over linked AMA media because the quality of managed media
is higher than linked AMA clips. Dynamic relink always selects managed media
corresponding to an AMA clip if it is available and has been indexed by the media indexer.
Workflow: Editing a Film or HD Project using
MultiRez
This workflow describes how to link to media of different resolutions in the context of a Film or
an HD project. The steps involved are:
•
Opening an HD project and checking out the clip
•
Setting Dynamic Relink to work with the low-res proxy
•
Performing a partial restore to restore the portions of the clip used in the sequence.
•
Using Dynamic Relink to start working with the high-res media.
Most of the same steps apply when working with RGB and 720p media.
n
Dynamic relink is currently not supported for HD media that requires pulldown. Therefore, you
can only use it with projects where media has been acquired at the native frame rate (without
pulldown).
1342
Workflow: Editing a Film or HD Project using MultiRez
To create a Film or HD Project:
1. When you create the project, make sure it supports the resolution you want to use. For
example, for 25p Film projects, select 1080p/25. The following illustration shows the
Project selection for a 25p Film project used in this example.
2. (Film only) If your source media is film-based, check the Film box and select the Film Type.
Immediately after creating your project, set up the Film settings under the settings tab.
To check out the clip and set Dynamic Relink:
1. In your Avid editing application, select Tools > Interplay Window.
2. Locate the clip in the Interplay Window and drag it to the bin.
The following illustration shows the clip in the Interplay window and the bin. Notice that
both the high-res and low-res are online.
1343
Workflow: Editing a Film or HD Project using MultiRez
High-res and low-res media both online (filled circles) for the clip in the bin
3. Open the Dynamic Relink dialog box and set the working resolution to the low-res proxy.
The following illustration shows the Dynamic Relink values used in this example to link to
the low-res media.
1344
Workflow: Editing a Film or HD Project using MultiRez
4. Edit the media into a sequence.
By default, whenever you load clips into a monitor or the Timeline, they are linked to media
that matches the working settings.
The following illustration shows the bin after the sequence is created. In this example, the
administrator has already archived and deleted the high-res material. The MultiRez bin
columns show that the high-res media is completely offline.
1345
Workflow: Editing a Film or HD Project using MultiRez
The high-res media is now offline (empty circle in the bin)
5. (Skip this step if the administrator did not archive the high-res media)
When you are finished editing the sequence, restore the portions of high-res material used in
the sequence from the archive.
The following illustration shows the bin after the partial restore operation is completed. The
MultiRez bin columns show that the high-res media is now partly online because only the
required portions of the high-res media are restored.
After the partial restore, the high-res media is partly online (half-filled circle)
6. In the Target settings, set the project format for output. (This also determines the resolutions
that are available in the Dynamic Relink target settings.) You can set this format
independently of the format set in the Format tab of the Project window.
Media captured in this format will be used during output.
7. If you need to create effects that require you to view the high-resolution media, check the
Override Working Settings with Target Settings box in the dynamic relink window to
dynamically relink clips to media that matches the target settings.
c
Render effects only when you have linked to the target settings. This should be done as the
last step before output. If you return to the working settings, any media files created by
rendering effects (precomputes) will not dynamically relink in the target resolution.
8. Open the Dynamic Relink dialog box and set the working resolution to the high-res version.
The following illustration shows the Dynamic Relink values used to link to the high-res
video and audio. In this example, a specific resolution was chosen.
1346
Workflow: Editing a Film or HD Project using MultiRez
9. Render effects in the target resolution if necessary.
n
You can use the MultiRez button and MultiRez clip coloring to give you the necessary indications
that you may not have media that matches the target settings.
10. Output your final master by doing one of the following:
t
Create a digital cut.
t
Use the Send to Playback command.
When you perform a Send to Playback operation, your Avid editing application
automatically renders effects and relinks your sequence to the target resolution.
c
When you use the Send to Playback command, make sure you are using the target settings
required by the playback device or Send to Playback fails.
1347
Considerations When Working with Dynamic Relink
Considerations When Working with Dynamic Relink
Consider the following when you are working with dynamic relink:
•
If you connect to an Avid ISIS media network with a 100Base-T connection in a Zone 3
configuration, you can access MPEG-2 low-resolution video and MPEG-1 Layer II (or
MP2) compressed audio. This is useful for browsing media stored on the media network as
the low-resolution media files require less bandwidth to view. However, you cannot output,
consolidate, or transcode media using MP2 compressed audio. Instead, you should use
dynamic relink to link the low-resolution media to the high-resolution source media.
•
If you dynamically relink a sequence and then check the sequence into Avid Interplay, your
Avid editing application checks in the resolution to which you are currently linked.
•
Dynamic relink does not work with OMF media files that include an alpha channel (titles or
graphics with alpha that are imported or created in OMF resolutions). Clips with OMF alpha
are unaffected when the dynamic relink settings are changed.
•
Dynamic relink works somewhat differently with mixed rate clips. For more information,
see “Using Dynamic Relink with Mixed Rate Clips” on page 1354.
•
If you are using Media Composer | Cloud, the dynamic relink works slightly differently. For
more information, see “Media Composer | Cloud and Dynamic Relink” on page 1302.
Using the Dynamic Relink Settings Dialog Box
You use the Dynamic Relink Settings dialog box to enable dynamic relink and to specify your
working settings and target settings. You can also use this dialog box to override the working
settings with the target settings. If you work with mixed rate material, you can also enable
dynamic relink for mixed rate sequences.
For complete reference information on the Dynamic Relink settings, see “Dynamic Relink
Settings” on page 1464.
n
Dynamic Relink settings are project settings. You can use them as site settings, so that all
projects you create on your editing system use the same settings. For more information, see
“Using Site Settings” on page 1429.
Opening the Dynamic Relink Settings Dialog Box
To open the Dynamic Relink Settings dialog box, do one of the following:
t
In the Settings list in the Project window, double-click Dynamic Relink.
t
Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink
Settings.
1348
Using the Dynamic Relink Settings Dialog Box
Enabling Dynamic Relink
To enable dynamic relink:
1. Do one of the following:
t
In the Settings list in the Project window, double-click Dynamic Relink.
t
Right-click the MultiRez button at the bottom of the Timeline and select Dynamic
Relink Settings.
2. Select Enable Dynamic Relink and set the appropriate target settings.
When you select this option, your Avid editing application performs a dynamic relink
whenever clips are loaded into the source monitor or the Timeline, and displays options for
working with dynamic relink.
Applying Working and Target Settings for Dynamic Relink
The Working Settings tab lets you specify the rules that determine the resolution you use when
editing. For example, you might specify any low resolution or a specific single-field resolution
because you are working on a 100Base-T connection and need to work with low-resolution
material.
The Target Settings tab lets you specify the rules that determine the media that you use for your
final output. For the target settings, you might want to select Relink to Offline if no match is
found, because this setting provides a clearer warning if the desired resolution is not available.
For illustrated examples of typical settings, see “Examples of Working and Target Settings for
Dynamic Relink” on page 1350.
To apply working and target settings:
1. Do one of the following:
t
In the Settings list in the Project window, double-click Dynamic Relink.
t
Right-click the MultiRez button at the bottom of the Timeline and select Dynamic
Relink Settings.
1349
Using the Dynamic Relink Settings Dialog Box
2. Select Enable Dynamic Relink.
3. Click the Working Settings tab, and then select your working settings.
For information on available settings, see “Dynamic Relink Settings” on page 1464.
4. Click the Target Settings tab, and then select your target settings.
For information on available settings, see “Dynamic Relink Settings” on page 1464.
5. To apply the settings, do one of the following:
t
Click Apply.
The dialog box remains open.
t
Click OK.
The dialog box closes.
As long as Dynamic Relink is enabled, your Avid editing application uses the working
settings to dynamically relink material while you edit. Applying the target settings, however,
does not dynamically relink a sequence to the target settings. You need to take one of the
actions described in “Dynamically Relinking to the Target Settings” on page 1353”.
n
You can use the MultiRez button in the Timeline to instruct your Avid editing application to color
any clips for which media is not available. This is especially important because it indicates if you
can create the finished sequence in the target resolution. For more information, see “Displaying
Whether Media Is Available for Dynamic Relinking” on page 1356.
Examples of Working and Target Settings for Dynamic Relink
This topic provides examples of typical working and target settings for Dynamic Relink. For
information on applying settings, see “Applying Working and Target Settings for Dynamic
Relink” on page 1349.
Working Settings
The working settings in the following illustration instruct your Avid editing application to link to
the specific video resolution of 15:1s MXF. If it cannot find this resolution for a particular clip, it
should display a “Media Offline” slide. Specific parameters are also set for audio: 44.1 kHz and
16-bit.
1350
Using the Dynamic Relink Settings Dialog Box
Top to bottom: Relink to offline media if no match is found, specific video resolution to match, specific audio sample
rate and bit depth to match
The working settings in the following illustration instruct your Avid editing application to link to
the specific video resolution of DV 25. If your Avid editing application cannot find this
resolution for a particular clip, it should relink to media that most closely matches DV 25, based
on the specified parameters. In this case, it should relink to a resolution that is more compressed
than DV 25 (less than or equal to DV 25), such as 15:1s.
Similarly, for audio, your Avid editing application should use media with a sample rate less than
or equal to 44.1 kHz/16 bit. If your Avid editing application finds no match for this rule, it should
use the closest media that is available.
1351
Using the Dynamic Relink Settings Dialog Box
Top to bottom: Use closest media if no match is found, highest quality video resolution to match and instruction to
accept lower qualities, highest audio sample rate and bit depth to match and instruction to accept lower sample
rates
Target Settings
The target settings in the following illustration instruct your Avid editing application to use 30i
NTSC as the project format and 1:1 MXF (uncompressed) as the specific video resolution. If
your Avid editing application cannot find this resolution for a particular clip, it should display a
“Media Offline” slide. Specific parameters for final audio are also set: 48 kHz and 24-bit.
1352
Using the Dynamic Relink Settings Dialog Box
Top to bottom: Relink to offline media if no match is found, specific format and video resolution to match, specific
audio sample rate and bit depth to match
Dynamically Relinking to the Target Settings
You need to dynamically relink to the target settings when:
•
You are linking to media that was updated by a remote editing system. In this case you need
to update your media by either right-clicking your clips in your bins and selecting Update
from Interplay, or right-clicking your master clips in Avid Access and selecting Update
Status from Media Indexer.
•
You need to do color correction or apply another effect that requires viewing media in the
target resolution.
1353
Using the Dynamic Relink Settings Dialog Box
In this case, you might temporarily switch from working settings to target settings, apply the
effect, and then switch back to working settings.
•
You are performing a digital cut.
In this case, you override the working settings, render effects, and output the digital cut.
(When you use the Send To Playback command, your Avid editing application automatically
links clips to media in the target resolution.)
For information on establishing target settings, see “Applying Working and Target Settings for
Dynamic Relink” on page 1349.
c
Render effects only when you have linked to the target settings. This should be done as the
last step before output. If you return to the working settings, any media files created by
rendering effects (precomputes) will not dynamically relink in the target resolution.
To dynamically relink clips to media that matches the target settings, do one of the
following:
t
Right-click the MultiRez button at the bottom of the Timeline and select “Override Working
Settings with Target Settings.”
t
Use the Dynamic Relink dialog box:
a.
In the Settings list in the Project window, double-click Dynamic Relink.
The Dynamic Relink dialog box opens.
b.
Select Enable Dynamic Relink and Override Working Settings with Target Settings.
c.
Click OK to perform a dynamic relink to media that matches the target settings and to
close the dialog box.
To return to the working settings:
t
Deselect Override Working Settings with Target Settings.
Using Dynamic Relink with Mixed Rate Clips
When you send a mixed rate sequence to playback, you can use the dynamic relink feature to
output your sequence at a specified target format and resolution. Dynamic relink attempts to link
clips in your sequence following the options you set in the Dynamic Relink settings dialog box
(for more information, see “Using the Dynamic Relink Settings Dialog Box” on page 1348).
1354
Relinking in Frame Chase Editing
When using dynamic relink with mixed rate clips, your Avid editing application tries to link your
clips to media with the appropriate frame rate. However, unlike clips with the same frame rate as
your project, dynamic relink always uses the lowest and nearest resolution to your project frame
rate when it does not find an exact match.
c
If you do not enable dynamic relink for mixed rate clips, a send-to-playback operation fails
when your Avid editing application cannot match a mixed frame rate clip with the project
frame rate.
Dynamic relink performs the following actions when working with mixed frame rate clips:
•
Clips with the same frame rate as the project relink to source media based on the settings in
the Dynamic Relink settings dialog box.
•
Clips with a frame rate that differs from the project frame rate, but which have source media
available in the target resolution, relink to the appropriate source clips.
•
Clips with a different frame rate and no source media in the target resolution relink to clips
using the “Less than or equal to” quality option in the Dynamic Relink settings dialog box,
regardless of which settings you previously selected.
This means that dynamic relink tries to relink to the correct resolution. If it cannot find the
appropriate media, it overrides the quality settings in the Dynamic Relink dialog box and
instead links to media with the nearest resolution that is less than the specified one and that
has the closest video format.
•
Clips that cannot dynamically relink to source media cause the send-to-playback operation
to fail.
To enable dynamic relink for mixed rate sequences:
1. In the Settings list in the Project window, double-click Dynamic Relink.
The Dynamic Relink dialog box opens.
2. Select Allow Mixed Frame Rate Media.
3. Click Apply, and then click OK.
Relinking in Frame Chase Editing
Frame Chase editing is a workgroup feature that lets you work on a clip while it is being
captured. If you are using Frame Chase editing with MultiRez, your Avid editing application can
dynamically relink to in-progress media. After the clip is completely captured, your Avid editing
application manages it in the same way it manages other clips.
n
Your Avid editing application cannot dynamically relink an in-progress clip to consolidated or
transcoded clips generated from that clip until the capture is complete.
1355
Using the Relink Dialog Box in an Avid Interplay Environment
For more information about Frame Chase editing, see Avid Interplay Best Practices.
Using the Relink Dialog Box in an Avid Interplay
Environment
Relinking through the Relink dialog box is different from dynamic relink. In an Avid Interplay
environment, relinking through the Relink dialog box is limited to non-master clips (subclips and
sequences). You can relink these only through source timecode and tape. Other options are
unavailable.
Relinking through the Relink dialog box is clip-based. Clips are linked to one set of media
(video, audio, or both) and you relink a sequence (or subclip) to a selected set of clips. Dynamic
relink is source-based. See “Understanding How Clips are Associated with Multiple
Resolutions” on page 1333.
Although relinking through the Relink dialog box is different from dynamic relink, the Media
Indexer service manages both processes. To relink sequences or subclips through Media Indexer,
select the sequence or subclip and one or more master clips.
For complete information on relinking, see “Relinking Media Files” on page 494.
Displaying Whether Media Is Available for
Dynamic Relinking
You can display a visual indication of whether media is available in the resolution or sample rate
specified in the Dynamic Relink settings. To provide this information, your Avid editing
application communicates with the Media Indexer to determine the availability of working and
target media for each clip in the Timeline.
Two features provide this information:
•
MultiRez button
•
Clip coloring
Using the MultiRez Button to Show Available Media
The MultiRez button in the Timeline bottom toolbar lets you display two types of information:
•
Whether the media currently linked to a clip matches the working or target settings (Show
Mismatches display)
•
Whether media for a clip is available in the target settings (Show Target Availability display)
1356
Displaying Whether Media Is Available for Dynamic Relinking
Clicking the MultiRez button changes only the display — it does not perform a dynamic relink,
and it does not update the status of the media. To update the status, use the Update Media Status
command. For more information, see “MultiRez Button Menu” on page 1361.
It is especially important to know whether media is available in the target settings if you are
going to use the Send to Playback command. Send to Playback automatically relinks to the
media specified by the target settings and renders any unrendered effects. A Send to Playback
operation does not succeed if the required media is not available. The MultiRez button lets you
see whether the media is available while you are still editing the sequence in the Timeline. If the
media is not available, you need to take an action such as transcoding the clips, recapturing the
clips, or performing a partial restore from the archive.
To show whether media in a sequence is available, do one of the following:
t
Click the MultiRez button to select one of the displays described in the following table.
Button
Display Description
Gray - inactive
Bottom half of diamond black - Show Mismatches display. If the background is blue,
some media does not match or is not available in the current settings. These can be
the working settings or the target settings, depending on which settings the clips are
linked to. If the background is gray, all media is available in the working settings.
Top half of diamond black - Show Target Availability display. If the background is
yellow, some media is not available in the target settings. This information is the
same whether the clips are linked to working settings or target settings. If the
background is gray, all media is available in the target settings.
t
Right-click the MultiRez button and select one of the following:
-
Show Mismatches
-
Show Target Availability
Using Clip Coloring to Show Available Resolutions
You can determine if clips are available in a particular resolution by coloring clips in the
Timeline. For examples of clip coloring in the Timeline, see “Examples of MultiRez Clip
Coloring” on page 1359.
1357
Displaying Whether Media Is Available for Dynamic Relinking
The following procedure refers to the default colors available for resolution tracking. You can
change the display colors that your Avid editing application uses by selecting custom colors in
the Clip Color dialog box. For more information, see “Displaying Clip Colors in the Timeline”
on page 667.
To enable clip coloring for MultiRez in the Timeline, do one of the following:
t
Right-click the MultiRez button and select Enable Clip Coloring.
t
Click the Timeline Fast Menu button, select Clip Color, then select Resolution Tracking and
click OK.
How your Avid editing application colors clips in the Timeline depends on your settings:
If you click the MultiRez button to show mismatches (bottom half of diamond black), clips
are colored as follows:
-
No color change: The clip matches the working or target settings, depending on
which settings you are linked to.
-
Color changes (to blue or red by default): The clip does not match the working or
target settings. Whether the color is blue or red depends on how you set the “If no
match is found” option in the Dynamic Relink dialog box, as shown in the
following table.
If no match is found
option
Default color if clip does
Default color if
not match current settings clip is offline
Keep Existing Media
Blue
Red
Relink to Offline
Red
Red
Use Closest Media
Blue
Red
If you click the MultiRez button to show availability in the target resolution (top half of
diamond black), clips are colored as follows:
-
No color change: The clip is available in the target settings
-
Color changes (to yellow by default): The clip is not available in the target settings
This button provides the same information whether the clips are linked to the working
settings or the target settings.
If you enable clip coloring for MultiRez and then click the MultiRez button to display
mismatches or target availability, this setting overrides any other Timeline clip coloring that
might be set.
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Displaying Whether Media Is Available for Dynamic Relinking
n
Clip coloring for the Show Mismatches display is not used when you select Highest Quality or
Most Compressed as the relink method. This is because you do not select a specific quality, and
your Avid editing application supplies the best quality or the most compressed media that is
available.
Examples of MultiRez Clip Coloring
In the following examples, the working resolution is set to 15:1s, and the target resolution is set
to DV 25. The examples show the default clip colors for resolution tracking. You can change the
display colors that your Avid editing application uses by selecting custom colors in the Clip
Color dialog box. For more information, see “Displaying Clip Colors in the Timeline” on
page 667.
The following illustration shows a sequence of clips that are linked to working settings. The
MultiRez button is blue, indicating that there are clips in the Timeline that do not match the
working resolution.
If you select Keep Existing Media or Use Closest Media (in the Working Settings tab of the
Dynamic Relink Settings dialog box) and enable clip coloring, clips that are not in the working
resolution are colored blue by default. Your Avid editing application is warning you that the DV
25 clips do not match the working resolution but are linked to a different resolution (a
mismatch).
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Displaying Whether Media Is Available for Dynamic Relinking
If you select Relink to Offline, clips that do not match the working resolution are colored red by
default, and the Media Offline slide is displayed in the monitors. In the following example, your
Avid editing application is warning you that the DV 25 clips are not in the working resolution
and the media is offline.
n
The “Relink to Offline” option does not delete the existing media. To relink to the media, select a
different option in the Dynamic Relink dialog box.
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MultiRez Button Menu
The next example shows the Timeline after you click the MultiRez button to view the target
resolution availability. The MultiRez button is yellow, indicating that there are clips that are not
available in the target resolution, and the clip that is not available in DV 25 (the target resolution)
is also colored yellow by default.
MultiRez Button Menu
The following table describes the options in the MultiRez button menu:
Option
Description
Enable Clip
Coloring
When this option is selected, clips that are linked to media that does not match the specified
Dynamic Relink settings are colored. Your Avid editing application uses the following colors
by default for clips in the Timeline:
•
No color change: In the Show Mismatches display, the clip is linked to media that
matches the working settings. In the Show Target Availability display, media is available
at the target resolution.
•
Blue: A clip in the Timeline is linked to media that does not match the specified settings.
Blue is used if the option “If no match is found” is set to Use Existing Media or Use
Closest Media.
•
Red: A clip in the Timeline is offline. Red is used if the option “If no match is found” is
set to Relink to Offline.
•
Yellow: A clip in the Timeline is not available in the target resolution.
If you select Enable Clip Coloring and then display mismatches or target availability, this
setting overrides any other Timeline clip coloring that you set.
You can change the display colors that your Avid editing application uses by selecting custom
colors in the Clip Color dialog box. For more information, see “Displaying Clip Colors in the
Timeline” on page 667.
Fore more information, see “Displaying Whether Media Is Available for Dynamic Relinking”
on page 1356.
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MultiRez Button Menu
Option
Description (Continued)
Show
Mismatched
Render Ranges
Identifies effects that are rendered in a resolution that does not match the specified resolution
for the resolutions to which the clips are linked (working or target). A blue line appears along
the top of the effect to indicate the portion that is rendered using a different resolution.
n
You might find it useful to turn off Enable Clip Coloring when you use this option, to
make it easier to see the render range lines.
If an effect has a mismatched render range, select the correct resolution in the Render tab in
the Media Creation dialog box and then rerender the effect. For more information, see
“Rerendering Effects” in the Help.
Show
Mismatches
Indicates whether any clips are linked to media that does not match the working settings
(Show Mismatches display). If any mismatched items are found, the MultiRez button turns
blue. If Enable Clip Coloring is selected, clips that do not match the working settings are blue
and offline clips are red.
Show Target
Availability
Indicates whether media is available that matches the target settings (Show Target
Availability display). If media is not available, the MultiRez button turns yellow. If Enable
Clip Coloring is selected, clips for which media is not available in the target settings are
yellow.
Find Next
In the Show Mismatches display, moves the blue position indicator to the next item that is not
Mismatched or
in the working or target settings. This could be a clip or a rendered effect.
Unavailable Clip
In the Show Target Availability display, moves the blue position indicator to the next clip that
is not available in the target settings. The command does not apply to rendered effects in this
display.
You can also use Ctrl+/ to move the position indicator.
n
Update Media
Status
This option works only on enabled tracks.
In the Show Mismatches display, relinks the clips displayed in the Timeline to the media that
matches the working or target settings. Use this command to update links to the media if the
desired media was not available when the clips were last linked.
In the Show Target Availability display, refreshes the clip information to show if media is
currently available in the target settings. Use this command to view the availability of the
target media without dynamically relinking.
Enable Dynamic Lets you turn the dynamic relink feature on or off. For more information, see “Enabling
Dynamic Relink” on page 1349.
Relink
Override
Overrides the working settings with those in the Target setting tab of the Dynamic Relink
Working Settings Settings dialog box and performs a dynamic relink to the media. For more information, see
“Dynamically Relinking to the Target Settings” on page 1353.
with Target
Settings
Dynamic Relink Opens the Dynamic Relink Settings dialog box. For more information, see “Dynamic Relink
Settings” on page 1464.
Settings
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MultiRez Bin Headings
MultiRez Bin Headings
Some bin columns are specifically associated with MultiRez. These bin headings are available in
Avid editing applications when they are part of an Avid Interplay environment. MultiRez
headings include:
•
Video resolutions (for example, 1:1, DV 25, 15:1s)
•
Audio sample rate, bit depth and resolution (for example, 48 kHz, 24-bit, MP2)
Your Avid editing application creates the list of headings from the resolutions that are compatible
with the current project format. This list varies by project format and model. For example, if you
are working in a 30i NTSC project, the list includes all resolutions that are compatible with
30i NTSC and 1080i/59.94 formats. These headings appear at the bottom of the Bin Column
Selection list.
You need to select which columns you want to appear in the Text tab of the bin. For more
information, see “Bin Column Headings” on page 368.
There might be more resolutions available on an Avid Interplay workspace than appear in your
bin headings. For example, there might be an uncompressed version of the clips you are working
with, but if your Avid editing application doesn’t support uncompressed video, the resolution
does not appear in your bin settings. Some resolutions might show up as partially online. For
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Understanding Options for Deleting MultiRez Clips and Media
more information, see “Working with Partially Online Files” on page 1366.
MultiRez columns show the availability of the resolution by using the following icons:
Filled circle
Online
Half-filled circle
Partially online
Empty circle
Offline or Not Available
The following bin columns display special behavior when you are using MultiRez and dynamic
relink:
•
Video format: This column displays the resolution of the media files to which the clips in the
Timeline are currently linked, so it changes, depending on which resolution is currently
displayed, either working or target.
•
Drive: Multiple resolutions for a single clip could be located in different drives or
workspaces, in which case the entry in this column is blank.
You can also display columns for multiple resolutions and sample rates in the Interplay Window.
For information, see “Modifying Column Display in the Interplay Window” on page 1248.
Understanding Options for Deleting MultiRez
Clips and Media
When working with MultiRez in an Avid Interplay environment, your options for deleting clips
and media depend on several factors:
•
Whether the clip is associated with media on local or shared storage. You can delete any clip
from your bin, and you can delete any media on local storage. However, your ability to
delete media on shared storage depends on your permissions as set on Avid Interplay. For
more information, see the Avid Interplay Access User’s Guide.
•
Which media files were originally captured with the clip. For clips in a bin, you can delete
only the media that was originally associated with the clip. This association of the clip with
its original media files is referred to as the affinity model (see “Multiple Clips, Multiple
Resolutions, and the Affinity Model” on page 1336). The affinity model applies when you
are deleting clips and media from a bin.
For example, if you transcode a clip from DV 25 to 15:1s, and create a new master clip, both
resolutions are associated with the original clip in the bin. However, if you select the original
clip (DV 25) for deletion, you see only DV 25 listed in the Delete dialog box.
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Deleting MultiRez Clips and Media from a Bin
For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without
a new clip, you see both resolutions listed in the Delete dialog box.
n
Multiple audio sample rates are not listed in the Delete dialog box.
The following table summarizes options for deleting MultiRez clips from a bin:
Type of Clip
Resolutions Displayed for Deletion
Clip created through dual ingest
All associated resolutions
Clip created through batch capture or batch import All associated resolutions
Transcoded clip, one clip
All associated resolutions
Transcoded clip, multiple clips
Original resolution only
Clips that share timecode and source
Original resolution only
Deleting MultiRez Clips and Media from a Bin
For more information on your options when deleting MultiRez clips and media, see
“Understanding Options for Deleting MultiRez Clips and Media” on page 1364.
To delete clips, subclips, and sequences associated with media on local storage:
1. Select the clips, subclips, or sequences that you want to delete.
2. Do one of the following:
t
Select Edit > Delete.
t
Press the Delete key.
The Delete dialog box opens, displaying information about the selected items.
3. Select the items you want to delete.
4. Click OK.
If you choose to delete media files, a dialog box opens.
5. Click Delete.
The selected clips, sequences, and media file are deleted.
n
If you try to delete media for a clip that you have checked out from Avid Interplay, and do not
have sufficient permissions to delete, a message informs you that you cannot delete media
associated with checked-in assets from a bin.
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Working with Partially Online Files
For more information about deleting in an Avid Interplay environment, see the Avid
Interplay Access User’s Guide.
Working with Partially Online Files
There are several cases where you might be working with MultiRez clips that are partially
online:
•
Consolidating and transcoding a portion of a clip or a subclip.
•
Consolidating and deleting original media.
•
Partially restoring from an archive.
Clips that are partially online are marked in a bin by a half circle.
Consolidating and Transcoding a Portion of a Clip
You might create a partial clips if you consolidate and transcode a portion of a clip in a sequence.
For example, if you use a portion of a DV 25 clip in a sequence and consolidate and transcode
the sequence to a low resolution, your Avid editing application creates a new master clip in the
low resolution. The new master clip is associated with both resolutions. The following
illustration shows an example with DV 25 clip and 15:1s media.
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Working with Partially Online Files
Top to bottom: original DV25 clip, portion of DV25 clip edited into a sequence, and new clip created in 15:1s by
consolidating and transcoding the sequence. Only part of the original clip is available in 15:1s.
After consolidating and transcoding, the new master clip is shown in the bin as having media in
both DV 25 and 15:1s, while the original master clip is shown as having full media in DV 25 and
partial media for 15:1s.
If you trim the original sequence to expose more of the DV 25 clip, the Timeline displays as
offline frames in the portions that are not available in 15:1s.
Viewing a Source Clip in the Timeline
You can view an entire source clip in the Timeline. This is useful if you want to check how much
of a partial clip is offline and how much is online.
To examine the source clip for a partially online master clip:
1. Place the position indicator on the clip in the Timeline.
2. Click the Toggle Source/Record in Timeline button to display the source clip in the
Timeline.
Toggle Source/Record in Timeline button in Timeline bottom toolbar
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Working with Partially Online Files
In the following example, the MultiRez button is blue, indicating that your Avid editing
application is in the Show Mismatches display. The original master clip is displayed in the
Timeline, with a working resolution set to 15:1s. Two portions of the clip are colored red, which
is the default color indicating that these portions of the clip are offline and thus are not available
in the working resolution.
Consolidating and Deleting Original Media
You can create partial clips when you consolidate and then delete the original media. The result
is similar to the example in “Consolidating and Transcoding a Portion of a Clip” on page 1366,
in which a new clip is created through consolidation.
To consolidate and delete the original media:
1. Assume you have the same 10-minute master clip that has DV 25 and 15:1s versions of the
media.
2. Edit a one-minute portion of the DV 25 media into a sequence.
3. Consolidate the sequence.
This creates a new, one-minute clip with DV 25 media.
4. Use the Dynamic Relink option to relink the clips in the sequence to 15:1s.
5. Delete the DV 25 media from the original 10-minute clip.
6. Perform a dynamic relink to DV 25.
Your Avid editing application links to the DV 25 media in the consolidated clip but does not
replace the clip with the consolidated clip. The original clip remains in the Timeline and
your Avid editing application displays the DV 25 material. If you trim the clip past the DV
25 portion you see offline frames or 15:1s frames, depending on your Dynamic Relink
settings. In the bin, the DV 25 media is shown as partially online.
Partially Restoring from an Archive
A clip might be displayed as partially online when you perform a partial restore from an archive.
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Quality Matching
To perform a partial restore from an archive:
1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of
the media.
2. Archive the DV 25 version of the media.
3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online.
4. Edit one minute of the low-resolution version of the clip into a sequence.
5. Select the sequence in the bin and use Avid Interplay Archive to restore the DV 25 version of
the clip from the archive.
If the profile that you choose is set up to perform partial restores, your Avid editing
application restores only the portion of the clip that is in the sequence.
Now when you look in the bin, the DV 25 resolution shows as partially online. This is true
even if the Timeline shows that all media is available.
Quality Matching
Your Avid editing application follows a specific process when attempting a dynamic relink.
Dynamic relink provides you with a way to relink to media if the specific resolution or sample
rate is not available. The Dynamic Relink Settings dialog box includes the following options that
enable this feature, called quality matching:
•
In the common area, for the option “If no match is found,” you can select “Use Closest
Media.” Your Avid editing application uses the criteria you set in this dialog box to match
the request.
•
For the video relink method, you can select Highest Quality, Most Compressed, or Specific
Resolution. For Highest Quality, your Avid editing application links to the least compressed
and most highly defined media (more pixels, higher bit depth, more color information) with
a format that most closely matches the project settings. For Most Compressed, your Avid
editing application links to the most compressed media.
•
If you select Specific Resolution as a relink method, you can select “Greater than or equal
to,” or “Less than or equal to” as a filter for the video relink quality. In this case, your Avid
editing application looks for an exact match. If it can’t find an exact match, it links to the
closest media that satisfies the selected filter, based on format and compression.
•
For the audio relink method, you can select Highest Sample Rate, Highest Bit Depth, or
Specific Quality.
•
For the audio relink quality, if you select Specific Resolution as a relink method, you can
select “Greater than or equal to,” or “Less than or equal to” as a filter for the audio relink
quality. Your Avid editing application looks for an exact match. If it can’t find an exact
match, it links to the closest media that satisfies the selected filter, based on sample rate and
bit depth.
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Quality Matching
n
For complete information about options in the Dynamic Relink Settings dialog box, see “Using
the Dynamic Relink Settings Dialog Box” on page 1348.
If you select one of the above options, your Avid editing application uses the following queries to
perform a dynamic relink:
1. Is there media with the same tape name (source ID) and timespan?
2. Is there media of the same size (NTSC, PAL, 1080HD, 720 HD)?
3. Is there media with the same field order (topness)?
4. Is there media in the same compression family?
5. Is there media of the same or similar compression value or audio sampling?
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Quality Matching
6. Is there media of the same bit depth?
7. Is there media in the same color space?
At each step, media is examined. Your Avid editing application continues looking for media until
a single match remains.
Quality Matching Reference
Video Format for Quality Matching
The following table lists factors involved in determining the closest match for video format
(queries 2 and 3 from the list in “Quality Matching” on page 1369). You select a media format
when you create a project or when you select a different format in the Format tab in the Project
window.
Media Format
Raster dimension (pixels)
Field Order (Topness)
1080i
1920 x 1080
Upper field first
1080i
1440 x 1080
Upper field first
1080p
1920 x 1080
None
720p
1280 x 720
None
NTSC
720 x 486
Lower field first
PAL
720 x 576
Upper field first
DV (NTSC)
720 x 480
Lower field first
DV (PAL)
720 x 576
Lower field first
Video Resolutions for Quality Matching
The following table lists video resolutions supported by Avid editing applications, grouped in
resolution families, from least compressed to most compressed (queries 4,5, and 7 from the list
in “Quality Matching” on page 1369). This order is used by your Avid editing application to
match a request.
n
Some resolutions might not be available in your Avid editing application.
Resolution Family
Resolution Name
HD
1:1 10b RGB
1371
1:1 10b
1:1
Quality Matching
Resolution Family
Resolution Name
DNxHD 220
DNxHD 185
DNxHD 175
DNxHD 90
DNxHD 145
DNxHD 120
DNxHD 115
DNxHD 60
DNxHD 45
DNxHD 36
DNxHD 145-TR DNxHD 120-TR
DVCPro
n
DNxHD resolutions are based on the frame rate of the project. For example, DNxHD 220 has
a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD 185, which is an equivalent
resolution, has a compressed data rate of 185Mb/sec at 25 fps.
SD: JFIF interlaced
1:1, 2:1, 3:1, 10:1, 20:
SD:JFIF progressive
1:1, 2:1, 3:1, 14:1, 28:1, 35:1
SD:JFIF single-field
and multicam
2:1s, 3:1m, 4:1s/4:1m, 8:1m, 10:1m, 15:1s
SD: DV
DV 50, DV 25
SD: MPEG/IMX
MPEG 50, MPEG 40, MPEG 30
SD: MPEG-2
MPEG-2
Audio Sampling and Bit Depth for Quality Matching
The following table lists sample rates and bit depths, from the highest sample rate to lowest
sample rate (queries 5 and 6 from the list in “Quality Matching” on page 1369). This order is
used by your Avid editing application to match a request.
n
Some sample rates might not be available in your Avid editing application.
96 kHz/24 bit
48 kHz/16 bit
96 kHz/16 bit
44.1 kHz/24 bit
88.2 kHz/24 bit
44.1 kHz/16 bit
88.2 kHz/16 bit
32 kHz/24 bit
48 kHz/24 bit
32 kHz/16 bit
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Quality Matching
Example of Quality Matching
This example is typical of a newsroom offline session. In this workflow, clips are usually
captured simultaneously in MPEG-2 and DV 25, but sometimes the MPEG-2 clips are not
available. You want to get media immediately, and you want the lowest (most compressed)
resolution available to use less network bandwidth, but you’ll take DV 25 if that’s all that’s
available.
Project
NTSC 30i
Source for clips
Tape0317
Working settings
If no match is found: Use Closest Match
Video Parameters
Relink Method: Most Compressed
Relink if Quality: Not applicable
Preferred media format: MXF
As you edit your project and load clips into a monitor, your Avid editing application dynamically
relinks the clips to media that most closely matches the working settings. Your Avid editing
application checks the Media Indexer to select one clip that matches the criteria. When it finds a
single clip, it stops.
For the preceding example settings, your Avid editing application follows this process:
1. Query: Is there media that comes from Tape0317?
Answer: Yes — there is more than one media file from that tape (MPEG-2 and DV 25
versions).
2. Query: Is there media from this tape that matches the clip’s timecode span?
Answer: Yes, there is more than one media file.
3. Query: Do these media files match NTSC size and topness?
Answer: Yes, there is more than one.
4. Query: Do any of these media files match the media family (MPEG-2)?
Answer: Yes, one media file matches all the criteria. Your Avid editing application links the
clip to that media file.
What if the MPEG-2 media doesn’t exist? Your Avid editing application looks for the next most
compressed media, finds one media file in DV 25 that matches the criteria, and links to it.
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31 MultiCamera Editing
The Avid MultiCamera editing features let you incorporate multiple camera angle sources into
the nonlinear editing process. Techniques for using these features are described in the following
topics:
•
Understanding Grouping and Multigrouping Clips
•
Creating Group Clips
•
Creating Multigroup Clips
•
MultiCamera Displays
•
MultiCamera Editing Techniques
•
Selective Camera Cutting
Understanding Grouping and Multigrouping Clips
The grouping and multigrouping procedures gather selected clips into a single unique clip. Both
procedures let you use special MultiCamera editing features, such as multi-split views in
MultiCamera mode.
The differences between the two procedures are summarized as follows:
•
Grouping creates a separate group clip out of a single set of master clips, from the IN point
to the OUT point of the longest clip. Multigrouping takes the Group function one step
further, literally stringing numerous sequential groups into a rough sequence. For this
reason, multigroups are also known as sequence clips.
•
The Group function lets you sync clips based on common source timecode, auxiliary
timecode, or marks placed in the footage. Because of the need for complete accuracy in
sorting and grouping the clips, multigrouping is performed on the basis of common source
timecode only.
Creating Group Clips
•
The MultiGroup function is designed primarily for situation comedies and similar
productions that record multiple takes sequentially on the same source tapes. Multigrouping
does not provide any benefit when you edit with clips that do not share common timecode or
were not recorded sequentially, and might even cause the wrong clips to be grouped
together.
•
Because the Group function lets you sync the clips based on customized IN points or OUT
points, you can group any collection of clips for quick cutting of montage sequences or
music-video sequences.
Creating Group Clips
In addition to the multicamera context, you can use grouped clips in other situations. Unlike
multigrouping, which requires clips with matching source timecode, you can group clips that
were shot at different times, on different days, and on completely different source tapes. This
means that you can use group clips to:
•
Create montage sequences quickly with fast-cutting between unrelated clips.
•
Sync and edit an audio track (music, for example) with two or more video tracks, useful in
music-video editing.
•
Isolate each take as a group for multicamera editing and edit selectively, rather than build a
larger sequence clip.
•
Group selected portions of multicamera clips using carefully synchronized marks.
The last two options are generally used in smaller multicamera projects. Sorting, marking,
selecting, and grouping individual takes of a larger project can be very time-consuming.
You can also use stereoscopic clips in group clips—see Grouping Stereoscopic Clips.
To create a group clip:
1. If you are using a sync point, load the clips and mark an IN point at the sync point at the start
of each clip, or mark an OUT point at the sync point at the end of each clip.
For multicamera video or film shoots, you typically use a slate for marking IN and OUT
points; however, you can use any visual or aural event that is recorded by all cameras
simultaneously.
2. In the bin, select all the clips you want to group.
3. Select Bin > Group Clips.
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Grouping Stereoscopic Clips
4. Select an option, based on the following:
Option
Description
Film TC/Sound TC
Use this option if you are syncing clips with matching film and
sound timecode recorded in the field. This option appears
dimmed if you are not working in a 24p or 25p project.
Inpoints
Use this option if you are syncing according to IN points set in
each clip.
Outpoints
Use this option if you are syncing according to OUT points set in
each clip.
Source Timecode
Use this option if the clips have matching timecode.
Auxiliary TC1–TC5
Use this option if the clips have matching timecode in the same
Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5,
from the menu.
5. Click OK.
A group clip appears in the bin, with the name of the first clip in the group, followed by the
file name extension Grp.n.
The n is the incremental number of group clips with the same name in the same bin. You
might want to rename them for easier reading, such as name.Group.
Grouping Stereoscopic Clips
Stereoscopic clips can be used for multicam editing in the same manner as regular clips. To start
off, you first need to create your stereoscopic clips with the contributing left and right eye master
clips. (You can mix both regular and stereoscopic clips in a group clip.) After the group clip has
been created, you can load it into the source monitor and begin the multicam editing.
When the group is loaded into the source monitor, you can choose to see just one of the clips, or
all of the clips in the group (upto a 9-split view). Note that while viewing stereoscopic clips in
the source monitor, the stereoscopic view is turned off. You can choose to display either the left
eye image, the right eye image, or the image set as the leading eye. This view mode is set by the
Stereoscopic option in the Project Format dialog box.
Before outputting your sequence, you have the option to commit your multicam edits and replace
the grouped clips with the clip selected for the edit. For more information, see “Committing
MultiCamera Edits” on page 1388.
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Creating Multigroup Clips
Creating Multigroup Clips
Multigrouping is strictly for use in large multicamera productions, such as situation comedies, in
which all synchronous camera shots are recorded with the same timecode. The MultiGroup
function is a single Bin menu command that eliminates the time-consuming steps of collecting,
sorting, grouping, and assembling large volumes of multicamera clips.
To multigroup your material:
1. Sort the clips by name in the bin.
2. Select Edit > Select All to select the master clips.
3. Select Bin > MultiGroup.
4. Select an option, based on the following:
Option
Description
Film TC/Sound TC
Use this option if you are syncing clips with matching film and
sound timecode recorded in the field. This option appears
dimmed if you are not working in a 24p or 25p project.
Inpoints
Use this option if you are syncing according to IN points set in
each clip.
Outpoints
Use this option if you are syncing according to OUT points set in
each clip.
Source Timecode
Use this option if the clips have matching timecode.
Auxiliary TC1–TC5
Use this option if the clips have matching timecode in the same
Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5,
from the menu.
5. Click OK.
Your Avid editing application creates several group clips for each take in the bin, and then
creates a multigroup clip from the groups. The multigroup clip has the same icon as the
group clips, but the icon is preceded by a plus sign.
MultiCamera Displays
There are several displays that let you view and edit with multiple camera angles. You can edit
with either group clips or multigroup clips in all of the displays.
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MultiCamera Displays
Full-Monitor Display
When you first load a grouped or multigrouped clip, the Source monitor displays a single frame
from one clip in the group in Source/Record mode. This is called Full-Monitor display when
working with group clips because you can view each angle in full-monitor size as you edit.
The basic features of Full-Monitor display:
•
Provides source-oriented control of multicamera material. You can switch camera angles,
cue, and mark material without affecting the sequence.
•
Provides the same Source monitor controls that are available when you edit other clips in
Source/Record mode.
•
Provides the same MultiCamera editing features that are available in Quad Split Source
view, Nine Split Source view, and MultiCamera mode. These features are described in
“MultiCamera Editing Techniques” on page 1383. The only difference is that in
Full-Monitor display, you can view each angle as full size while you edit.
Quad Split Source View
After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking
the Quad Split button located in the Command palette in the MCam tab. The Source monitor
splits into four camera angles of the group clip. A Group Menu icon appears above the Source
and Record monitors.
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MultiCamera Displays
Quad Split Source view, with the four camera angle views in the Source monitor and the sequence or linecut in the
Record monitor. The location of the Group Menu icon is highlighted.
The basic features of Quad Split Source view:
•
Provides source-oriented control of multicamera material. You can switch camera angles,
play back (one camera angle at a time), cue, and mark material without affecting the
sequence.
•
Provides the same Source monitor controls that are available when you edit other clips in
Source/Record mode.
•
Provides the special MultiCamera editing features that are available in Full-Monitor display,
Nine Split Source view, and MultiCamera mode. These features are described in
“MultiCamera Editing Techniques” on page 1383.
•
Provides a list of all group clip video and audio tracks in the Group menu for custom
selection and patching.
•
Lets you use the Quad Split button to switch the Source monitor between Full-Monitor
display and Quad Split Source viewing and editing modes (editing functions are the same in
both displays).
•
Lets you use the Swap Cam Bank button to switch the Quad Split Source view from one
bank of four camera angles to another bank of four camera angles. The Multi-angle View
menus let you change the camera angles of the split displays.
•
Does not gang the Record monitor with Quad Split Source view.
Nine Split Source View
After loading a group clip into the Source monitor, you enter Nine Split Source view by clicking
the Nine Split button located in the Command palette in the MCam tab. The Source monitor
splits into nine camera angles of the group clip. A Group Menu icon appears in the second row of
information above the Source and Record monitors.
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MultiCamera Displays
Nine Split Source view, with the nine camera angle views in the Source monitor and the sequence or linecut in the
Record monitor. The location of the Group Menu icon is highlighted.
The basic features of Nine Split Source view:
•
Provides source-oriented control of multicamera material. You can switch camera angles,
play back (one camera angle at a time), cue, and mark material without affecting the
sequence.
•
Provides the same Source monitor controls that are available when you edit other clips in
Source/Record mode.
•
Provides the special MultiCamera editing features that are available in Full-Monitor display,
Quad Split Source view, and MultiCamera mode. These features are described in
“MultiCamera Editing Techniques” on page 1383.
•
Provides a list of all group clip video and audio tracks in the Group menu for custom
selection and patching.
•
Lets you use the Nine Split button to switch the Source monitor between Full-Monitor
display and Nine Split Source viewing and editing modes (editing functions are the same in
both displays).
•
Lets you use the Swap Cam Bank button to switch the Nine Split Source view from one bank
of nine camera angles to another bank of nine camera angles. The Multi-angle View menus
let you change the camera angles of the split displays.
•
Does not gang the Record monitor with Nine Split Source view.
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MultiCamera Displays
MultiCamera Mode
After loading a group clip into the Source monitor and editing it to create a new sequence, select
MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split
Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split
Source view or Nine Split Source view before entering MultiCamera mode.
n
You can also enter MultiCamera mode by clicking the Quad Split button or the Nine Split button
if you have previously mapped the button to one of the toolbars in the Timeline or the
Source/Record monitor.
MultiCamera mode takes the Nine Split Source view and Quad Split Source view one step
further: it gangs all clips in the group clip displayed in the Source monitor with the sequence
displayed in the Record monitor. All clips are synchronized and continuously updated during
playback and editing.
n
You see the best real-time playback performance when you play material that was recorded at
10:1m, 4:1m, or 1:1 resolutions. Also, you see better performance when you play in Best
Performance mode rather than in Full Quality mode. For more information about these modes,
see “Playing Effects Back at Different Video Qualities” in the Help.
When you play back multicamera material, you can cut by using the MultiCam keys to select
different camera angles when stopped. The camera angles you selected with the MultiCam keys
are recorded as cuts in the Timeline and are displayed in the Record monitor.
MultiCamera mode. The Source monitor controls are disabled.
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The basic features of MultiCamera mode:
•
Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor
display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue,
switch camera angles, or mark material, your changes occur in the sequence.
•
Synchronizes all camera angles displayed in the Source monitor and continuously updates
during playback and editing.
•
Lets you perform live bank swaps while playing in MultiCamera Quad Split Edit mode by
using the Swap Cam Bank button.
•
Provides only Record monitor controls.
•
Provides special MultiCamera editing features that are available in Full-Monitor display,
Quad Split Source view, and Nine Split Source view. These features are described in
“MultiCamera Editing Techniques” on page 1383.
•
Lets you cut between clips as you would during live switching of a show.
•
Provides a list of all group clip video and audio tracks in the Group menu for custom
selection and patching.
•
Lets you deselect MultiCamera Mode in the Special menu at any time to switch between
source-oriented and sequence-oriented MultiCamera editing.
•
Lets you switch between singular and multi-angle playback without exiting MultiCamera
mode.
Real-time Playback in MultiCamera Mode
You can use the Video Quality options to achieve better real-time playback performance in SD
projects when you display multiple views (Quad Split Source view or Nine Split Source) in
MultiCamera Mode. The range of options available depends on your input/output hardware
configuration. For more information on the Video Quality menu, see “Video Quality Options for
Playback” on page 543.
Your Avid editing application remembers your most recent Video Quality setting for
Multicamera Mode and switches to it automatically whenever you open a multicamera or group
clip.
For example, you might be working with group clips and set the Video Quality menu to Draft
Quality, then close all group clips and work with single clips. When you reopen a group clip in a
monitor, your Avid editing application remembers your last group clip setting and switches to
Draft Quality, regardless of the video quality you were using for single clips.
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MultiCamera Editing Techniques
Limitations on Playback of MultiCamera Media
To play back a group clip or a multigroup clip, you must be in MultiCamera mode. In addition,
the following limitations apply to playback performance for standard-definition projects and
high-definition projects:
•
In an SD project, you must have Avid input/output hardware attached to your system in
order to view multicamera display in a client monitor during a digital cut. Alternatively, you
can view multicamera display using Full Screen Playback.
•
In an HD project, you cannot play back a multicamera sequence to the client monitor. To
view multicamera playback, use Full Screen Playback.
For more information on full screen playback, see “Playing Video to a Full-Screen Monitor”
on page 527.
•
In an SD project, multicamera editing works only with 8-bit resolutions. If you use media
with a 10-bit resolution, your Avid editing application automatically plays the media at the
appropriate 8-bit resolution.
MultiCamera Editing Techniques
When you load a group or multigroup clip into the Source monitor and begin editing, the
Timeline adds a unique identifier to indicate the presence of a group.
Your Avid editing application uses the name of the clip within the group to identify the clip in
each cut, and adds a G in parentheses to indicate the group.
Group clips in the Timeline
Using various keys and functions, you can switch and edit the displayed group clip at any point
in the sequence. These techniques apply to both group and multigroup clips.
Switching Clips with the Arrow Keys During Multicamera Editing
You can switch the display of camera angles by using the Previous In Group button and the Next
In Group button. These buttons are mapped by default to the Up Arrow and Down Arrow keys.
The angle selection switches in either the Source monitor (source material) or in the Record
monitor (sequence material), whichever is active.
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MultiCamera Editing Techniques
If the group contains more camera angles than the multi-split display, the Up Arrow and Down
Arrow keys cycle through all the clips. Only the first four clips are shown in the Quad Split
display and only the first nine clips are shown in the Nine Split display.
When the Record monitor is active, you can place the position indicator within any segment and
use the arrow keys to switch the group clip selected for that segment.
n
Whenever you switch camera angles, you also switch the frame representing the group in the bin.
You can use this method to change the representative frame for bin display and storyboarding.
Numeric Keypad and Mouse Support for MultiCamera Editing
You can use the numeric keypad and mouse buttons to switch the display of camera angles and to
swap camera banks. These options provide a quick and intuitive way to do multicamera editing.
To switch camera angles, do one of the following:
t
Click a camera angle in the split display during playback to switch to that camera angle.
t
Press a number key on the numeric keypad to switch to a new camera angle.
For Quad Split display, the following table describes the key mappings:
Keys
Position in Split Display Keys
Position in Split Display
7
Upper left
4 or 1
Lower left
8 or 9
Upper right
2, 3, 5, or 6
Lower right
For Nine-Split display, each of the nine keys 1 through 9 maps to a position in the split
display based on its location on the keypad. For example, the 7 key maps to the upper left
camera angle in the split display, while the 5 key maps to the center camera angle.
To switch camera banks in Quad Split display, do one of the following:
t
Click the right mouse button.
t
Press either the 0 (zero) key or the . (period) key on the numeric keypad.
Editing and Playing Back a Linecut in MultiCamera Mode
You can edit and play back a linecut (playback of the edited sequence) on the Source monitor
while in Quad Split Source view and Nine Split Source view. The client monitor also plays the
linecut.
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MultiCamera Editing Techniques
n
The client monitor displays only SD multicamera sequences. You can view playback of HD
multicamera sequences in the Source monitor only.
If you notice frames are dropping during playback, decrease the size of the Composer window
until playback becomes smooth.
To play a linecut on the client monitor in MultiCamera mode:
1. Double-click Composer in the Settings list of the Project window.
The Composer Settings dialog box opens.
2. Click the MultiCam tab.
3. Click the Split Mode Play menu, and select Quad or Nine Split.
4. Click the MultiCam Mode Client Monitor menu, and select Linecut.
5. Click OK.
Using the Add Edit Button During Multicamera Editing
You can use the Add Edit button like a hot key to add edits while stepping through a sequence
during playback. The only difference is that you are not switching camera angles until after you
set the edit points.
This method is especially useful when editing to music because it lets you concentrate on the
beats and ignore camera angles until the edits are placed.
To use this method, you must first map the Add Edit button onto the keyboard. Consider
mapping the Add Edit button to a function key next to the default MultiCam keys. For more
information on mapping keys, see “Understanding Button Mapping” on page 129.
To add edits:
1. Load the group or multigroup clip into the Source monitor and splice it into a sequence.
2. Play the sequence. Each time you want to make an edit, stop and press the Add Edit key.
The edits appear in the Timeline.
Play the sequence repeatedly to add more edits, or remove edits in Trim mode by lassoing
them in the Timeline and pressing the Delete key.
3. After adding the edits, place the position indicator within each segment and use the arrow
keys to switch camera angles.
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MultiCamera Editing Techniques
Using the Group Menu for Multicamera Editing
The Group menu lets you select video or audio channels from any of the clips in the group and
patch to the tracks available in the sequence. You can have nine camera angles and nine or more
audio tracks synchronized and available for patching at any time.
Group menu and Group Menu icon
n
Select the Second Row of Info option in the Composer Settings dialog box for the Group Menu
icon to be displayed above the Source monitor.
You can select the Audio Follow Video option from the Group menu to instruct the system to
switch both audio and video for each camera angle or selective camera style. The Group Menu
icon changes to green when you select the Audio Follow Video option. Audio Follow Video
overrides the track selection beside the Timeline and switches audio in track A1 only.
Audio-Follow-Video edits appear in the Timeline as match frames (that is, the transition contains
an equal sign)
To use the Group menu:
1. Click the Group Menu icon in the second row of information above the Source monitor to
display the Group menu.
2. Select video or audio channels from any clip in the group to patch the video or audio
channels to the tracks available in the sequence.
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MultiCamera Editing Techniques
3. (Option) Select the Audio Follow Video option to switch both audio and video for each
camera angle when you cut.
Using the Multi-angle View Menus During Multicamera Editing
You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional
clips to be shown in any of the multi-split displays in the Source monitor. You can also select
Sequence from the Multi-angle View menus to display the entire sequence.
To select an additional clip from the group to appear in one of the multi-split displays:
1. Press the Ctrl key to activate the display of clip names in the multi-split displays.
2. Ctrl+click the multi-split display where you want to show the new clip.
The clips in the group are listed in the Multi-angle View menu.
Select additional angles from the Multi-angle View menu
3. Select the clip you want to display from the Multi-angle View menu.
The new clip appears in the multi-split display.
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Selective Camera Cutting
Using Match Frame in MultiCamera Editing
You can use the Match Frame button to display the matching clip within the group when match
framing from the sequence, or you can display the original clip when match framing from the
source group. For more information on using the Match Frame feature, see “Using Match
Frame” on page 573.
n
If the group contains more clips than are displayed and you match a clip that is not visible (for
example, clip 5 and above for the Quad Split display), your Avid editing application selects the
clip but does not display it.
Committing MultiCamera Edits
You can remove the grouped clips in a sequence and replace each of them with its selected clip.
This might be useful if you experience poor performance with a very complex multicamera
sequence on a slower system, for example, a sequence that uses many multicamera clips and
many effects or color corrections.
To commit multicamera edits:
1. Select the sequence you want to affect.
2. Right-click the sequence and select Commit Multicam Edits.
Your Avid editing application duplicates the sequence, and then replaces each grouped clip
in the duplicate sequence with its selected clip. The original sequence is unaffected and still
contains the grouped clips.
Selective Camera Cutting
Selective camera cutting involves marking and editing source material into the sequence, much
as you build a sequence by using nongrouped clips in a normal session. You can play, cue, and
mark clips on the source side, and then splice, overwrite, and trim clips in the sequence.
To perform selective camera cutting, do one of the following:
t
Lay down an entire group as a master sequence, and then add edits, switch camera angles,
and trim within the sequence or cut in new clips.
t
Edit one clip at a time without laying down a master sequence first, effectively building a
sequence as you would with single-camera material.
The advantage of selective camera cutting with grouped clips is that all the clips are
synchronized, which simplifies the selection of camera angles. Selective camera cutting
generally requires the use of a detailed line script or detailed notes that enable you to select
clips and assemble the sequence one clip at a time.
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Selective Camera Cutting
To perform selective camera cutting with grouped clips:
1. Load the group or multigroup clip into the Source monitor.
2. Using timecode notes and the numeric keypad, type the timecode for the first take to begin
the sequence, and press Enter (Windows) or Return (Macintosh) to cue the clip in the Source
monitor to the take.
3. Mark IN and OUT points for the entire scene.
4. Select a camera angle for the first clip, and then splice the entire scene into a sequence.
5. Use the arrow keys, the Add Edit button, or both to select edit points and switch to different
angles throughout the master scene in the sequence.
6. To replace a portion of the take with a part from another take, use the timecode notes again
to cue the take, set marks, and perform a replace edit.
7. When you are finished with a scene, repeat the procedure for each additional scene in the
sequence.
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32 The Avid Marketplace
The Avid Marketplace feature allows you to purchase video (stock footage), sound effects, music
and plug-ins from within your Avid editing application. This chapter describes the process of
downloading stock footage clips and Avid supported plug-ins from within your Avid editing
application.
You must be connected to the Internet to access features offered in the Avid Marketplace.
The Avid Marketplace window includes a navigation toolbar that allows you to move Backward,
Forward, Refresh, and Cancel your last action. When you are ready to download, a progress bar
displays at the bottom and indicates the percentage of time left to download your plug-in. You
can also cancel the download at anytime.
Avid Marketplace Media Libraries
The Avid Marketplace Media Libraries allows you to search and select from hundreds of
thousands of clips in an online footage library, review your search results from a thumbnail clip,
and once you decide on the stock footage clips you want, download a proxy clip to try out in
your sequence, and then purchase and download the high resolution clip.
With the help of Thought Equity Motion, a third-party distributor of stock footage, you can
connect through the Avid Marketplace Media Libraries window and search, view and purchase
stock footage clips to load into your sequence.
Avid partnered with Thought Equity Motion because they increase the value of video content
through an advanced technology platform and licensing service. You will be able to license and
purchase sports, news, entertainment, editorial, and creative content from Thought Equity
Motion media partners, including BBC Motion Gallery, Paramount Pictures, Sony Pictures
Entertainment, National Geographic, The New York Times, and the NCAA.
The Avid Marketplace requires that you install Flash Player 11 or higher to play the stock
footage clips in the Thought Equity Motion website.
Avid Marketplace Media Libraries Quick Start
Avid Marketplace Media Libraries Quick Start
The following section contains high-level steps you can perform to search, preview and select
stock footage clips to purchase and include in your Avid editing sequence. See other topics in
this chapter for detailed steps and more information.
To purchase stock footage:
1. From your Avid editing application, select Marketplace > Media Libraries.
The Avid Media Libraries window opens.
2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity
Motion site.
3. If this is your first time, click Register to set up your User Account with Thought Equity
Motion.
For more information, see “Creating a User Sign In and Password” on page 1393.
4. Click Sign In if you have already registered.
5. Enter your user name or e-mail and password.
The system signs you in and you now have access to hundreds of thousands of clips.
6. In the Search field, enter text to locate the stock footage clips you might want, for example:
flowers.
7. Click the Search icon.
For more information, see “Performing a Search” on page 1395.
The system searches for and displays your results.
8. Click the filters in the left pane to refine your search results.
9. Click the Download Comp (Down Arrow) icon to download a single clip or add multiple
clips to My Bins to download multiple clips at one time.
You can use the default My Bins or create personalized bins to store your clips.
10. Click My Bins.
For more information, see “Creating an Online Stock Footage Bin” on page 1399.
11. Select the clips you want to try in your sequence and click Download Comps.
The Select a bin window opens.
For more information, see “Getting Comp Clips into Your Avid Bin” on page 1404.
12. Select the bin where you want the system to place your downloaded comp clips.
A progress bar displays. The low resolution AMA clips appear in your Avid bin. A
watermark displays on the clips indicating that it is a low resolution, non-purchased clip.
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Avid Marketplace Media Libraries Quick Start
13. You can now add the clips to your sequence.
14. If you want, you can create a Stock Footage Report (.txt file) to see which clips you have
used in your sequence, right-click the sequence in the bin or right-click the sequence in the
Record monitor and select Stock Footage Report.
For more information, see “Creating a Stock Footage Report” on page 1408.
15. When you decide which clip you want to purchase, right-click the clip in the bin or to
download all the clips in your sequence, right-click the sequence and select Buy Stock
Footage clips.
A login window opens asking you to login. A stock footage report is sent and a bin is created
in My Bins. This new bin includes all the stock footage clips and information about each clip
in your sequence. This report is used to calculate the cost of your clips.
For more information, see “Purchasing Your Stock Footage” on page 1410.
16. Add your clips to your cart (one at a time) and specify the usage type in the License window.
You will receive an e-mail when your high resolution clips are ready to download.
Some footage clips need to be priced and licensed with the assistance of a sales rep. Please
contact a Thought Equity Motion Sales Representative, call 866-815-6599, or select Click
here to request further details and you will be contacted shortly.
n
Call Thought Equity Motion to specify if you need the High Resolution clip to be created with the
Avid QuickTime codecs at a specific resolution (for example DNxHD). This is helpful if you need
to match the project type and resolution of your finished sequence.
17. Download your high resolution stock footage clips from Thought Equity Motion.
n
You can also download your comp clips and high-resolution clips from outside of the Avid
editing application. For information on how to do this, see “To download comp clips outside of
the Avid editing application to an Avid bin:” on page 1407 or “To download your stock footage
outside of the Avid editor:” on page 1413
It is recommended that you place all your high resolution stock footage clips for one project
in the same bin.
The media file is stored on the drive you have specified in the Media Creation > Import tab
dialog box.
n
Make sure that the drive you specify in the Media Creation > Import tab dialog box supports the
bandwidth and has enough space to support the downloaded stock footage media.
For more information, see “Downloading your High Resolution Stock Footage” on
page 1411.
18. Open the bin(s) that stores all your high resolution stock footage clips and select the high
resolution clips that correspond to the comp clips in your sequence.
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Creating a User Sign In and Password
19. Open the sequence that contains the comp (low resolution) clips, and right-click then select
Relink Stock Footage to Sequence.
The system creates a copy of the sequence which links to the high resolution clips. The copy
is named with the original sequence name followed by .Relinked.n, where n is the number of
the duplicates created from the original sequence.
The clips relink to your sequence.
For more information, see “Relinking High Resolution Media to Your Sequence” on
page 1414.
For more detailed steps, see the topics suggested under each step or see the other topics in this
chapter.
Creating a User Sign In and Password
Logging in to the Avid Marketplace - Media Libraries gives you access to hundreds of thousands
of stock footage clips. The system stores all your information under your user name and
password. You need to set up a User Account to use the Thought Equity Stock Footage library.
You may be asked to login during downloading, purchasing and ordering. This allows Avid and
the vendor to pass and receive information back and forth. Even though you may be logged in to
the vendor site, you may be asked to login again.
To sign in to the Avid Media Libraries for the first time:
1. Select Marketplace > Media Libraries.
The Avid Media Libraries window opens.
2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity
Motion site.
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Licensing Options
3. In the Thought Equity Motion page, click Register.
The Register Information window opens.
4. Enter required information including e-mail and password.
5. Click Submit Registration.
Your account information is saved and you are logged into Thought Equity Motion. The next
time you visit the Thought Equity Motion, click Sign In and enter your email and password.
Licensing Options
Thought Equity Motion displays the legal rights and clearance under each clip.
Within a search, licensing options include:
•
Rights Managed footage is subject to specific usage restrictions. These typically include a
limit on the number of times used, broadcast territory, and a usage time period. Additional
licenses can be purchased for additional uses.
•
Royalty Free footage can be used for an unlimited period of time and number of uses.
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About the Stock Footage Clips
About the Stock Footage Clips
There are two types of stock footage clips that you can download to your Avid editing system:
•
A low resolution “comp” clip which allows you to try out the clip in your sequence first,
before you purchase. This comp clip also displays a watermark.
•
A high resolution clip that you purchase. You have several formats to choose from.
Both clips are downloaded and linked using Avid’s AMA (Avid Media Access) feature, using the
AMA QuickTime plug-in (installed with your Avid editing application). The clips you purchase
and download from the Avid Media Libraries should be .mov files. If you plan to download stock
footage clips that are HD format, you need to store the HD media on striped drives that support
the HD resolution. Also, for final output of a sequence, the AMA linked stock footage can be
transcoded to the appropriate resolution.
Since your stock footage clips are linked through the AMA method, you can use the AMA
options described in “Acquisition of File-Based Media (AMA)” on page 394.
Searching through Stock Footage
From within the Avid editing application, you can search, view, purchase, and download stock
footage clips.
Within the site you can create bins to store your clips in and when you are ready to purchase and
download clips, you can choose to download all the clips in one sequence or download a single
clip.
The Avid Marketplace window includes a navigation toolbar which allows you to move
Backward, Forward, Refresh, and Cancel. When you are ready to download a clip, a progress bar
displays and indicates the percentage of time left to download your clip. You can also cancel the
download at anytime.
Performing a Search
To start a search:
1. Select Marketplace > Media Libraries.
The Avid Media Libraries window opens.
2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity
Motion site.
3. Click Sign in and enter your user name or email and password.
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Searching through Stock Footage
If you have not registered yet, click Register. See “Creating a User Sign In and Password” on
page 1393.
4. Click Log On.
The system signs you in to Thought Equity Motion.
5. Enter your search terms in the Search for footage bar.
6. Click the Search button or press Enter.
The system returns your results in the Display window.
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Searching through Stock Footage
7. Place your cursor over the thumbnail to preview a clip.
8. Use the navigation buttons to move Backward, Forward, and Refresh your last action.
To change the display options:
1. Enter your search terms in the Search for footage bar.
2. Click the Search button or press Enter.
The system returns your results in the Display window.
3. Click Display Options.
The Change your display options dialog box opens.
4. Select the results per page, Grid view (thumbnail) or Text view and to display your
thumbnail as a still image or video.
5. Click Apply.
The Display window updates to the new options.
Basic Search Terms
You can use Boolean modifiers to limit or expand your footage search.
•
Use the following modifiers: AND, NOT & OR (entered as capital letters).
•
AND: Use when you want to return clips featuring both terms. For example, a search of
butterfly AND yellow returns clips with keywords “butterfly” and the color “yellow.”
•
NOT: Use when you want to exclude certain clips from a search. For example, a search for
butterfly NOT swimming returns clips containing the keyword “butterfly” but eliminates
those clips with “swimming.” In this case, swimmers doing the butterfly stroke would not
appear in the search results.
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Searching through Stock Footage
•
OR: Use when you want to search for clips containing either keyword. For example, a search
for butterfly OR moth, returns clips featuring both butterflies and moths.
•
Combine modifiers: Use a combination of keywords and operators to narrow your search.
For example, butterfly AND yellow NOT swimming NOT fish, returns clips containing
“butterfly” and “yellow” but eliminates clips of swimmers doing the butterfly stroke and
butterfly fish.
Modifying a Search
You can customize your search with filters. The filters are located on the left side of the search
results page. These tools allow you to narrow your search by footage type, format, rights,
specialty, and other options.
To filter your results:
t
After you perform an initial search, you can narrow your search by selecting the following
options in the menu located to the left of your search results.
Filter search
results options
Description
Content Type
Allows you to choose from Clips, Screeners, or Text
Records. Select one of these options to search for only a
specific content type.
Format
Allows you to choose from SD, HD or Available on Film
formats. Select one of these options to search for only a
specific format.
Footage Type
Allows you to choose from a type of footage, including:
Creative, Editorial, Commercial. Select one of these
options to search for only a specific footage type.
Editorial
Allows you to choose from Archive, Celebrity, News and
Sports. Select one of these option to search for only a
specific section.
Rights
Allows you to choose from Rights Managed or Royalty
Free. Select one of these option to search for only specific
rights.
Broadcast Standard
Allows you to choose from NTSC, PAL, 720 or 1080.
Select one of these option to search for only a specific
broadcast standard.
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Searching through Stock Footage
Filter search
results options
Description
Releases
Allows you to choose from Fully Cleared/Ready Now or
Talent Released/Not Required. Select one of these option
to search for only specific releases.
Available Previews
Allows you to choose from Preview Available Now or
Preview Available on Request. Select one of these option to
search for only specific previews.
Audio Search
Allows you to search for clips that contain audio.
Speciality
Allows you to choose from Aerial, Slow Motion, Time
Lapse, Black and White, Clips with Audio, Clips without
Audio. Select one of these option to search for only a
specific speciality.
Other
Allows you to choose to search from a Newer Than (Date),
Older Than (Date), Reference Number/ID, Duration
Greater Than (seconds), Duration Less Than (seconds),
and Title.
To refine your search results:
1. After the search results page opens, select from the list of Refine options.
2. Select a keyword.
The system searches through your results based on the newly added keyword and displays a
new set of results.
Creating an Online Stock Footage Bin
Once you find clips that you are interested in, you can store them in an online Thought Equity
Motion bin. Bins are created in the My Bins menu. You might find it helpful to create multiple
bins for different projects or topics.
To create a Thought Equity Motion bin:
1. Within the site, click My Bins.
A menu displays bin options.
2. Click Create a new clip bin.
The Create a new clip bin dialog box opens.
3. Enter the bin name and any information you want associated with the bin.
4. If you want this bin to be your default bin, click Set focus to this bin.
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Searching through Stock Footage
5. Click Submit.
The system creates your new bin and adds it to the My Bins menu.
To add a clip to a Thought Equity Motion bin folder:
1. Once you have identified a clip to add to a bin, click the Add (+) button.
The clip is added to your default bin.
2. To add a clip to a different bin, click the check box to select the clip.
3. From the Clip tools menu, select Add selected to bin folder name.
The clip is added to your selected bin.
Managing Your Bins
After you login, you can manage and view one bin at a time by selecting the Bin name from the
My Bins menu, or to see all your bins, you can choose the Manage My Bins option from the My
Bins menu.
To manage a single bin:
1. Click My Bins.
A menu displays bin options.
2. Select a bin.
The bin opens and displays the clips you have stored in that bin.
3. Click the Display options menu to change your current display, click Apply.
4. Under each clip, the system displays icons which allow you to perform different functions,
they include:
1400
Searching through Stock Footage
Icon
Description
Information (i)
Allows you to view additional information about the clip.
View
(Magnifying Glass)
Opens a window that displays detailed information about
the clip including: licensing options and pricing.
Comments
Allows you to enter comments about your clip.
Remove (X)
Allows you to remove the clip from your bin.
View shot reel
Displays multiple shots from the selected clip.
Add to cart (Shopping Adds the selected clip to your shopping cart to purchase.
Cart)
5. To the left is a list of Options you can perform, they include:
Option
Description
Email this bin
Opens a dialog box which allows you to enter information
to email this bin to others for review.
Make a research
request
If you need help searching for content, you can fill out a
form and a representative will respond to your request.
Add notes to this bin
Allows you to enter any notes or information you want to
associate with the bin.
Download comps for
My Clips
Downloads a frame-accurate comp of all the clips in your
bin.
Contact me about
these clips
Opens a window which allows you to fill out a form so a
representative can contact you.
Subscribe to this bin
Allows you to subscribe to the bin RSS feed to track
activity including adding and deleting bins.
History of this bin
Displays the history or changes made to this bin.
Screening Room
Opens a pop-up window to preview all clips within the bin.
To manage multiple bins:
1. Click My Bins.
A menu displays folder options.
2. Click Manage My Bins.
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Searching through Stock Footage
A list of your bins display.
3. Use the Bin tools menu to Select all, Select none or Remove selected bins.
4. Use the Sort by menu to sort and search across multiple bins.
5. To the right of each bin, the system displays icons which allow you to perform different
functions, they include:
Icon
Description
Edit
Allows you to edit the name of your bin and add or change any notes
you want to include about the bin.
Information (i)
Allows you to view additional information about the clip.
View
(Magnifying Glass)
Opens the bin so you can view its contents.
Email this bin
Opens a dialog box which allows you to enter information to email this
bin to others for review.
Delete (X)
Allows you to delete the bin and all its contents.
6. To the left is a list of Management Options and Filters, they include:
Icon
Description
Create a new clip bin
Opens a dialog box which allows you to create a new bin.
Manage my favorite bins
Assign preference to your bins by placing them in a favorite list.
Then drag-and-drop to move your bins to and from a favorite list.
All bins you are a member of
Displays all the bins your login is connected to.
You own
These are bins you created or have been assigned to you as the
owner.
You can edit, but do not own
You can add or remove clips from the bin, update clipping
information and manage the display. You cannot delete the bin or
assign ownership.
You can view, but not edit
You can select clips to view, download comps and add them to your
cart.
1402
Downloading Stock Footage Clips to Your Avid Bin
Downloading Stock Footage Clips to Your Avid Bin
Once you select clips from the Avid Thought Equity Motion site, you can download low
resolution comp clips into your Avid bin to try them out in your sequence.
Although it is recommended to download directly through your Avid editing system, if needed,
you can download clips outside of the Avid editing system from an external browser. Store the
clips on your system and link them to your bin at a later time. This process can also be used to
recreate clips for previously downloaded files.
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It is recommended that you do not change the file name of the downloaded clip. The file name
includes information that is used for linking.
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An internet connection is required when you link clips in order to properly recognize files and
access the data needed for any new clip metadata.
Adding Vendor Columns to your Avid Bin
New metadata columns are available to display in your bin to provide you with information
about the vendor and the stock footage clips you might purchase. They include:
Column Name
Description
Vendor Name
The name of the vendor where you are purchasing the clip.
Vendor URL
The URL address of the vendor.
Vendor Asset ID
The vendor’s unique ID for the clip.
Vendor Asset Name
The vendor’s name for the clip.
Vendor Asset Rights
The usage rights for the clip (for example, Royalty Free).
Vendor Asset Price
The vendor-specified price for using the clip, if available.
Vendor Original Master
The original acquisition format of the media, if available
(for example, 1080i 59.94 fps HDCAM).
Vendor Download Master
The master format stored online for download, if available
(for example, QuickTime/DVCPRO HD). This file is used
to transcode to other formats, if needed.
Vendor Asset Description
The vendor’s description for the clip.
Vendor Asset Keywords
The vendor’s list of keywords for the clip.
Vendor Asset Status
The current status of the clip (Comp, Purchased).
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Downloading Stock Footage Clips to Your Avid Bin
Column Name
Description
Vendor Invoice ID
The vendor’s order/invoice ID for a purchased clip.
To add vendor columns to your Avid bin:
1. With a bin in Text view, select Bin > Choose Columns.
The Bin Column Selection dialog box opens.
2. Select the Vendor column names you want to display in your bin.
3. Click OK.
The Vendor columns appear in your Avid bin.
Getting Comp Clips into Your Avid Bin
You can preview clips by downloading them into an Avid bin and edit them into your sequence.
The clip is a low-resolution clip and designed to be only a trial clip.
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To download clips, Avid uses the AMA method. AMA is selected by default.
You can choose between downloading a standard comp clip from within the Avid editing
application or linking a customized comp clip outside of the Avid editing application. A
customized comp clip adds burn-in timecode and the name of the comp clip to your file.
However, custom comp clips are not available for immediate download. They are processed and
zipped. You will be notified when your customized comp clip is ready, typically 15 to 20
minutes.
To download a single comp clip to an Avid bin:
1. From the Avid Marketplace window, navigate to the Avid Thought Equity Motion sight and
search for a clip.
2. Click a clip thumbnail or magnifying glass icon.
The clip details page opens.
3. Click the Download comp buttons or choose Options > Download comp.
1404
Downloading Stock Footage Clips to Your Avid Bin
If you select the Download Comp Arrow icon, a Download window opens allowing you to
select a Customize Comp clip. See the steps in the following procedures to customize your
comp clip.
If you select the Download Comp button or the menu item, the Select a bin window opens.
If you only have one Avid bin opened, the clip downloads to that bin. If you have several
Avid bins opened, the Select a bin window opens.
4. Select the bin you want to download the clips to or click New Bin, and then click OK.
If the clip that you selected has already been downloaded to your system, a dialog box opens
allowing you to overwrite the file or cancel the download.
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If you choose to overwrite the file, the system replaces the original file and creates a new clip in
the Avid bin. Any clips originally linked to the previous version of the file might be offline.
A download progress bar appears in the lower-left corner of the Avid Marketplace window.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress or the download will not complete successfully.
The word Complete displays when the download is finished and the stock footage clip
appears in your Avid bin. An AMA link icon appears next to the clip. The clip is a
low-resolution clip. You can add the clip to your sequence and edit it like any other clip.
To download multiple comp clips to an Avid bin:
1. From the Avid Thought Equity Motion site, click My Bins and select the bin that stores the
clips you want to download.
Your bin opens and displays the clips you want to download.
2. Click Download comps for the bin name located in the Options menu on the left of the page.
3. Click Download X Comps.
X represents the number of clips in the bin. For example, if there are twelve clips to
download, the button will display as Download 12 Comps.
1405
Downloading Stock Footage Clips to Your Avid Bin
If you only have one Avid bin opened, the clip downloads to that bin. If you have several
Avid bins opened, the Select a bin window opens.
4. Select the bin you want to download the clips to or click New Bin, and then click OK.
If the clip that you selected has already been downloaded to your system. A dialog box
opens allowing you to overwrite or not download the file.
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If you choose to overwrite the file, the system replaces the original file and creates a new clip in
the Avid bin. Any clips originally linked to the previous version of the file might be offline.
A download progress bar appears in the lower-left corner of the Avid Marketplace window.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress or the download will not complete successfully.
The word Complete displays when the download is finished and the stock footage clip
appears in your Avid bin. An AMA link icon appears next to the clip. The clip is a
low-resolution clip. You can add the clip to your sequence and edit it like any other clip.
To download a customized comp clip to an Avid bin:
1. From the Avid Marketplace window, navigate to the Avid Thought Equity Motion sight and
search for a clip.
2. Click a clip thumbnail or magnifying glass icon.
The clip details page opens.
3. Click the Download arrow button above the clip preview.
The Download window opens.
4. Click Customize Your Comp.
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Downloading Stock Footage Clips to Your Avid Bin
5. If you want to include burn-in timecode or an asset name, select Time code or Asset name.
These options display in your clip.
6. Click Make a custom comp request.
The request is sent to Thought Equity Motion. You will receive an e-mail once your custom
comp is available to download. If you choose to download the comp by clicking the URL in
your e-mail, you will need to download and link the clip outside of the Avid editor. See the
steps below for those procedures.
7. To download your comp directly into the Avid editor, from the Avid Marketplace window,
navigate to the Avid Thought Equity Motion sight and click on My Account. Select My
Orders from the menu.
8. Click Download under On Demand Comps.
If you only have one Avid bin opened, the clip downloads to that bin. If you have several
Avid bins opened, the Select a bin window opens.
9. Select the bin you want to download the clips to or click New Bin, and then click OK.
If the clip that you selected has already been downloaded to your system, a dialog box opens
allowing you to overwrite the file or cancel the download.
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If you choose to overwrite the file, the system replaces the original file and creates a new clip in
the Avid bin. Any clips originally linked to the previous version of the file might be offline.
A download progress bar appears in the lower-left corner of the Avid Marketplace window.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress or the download will not complete successfully.
The word Complete displays when the download is finished and the stock footage clip
appears in your Avid bin. An AMA link icon appears next to the clip. The clip is a
low-resolution clip. You can add the clip to your sequence and edit it like any other clip.
To download comp clips outside of the Avid editing application to an Avid bin:
1. If you are downloading a comp clip or a custom comp clip from an external browser,
download the comp files to your system.
You can store the downloaded files in the Avid Downloads folder or to your Desktop. If
there are multiple clips, the downloaded file will be zipped. You will need to unzip them.
2. Select the Avid bin you want to place the comp clip or customized comp clip into, then
right-click and select Link to Stock Footage File(s). You can also select File > Link to Stock
Footage File(s).
1407
Downloading Stock Footage Clips to Your Avid Bin
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AMA must be enabled to link the stock footage file. The menu item will be unavailable if AMA is
not enabled.
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An internet connection is required when you link clips in order to properly recognize files and
access the data needed for any new clip metadata.
The Browse dialog box opens.
3. Locate the comp file you downloaded, and then click OK.
The stock footage clip appears in your Avid bin. An AMA link icon appears next to the clip.
You can add the clip to your sequence and edit it like any other clip.
Creating a Stock Footage Report
Before you decide to purchase your stock footage clips, you can generate a report that gives you
the following information:
•
All stock footage clips used in your sequence
•
The timecode location of each clip in your sequence
•
The duration of each clip
•
The clip name
•
The estimated cost of the clip, if available
A stock footage report is generated from a sequence. You can have multiple uses of the same
stock footage clip in your sequence, the report displays the multiple uses indented under the
master clip. Also, if you have renamed any of the stock footage clips, the report displays the new
clip name followed by the original clip name.
To generate a Stock Footage Report:
1. Do one of the following:
t
From a bin, right-click a sequence and select Stock Footage Report. You can select
multiple sequences for generating reports.
t
With a sequence loaded in a monitor, right-click the monitor and select Stock Footage
Report.
The Save Stock Footage Report As dialog box opens.
2. Use the default file name or rename the report and choose a folder to save the report to, click
Save.
The default file name is Stock Footage Report, the default location is your Avid Projects
folder.
1408
Downloading Stock Footage Clips to Your Avid Bin
If you select more than 10 sequences, a dialog box asks if you want to generate sequence
reports for all selected items.
The application writes the report to a text file and opens a text editor.
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By default, the Stock Footage Report is saved in text format. To save the report as either .csv
(comma-separated-value) or .xml, change the extension of the report before you save it. The file
saves with .csv or .xml formatting. You can then use these formats to import the report into a
spreadsheet program.
Stock Footage Report Information
The Stock Footage Report displays the following information and columns:
•
The name of the sequence selected (date and time)
•
The Avid editing system generating the report
•
The number of stock footage clips found
Column Heading
Description
SEQ_IN
At what timecode in the sequence does the stock footage clip
appear.
SEQ_DUR
The duration of the stock footage clip in the sequence.
SRC_TKS
The tracks (V1, A1, A2, etc.) the stock footage clip use in the
sequence.
SRC_IN
The IN point of the clip.
SRC_OUT
The OUT point of the clip.
SRC_DUR
The duration of the clip.
CLIP_NAME
The clip name. If you renamed the stock footage clip in the bin,
the renamed clip appears first, followed by the vendor clip name
in parenthesis.
STATUS
If available, the status of the clip. Either Comp or Purchased.
PRICE
If available, the price of the stock footage clip.
VENDOR
The name of the vendor where you downloaded the stock footage
clip.
INVOICE_ID
The vendor’s Invoice ID number if available.
1409
Purchasing Your Stock Footage
In cases in which a clip is used more than once in a sequence, additional occurrences display
indented below the first occurrence. See the example below:
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Depending on your operating system and the text file application, you might have to turn off
“word wrapping” or enlarge the size of you text window to see all the displayed columns
correctly.
Purchasing Your Stock Footage
You can purchase your stock footage as an individual clip or as all the clips in your sequence.
Even though you may be logged into the Thought Equity Motion site, you may be asked to login
again. This allows Avid and the vendor to pass and receive information back and forth.
To purchase your stock footage:
1. From your Avid bin, select a single clip or sequence, then right-click and select Buy Stock
Footage.
If you have selected more than one item, a dialog box opens informing you to select one clip
or sequence.
A login window opens asking you to login.
The Avid Marketplace window opens to the Avid Thought Equity Motion site. A bin is
created within the My Bins menu with the same name as your sequence and a time stamp.
This new bin includes all the stock footage clips and related information about each clip
from your sequence.
The clips you plan to purchase display in the window with information about each clip.
The custom clip displays the start and end time of your clip you plan to purchase.
2. Select the clip you want to purchase.
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If there is only a single clip, you do not need to select it.
You can only select one clip at a time.
1410
Downloading your High Resolution Stock Footage
Selected clip and the Add to cart icon.
3. Click Add to Cart.
The clip displays in your shopping cart.
4. (Option) If you still need to adjust the In or Out points, you can drag the handles to adjust the
length of your clip, then click Update the clips In/Out markers.
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If the clip contains clipping information, Avid adds five frames to both the start and end points of
your purchased clip.
5. If you did not complete the Licensing Options prior to this point in the purchase process, you
will be taken to the clip details page to complete this step.
n
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Licensing and restrictions vary from clip to clip. Call Thought Equity Motion sales at
866-815-6599 to obtain pricing information.
Call Thought Equity Motion to specify if you need the High Resolution clip to be created with the
Avid QuickTime codecs at a specific resolution (for example DNxHD). This is helpful if you need
to match the project type and resolution of your finished sequence.
6. Select the Delivery method and the Delivery format, then click Proceed to checkout.
Information about your clip order displays.
7. Enter your credit card information and shipping information if needed, then click Proceed.
Your Account > My Orders will display your purchase. You will also receive an e-mail
informing you of your purchase and you can download your high resolution clips.
Downloading your High Resolution Stock Footage
After your purchase is successfully completed, you can download your high resolution stock
footage.
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To download clips, Avid uses the AMA method. AMA is selected by default.
Although it is recommended to download directly through your Avid editing system, if needed,
you can download clips outside of the Avid editing system from an external browser. For steps
on downloading outside of the Avid editing application, see “To download comp clips outside of
the Avid editing application to an Avid bin:” on page 1407.
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Downloading your High Resolution Stock Footage
For more detailed information about downloading, see “Downloading Stock Footage Clips to
Your Avid Bin” on page 1403. This section explains downloading low resolution clips, but the
same information applies to downloading high resolution clips.
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It is recommended that you do not change the file name of the downloaded clip. The file name
includes information that is used for linking. However, it is all right to rename the clip name
inside the Avid bin.
To download your stock footage:
1. It is recommended that you place all your high resolution stock footage clips for one project
in the same bin. You can also specify the drive to store all your downloaded media files.
The media file is stored on the drive you have specified in the Media Creation > Import tab
dialog box. For more information about this setting, see “Preparing for Capture” on
page 168 and “Media Creation Settings” on page 1512.
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Make sure that the drive you specify in the Media Creation > Import tab dialog box supports the
bandwidth and has enough space to support the downloaded stock footage media.
2. From the Avid Marketplace window, click My Account, then click My Orders.
Your account opens with the clips you have purchased.
3. Click Download Masters.
1412
Downloading your High Resolution Stock Footage
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You need to click Download Masters for each clip.
The clips download to your selected Avid bin. If there is no bin open or multiple bins are
opened, the Select a Bin dialog box opens asking you to select a bin or create a new bin.
A download progress bar appears, in the lower-left corner of the Avid Marketplace window,
with the number of clips to download.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress, the download will not complete successfully.
The high resolution clips appear in your Avid bin. An AMA link icon appears next to the
clip. To play your sequence with the high resolution clips, you need to relink the purchased
clips to your sequence. For more information, see “Relinking High Resolution Media to
Your Sequence” on page 1414.
To download your stock footage outside of the Avid editor:
1. Open a web browser and login to the Thought Equity Motion website.
2. If the clips you want to download are stored in the Thought Equity Motion bin, download the
entire bin or individual clips.
A zip file is created for an entire bin. The zip file name is the bin name and the date. There
may be a delay in receiving the zipped file. Individual clips download immediately.
3. If needed, unzip the file and place the clips in a folder on your Desktop or somewhere
convenient for you.
4. In your Avid editing application, select the Avid bin you want to place the clips into, then
right-click and select Link to Stock Footage File(s). You can also select File > Link to Stock
Footage File(s).
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AMA must be enabled to link the stock footage file. The menu item will be unavailable if AMA is
not enabled.
n
An internet connection is required when you link clips in order to properly recognize files and
access the data needed for any new clip metadata.
The Browse dialog box opens.
5. Locate the clip you downloaded, and then click OK.
1413
Relinking High Resolution Media to Your Sequence
The high resolution clips appear in your Avid bin. An AMA link icon appears next to the
clip. To play your sequence with the high resolution clips, you need to relink the purchased
clips to your sequence. For more information, see “Relinking High Resolution Media to
Your Sequence” on page 1414.
Relinking High Resolution Media to Your Sequence
To play your sequence with the high resolution clips, you need to relink the comp clips in your
sequence to the new downloaded high resolution media.
To relink your high resolution media to your sequence:
1. Open the bin that stores all your high resolution clips for your sequence.
It is recommended that you download all your high resolution stock footage clips to the
same bin. However, you can download to multiple bins.
The media file is stored on the drive you have specified in the Media Creation > Import tab
dialog box. For more information about this setting, see “Preparing for Capture” on
page 168 and “Media Creation Settings” on page 1512.
n
Make sure that the drive you specify in the Media Creation > Import tab dialog box supports the
bandwidth and has enough space to support the downloaded stock footage media.
2. Select the downloaded high resolution clips that corresponds to the comp (low resolution)
clips.
3. Open the bin that contains the sequence with the comp (low resolution) clips.
4. Select and then right-click the sequence, and select Relink Stock Footage to Sequence.
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Do not select Link to AMA File(s), the high resolution stock footage files will not relink properly.
A message displays informing you that the system will relink the selected sequence to stock
footage clips that are selected in all open bins, do you want to continue.
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If the high resolution master clip and media do not Relink to the comp clip in the sequence, make
sure the high resolution clips are selected in the bin prior to Relinking. You can also check the
timecode and duration of the clip. You might have to adjust the length of the purchased clip in
your order and perform the download again, once the adjustment is made.
5. Click Continue.
The system creates a copy of the sequence which links to the high resolution clips. The copy
is named with the original sequence name followed by .Relinked.n, where n is the number of
the duplicates created from the original sequence.
6. Play the newly created sequence that contains the high resolution media.
1414
Avid Marketplace Plug-ins
You might want to transcode the purchased clip to the projects native format for smoother
play. See “Using the Transcode Command” on page 483.
Avid Marketplace Plug-ins
The Avid Marketplace Plug-ins window allows you to purchase and download Avid supported
plug-ins from within the Avid editing application, you can open the Avid Marketplace Plug-ins
page to download audio and video plugins. You will need to quit the Avid editing application to
install them and then relaunch the application.
Click the options listed at the top of the page to go to other Avid Marketplaces.
Purchasing and Downloading a Plug-in from the Avid
Marketplace
To purchase and download from the Avid Marketplace Plug-ins window:
1. Open your Avid editing project.
2. Select from the Marketplace menu, for example: Video Plug-ins or Audio Plug-ins.
The selected Marketplace appears.
3. Click the plug-in you want to download.
1415
Purchasing and Downloading a Plug-in from the Avid Marketplace
The purchase window with the selected product displays.
4. Select from the “Please select a product” from the pull-down menu.
5. Enter the quantity.
6. Click Add to Cart.
7. Enter a promotional code if you have one, then click Apply.
8. Click Proceed to Checkout.
9. If you have an account, click the Returning Customers check box. You will be prompted to
enter your e-mail address and password. Click login. If you do not have an account enter
your billing information.
The Account, Billing & Shipping Info window displays.
10. Fill in the appropriate data, then click Continue.
The Review Order and Payment window displays.
11. Enter your payment method and information.
12. Click Pay Now.
Your purchase is processed and a confirmation message appears.
13. Click Submit Order.
14. Click Download Products.
A window opens which displays your product and a download link.
15. Click Download or Download Now.
The Select a folder to download dialog box appears.
16. Click Downloads.
A row appears displaying the download file size and a Download link.
17. Click the Download link.
The Save File window opens.
18. Select a location to save the download. You may also rename the file before it is
downloaded.
The Avid Marketplace Download progress indicator in the lower left corner of the window
updates as the item(s) download.
When the download finishes, a Download Complete message appears asking if you want to
reveal the file.
If your product requires an activation code, you will receive an e-mail with this information.
You will also receive an e-mail with purchase confirmation and tracking information.
1416
33 Settings
This chapter provides information on how to use settings.
•
Understanding Settings
•
Working with Settings
•
Options for Moving User Settings Files
This chapter also provides reference information for all settings categories.
•
Summary of Settings
•
AMA Settings
•
Audio Settings
•
Audio Multiple Mix Settings
•
Bin Settings
•
Capture Settings
•
Communication (Serial) Ports Tool Settings
•
Composer Settings
•
Controller Settings
•
Correction Settings
•
Deck Configuration Settings
•
Deck Preferences Settings
•
Dynamic Relink Settings
•
Effect Editor Settings
•
E-mail Settings
•
Export Settings
•
Film and 24P Settings
•
Full Screen Playback Settings
•
General Settings
•
Grid Settings
•
Import Settings
•
Interface Settings
•
Interplay Folder, Interplay Server, and Interplay User Settings
•
Keyboard Settings
•
Marquee Title Settings
•
Media Creation Settings
•
Media Services Settings (Windows Only)
•
Mouse Settings
•
NRCS Settings (Media Composer | NewsCutter Option)
•
Passthrough Mix Tool
•
PortServer Settings
•
Remote Play and Capture Settings
•
Render Settings
•
S3D Settings
•
Safe Colors Settings
•
Script Settings
•
Sound Card Configuration Settings (Windows Only)
•
Cloud Playback Settings
•
Cloud Upload Settings
•
Timeline Settings
•
Trim Settings
•
Transfer Settings
•
Video Display Settings
•
Video Input Tool Settings
•
Video Output Tool Settings
•
Video Satellite Settings
•
Workspace Linking Settings
1418
Understanding Settings
Understanding Settings
The Settings tab in the Project window contains a list of settings that control many aspects of
your Avid editing application’s behavior. Using the Settings list, you can:
•
Open Settings dialog boxes to view and modify settings.
•
Switch between settings.
•
Manage settings in a variety of ways.
For more information, see “Working with Settings” on page 1421.
You can also switch between users and work with user profiles. For more information, see
“Switching to Another Set of User Settings” on page 1424 and “Understanding User Profiles” on
page 104.
The following illustration shows the Settings tab in the Project window.
Top to bottom: Settings tab, Settings Fast menu, Settings list (with setting names in the left column and setting
types in the right column)
1419
Understanding Settings
Types of Settings
There are three types of settings:
•
User settings are specific to a particular editor and reflect individual preferences for
adjusting the user interface in your Avid editing application.
User settings are stored in each user folder.
•
Project settings are directly related to individual projects. When you change a Project
setting, it affects all editors working on the project.
Project settings are stored in each project folder.
n
For information about the location of the user and project folders, see “Avid Projects and Avid
Users Folders” on page 72.
•
Site settings establish default parameters for all new users and projects on a particular
system. They can apply to particular configurations of equipment installed at the site. They
can also include other User or Project settings that you copy into the Site Settings window.
Site settings are stored in a separate Settings folder:
-
(Windows) drive:\Users\Public\Public Documents\Avid editing application\Settings
-
(Macintosh) Macintosh HD/Applications/Avid editing application/ Settings
For more information, see “Using Site Settings” on page 1429.
Examples of Ways to Use Settings
If you organize and manage your settings carefully, you can use them to speed your workflow.
For example, you can use settings to address specific needs for one stage of your workflow.
Because you can have multiple versions of settings in your Settings list in the Project window,
you can also establish settings specific to one user on your team and that user’s work tasks.
For example, you can create:
•
Two Bin settings — one that automatically saves more often when you are editing
intensively, and one that automatically saves less often when you are doing organizational
work in the bins.
•
Multiple Capture settings for capturing various types of source material.
1420
Working with Settings
•
Multiple Keyboard and Composer settings to use for various activities such as capturing,
offline editing, or online effects editing.
•
Multiple Deck Preferences settings for various types of capturing or for output.
•
User settings for the assistant editor that facilitate logging, capturing, and organizing
projects.
•
User settings for the editor that include editing interface preferences.
•
Bin View settings that display useful columns of information in bins.
For more information, see “Understanding Bin Views” on page 344 and “Saving a Custom
Bin View” on page 345).
If you establish your settings once, and then select the appropriate setting or bin view for your
current needs, you can save time and effort that you might spend searching for information or
adjusting bin headings on-the-fly.
Working with Settings
You can open a dialog box for most settings that lets you view the current settings and to change
them if necessary. You can also duplicate, rename, copy, and move settings among files or
systems.
Viewing and Modifying Settings
You can view most settings in a dialog box or window that also lets you change the settings.
You cannot modify the following types of settings:
•
Settings that require the presence of standalone peripherals.
•
Settings that are only modifiable from within the tools in which they are used, such as
Timeline views.
•
Film and 24p settings when you are working in nonfilm projects.
To view a category of settings:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Double-click a setting in the Settings list.
A dialog box or window opens.
1421
Working with Settings
To modify available settings:
1. In the dialog box or window for the setting, type new values or select new options for the
setting.
For information about navigating within a Settings dialog box, see “Using the Keyboard for
Navigating in Dialog Boxes and Menus” on page 61.
2. Click OK, Save, Apply, or Cancel, or click the Close button.
Your Avid editing application saves changes in the appropriate User, Project, or Site settings
file.
Filtering the Settings List
You can filter the Settings list in the Project window so that it displays a more focused group of
settings.
To change the Settings list display in the Project window:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the Fast Menu button, and select a settings group.
The selected settings group has a check mark in the Settings menu, and the Settings list
displays only the settings in that group.
1422
Working with Settings
The following table describes the different Settings display groups.
Option
Description
Active Settings
Displays currently active settings.
All Settings
Displays all settings available.
Base Settings
Displays Project, User, and Site settings only. Does not display views.
Bin Views
Displays all Bin View settings you have created.
Export Settings
Displays all Export settings.
Import Settings
Displays all Import settings.
Timeline Views
Displays all Timeline View settings you have created.
Title Styles
Displays all templates you have created for the Title tool.
Video Tools Settings
Displays only the Video Input Tool and Video Output Tool settings.
Workspace Linked
Displays only linked workspaces.
Workspaces
Displays all Workspace settings you have created.
1423
Working with Settings
Option
Description
Site Settings
Displays all Site settings in the Site_Settings file.
Switching to Another Set of User Settings
User settings are not project or site specific, so you can display another set of User settings in the
Project window.
To select another user:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the User Selection menu, and select another name.
User Selection menu in the Project window
Your Avid editing application saves the previous user’s settings, loads the new user’s
settings, and displays them in the Project window.
1424
Working with Settings
Duplicating Settings
To create a new version of a setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the setting you want to copy. Ctrl+click (Windows) or Command+click (Macintosh)
any additional settings you want to copy.
3. Select Edit > Duplicate.
A copy of each selected setting appears in the Settings list.
n
If you are duplicating settings with custom setting names, a period followed by a version number
appears at the end of the custom setting name of the duplicated settings.
4. Name your settings to indicate their functions.
For more information, see “Naming Settings” on page 1425.
Naming Settings
You can give settings custom names to differentiate among copies or to indicate a specific use.
To enter a custom setting name:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the Custom setting name column to the right of the setting name.
1425
Working with Settings
Custom setting name column in the Project window
3. Type a name, and press Enter (Windows) or Return (Macintosh).
The new name appears in the list and is saved in the settings file.
Selecting Among Multiple Settings
If you have multiple versions of a setting (for example, multiple Export settings), only one
setting at a time is active. Settings that are currently active have a check mark to the left of the
setting name.
To change the active setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click in the space to the left of the setting that you want to select as the active setting.
Deleting Settings
You can delete settings from the Settings list in the Project window at any time. For example,
you might choose to delete one or more versions of a particular setting, or you might want to
delete all but a few settings for transfer into another Settings window.
1426
Working with Settings
c
You cannot undo a deletion. You can, however, restore the default settings or copy settings
from other files. For more information, see “Restoring Default Settings” on page 1427 and
“Copying Settings Between Settings Files” on page 1427.
To delete a setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each
additional setting you want to delete.
3. Do one of the following:
t
Press the Delete key.
t
Select Edit > Delete.
The selected settings are removed immediately.
Restoring Default Settings
To restore settings to their default values:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each
additional setting you want to select.
3. Right-click the selected setting (or one of the multiple selected settings), and select Restore
to Default.
A message box opens.
4. Click Copy & Restore to copy the current settings before restoring the default settings, or
click Restore to discard the current settings.
The system restores the default values for the selected settings.
Copying Settings Between Settings Files
You can copy selected settings:
•
Between existing settings files.
•
Into a new settings file for use in other projects.
•
Into the Settings folder to establish standard system settings for all new projects and users.
For more information, see “Using Site Settings” on page 1429.
•
To change one type of setting to another type.
1427
Working with Settings
You can also transfer settings files to another Avid system.
n
Starting with the release of Media Composer v6.0, Symphony v6.0 and NewsCutter v10.0, the
user, project and site settings are saved in an .xml file. If you have an .avs settings file from a
previous system, you can bring it forward to a current system and the .avs file will be converted
to an xml file.
To copy settings between setting files:
1. With the Settings list in the Project window active, open the destination settings file in one of
the following ways:
t
Create and open a new settings file by selecting File > New Settings File.
An untitled settings file window opens.
t
Open an existing settings file: select File > Open Settings File, locate and select a
settings file (with the file name extension .xml) in the Avid Projects or Avid Users
folder, and then click Open.
The settings file window opens.
2. Click the setting you want to copy in the Settings list in the Project window. Ctrl+click
(Windows) or Command+click (Macintosh) any additional settings that you want to copy.
3. Drag the selected setting to the destination settings window.
Settings list in the Project window (left) and a destination settings window (right)
The copied settings are saved when you close or save the file or project.
You can also drag settings from the settings window into the Settings list in the Project
window.
1428
Options for Moving User Settings Files
To copy a setting from a settings file into the Settings list with the setting active:
1. Drag the setting into the Settings list.
A message box opens.
2. Do one of the following
t
Click Add to add the new settings to the project without affecting the project’s current
settings.
t
Click Replace to replace the current version of each setting with the new settings.
Additional versions of each setting are not affected.
Using Site Settings
When your Avid editing application opens a new project, it first searches the Site_Settings file
and loads site settings and any other settings you have placed there. Your Avid editing
application then proceeds to load any Project and User settings not included in the Site_Settings
file.
Adding settings to the site settings files is useful if you need to establish global settings for all
new users and projects, such as switcher settings, a specific start timecode for all sequences, or
various customized features of the interface.
To load settings into the Site_Settings file:
1. Open a project with the settings you want to establish as Site settings. If a project does not
already exist with the settings you want, create a project and make adjustments to the default
settings as needed.
2. Select Special > Site Settings.
3. Click a Project or User setting in the Settings list in the Project window, or Ctrl+click
(Windows) or Command+click (Macintosh) multiple settings.
4. Drag the selected setting to the Site Settings window.
Copies appear in the Site Settings window.
5. Close the Site Settings window.
All new users and projects opened from the Select Project dialog box use these settings as
the default settings.
Options for Moving User Settings Files
You might want to move user settings information from one location to another on your system,
or from one system to another.
1429
Summary of Settings
The easiest and most reliable way to do this is to take advantage of user profiles. When you
import a user profile, your Avid editing application finds all the necessary files and copies them
to the correct location. For more information about using and creating User Profiles, see
“Understanding User Profiles” on page 104.
Experienced Avid users, however, are accustomed to moving user settings around manually on
their systems. If you choose to take this approach, make sure you copy the entire user or user
profile folder, not just the individual settings files, and place the copied folder in your user folder.
Summary of Settings
The following table briefly describes each item in the Settings list and where you can find
additional information on a particular item.
Setting Name Description
Reference Topic
AMA
Sets options for creating bins and mounting volumes “AMA Settings” on page 1433
when you are working with AMA (Avid Media
Access).
Audio
Sets the default audio pan and options for audio
“Audio Settings” on page 1437
scrub. For more information, see “Using Clip Volume
and Pan Mode” on page 797 and “Adjusting Digital
Scrub Parameters” on page 770.
Audio Project
Defines the audio settings for the project and the
audio input and output methods.
“Audio Multiple Mix Settings” on
page 1444
Bin
Sets options for bins and for the SuperBin.
“Bin Settings” on page 1444
Bin View
Selects and formats the information displayed in bins.
For more information, see “Understanding Bin
Views” on page 344.
Capture
Defines how your Avid editing application
captures and batch captures in specific situations.
“Capture Settings” on page 1446
Cloud Playback Allows you to specify the quality for remote media
and allows you to manage the settings for the
CloudCache folder.
“Cloud Playback Settings” on
page 1451
Cloud Upload
Allows you to specify settings for uploading media.
“Cloud Upload Settings” on page 1451
Color
Management
Allows you to specify setting for color management. “Color Management Settings” on
page 1452
1430
Summary of Settings
Setting Name Description
Reference Topic
Communication Sets a port for Remote Play and Capture.
(Serial) Ports
“Communication (Serial) Ports Tool
Settings” on page 1453
Composer
Configures the display and behavior of buttons and
information in the Playback, Source, and Record
monitors.
“Composer Settings” on page 1454
Controller
Settings
Sets the default controller, port selection, and custom “Controller Settings” on page 1458
controller buttons.
Correction
Sets options for the Color Correction tool.
“Correction Settings” on page 1458
Deck
Configuration
Configures channels and decks into your system.
“Deck Configuration Settings” on
page 1460
Deck
Sets custom naming and configuration information
for decks.
“Deck Settings” on page 1461
Deck
Preferences
Sets preferences that affect all decks configured into
the system.
“Deck Preferences Settings” on
page 1462
Desktop Play
Delay
Allows you to increase or decrease the amount of
frame offset.
“Desktop Play Delay” on page 1464
Dynamic Relink Sets options that control how clips link to media files “Dynamic Relink Settings” on
when you are working in a MultiRez environment.
page 1464
Effect Editor
Sets options for how controls appear and behave in
the Effect Editor.
“Effect Editor Settings” on page 1467
Email
Sets options for receiving email notification when a
render operation completes.
“E-mail Settings” on page 1469
Export
Sets options for file export.
“Export Settings” on page 1470
Film and 24p
Sets options for edit play rate, ink number format, and “Film and 24P Settings” on page 1494
transfer rate.
Full-Screen
Playback
Sets options for viewing your video on a full-screen
monitor.
General
Defines default values such as the default starting
“General Settings” on page 1499
timecode and temporary file location for your project.
Grid
Defines the grid to use when you create effects. For
more information, seeFor more information, see
“Setting Effect Grid Options” in the Help.
“Grid Settings” on page 1500
Import
Sets options for file import.
“Import Settings” on page 1502
1431
“Full Screen Playback Settings” on
page 1495
Summary of Settings
Setting Name Description
Reference Topic
Interface
“Interface Settings” on page 1508
Defines the appearance and function of certain
interface elements. For more information, see
“Customizing the Avid User Interface” on page 107.
Interplay Folder Lets you specify a project directory on the asset
manager to use for checking in media objects.
“Interplay Folder Settings” on
page 1509
Interplay Server Lets you specify the Avid Interplay Server location on “Interplay Server Settings” on
the network.
page 1510
Interplay User
Lets you set the preference for accessing Avid asset
manager.
“Interplay User Settings” on page 1510
Keyboard
Lets you map commands from the Command palette
to the keyboard.
“Keyboard Settings” on page 1510
Marquee Title
Lets you select the Title tool for creating titles and
provides options for promoting titles.
“Marquee Title Settings” on page 1511
Media Creation Sets options for video resolution and selects the
drives for capturing, creating titles, importing,
performing audio and video mixdown, and motion
effects.
“Media Creation Settings” on
page 1512
Media Services Configures your Avid editing application to work
with the Avid Interplay Media Services Broker.
“Media Services Settings (Windows
Only)” on page 1515
Mouse
Lets you set the speed of scrolling with the mouse
wheel within your Avid editing application. For more
information, see “Using the Mouse Scroll Wheel for
Navigating” on page 62.
“Mouse Settings” on page 1515
NRCS
(NewsCutter
Option)
Defines the name of the Newsroom Computer System “NRCS Settings (Media
server and the default user name. Sets Message of the Composer | NewsCutter Option)” on
Day and Mail options for the NRCS tool.
page 1516
Passthrough
Mix Tool
Opens the Passthrough Mix Tool
“Using the Passthrough Mix Tool” on
page 215
PortServer
Sets up the LANshare client so your Avid editing
application recognizes its workspaces.
“PortServer Settings” on page 1518
Remote Play
and Capture
Lets you use your Avid editing application like a
videotape recorder.
“Remote Play and Capture Settings”
on page 1519
Render
Sets options for managing render operations and
defining the methods your Avid editing application
uses when rendering.
“Render Settings” on page 1520
1432
AMA Settings
Setting Name Description
Reference Topic
S3D
Sets stereoscopic parameters.
“S3D Settings” on page 126
Safe Colors
Sets the safe color parameters for the Color
Correction tool.
“Safe Colors Settings” on page 1523
Script
Sets the default display options for scripts imported
using script integration.
“Script Settings” on page 1524
Sound Card
Lets you map audio input sources directly to the
Configuration
output sources available with your audio hardware
(Windows only)
“Sound Card Configuration Settings
(Windows Only)” on page 1525
Timecode
Window
Displays various timecodes in an adjustable window.
Appears in the Settings list to facilitate copying
settings. For more information, see “Using the
Timecode Window” on page 523.
Timeline
Sets general Timeline preferences.
“Timeline Settings” on page 1525
Trim
Customizes the Trim mode environment.
“Trim Settings” on page 1530
Video Display
Sets options for video input, desktop video, Client
monitor use, and effects preview.
“Video Display Settings” on page 1531
Video Input
Lets you calibrate for video input.
“Video Input Tool Settings” on
page 1532
Video Output
Lets you calibrate for video output.
“Video Output Tool Settings” on
page 1533
Video Satellite
Lets you synchronize video playback with a Pro
Tools|HD® session.
“Video Satellite Settings” on
page 1538
Workspace
Lets you associate settings and windows with a
“Workspace Linking Settings” on
workspace. For more information, see “Linking User page 1539
Settings and Workspaces” on page 113.
AMA Settings
AMA Settings: Bins Tab
Option
Description
Use active bin
When this option is selected, your Avid editing application uses the currently
active bin to store clips linked using AMA.
1433
AMA Settings
Option
Description
Create a new bin
When this option is selected, your Avid editing application creates a new bin to
store clips linked using AMA and controls the bin name. This is the default
option.
•
Default bin naming convention: uses the project name for the bin (bin name
followed by a consecutive number).
•
Volume name: the name or label of the volume (for example D:).
•
Specify bin name: lets you enter a new bin name.
Display imported headframe
When this option is selected, your Avid editing application displays the
device-defined headframe.
Display editor headframe
When this option is selected, your Avid editing application displays your Avid
editing application’s headframe or frame icon in Frame view.
AMA Settings: Quality Tab
Option
Description
AMA Link Preference: Video This option allows you to select a quality resolution: Highest Quality or Most
Compressed before linking your video media.
AMA Link Preference:
Audio
This option allows you to select a quality resolution: Highest Quality or Most
Compressed before linking your audio media.
Consolidate/Transcode
Preference: Video
This option allows you to consolidate/transcode your video media to the Highest
Quality or Most Compressed resolution.
Consolidate/Transcode
Preference: Audio
This option allows you to consolidate/transcode your audio media to the Highest
Quality or Most Compressed resolution.
AMA Settings: Volume Mounting Tab
Option
Description
Enable Legacy P2
import (disables AMA
P2)
Enables the non-AMA P2 workflow for importing media.
Enable Legacy XDCAM Enables the non-AMA XDCAM workflow for importing media.
import (disables AMA
XDCAM)
1434
AMA Settings
Option
Description
Automatically
AMA-link to volumes
With this option enabled volumes/disks are automatically mounted. With this option
disabled, you can load media without the clips appearing in a bin.
When mounting
previously mounted
volumes, do not check
for modifications to the
volume.
If you select this option, your Avid editing application automatically scans and links
all clips from the third-party device and drive every time a device or drive is attached
to your system. If you do not select this option, the system checks the modification
date of the device or drive against the last time the clips were linked. If the date is the
same, the clips come back online. If the date is different, the system links the clips
again, and links any new clips added to the volume. The option is off by default.
AMA Settings: Link Options Tab
Option
Description
Multichannel Audio
Select this option if you want to assign audio tracks to specific channels in your linked
media, up to a maximum of 16 audio channels for the clips in your bins. This allows
you to specify which source channels are treated as mono or multichannel audio
tracks in your project, rather than having to modify the clips in your bin after you link
to the AMA media.
Click Edit to open the Multiple Mixes dialog box, which allows you to map audio
tracks to channels. For more information, see “AMA Linking with Multichannel
Audio” on page 421.
Audio Start-Time Option Sets the interpretation of audio start time for Broadcast Wave and iXML files.
(for Broadcast Wav
For details on using this option, see “iXML Metadata in Broadcast Wave and AIFF
Files” on page 1552.
Alpha Channel
Controls how your Avid editing application handles the alpha channel in AMA linked
images. The following options are available
•
Invert on import (white = opaque): Select this option to reverse the black and
white elements of the alpha channel if they differ from the matte key requirements
of your Avid editing application. Avid applications use a white background, a
black foreground, and a gray transparency blend between the two.
•
Do not invert (black = opaque): Select this option to import the image, using the
existing alpha channel information.
•
Ignore: Select this option to import an image that contains alpha channel
transparency information as one opaque graphic. The imported graphic appears as
a single master clip in the bin.
1435
AMA Settings
Option
Description
QuickTime Live Link
Select this option if your editing workflow includes QuickTime movies where the
number of tracks, the duration, or the edit rate, but not the file name have been
changed in After Effects or Final Cut Pro. See “Using the QuickTime AMA Plug-In”
on page 458.
AMA Settings: AIS MetadataTab
Description
Reel name for Labroll
column based on:
Frame Count for DPX
column:
Select from where to read the Reel name. This information will appear in the Labroll
bin column. If data exists in the Input Device field of the DPX file, this information
will appear in the Camroll bin column after linking to the file. If no data exists in the
Input Device field, the Camroll bin column will be empty.
•
Source file name - Enabling this setting gets the Reel Name from the source file
name. If the source file name is only numeric characters, no data will appear in the
Labroll bin column.
•
Source folder name - Enabling this setting gets the Reel Name from the folder
name specified. When Source folder name is enabled, a pulldown menu becomes
active. The pulldown menu is used to select a particular folder in the DPX folder
directory structure. The directory range is one folder (that contains the DPX files)
up to eight folders higher.
Select how you want Frame count to appear in the DPX bin column and Tracking
Information. The frame count will appear as a 7 digit number in the DPX bin column.
The DPX pre-fix is derived from the Labroll bin column. If no data exists in the
Labroll column, then the DPX prefix will be empty.
•
Start frame count at 0 - Enabling this setting starts the frame count in the DPX
column at 0000000
•
Start frame count at 1 - Enabling this setting starts the frame count in the DPX
column at 0000001
•
Convert timecode to frames - Enabling this setting extracts timecode from the
header and converts it to frames based on the current timebase
•
From the File name - Enabling this setting gets frame information from the file
name
1436
Audio Settings
Description
Timecode for Start
column:
Select where to read the Timecode. This information will appear in the Start bin
column. If no timecode can be extracted from either location, the column will
populate with the default timecode.
•
Embedded in source file - Enabling this setting extracts the timecode from the
Header file
•
From file name - Enabling this setting gets the timecode from the file name
Audio Settings
Option
Description
Mix Tool Display
Options
Opens a dialog that allows you to add or remove items such as faders, legends, effect
buttons, and the solo and mute buttons:
Source Monitor Scrub
Defines the number of outgoing and incoming frames you hear as you scrub.
Record Monitor Scrub
Defines the number of outgoing and incoming frames you hear as you scrub.
Source Scrub
Defines the number of outgoing and incoming frames you hear as you scrub the
source.
Timeline Scrub
Defines the number of outgoing and incoming frames you hear as you scrub in the
timeline.
Default Pan for mono
tracks
Controls the way you want sound to pan between speakers:
•
Alternating L/R: Sends the odd tracks to the left channel and the even tracks to the
right channel.
•
All Tracks Centered: Centers the pan of all tracks between the two speakers for
monitoring and output.
Play Buffer Size in
Defines the size of the host audio play buffer during playback and digital cut. Use this
Samples (Software-only option if you experience performance problems with playback to the host audio
Models)
device.
n
Avid recommends the default value for this option. Changing this parameter
might cause audio or video underruns, dropped frames, or increased noise in
the audio output.
For more information, see “Adjusting the Play Buffer Size for Audio (Software-only
Models)” on page 787.
To return this option to its default value, click the rs (recommended sample) button.
1437
Audio Project Settings
Option
Description
Tool Buffer Size in
Defines the size of the host audio play buffer during audio loop play and audio tools
Samples (Software-only play (such as volume automation recording). Reducing the tools play buffer size
Models)
decreases the overall latency between the time you adjust an audio parameter in your
Avid editing application and the time you hear those changes through the speaker.
n
Changing this option might cause audio or video underruns, dropped frames,
or increased noise in the audio output. Because performance varies from
machine to machine, experiment to find a value that works best. For best results
when adjusting this option, turn off or disconnect all DV devices.
For more information, see “Adjusting the Play Buffer Size for Audio (Software-only
Models)” on page 787.
To return this option to its default value, click the rs (recommended sample) button.
Monitors Volume
Controls the volume of the desktop speakers. Use the Mute button to mute audio
output to speakers or headphones.
Audio Project Settings
You can save multiple Audio Project settings and select one as the active setting. If you edit an
inactive setting, your Avid editing application does not display items that are not saved. For
example, Mix Mode does not display in an inactive setting because you cannot save it in the
Project settings.
n
The Direct Out mode is saved in the Audio settings, not the Audio Project settings. You set it in
the Output tab of the Audio Project window but the system saves the value in the active Audio
settings.
Audio Projects Settings: Main Tab
Option
Description
Sample Rate
Defines the audio sample rate for the entire system for playing and recording.
The broadcast standard for most high-end video postproduction houses is 48 kHz or
higher.Select the rate based on the requirements of your facility.
For information on changing the sample rate for individual sequences and audio clips,
see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 835.
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Audio Project Settings
Option
Description
Audio File Format
Defines the file format for audio:
•
WAVE (OMF): Compatible with Windows applications.
•
AIFF-C (OMF): Compatible with many third-party applications, including Pro
Tools.
•
PCM (MXF): Enables easy exchange of material between servers, tape streamers,
and digital archives.
Select WAVE or AIFF-C for all audio media when you need to transfer audio media files
directly to a Pro Tools system for audio sweetening.
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Bit Depth
DV Audio Pattern
Media Composer has limited support for Sound Designer II™ audio. For more
information, see “Transferring and Working with Sound Designer II Audio Files
from Macintosh Systems” on page 1157.
Defines the sample size you use when you work with audio files:
•
16 Bit: For CD-quality audio.
•
24 Bit: For work with higher resolution audio.
Controls whether variation in the audio sample rate is allowed. Select the option
expected by your device.
•
Unlocked Audio: Allows some imprecision in the audio sample rate, with a variation
of up to +/– 25 audio samples per frame.
•
Locked Audio: Keeps the audio clock locked precisely to the video clock, so exactly
the same number of audio samples and video frames are recorded or transmitted in
each cycle of the phase relationship.
Depending on your Avid input/output hardware, this option might be unavailable
because the option is automatically selected depending on the deck template you
choose. The option is set to Locked Audio for DVCPro device templates, and to
Unlocked Audio for all other device templates.
Convert Sample Rates Controls whether or not your Avid editing application performs on-the-fly sample rate
When Playing
conversion of segments that do not match the rate defined in Sample Rate.
•
Never: Your Avid editing application does not perform sample rate conversion
(segments play as silence).
•
Always: Your Avid editing application attempts to perform a sample rate conversion.
The resulting audio quality might not be useful for a finished project, but can be
useful during an editing session because it prevents audio from playing back with
silence.
For information on changing the sample rate for individual sequences and audio clips,
see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 835.
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Audio Project Settings
Option
Description
Show Mismatched
Sample Rates as
Different Color
Controls whether or not your Avid editing application identifies mismatched sample
rates by color if you have a sequence with several different sample rates.
Remove Extra Filler
After Punchin
Controls whether your Avid editing application removes or keeps extra filler added
during an audio punch-in recording.
Optical Connection
Depending on your Avid input/output hardware, defines whether you use ADAT or
S/PDIF output for use with an optical connection.
Keep Dolby E
Material Safe
Select this option to ensure the capture of Dolby E media.
Audio Project Settings: Input Tab
The options that appear in this tab depend on your audio configuration and the hardware installed
on your system. Your options might differ from those listed here.
Option
Description
Input Gain slider
Depending on your Avid input/output hardware, controls your computer’s volume settings.
(Windows only) Select the +20 dB check box to boost gain for low gain inputs.
Input Source
Controls the type of audio input. The types available depend on the audio hardware
installed in or connected to your system.
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Sample Rate
Conversion
If you select IEEE 1394 as your input device, this option is automatically set to
Host-1394. For more information, see “Connecting a DV Device” on page 193.
Controls sample rate conversion:
•
When needed: Your Avid editing application automatically converts incoming audio
sample rates to match the project sample rate.
•
Never: Your Avid editing application does not perform sample rate conversion.
For more information, see “Selecting the Audio Sample Rate and Controlling Audio
Sample Rate Conversion” on page 208.
Output Sync
Controls the timing reference for output:
During Passthrough
• Same as Video Out with SRC (Sample Rate Conversion): This is the default setting
and is used for most applications. The timing reference is the same for the audio and
video output clock.
•
Same as Audio In: Uses the audio capture clock as the audio output clock while you
are capturing. This option does not require the use of a sample rate converter and is
useful when using encoded digital audio stream.
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Audio Project Settings
Option
Description
Options for HD
SDI input
16ch: Lets you capture up to 16 audio channels of HD-SDI input.
n
Not all decks support 16-channel audio. For more information, see the
documentation for your deck.
Audio Project Settings: Output Tab
The options that appear in this tab depend on your audio configuration and the hardware installed
on your system. Your options might differ from those listed here.
Option
Description
Output Gain
Controls the volume of global audio output.
Mix Mode Selection
button
Controls how your system interprets audio values during playback:
Stereo Mix Tracks
•
Stereo: Mixes the currently monitored audio tracks into a stereo pair.
Depending on your Avid input/output hardware, you can customize the mix
using the Stereo Mix Tracks option.
•
Mono: Pans all the currently monitored tracks to center and ignores pan
effects.
•
Direct Out (available depending on your Avid input/output hardware): Maps
tracks directly to the available output channels. Ignores pan settings. You can
remap a track to any channel by clicking the Channel Assignment menu and
selecting another channel.
This option is available with some Avid input/output hardware.
Customizes the mix of tracks with Stereo selected in the Mix Mode Selection
Menu button.
Your Avid editing application sends a stereo mix to the two channels you select.
Material panned to the left is sent to the odd channel, and material panned to the
right is sent to the even channel. The number of channels available depends on the
audio output you select or on the options you select in the SD SDI tab.
First six tracks are 5.1
surround: L, R, C, LFE,
LR, RR
Available when you select Direct Out with the Mix Mode Selection Menu button
and when you are using or an Avid Mojo DX.
Select this option when the media in the Timeline is set up as surround sound
media even if your speakers are set up as stereo. You can use the Direct Out
channel selections to reset which tracks go to which channels.
Deselect this option if you are using stereo media in the Timeline.
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Audio Project Settings
Option
Description
All or Timeline Track
Maps
Available when you select Direct Out with the Mix Mode Selection Menu button.
Maps the track and output channels:
•
All: Lets you choose between all available tracks.
•
Timeline: Lets you assign output channels to the tracks monitored in the
Timeline.
Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button.
Defines the groups of output tracks to map to audio channels. Groups of tracks
display in multiples of 8, up to the maximum of 24 available audio tracks.
Reset
Available when you select Direct Out with the Mix Mode Selection Menu button.
Reassigns the audio tracks of the sequence to the default channels that are
currently available.
Output type option tab:
Analog
Turns analog output on or off.
Output type option tab:
SD SDI
This option is available depending on your Avid input/output hardware.
Use the On or Off option to control whether to embed the audio with the video in
SDI output.
Select one of the following based on the number of channels you want and the
sample rate you want on the outgoing SDI signal:
•
4 channels 20-bits
•
4 channels 24-bits
•
8 channels 20-bits
•
8 channels 24-bits
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Output type option tab:
HD SDI
With some Avid input/output hardware devices, you must use 48-kHz audio
when SDI is enabled. With Avid Nitris DX or , you do not need 48-kHz
audio.
This option is available for HD projects depending on your Avid input/output
hardware.
Use the On or Off option to control whether to embed the audio with the video in
HD SDI output.
Select either 4 channels 24-bits or 8 channels 24-bits, based on the number of
channels you want on the outgoing SDI signal.
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Audio Project Settings
Audio Project Settings: Hardware Tab
Apart from HW Calibration, the settings in the Hardware tab are for informational purposes only
and list defaults set by your system, depending on your audio hardware and configuration.
Option
Description
Card
Indicates the type of audio card installed.
Peripheral
Indicates the type of peripheral audio device (audio interface) attached to the system.
Sync Mode
Sync ensures that the audio sample clock is always in sync with the video clock for audio
input and output. This prevents long-term drift between audio and video.
When you are working with video and digital audio simultaneously, set your digital audio
equipment to the same video reference signal as your video equipment.
n
HW Calibration
When you change the audio input selection, your Avid editing application
automatically selects the correct audio clock source for audio sync.
Depending on your Avid input/output hardware, matches the software audio calibration to
your Avid hardware.
The default value for the software and hardware is -20dBFS. Other available values are
-14dBFS and -18dBFS. If you don’t change your hardware settings, keep this value at
-20dBFS. For information on changing the hardware setting, see “Calibrating Audio
Hardware for Avid Nitris DX and Avid Mojo DX” on page 217.
Open Calibration
window
Available when you are using Avid Nitris DX or Avid Mojo DX.
Opens the Audio Hardware Calibration tool, see “Calibrating Audio Hardware for Avid
Nitris DX and Avid Mojo DX” on page 217.
Audio Project Settings: Effects Tab
Option
Description
Effect Bypass panel
Controls which of the volume settings established with the audio tools your Avid editing
application ignores when playing back or recording a sequence:
•
Clip Gain: Bypasses the clip gain mode of the Audio Mixer tool.
•
Volume: Bypasses all Volume Automation and Pan effects set in the Volume
Automation and Pan mode of the Audio Mixer tool.
•
RT EQ: Bypasses all unrendered EQ effects set in the Audio EQ tool.
These buttons function the same as the Bypass buttons in the audio tools.
Render Sample Rate
Conversion Quality
Controls the conversion quality of all non-real-time sample rate conversions. The
following options are available: High and Slow, Balanced, Low and Fast.
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Audio Multiple Mix Settings
Option
Description
Real-Time Audio
Dissolves
When Enabled is selected, you can play audio dissolves (also called crossfades) as
real-time effects. Select Disabled if you experience an audio performance delay in your
Avid editing application.
Dissolve Midpoint
Attenuation
Controls the method your Avid editing application uses for audio dissolves:
•
Const Power –3dB: Uses constant power to maintain a consistent sound level
through the midpoint of the dissolve.
•
Linear –6dB: Uses a linear gradient to maintain a consistent amplitude through the
midpoint of the dissolve.
Audio Multiple Mix Settings
You can save Audio Multiple Mix settings and select one as the active setting. See “Mixing
Down Multiple Audio Tracks” on page 838.
Bin Settings
Option
Description
Auto-Save interval
n minutes
Defines the interval between attempts to auto-save project files. The default is 15 minutes.
Inactivity period
n seconds
Defines how long your Avid editing application waits when your system is inactive before
automatically saving the project files. The default is 15 seconds.
Force Auto-Save at
n minutes
Defines the maximum interval between auto-saves. Once this time elapses, your Avid
editing application auto-saves the project files even if it must interrupt an edit to do so.
The default is 17minutes.
To avoid interrupting an edit, your Avid editing application waits until your system is
inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at
which your Avid editing application interrupts an edit to make the auto-save.
Maximum files in a Defines the maximum number of files stored in the Avid Attic folder for each project.
project’s attic
When a bin or script is saved, your Avid editing application copies the current version of
the bin or script to a subfolder within the special folder called the Avid Attic. Each project
has its own subfolder and each bin or script saved in a project has its own subfolder within
the project folder. The default is 1000 files per project. The overall file count for the entire
Avid Attic will reflect the files stored for each project on the system.
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Bin Settings
Option
Description
Max versions of a
file in the attic
Defines the maximum number of single-bin or script copies stored in a project's attic. This
setting prevents filling the project's attic with too many versions of one bin or script. The
default is 50 versions.
Double-click loads
object in
Determines what happens when you double-click an object in the bin:
•
New Pop-up Monitor: Creates a new Source pop-up monitor and automatically loads
the clip when you double-click an object in the bin.
•
Source or Record Monitor: When you have the Composer monitor stretched into two
monitors, loads the clip into the Source monitor or the sequence into the Record
monitor. When you are using the single Composer monitor, loads the clip or sequence
into the existing Source pop-up monitor.
Enable edit from bin Lets you edit clips directly from a bin by selecting a clip and clicking the Splice-in or the
(Splice, Overwrite) Overwrite button.
Always keep at least This option is on by default and when enabled will keep one version of each bin in the
one version in Attic. Attic. If you deselect this option, multiple copies of the bins you have currently been
working on will be saved rather than making sure one copy of every bin will be saved. If
you deselect this option, older bins may have all Attic versions removed to keep to the
Max Files limit.
Show local media
icons
Clip icons will appear blue to indicate the media is local or pink to indicate mixed
resolution.
Frame View
Determines how border colors and icons appear in Frame View
Show Border Colors: Use color based on object type displays a colored border around the
following:
•
Blue - Precomputes and source side motion effects
•
Green - Master clips
•
Dark Green - Subclips and Group clips
•
Red - Sequences
•
Purple - Media files in the Media Tool
Show Border Colors: Use clip color, assigns the same colors you assigned to clips in Text
View to items in Frame View.
Show icons displays the applicable bin item icon, for example sequence, clip, subclip,
title.
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Capture Settings
Capture Settings
Capture settings include essential options for capturing, batch capturing, auto capturing,
capturing to multiple media files, DV scene extraction, and setting key commands.
Capture Settings: General Tab
Option
Description
Stop deck after
capture
When this option is selected, the deck stops when the capture operation is complete.
Pause deck after
capture
When this option is selected, the deck pauses when the capture operation is complete.
Preroll Method
Defines the preroll method. For more information, see “Selecting Settings for Preroll
Method and for Capturing Across Timecode Breaks” on page 182.
Force unique clip
names
When this option is selected, your Avid editing application automatically assigns a clip
name based on the bin’s name and ensures this name, or another name you select, is not
already used by any other object in the bin.
Activate bin window
after capture
When this option is selected, your Avid editing application changes the focus from the
Capture Tool window to a bin window after capturing or logging is complete. This lets
you start working in the bin immediately.
Space bar stops
capture
When this option is selected, you can use the space bar to create clip names during the
capturing process. When you press the space bar during a capture operation, your Avid
editing application stops capturing, creates a clip from the captured material, and places
the clip in the active bin.
Capture across
timecode breaks
When this option is selected, your Avid editing application captures sections of
discontinuous timecode on a tape as separate clips. When this option is deselected, your
Avid editing application stops capturing and reports an error when it encounters a
timecode break.
Stop capture if a bad
frame is detected
When this option is selected, your Avid editing application stops capturing if a corrupt
frame is detected. This setting is enabled by default.
Latency for no deck
mode n frames
Compensates for problems that might occur when you capture with external timecode.
For more information, see “Capturing in Satellite Mode or No Device Control” on
page 278.
If you notice that your captured media consistently starts on the wrong frame (usually
one or two frames off), use this option to ensure that capturing starts on the correct
frame. The option is set to zero by default.
This option is not available in software-only configurations.
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Capture Settings
Option
Description
Ignore Detected
Media Read Errors
When this option is selected, capture accuracy improves, especially on tapes that appear
to be experiencing a lot of dropouts.
Capture a single
video frame only
When this option is selected, your Avid editing application captures a single frame of
video from your clip. When you click the Record button, your Avid editing application
captures the currently displayed frame.
Ask before discarding When this option is selected, your Avid editing application lets you choose whether to
a canceled clip
discard the canceled clip, keep it, or try again.
Ask for name when a When this option is selected, your Avid editing application asks you for a name when it
new tape is seen
detects a new tape.
Display incoming
video in the client
monitor
When this option is selected, your Avid editing application displays incoming video in
the Client monitor as soon as you open the Capture tool.
Pause deck while
logging
When this option is selected, the deck pauses after you set an OUT point while you log
clips. This gives you time to type the name of the clip. For more information, see
“Logging Directly into a Bin” on page 147. When this option is deselected, the camera
or deck continues playing after you set an OUT point.
Capture Settings: Batch Tab
Option
Description
Optimize for disk space
When this option is selected, your Avid editing application captures only the exact
amount of material in the master clips plus any additional handles. The tape pauses
and prerolls independently for each master clip that is batch captured.
Optimize for batch speed When this option is selected, your Avid editing application speeds up batch
capturing by allowing the deck to continue to roll forward between adjoining clips.
To qualify for this operation, the two adjoining clips must meet the following
criteria:
•
There is 5 seconds or less between the OUT point of the first clip and the IN
point of the second clip.
•
The two clips have the same video resolution and the same audio rate.
n
If you select this option, your Avid editing application might occasionally
capture more material than you need.
1447
Capture Settings
Option
Description
Switch to emptiest drive
if current drive is full
When this option is selected, your Avid editing application switches to the target
media storage drive with the most available space when the current target drive
becomes full during batch capturing. Your Avid editing application switches before
starting to capture the clip, based on the number of minutes in the clip. For more
information, see “Batch Capturing from Logged Clips” on page 250.
When this option is deselected, your Avid editing application stops capturing when
a drive becomes full.
Rewind tape when
finished
When this option is selected, your Avid editing application automatically rewinds
tapes after batch capturing finishes.
Eject tape when finished
When this option is selected, the tape ejects as soon as the last shot from that tape is
captured. You can do other tasks while the tape is in use and be alerted as soon as
the tape is no longer needed.
Log errors to the console When this option is selected, your Avid editing application continues capturing if an
and continue capturing
error occurs during the capture process.
Capture the tracks logged When this option is selected, your Avid editing application captures the tracks
for each clip
logged for each clip.
Use the audio sample rate When this option is selected, your Avid editing application uses the audio sample
logged for each clip
rate logged for each clip.
Use the audio bit depth
logged for each clip
When this option is selected, your Avid editing application uses the audio bit depth
logged for each clip.
Use the video
compression logged for
each clip
When this option is selected, your Avid editing application uses the video
compression logged for each clip.
Capture Settings: Edit Tab
Option
Description
Enable edit to timeline When this option is selected, Splice-in Edit and Overwrite Edit buttons display in the
(splice, overwrite)
Capture tool.
Handles
Controls the amount of footage you capture before and after the IN and OUT points of
the clips (when capturing to the Timeline only).
Enable voice-over
When this option is selected, the Voice-Over button displays in the Capture tool.
Preroll
Postroll
Controls the amount of preroll and postroll you want to capture before and after the
voice-over.
1448
Capture Settings
Capture Settings: OMF Media Files Tab
The OMF Media Files tab is available in the Capture Settings dialog box when you select OMF
in the Media Type tab of the Media Creation dialog box.
Option
Description
Capture to a single file,
2 GB limit
When this option is selected, capture stops when the media captured has taken up
2 gigabytes (GB) of storage space on the media drive.
Capture to multiple files
When this option is selected, your Avid editing application writes captured video
or audio to multiple files across multiple drive partitions. Select this option for
clips that might exceed the 2-GB file-size limit.
Maximum (default) capture
time n minutes
Determines how much space your Avid editing application preallocates on the
target drive or drives before a capture begins. The default capture time is 30
minutes.
This option applies only to capture-on-the-fly and capture from an IN point
without an OUT point. Capture from an IN point to an OUT point overrides this
option. Change this option only if you intend to capture on-the-fly for longer than
30 minutes. Your Avid editing application captures for only the specified number
of minutes, so be careful not to underestimate.
Switch to emptiest drive
when n minutes left
When this option is selected, your Avid editing application switches to another
storage drive when the specified amount of time remains.
Capture Settings: MXF Media Files Tab
The MXF Media Files tab is available in the Capture Settings dialog box when you select MXF
in the Media Type tab of the Media Creation dialog box.
Option
Description
Maximum (default)
capture time n minutes
Determines how much space your Avid editing application preallocates on the target
drive or drives before a capture begins. The default capture time is 30 minutes.
If Frame Chase capture is enabled (the “During capture, clip is updated in Interplay
option is selected), this option defines the expected duration in minutes for a Frame
Chase clip that you create during on-the-fly or open-ended capture (when no IN and
OUT marks are set in the Capture tool).
This option applies only to capture-on-the-fly and capture from an IN point without
an OUT point. Capture from an IN point to an OUT point overrides this option.
Change this option only if you intend to capture on-the-fly for longer than 30
minutes. Your Avid editing application captures for only the specified number of
minutes, so be careful not to underestimate.
1449
Capture Settings
Option
Description
During capture, clip is
updated in Interplay
When this option is selected, Frame Chase capture is enabled. An initial check-in
takes place 10 seconds after a capture begins.
Subsequent Interplay updates occur at intervals defined by the Update Interval
option. Select an update interval from the menu to determine how frequently updates
to Interplay occur during a Frame Chase capture.
In most circumstances you should keep the update interval low (1 minute or 2
minutes). This ensures that information added during capture (for example,
comments or markers) is available as quickly as possible.
For more information, see “Enabling Frame Chase Capture” on page 248.
Switch to emptiest drive
when n minutes left
When this option is selected, your Avid editing application switches to another
storage drive when the specified amount of time remains.
Capture Settings: DV & HDV Options Tab
Option
Description
DV&HDV Scene
Extraction
When this option is selected, you can automatically generate subclips and markers
based on time-of-day (TOD) information contained in the DV video format. For
more information, see “DV and HDV Scene Extraction” on page 294.
•
Add Markers: Creates marker marks where the TOD information breaks occur
while capturing.
•
Create Subclips: Creates subclip marks where the TOD information breaks
occur while capturing.
•
Both: Creates markers and subclips where the TOD information breaks occur
while capturing.
Enable detection of small When this option is selected, batch capture is more accurate for footage captured
timecode breaks
over 1394 due to undetected small timecode breaks.
Capture Settings: Keys Tab
Option
Description
Function Key Commands
(while capturing/logging)
Changes the commands that are mapped to the function keys on your keyboard.
These mappings apply to Capture mode only.
Timed Subclip
Defines a preset duration for subclips created while capturing.
1450
Cloud Playback Settings
Cloud Playback Settings
The following table describes the options available in the Cloud Playback Settings dialog box.
Option
Description
Disk Cache
This option displays the default location of the CloudCache folder holding prefetched
media files. You can change the default location by clicking Browse and navigating to
a new location on your local system.
Disk Cache Size
This text box displays the maximum size of the CloudCache folder. You can modify
the cache size by entering a new number in the text box. The default cache size is
2 GB.
Quality
You can set the playback quality for remote media to Low (the default) or High. Use
the High setting only when you have a high-capacity connection to your Interplay
system — for example, when you have an Ethernet connection to Interplay.
Clear Local Caches
This option allows you to manually delete the CloudCache folder and its contents.
Cloud Upload Settings
The following table describes the options available in the Cloud Upload Settings dialog box.
Option
Description
Upload Quality
This option allows you to select media settings for upload. You can specify settings
for uploading high resolution media using the High Quality option.
n
Only one proxy format is currently available for remote media upload to
Interplay.
•
Proxy (H.264 video | MP2 Audio) — Uploads media at the default proxy
resolution.
•
High — Uploads media using the video resolution and audio format specified in
the High Quality settings.
•
Proxy then High — Uploads media first using the default proxy resolution, and
then uploads media as a background process using the High Quality settings.
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Color Management Settings
Option
Description
High Quality
This option ia available if you select either the High or the Proxy then High option for
your upload quality.
•
•
Video
-
Select Same as Source (when possible) if you want to upload video with no
resolution change from the source video clip. If the source resolution is not
available, the upload uses the resolution selected in the Resolution menu.
-
Click the Resolution menu and select a resolution to use if the source
resolution is not available.
Audio
-
Select Same as Source (when possible) if you want to upload audio without
converting the sample rate or change from the source audio clip. If the
source format is not available, the upload uses the default format.
-
The default format used to mix down audio when the source format is not
available is a PCM audio file with a 48 kHz sample rate and a 16-bit audio
bit depth.
Handles
This option specifies the length of handles on the incoming and outgoing sides of the
clip. Type the number of frames you want to use as handles for uploaded clips in the
Handles: nn Frames text box. Handles refer to material outside the In and Out points
that you can use for dissolves and trims with the uploaded master clips. The default is
30.
Local Volume
This option allows you to specify the location where the upload operation creates
media files before uploading them to Interplay.
Priority
You can use the Priority option to set the priority for your upload operation. The
upload queue is sorted by priority so that high priority jobs are uploaded first. You can
also change the priority of a specific clip or upload job in the Upload Queue window.
Destination
The option allows you to specify the destination used for the upload operation.
•
Workspace — Type the name of the destination ISIS workspace used for the
upload. You do not need to be connected to ISIS for the upload to complete
successfully, but you must specify a workspace where ISIS saves the uploaded
media files.
•
Interplay Folder — The Interplay folder is set in the Interplay Folder Settings
dialog box. The remote upload operation checks in the media files to this folder.
See “Interplay Folder Settings” on page 1509 for more information.
Color Management Settings
1452
Communication (Serial) Ports Tool Settings
Option
Description
Insert color transformations Applies any color transformations already specified in the source settings. Do not
automatically in the source select this option if you want to work with the original media files. See “Setting the
settings upon AMA link
Color Properties of Acquired Media” in the Help.
Use CDL values from
Primary color grading can be performed as one of the pre-post functions on dailies
ASC_SOP and ASC_SAT systems and then passed on to the offline editing system. If you are editing with
bin columns when available MXF media, these colors are already applied. However, if you want to use the
original media, you can select this option to read the CDL values associated with
the media and apply them to the master clips.
Install LUT
Click to browse for a LUT file associated with your media.
Communication (Serial) Ports Tool Settings
The Communication (Serial) Ports tool lets you view the current configuration of the serial
interface at any time during editing. You can also use it to reconfigure the ports without closing
your Avid editing application or shutting down the computer.
Option
Description
Remote Play and Capture
Sets a port for an edit controller that uses the Sony serial control protocol. For
more information, see “Remote Play, Capture, and Punch-In” on page 285.
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Composer Settings
Composer Settings
Composer Settings: Window Tab
Option
Description
Data Display at •
Top
Off — When this option is selected, your Avid editing application turns off the information
display above the monitors.
•
Always Display One Row of Data — When this option is selected, your Avid editing
application displays one row of tracking, duration, and clip or sequence title information
above the Source and Record monitors.
•
Always Display Two Rows of Data — When this option is selected, your Avid editing
application displays a second row of information above the first row. The second row
includes Fast Menu icons, duration information, and, when applicable, ganging and
multicamera icons.
•
Flow Data Dynamically — When this option is selected, your Avid editing application
adjusts the display of information above the monitors as you resize them.
Button Display •
at Bottom
Off — When this option is selected, your Avid editing application turns off the display of
buttons under the Source and Record monitors.
•
One Row — When this option is selected, your Avid editing application displays only the
top row of Monitor command buttons.
•
Two Rows — When this option is selected, your Avid editing application displays a second
row of buttons under the Source and Record monitors and includes mode buttons in the
lower center of Source/Record mode beneath the Splice-in and Overwrite buttons.
Center Duration When this option is selected, your Avid editing application displays duration data (Mark
In/Out) for the material in the Source or Record monitor, depending on which monitor is
active.
Tick Marks in
Position Bars
When this option is selected, your Avid editing application switches the display of tick marks
(duration indicators) that appear incrementally along the position bars located directly beneath
the Source and Record monitors. When this option is deselected, the tick marks are invisible.
1454
Composer Settings
Composer Settings: Edit Tab
Option
Description
Color Framing
When this option is selected, color framing indicator lights display above the
Overwrite and Splice-in buttons. Deselect this option if you are not performing an
online edit with material captured from 1-inch, reel-to-reel tapes. This option is
deselected by default.
When this option is deselected, you might have to make adjustments during
online editing if your edits interrupt the color-sync, signals-per-frame fields in the
sequence.
The following field options are available:
•
4 field: For NTSC video.
•
8 field: For PAL video.
The green color framing indicator lights (similar to LEDs) above the Overwrite
and Splice-in buttons are off when the color-sync signal is not in phase for that
frame. Steady green lights indicate a frame that is properly phased.
If the green light is off, find the proper color phasing when editing by trimming
the IN to OUT points by a frame or two until the light comes on and stays on.
For more information on color framing, see “Tracking Color Frame Shifts” on
page 727.
Sync Point Editing
(Overwrites)
When this option is selected, your Avid editing application overwrites material
onto your sequence so that a particular point in the source material is in sync with
a particular point in the sequence.
Single Mark Editing
When this option is selected, you can mark an IN or OUT point in the Source
monitor and then perform a splice, overwrite, or replace edit. Your Avid editing
application uses the current location of the position indicator as the corresponding
OUT or IN point.
Phantom Marks
When this option is selected, your Avid editing application provides visual
guidance when you set fewer than four IN or OUT points while editing. Phantom
marks (shaded IN or OUT mark icons) indicate the remaining edit points
calculated by your Avid editing application to complete the edit. For more
information, see “Working with Phantom Marks” on page 627.
Auto-create New Tracks
When this option is selected, whenever you edit material into the Timeline, your
Avid editing application automatically creates any new tracks in the sequence that
match existing tracks in the source material. This option is selected by default.
Note, if you do not have any tracks in your Timeline and you have this option
deselected, new tracks will be created. However if you have at least one track, for
example, v2, but your source material is patched on an empty v1, a new track will
not be created. This also applies to audio tracks.
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Composer Settings
Option
Description
Auto-enable Source Tracks When this option is selected, whenever you load new source material into the
Source monitor, your Avid editing application automatically enables all existing
source tracks. This option is selected by default.
Copy Source Markers
When this option is selected, if you have markers in a clip in the Source monitor,
your Avid editing application copies the markers when you edit the clip into the
Record monitor. This option is selected by default.
Undo Only Record Events When this option is selected, you can limit the Undo command to undo only
record actions. For more information, see “Undoing or Redoing Edits” on
page 590.
Activate Record Monitor
After Edit
When this option is selected, the Record monitor will be active after you perform
an edit. If the option is not enabled, whichever monitor was selected before you
made an edit will be the active monitor after the edit. This option is not enabled
by default.
Show Composer Markers
With this option, you can choose whether or not markers appear in the Composer
window.
Show Spanned Markers
With this option, you can choose whether or not spanned markers appear in the
Composer window.
You can also select which colored markers appear in the Composer window.
Composer Settings: FF/REW Tab
The options in the FF/REW tab control how the position indicator moves when you use the Fast
Forward and Rewind buttons in your Avid editing application monitors. These buttons behave
differently from the equivalent buttons on a tape deck. When a sequence is loaded in a monitor,
the Fast Forward or Rewind button causes a jump (forward or backward) to the next edit that is
common to all selected tracks in the Timeline. When a clip is loaded in a monitor, the Fast
Forward or Rewind button causes a jump to the beginning or end of the clip.
Option
Description
Stop at Head Frames
When this option is selected, the position indicator stops at the first frame (head
frame) of the clip on the selected track.
This option is the default setting. Each time you use either the Fast Forward and
Rewind button, the position indicator moves to the next consecutive head frame.
Stop at Tail Frames
When this option is selected, the position indicator stops at the last frame (tail frame)
of the clip on the selected track.
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Composer Settings
Option
Description
Stop at Markers
When this option is selected, the position indicator moves to the next consecutive
frame containing a marker. For more information on using markers, see “Using
Markers” on page 550.
Ignore Track Selectors
When this option is selected, your Avid editing application ignores the selected tracks
and cues directly to the start (head) frame of the next edit, regardless of the track on
which it occurs.
The position indicator’s final location depends on whether the Stop at Head Frames
and Stop at Tail Frames options are selected.
Composer Settings: MultiCam Tab
Option
Description
Split Mode Play
Controls split mode play:
MultiCam Mode
Client Monitor
•
Quad or Nine Split: Allows playback in the Source monitor of all camera angles in either
quad split view or nine split view.
•
Fullscreen: Allows playback in the Source monitor of real-time effects for the active
camera angle, which displays in full-monitor size.
Controls client monitor display with MultiCam:
•
Off: Disables the client monitor during playback of group clips and multigroup clips.
•
Quad or Nine Split: Allows the client monitor to display group clips and multigroup
clips during playback.
•
Linecut: Allows a linecut (a playback of the edited multicamera sequence) to display in
the client monitor.
n
The client monitor displays only SD multicamera linecuts. You can view playback of
HD multicamera sequences in the Source monitor only.
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Controller Settings
Controller Settings
Option
Description
Controller
Defines the controller to use. Select one of the following:
•
No Controller
•
JL Cooper MCS3 Controller
•
002 Controller
•
Command|8
Port
Defines the port you use to connect your controller.
Edit Settings
If you have selected a port and controller, select this option to map the controller functions.
Gain Controller Defines a port for a fader or a mixer to record audio gain information. The options on this
Port
menu differ depending on the ports you have configured on your Avid editing application.
Correction Settings
For more information, see “Customizing Color Correction Mode Settings” in the Help.
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Correction Settings
Correction Settings: Features Tab
Option
Description
Saved Color Labels
Controls how custom colors are named in bins:
•
None: When this option is selected, your Avid editing application does not supply
a name.
•
RGB: When this option is selected, your Avid editing application uses the 8-bit
values for the red, green, and blue components as the name.
•
Name: When this option is selected, your Avid editing application uses the name
from the standard HTML color scheme that most closely matches the color you
are saving.
•
Name and RGB: When this option is selected, your Avid editing application uses
both the Name and the RGB information as the name. This is the default option.
For information on saving custom colors, see “Assigning Colors to Objects in a Bin”
on page 357.
Eyedropper 3 x 3
Averaging
When this option is selected, your Avid editing application calculates the color value
to pick by averaging the values of a 3 x 3 sample of pixels centered on the
eyedropper’s position. This is often useful for picking up a color accurately by sight
because it compensates for shifts in color value from one pixel to another. When this
option is deselected, your Avid editing application selects the color value of the exact
pixel at the eyedropper’s position.
Show Eyedropper Info
When this option is selected, the numerical RGB values appear on the color swatches
in the Color Match controls.
Eyedropper Picks from
When this option is selected, you can pick colors from anywhere in your Avid editing
Anywhere in Application application, not only from video images in the Source/Record monitor, using the
Color Match eyedroppers.
1459
Deck Configuration Settings
Correction Settings: AutoCorrect Tab
Option
Description
When applying Color
Defines the first, second, and third automatic color correction that your Avid editing
correction from the
application makes when you apply the Color Correction effect from the Effect
Effect Palette, perform
Palette:
the following operations:
• Nothing: Makes no adjustment. For example, if you only want to make two
automatic corrections when you drag the Color Correction effect from the Effect
Palette, set the Third Correction menu in the AutoCorrect tab to Nothing.
•
HSL Auto Balance: Makes adjustments to the three ChromaWheels to balance
the colors in the image. This is the equivalent of clicking the Auto Balance
button in the Hue Offsets subdividing tab of the HSL tab.
•
HSL Auto Black: Adjusts the Setup slider in the Hue Offsets subdividing tab of
the HSL tab to make the darkest areas of the image as dark as possible. This is
the equivalent of clicking the Auto Black button in the Hue Offsets subdividing
tab of the HSL tab.
•
HSL Auto Contrast: Adjusts the Gain and Setup sliders in the Hue Offsets
subdividing tab of the HSL tab to maximize the tonal range in the image. This is
the equivalent of clicking the Auto Contrast button in the Hue Offsets
subdividing tab of the HSL tab.
•
HSL Auto White: Adjusts the Gain slider in the Hue Offsets subdividing tab of
the HSL tab to make the brightest areas of the image as bright as possible. This is
the equivalent of clicking the Auto White button in the Hue Offsets subdividing
tab of the HSL tab.
•
Curves Auto Balance: Makes adjustments to the Red, Green, and Blue curves to
balance the colors in the image. This is the equivalent of clicking the Auto
Balance button in the Curves tab.
•
Curves Auto Contrast: Makes an adjustment to the Master curve to maximize the
tonal range in the image. This is the equivalent of clicking the Auto Contrast
button in the Curves tab.
Deck Configuration Settings
Option
Description
Configuration name
Type a name for the configuration.
Add channel
Click to add a new channel box. Opens the Channel dialog box.
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Deck Settings
Option
Description
Add deck
Click to add a deck or DV device. Opens the Deck Settings dialog box. For
information on the Deck Settings options, see “Deck Settings” on page 1461.
Delete
Click to delete a deck or DV device.
Auto-configure
When this option is selected, and with a deck or DV device already connected to your
Avid editing application, your Avid editing application bypasses the Deck Settings
dialog box and automatically configures a deck or DV device with the default settings.
n
Verify configuration
against actual decks
Because some DV devices do not respond to the Auto-configure command,
Auto-configure selects only the generic device settings for a DV device.
When this option is selected, your Avid editing application checks the deck
configuration against the devices physically connected to the system.
Deck Settings
You can access the Deck Settings dialog box in any of the following ways:
•
Click the Add Deck button in the Deck Configuration dialog box.
•
In the deck controller section of the Capture tool, click the Deck Selection menu, and select
Adjust Deck.
•
Double-click the deck name in the Deck Settings dialog box.
Option
Description
Name
Defines a custom name for the tape deck. The default name matches the deck type.
Description
Defines notes about the deck.
Notes
Displays configuration information, supplied by Avid, about the deck or DV device you have
selected. Not all decks or devices include this information. You can supply your own
information in the Description field, and then save the configuration.
Device
Defines the device manufacturer and model.
If your device does not appear in the list, click the Manufacturer menu and select Generic, and
then click the Model menu and select the type of device.
If you continually see a message box that reads “Fail to find preroll” while you are capturing,
click the Model menu, and select GenericDVBasicDevice-NTSC or
GenericDVBasicDevice-PAL
Address
For VLXi use only. See your VLXi documentation. If you are using direct serial port deck
control, this option is unavailable.
1461
Deck Preferences Settings
Option
Description
Show
Filters the devices that display in the Device menu:
•
All Devices: Displays all devices by manufacturer and model.
•
Decks: Displays only decks by manufacturer and model.
•
Transcoders: Displays only transcoders by manufacturer and model.
Preroll
Defines how many seconds the tape rolls before capture or digital cut starts. The default is based
on the type of videotape recorder (VTR).
Fast Cue
Speeds up long searches if your decks can read timecode in fast forward or rewind mode. Select
one of the following options:
•
Switch to ff/rew (seconds): n: When this option is selected, your Avid editing application
switches to fast forward or rewind if the target timecode is beyond the specified number of
seconds from your current location on the tape.
By default, the deck switches to fast forward or rewind to reach a target timecode that is
more than 60 seconds away.
If your deck shuttles very quickly, you can increase this number so that your Avid editing
application uses fast cue only for long searches.
•
Switch to Search (seconds): n: When this option is selected, your Avid editing application
switches out of fast forward or rewind when it is within the specified number of seconds of
the target timecode. By default, your Avid editing application switches to search mode when
it is 60 seconds from the target timecode.
Deck Preferences Settings
Option
Description
When the deck contains
no tape or drop frame
cannot be detected set
timecode to
Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when
no tape is in the deck or when your Avid editing application cannot detect drop
frame or non-drop frame. When a tape is in the deck, your Avid editing application
automatically uses the existing timecode format on the tape. For more information,
see “Understanding Timecode” on page 192.
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Deck Preferences Settings
Option
Description
Allow assemble edit &
When this option is selected, you can use the assemble-edit and crash-record
crash record for digital cut features in the Digital Cut tool, along with the assemble-editing and manual
recording capabilities of your record deck. Select this option to record
frame-accurate digital cuts quickly and without striping entire tapes in advance
while using the assemble edit feature. Select this option also if you want to operate
the deck manually. For more information about digital cuts and assemble editing,
see “Generating Output” on page 1054. For information about crash recording, see
“Crash Recording Through Remote Deck Control” on page 1085.
Stop key pauses deck
Defines the function of the Stop key (space bar) on the keyboard. Select this option
to map the space bar to the Pause button on the deck. Deselect this option to map the
space bar to the Stop button.
If the videotape heads are down in “Stop key pauses deck” mode, pressing the space
bar brings up the heads and pauses the deck.
The Stop button in the Capture tool always stops the decks.
Shuttle holds speed
When this option is selected, the Shuttle button continues shuttling at a constant
speed instead of stopping when you release it.
Stop any paused decks
when quitting
When this option is selected, any paused decks stop when you quit your Avid editing
application. Selecting this option saves wear on the deck heads.
Poll deck during digital
cut
When this option is selected, your Avid editing application checks the deck for the
current timecode and displays it in the timecode window of the deck controller. If
you see degraded image quality on your digital cut (particularly visible as noise
during black), deselect this option and record the digital cut again. When this option
is deselected, the Record button does not flash and the timecode display in the deck
controller does not update for the duration of the digital cut.
Host-1394 DV Capture
Offset & Digital Cut
Offset (when Host 1394
capture is available)
This group of options varies depending on your DV input/output configuration.
Digital Cut Offset (when
Host 1394 capture is not
available)
Relax coincidence point
detection
•
Capture Offset (frames): Defines the number of frames by which you want to
offset while you capture. For more information, see “Understanding DV Capture
Offset” on page 243.
This option only appears when Host 1394 capture is available.
•
Override Recommended Digital Cut Offset: Defines a digital cut delay. For more
information, see “Understanding DV Digital Cut Delay” on page 1098.
This option is off by default. Depending on the deck, device control hardware or
system you are using, marking an In point in the Capture Tool and performing a
capture can result in a “coincidence point detection error.” If you select this option,
the editing application is less strict on finding the coincidence point. Note, relaxing
the detection can allow captures to succeed but has a greater possibility of capturing
from the wrong in-point.
1463
Desktop Play Delay
Desktop Play Delay
Option
Description
Frames
Click the Desktop Play Delay Frames slider to increase or decrease the amount of
frame offset. You might need to readjust the frames a few times to find the correct
offset.For more information, see “Adjusting the Play Delay Offset” on page 528.
Dynamic Relink Settings
Dynamic Relink is available only on Avid editing systems that have the Avid Interplay Media
Indexer installed.
Dialog Box Area
Option
Description
Top area
Enable Dynamic Relink Turns the dynamic relink feature on or off. When this option is
selected, your Avid editing application performs a dynamic
relink whenever you load clips into the source monitor or the
Timeline. When this option is deselected, no settings are
available. When you select this option again, your Avid editing
application restores the previous settings.
Allow Mixed Frame
Rate Media
Lets you use dynamic relink with mixed rate clips. When this
option is selected, your Avid editing application tries to link
your clips to media with the appropriate frame rate. If it cannot
find any media with a compatible frame rate, your Avid editing
application uses the lowest and nearest resolution to your
project frame rate. For more information, see “Using Dynamic
Relink with Mixed Rate Clips” on page 1354.
Override Working
Settings with Target
Settings
Lets you perform a dynamic relink to the target settings. When
this option is selected, the working settings are not available but
the target settings remain active and modifiable. In the Timeline
and monitors, you see media that matches the target settings.
For more information, see “Dynamically Relinking to the Target
Settings” on page 1353.
1464
Dynamic Relink Settings
Dialog Box Area
Option
Description (Continued)
Working settings tab
and
Target settings tab
If no match is found
Defines the action to take if no media is available that matches
the working or target settings. You can select one option as a
working setting and a different option as a target setting. Select
one of the following:
•
Keep Existing Media: Your Avid editing application
displays the media to which the clips are currently linked.
•
Relink to Offline: Your Avid editing application displays a
“Media Offline” slide in the monitors.
Relinking to offline does not delete existing media.
•
Use Closest Media: Your Avid editing application displays
the media that most closely matches the working or target
settings. For example, this might be useful when you are
editing progressive media into a sequence that contains both
progressive and interlaced media.
For information about enabling a visual display of which media
is available, see “Displaying Whether Media Is Available for
Dynamic Relinking” on page 1356.
Video Parameters
Target format
(Target settings only) Defines the project format for your target
settings, which determines the resolutions that are available in
the Dynamic Relink target settings. You can set this format
independently of the format set in the Format tab of the Project
window.
Relink Method
Defines how your Avid editing application dynamically relinks
to video material. Select one of the following: Most Recent (the
latest media files created), Highest Quality, Most Compressed,
or Specific Resolution.
1465
Dynamic Relink Settings
Dialog Box Area
Option
Description (Continued)
Relink if quality
Available when Specific Resolution is the Relink method.
Defines a relational operator and a resolution to compare
against.
Select one of the following relational operators:
•
Greater than or equal to: If the selected resolution is not
available, your Avid editing application uses the nearest
resolution that is better (more pixels, less compression) than
the requested one and that has the closest video format
(image size, field topness). If none of the available
resolutions satisfy these criteria, the clip displays as
specified in the “If no match is found” list: Keep Existing
Media, Relink to Offline, or Use Closest Media.
•
Equal to: If the selected resolution is not available, the clip
displays as specified in the “If no match is found” list.
•
Less than or equal to: If the selected resolution is not
available, your Avid editing application uses the nearest
resolution that is less (fewer pixels, more compression) than
the requested one and that has the closest video format
(image size, field topness). If none of the available
resolutions satisfy these criteria, the clip displays as
specified in the “If no match is found” list.
Preferred media format Defines your preferred media type as either AMA or native
media. When “Use Closest Media” is selected and Prefer AMA
media is selected, the system will try to relink to AMA media
first. If AMA media is not found, it will try and relink to the
native media. If Prefer native media is selected, the system will
try and relink to native media first.
Audio Parameters
Relink method
Defines the relink option for relinking to audio material. Select
one of the following: Most Recent (the latest media files
created), Highest Sample Rate, Highest Bit Depth, Compressed,
or Specific Quality.
n
1466
Compressed audio through the Avid Encoder IPV is
always 48 kHz and 16 bit. No other selections are
available.
Effect Editor Settings
Dialog Box Area
Option
Description (Continued)
Relink if
sample rate and bit
depth
The relational operators on the left for sample rate and bit depth
are similar to the relational operators for the Video parameter
“Relink if quality” menu. However, the two menus have an
additional entry, “Any,” which lets you use one criteria and
ignore the other. For example, you could select sample rate
equal to 44.1 kHz and bit depth to “Any”.
The corresponding menus on the right contain values
appropriate to the corresponding quality parameter. The sample
rate and bit depth relational operators work as a Boolean AND
operation (that is, the intersection of all constraints). These are
not available if you select “Any.”
Compression
Lets you choose “uncompressed only” or “any,” which lets you
use one criteria and ignore the other. Your Avid editing
application chooses the best media available.
n
n
Preferred media type
You can only play compressed audio at this time. You
cannot consolidate or transcode compressed audio.
Choose uncompressed audio for your final output.
You cannot mix down compressed audio.
Defines your first choice of media format: PCM (MXF) or Any
(OMF or MXF).
Effect Editor Settings
The Effect Editor settings and the commands in the Effect Editor shortcut menu are similar but
not identical.
Option
Description
Indent Rows
When this option is selected, parameter rows are indented from the parameter group
row, and any parameter subgroups are indented again. When this option is deselected,
the left edges of parameter rows line up with the parameter group row.
Large Text
When this option is selected, text in the Effect Editor appears in 12-point size. When
this option is deselected, text in the Effect Editor appears in the default size, 10 points
(Windows) or 9 points (Macintosh).
Thumbwheels
When this option is deselected, variable controls in the Effect Editor appear as the
default sliders. When this option is selected, variable controls appear as thumbwheels.
For information on using thumbwheels, see “Changing a Parameter with a Slider in
the Effect Editor” in the Help.
1467
Effect Editor Settings
Option
Description
Real Time Update
When this option is selected, your Avid editing application updates the rendered effect
image in real time. Because the update can be slow for complex effects, you have the
option to deselect real-time updating.
Set Position To
Keyframe
When this option is selected, your Avid editing application moves the position
indicator to the keyframe when you click a keyframe indicator. When this option is
deselected, the position indicator does not move when you click a keyframe indicator.
Deselecting this option lets you align a keyframe to the position indicator. For more
information, see “Aligning Advanced Keyframes” in the Help.
Update Position
While Playing
When this option is selected, the position indicator in the Effect Editor moves while
you play the effect. Because this option can cause video underrun problems in
complex real-time effects, it is deselected by default.
Show Add Keyframe
Mode Menu
When this option is selected, the Add Keyframe Mode menu (or the Delete Keyframe
Mode menu) appears when you use the Add Keyframe button to add (or delete)
keyframes. For more information, see “Keyframe Mode Menu Commands” in the
Help.
When this option is deselected, the Add Keyframe button performs the default
command from the following list (Add Keyframe button commands), without
displaying the Add Keyframe Mode menu or the Delete Keyframe Mode menu.
Add Keyframe button
commands
Defines the default command for the Add Keyframe button.
•
When Show Add Keyframe Mode Menu is deselected, clicking the Add Keyframe
button once performs the default command.
•
When Show Add Keyframe Mode Menu is selected, clicking the Add Keyframe
button twice performs the default command. (The first click displays the Add
Keyframe Mode menu, at which point you can select another command.)
•
Add Keyframe To
Active Parameter
•
Add Keyframes To
Active Group
•
Add Keyframes To
Open Groups
n
•
Add Keyframes To
Enabled Groups
For a description of each command, see “Keyframe Mode Menu Commands” in the
Help.
•
Add Keyframes To
Open Graphs
•
Add Keyframes To
All Parameters
The Add Keyframe Mode menu and the Delete Keyframe Mode menu mirror one
another. When you change one, you change both.
1468
E-mail Settings
E-mail Settings
The Email Settings dialog box lets you configure your Avid editing application so that it can
notify you by e-mail when any of the following operations completes:
n
•
Render
•
Export
•
Consolidate or Transcode
Some mobile telephone services can deliver e-mail as a text message or notify you by text
message when an e-mail has been received. If your service includes this feature, consider using it
as a convenient way to receive your notifications.
Option
Description
Server Settings
Use the options in this area to define the server settings that your Avid editing
application uses to communicate with your e-mail account and send e-mail notifications.
Check the documentation for your e-mail application, or talk to your internet service
provider or information technology department, to obtain the information you need to
define these settings correctly.
Your e-mail account must use the SMTP protocol for outgoing mail.
SMTP Server
Defines the SMTP (outgoing mail) server address for your e-mail account. Typically, this
address has one of the following formats: smtp.service_name.com or
smtp.mail.service_name.com.
Port
Defines the port that the SMTP server uses. The default value, 25, is used by several
common e-mail services, but your server might require a different port number.
Authenticate with
username/password
When this option is selected, your Avid editing application includes username and
password information to authenticate any e-mail it sends. Type the username and
password for your e-mail account in the Username and Password text boxes. Some
e-mail services require authentication as a security measure.
Store password after
closing project
When this option is selected, your Avid editing application saves the password in the
Password text box when the current project closes. This eliminates the need to re-enter
the password each time you open a project.
Use SSL
When this option is selected, your Avid editing application uses the Secure Sockets
Layer (SSL) security protocol when sending e-mail notifications. Some e-mail services
require this as a security measure.
Email Settings
1469
Export Settings
Option
Description
From Name
Defines the name that appears in the From header field of an e-mail your Avid editing
application sends.
From Address
Defines the e-mail address for the account that your Avid editing application uses to send
the e-mail.
To Address
Defines the e-mail address to which your Avid editing application sends the e-mail.
Send Email Events
When you select one or more options, your Avid editing application sends an e-mail
notification when the following operation completes:
•
Render Complete
•
Export Complete
•
Consolidate or Transcode Complete
You must have the Server Settings and Email Settings options configured correctly, and
the Enable Sending of Email option selected.
Master Email Control
Enable Sending of
Email
When this option is selected, your Avid editing application is able to send email
notifications.
Send Test Email
Click this button to send a test email using the current Server Settings and Email Settings
options.
Export Settings
Common Export Settings
Standard Formats for Export
The following table describes the standard Export file formats available in the Export As menu
of the Export Settings dialog box.
You can also Export to P2 cards or XDCAM disks. For more information, see “Export Settings:
P2” on page 1493 and “Export Settings: XDCAM” on page 1494.
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Export Settings
Option
Description
OMFI 1.0
OMFI 2.0
When this option is selected, your Avid editing application exports a standard OMFI
composition for transfer to a third-party workstation that supports OMFI. You can
choose to export composition only, or embed the video and audio, or both. For more
information, see “Guidelines for Exporting OMFI and AAF Files” on page 1033.
AAF
When this option is selected, your application creates an Advanced Authoring Format
(AAF) file. You can choose to export composition only, or embed the video and audio, or
both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on
page 1033.
AFE (Windows only) When this option is selected, your Avid editing application exports as AFE. This format
is compatible with systems such as Avid DS. For more information, see “Exporting
Projects and Bins Using AFE Files (Windows Only)” on page 1036.
QuickTime
Reference
When this option is selected, your Avid editing application creates a QuickTime
reference movie. A QuickTime reference movie contains pointers (links) to movie files.
This is similar to exporting as composition only. You can also export LongGOP
QuickTime Reference movies with this option. For more information, see “Exporting
QuickTime Movies” on page 1038.
HDV
When this option is selected, your Avid editing application creates a transport stream.
For more information, see “Exporting an HDV Transport Stream” on page 1620.
XDCAM MXF OP1a Video Format: Lists all XDCAM codecs supported by your project type.
Audio Bit Depth: Defines bit depth, based on the sample rates supported by your project
type. You can use this option if your sequence has a mix of sample rates and you need to
create a single sample rate. (You set the project rate in the Audio Project Settings dialog
box.
Aspect Ratio: Defines an image size for the video you want to export. The available
aspect ratios depend on what your project type and device support. This lets you control
the display format without modifying the source file.
DV Stream
When this option is selected, your Avid editing application creates a standard DV
stream. The DV Stream format is often used for distribution on a CD-ROM or over the
Web. Use this option when exporting video that will be combined or processed with
other DV-formatted media. This option requires a video track.
n
The DV Stream format appears after you install QuickTime. If you want to use
QuickTime for exporting sequences, download the latest version of QuickTime
from the Apple® Web site at: www.apple.com/.
1471
Export Settings
Option
QuickTime Movie
Description
When this option is selected, your Avid editing application creates a self-contained
QuickTime movie. For more information, see “Exporting QuickTime Movies” on
page 1038.
n
If you install additional QuickTime Export formats, they appear in the menu with
tildes (~) before their names. This indicates they are not qualified or supported by
Avid.
AVI
When this option is selected, your application exports an AVI file through QuickTime or
other compression tools. For more information, see “Export Settings: AVI Through
QuickTime” on page 1484.
Windows Media
(Windows only)
When this option is selected, your Avid editing application exports your sequence as
native Windows Media. You can export your media using one of the Avid-supplied
templates or using a custom audio and video template. For more information, see
“Exporting as Windows Media (Windows Only)” on page 1043.
Audio
When this option is selected, your Avid editing application exports audio tracks in the
WAVE format, SD II (Macintosh only), or AIFF-C audio format. For more information,
see “Export Settings: Audio” on page 1489.
Graphic
When this option is selected, your Avid editing application exports a single frame, a
series of frames, or a file type that supports multiple frames as a graphic file. Select a file
type from the menu. For information about supported file types, see “File Format
Specifications” on page 1540.
Avid Log Exchange
When this option is selected, your Avid editing application exports the selected bin as a
shot log file that complies with Avid Log Exchange (ALE) specifications.
n
Tab Delimited
ALE and tab-delimited files include information for master clips and subclips
only. Information for other objects, such as group clips, sequences, and
precomputes, is not included.
When this option is selected, your Avid editing application exports the selected bin as a
shot log file in the form of a tab-delimited ASCII text file.
Use Marks and Use Enabled Tracks Options
The following table describes options that determine which material in the selected clip or
sequence your Avid editing application exports.
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Export Settings
Option
Description
Use Marks
When this option is selected, your Avid editing application uses current IN and OUT
points in the selected clip or sequence to determine starting and ending frames for the
export. To export the entire clip or sequence, deselect this option or mark the entire clip
or sequence.
Use Enabled Tracks
When this option is selected, your Avid editing application exports the tracks that are
enabled in the Timeline. To export all the tracks in the sequence, deselect this option.
This option is selected by default.
Export Settings: OMFI, AAF, and AFE
Option
Description
Export As:
Defines the export format:
•
AAF: Select this option if the application to which you are exporting supports AAF
•
OMF 1.0: Select this option if the application to which you are exporting does not
support OMFI Version 2.0
•
OMF 2.0: Select this option if the application to which you are exporting supports
OMFI Version 2.0. If you are not sure, select OMF 1.0.
•
AFE (Windows only): Select this option if the application to which you are exporting
supports AFE
n
There are no options available to you when you select AFE. Your Avid editing
application uses the default settings.
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
AAF Edit Protocol
When you select this option, exported AAF files are AAF Edit Protocol compliant. The
AAF Edit Protocol specification supports interchange of metadata that describes edit
decisions, audio and visual effects, and embedded non-AAF files. This option only
appears when Export As is set to AAF.
n
AAF Edit Protocol exported files can exceed the 2GB size limit. AAF Edit
Protocol compliant files are not compatible with Pro Tools v7.1 and earlier.
Include All
When you select this option, the Video Details tab appears, and your Avid editing
Video/Data Tracks in application includes all video and data tracks from the sequence in the AAF or OMFI
Sequence
file.
Include All Audio
Tracks in Sequence
When you select this option, the Audio Details tab appears, and your Avid editing
application includes all audio tracks from the sequence in the AAF or the OMFI file.
1473
Export Settings
Option
Description
The following options appear in the Video Details tab, the Audio Details tab, or both, depending on the
export method:
Export Method:
Defines an export method. Other options change depending on which method you
choose. This option appears in both the Video Details tab and the Audio Details tab.
•
Link to (Don’t Export) Media: Select this option when you want to export an AAF or
an OMFI composition with links to the media in its current location. Your Avid
editing application does not embed media in the file or export media.
•
Copy All Media: Select this option when you want to copy media to another drive or
folder and export an AAF or an OMFI composition
•
Consolidate Media: Select this option when you want to export an AAF or an OMFI
composition with links to media that you have consolidated. For more information,
see “Consolidating Media” on page 477.
Use the Handle Length: nn Frames text box to enter the number of frames you want
to use as handles for consolidated clips. Handles refer to material outside the IN and
OUT points that is used for dissolves and trims with the new, shorter master clips.
The default is 60.
Export Method:
Video Mixdown
Creates a new video mixdown track for the sequence. For more information, see
“Performing a Video Mixdown” in the Help.
•
Mixdown with Video Edits: Creates a mixdown compatible with Avid Pro Tools v7.2
or later
•
Mixdown without Video Edits: Creates a mixdown compatible with all Avid Pro
Tools versions
Render Video Effects When you select this option, your Avid editing application renders video effects during
export.
Transcode Video to:
Defines the resolution to which you want to transcode the video to during export.
Include Rendered
Audio Effects
When you select this option, your Avid editing application includes rendered audio
effects during export.
Render All Audio
Effects
When you select this option, your Avid editing application renders all audio effects
during export.
Remove Track
Effects
Selecting this option removes all audio track effects — for example, Audio Track
effects — during export. This option is selected by default.
Split Tracks to Mono Selecting this option splits all multichannel audio tracks to separate mono tracks. For
more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 840.
This option is selected by default.
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Export Settings
Option
Description
Add Audio Mixdown When you select this option, your Avid editing application adds an audio mixdown track.
Track(s)
Select the type of track you want, either Mono or Stereo. For more information about
audio mixing, see “Using Live Mix Mode” on page 826.
Convert Audio
Sample Rate to:
Defines the audio sample rate for the export. Select this option if your sequence has a
mix of sample rates and you need to create a single sample rate. (You set the project rate
in the Audio Project Settings window. For more information, see “Audio Multiple Mix
Settings” on page 1444.) You can also use this option to change the sample rate if the
application to which you are exporting does not support the current sample rate.
Depending on your system, the following suboptions are available: Project rate, 32 kHz,
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz.
Convert Audio Bit
Depth to:
Defines the audio bit rate for the export. Select this option if your sequence has a mix of
bit depths and you need to create a single bit depth. (You set the project bit depth in the
Audio Project Settings window. For more information see “Audio Multiple Mix
Settings” on page 1444.) You can also use this option to change the bit depth if the
application to which you are exporting does not support the current bit depth.
The following suboptions are available: Project rate, 16 bit, and 24 bit.
Convert Audio File
Format to:
Defines the audio format for the export. If your sequence has a mix of audio file formats,
and you want to embed media, you must choose a single audio file format. (You set the
project format in the Audio Project Settings window. For more information, see “Audio
Multiple Mix Settings” on page 1444.) This choice is optional if you want to consolidate
and link media.
The following suboptions are available:
•
Project rate: Select this option to use the rate that matches the project format
•
WAVE: Select this option to link to or embed audio tracks in the WAVE format
(.WAV file name extension). Most Windows applications that support sound use
WAVE files. QuickTime also supports the WAVE format.
•
AIFF-C: Select AIFF-C to link to or embed audio tracks in the industry-standard
AIFF-C format. Note that your Avid editing application does not compress audio
media.
•
PCM: This is the only audio file format available for AAF export
The following options appear in the Media Destinations area for Video and Audio, depending on the
export methods:
Media Drive
Defines a destination media drive for newly created or copied media.
When Use Media Creation Settings is selected, your Avid editing application uses the
drive you selected in the Media Creation dialog box. If you deselect Use Media Creation
Settings, you can select a different destination drive.
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Export Settings
Option
Description
Folder
Defines the destination folder for newly created or copied media.
If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder
to navigate to a different folder.
Embedded in
AAF/OMF
When this option is selected, your Avid editing application embeds media files in the
exported AAF or OMFI file specified in the Export dialog box.
Export Settings: QuickTime Reference Options
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Fast Draft
Defaults
When this option is selected, export is faster. This option automatically selects Flatten Video
Tracks and Fill Spaces with Black, and automatically deselects Render All Video Effects and
Premix Audio Tracks.
Digital Mastering When this option is selected, your Avid editing application renders all video effects and
Defaults
premixes audio tracks before exporting the file. This option automatically selects Flatten
Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks.
Flatten Video
Tracks
When this option is selected, your Avid editing application exports the composition as one
video track. When this option is deselected, your Avid editing application generates one
QuickTime video track for each video track in the composition, and you cannot select Fill
Spaces with Black. Because most third-party applications do not understand multiple
QuickTime video tracks, it is a good idea to select this option. This option is automatically
selected if you select Fast Draft Defaults and Digital Mastering Defaults.
Fill Spaces with
Black
When this option is selected, your Avid editing application fills blank spaces in video tracks
with black in the QuickTime reference movie. Because QuickTime reference movies do not
recognize blank spaces, it is a good idea to select this option. When this option is deselected,
a QuickTime reference movie might interpret spaces in the video track as gray or as the
background of the player. This option is automatically selected if you select Fast Draft
Defaults and Digital Mastering Defaults.
Render All Video When this option is selected, your Avid editing application renders all unrendered video
Effects
effects, including matte keys and titles, before export. When this option is deselected, your
Avid editing application ignores any unrendered effects. This option is automatically
selected if you select Digital Mastering Defaults.
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Export Settings
Option
Description
Display Aspect
Ratio
Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you
control the display format without modifying the source file.
This option creates metadata that is stored with the QuickTime movie. Some applications,
such as the QuickTime Player, can interpret this metadata and scale the image at display
time.
This option is useful for QuickTime reference movies because you do not modify the source
files of referenced movies. For example, you can create two different QuickTime reference
movies with different display aspect ratios that use the same referenced source files.
The menu selections depend on how you open the Export Settings dialog box and whether
you have done a prior export.
Mixdown Audio
Tracks
When this option is selected, your Avid editing application mixes the audio tracks in the
composition to stereo files that it creates at the same location as the movie. When this option
is deselected, the Quick Time Reference movie references the original audio media. This
option is selected automatically if you select Digital Mastering Defaults.
If you select this option, you can also select an audio format, a sample rate, and a bit depth.
Audio Format
Defines the audio format. Select the format that is supported by the application into which
you will be importing the QuickTime reference movie.
•
WAVE: Compatible with Windows applications.
•
AIFF-C: Compatible with many third-party applications, including Pro Tools.
Select AIFF-C for all audio media files you plan to transfer directly to a Pro Tools or an
AudioVision® system for sweetening.
Sample Rate
Defines the audio sample rate for the export, either Project Rate, 32 kHz, 44.1 kHz, or 48
kHz.
You can use this option if your sequence has a mix of sample rates and you need to create a
single sample rate. (You set the project rate in the Audio Project Settings dialog box. For
more information, see “Audio Project Settings for Capture” on page 207.) You can also use
this option to change the sample rate if the application to which you are exporting does not
support the current sample rate.
Bit Depth
Defines the audio bit depth for the export, either 16 bit or 24 bit.
Use Network
When this option is selected, the exported movie uses the machine and drive share name of
Media References the media drive in the QuickTime reference movie instead of a drive letter. Select this option
when the media files referenced by the movie are accessed remotely over the network. If the
media files are stored on the same drive as the QuickTime reference movie, you do not need
to select this option. When this option is deselected, you cannot select Add Shares for Media
Drives.
1477
Export Settings
Option
Description
Add Shares for
Media Drives
When this option is selected, your Avid editing application creates a new drive share for
referenced media files stored on unshared network drives. The drive share is hidden, so other
users do not see the shared drive when browsing your computer. You do not need to select
this option when media is stored on the same drive as the QuickTime reference movie.
Use Avid DV
Codec
Deselect this option when you are working in a cooperative environment where one or more
non-Avid systems also have access to the media. This option is selected by default. Select
this option if the non-Avid systems have the Avid DV Codec.
Color Levels
Select this option to set the color to either RGB or 601/709.
Export Settings: QuickTime Movie Export Options
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Same as Source
When you select this option, your Avid editing application copies the media files directly
with no resolution change. This method is fast and creates output that uses the same
quality as your source files. This is the best method to use if you plan to process the video
on another system, using a third-party application like After Effects® or media cleaner®.
Deselect the Use Avid DV Codec suboption when you are working in a cooperative
environment where one or more non-Avid systems also have access to the media. This
option is selected by default.
n
If you export DV media from a 24p or 23.976 project using Same as Source, you
must use the Avid DV Codec to ensure the QuickTime movies retain all of the
progressive information. If you do not use the Avid DV Codec, your Avid editing
application treats movies as interlaced sources when you re-import them.
Custom
When you select this option, your Avid editing application decompresses the files,
processes them, and compresses the files at the requested resolution and audio format.
This method is slower and often loses quality. Use this option only if you have to directly
export a clip or sequence in a particular file format.
Format Options
This option appears when you select Custom. It opens the Movie Settings dialog box to let
you set further QuickTime options, including options for changing the codec
(compressor/decompressor) used for compression. For more information, see “Export
Settings: QuickTime Movie Settings” on page 1480.
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Export Settings
Option
Description
Video and Audio,
Video Only,
Audio Only
Defines whether your Avid editing application exports video only, audio only, or both.
Video Format
The following options might be available, depending on your other settings:
Use Video Only, for example, if you want to add effects in a third-party application or to
use only the video in a multimedia project. Use Audio Only, for example, if you want to
use or enhance audio in a third-party application or you want to use the audio in a
multimedia project.
•
Width x Height: Defines the size of the clip. You can type in values or select from the
predefined values in the Fast menu. The values in the Fast menu suggest a typical use
for each size, for example, 320 x 240 (Internet video, large).
The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad
suboption instructs your Avid editing application not to scale or resize the frames. If
necessary, it adds black lines to the top and bottom of the frame to achieve the correct
size.
•
Color Levels: Sets the color to either RGB or 601/709.
•
File Field Order: Defines which field is the upper field during export. For 23.976p,
24p, or 25p projects, these options do not appear, and all fields are automatically
exported as progressive (still) frames.
Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1
becomes the upper field (its lines become the odd-numbered lines) in the frame.
Field 2's lines become the even-numbered lines.
Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1
becomes the lower field (its lines become the even-numbered lines) in the frame.
Field 2's lines become the odd-numbered lines.
Use the Single Field suboption if you want the output file to consist of only Field 1. In
this case, your Avid editing application resizes the single field of 243 lines for NTSC
(288 lines for PAL) to fit the frame as specified in the width and height selection.
Audio Format
The following QT Audio Options are available for exporting audio:
•
Mono
•
Stereo
•
5.1
•
7.1
•
Direct Out
n
If you select Direct Out as your audio format, you should select Same as Source for
your export option for media that includes surround sound audio. This allows you
to export the track assignments in your source sequence accurately.
1479
Export Settings
Option
Description
Create Preview
When this options is selected, your Avid editing application creates a preview of the
QuickTime movie.
Display Aspect
Ratio
Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you
control the display format without modifying the source file.
This option creates metadata data that is stored with the QuickTime movie. Some
applications, such as the QuickTime Player, can interpret this metadata and scale the
image at display time.
This option is useful for the Same as Source option because that option also preserves the
original format. When you select Same as Source, the selections in the Display Aspect
Ratio area are based on the resolution of the media you are exporting and the project type
(NTSC or PAL).
When you select Custom, your Avid editing application calculates the Display Aspect
Ratio selections from the values you enter for Width x Height in the Video Format tab.
Export Settings: QuickTime Movie Settings
Option
Description
Video
Settings
Opens the Standard Video Compression Settings dialog box. For more information, see “Export
Settings: QuickTime Compression Settings” on page 1481.
Filter
Opens the Choose Video Filter dialog box, which lets you apply a single effect filter during an
export.
Size
Opens the Export Size Settings dialog box. QuickTime lets you set a size, but Avid recommends
you set the size in the Width and Height text boxes of the Export Settings dialog box. Both
settings have the same effect, and the QuickTime size setting overrides the Avid size setting.
Sound
Settings
Opens the Sound Settings dialog box, which lets you select a sound compression setting for your
export, along with other options.
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Export Settings
Option
Description
Prepare for
Internet
Streaming
•
Fast Start: The movie can begin playing over the Internet without having to download
completely first. This method of playing movies over the Internet is referred to as progressive
download or HTTP streaming. It does not require a streaming video server.
•
Fast Start - Compressed Header: This option is a better choice for progressive downloading. It
works the same as Fast Start, but compresses the header information. The header is the
portion of the file that allows the movie to start playing before the entire movie is
downloaded. Compressing the header allows it to download faster. This is important for large
movies (movies that are longer than several minutes).
•
Hinted Streaming: Select this option if you are putting the exported file on a streaming video
server. The file does not stream without a hint track for each track in the movie. Hint tracks
allow the streaming video server to split the file into packets for the streaming.
A file with hinted streaming also plays as a progressive download. However, it will probably
play more slowly than a Fast Start movie because it contains additional information and is
therefore larger.
For additional options, click Track Hinter Settings to open the RTP (Real Time Protocol)
Track Settings dialog box. For more information, see your QuickTime documentation.
Export Settings: QuickTime Compression Settings
The Standard Video Compression Settings dialog box provides access to a wide range of
QuickTime video codecs. The codecs available from the Compression Type list might vary
depending on your computer’s configuration and your operating system. Other options in the
dialog box vary depending on the codec you select from the Compression Type list. If you have
an Internet connection, you can get help on using the options in this dialog box from the
QuickTime web site by pressing the ? button in the bottom left corner of the dialog box.
The list of codecs includes Avid codecs, which create encapsulated media files for export of
high-resolution files that are readable within QuickTime applications. You must install the Avid
codec you use to export the file on the system running the QuickTime application for the
application to read the exported file. For more information, see “Installing or Copying the Avid
Codecs for QuickTime on Other Systems” on page 1041.
When you select an Avid codec and then click the Options button, the Codec Configuration
dialog box lets you configure further options. For Color Levels or Color Input, select the color
levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601
(SD) or 709 (HD).
The following table describes the Avid codecs available in the Standard Video Compression
Settings dialog.
1481
Export Settings
Codec
Description
Avid 1:1x
For high quality, 8-bit, lossless resolution (in which no picture information is lost). Available
for use with MXF media files. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling.
Avid
DNxHD™
Codec
For DNxHD encoding with 8-bit and 10-bit resolutions. Available for use with MXF media
files. Meridien-based systems cannot use this format. Current Avid editing systems, including
Avid DS, can use this format.
Avid DV
For compression compatible with Avid Xpress DV and Avid NewsCutter products or with Avid
Meridien products with the DV/MPEG option.
Avid DV100
Codec
For DVCPRO HD encoding. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling.
Avid Meridien For compression compatible with Avid Meridien-based products.
Compressed
Avid Meridien For 1:1 resolution used in Avid Meridien-based products.
Uncompressed
Avid MPEG2
50 mbit
For MPEG-2 IMX 50,40,30 encoding, an interframe compression used in Sony IMX VTRs and
cameras. It uses 4:2:2 sampling.
Avid Packed
Codec
For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available
for use with MXF media files. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling.
Avid RGB
For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available
Packed Codec for use with MXF media files. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:4:4 sampling.
Export Settings: HDV
Option
Description
Use Marks, Use See “Use Marks and Use Enabled Tracks Options” on page 1472.
Enabled Tracks
Video Quality
Defines the video quality, either Draft, Better, or Best.
The higher the quality, the longer the time required to complete the export. Draft is fastest,
while Best takes the longest time to complete but has the best quality. If you have a slower
system, you might want to see if the Better or Draft options provide acceptable quality.
1482
Export Settings
Option
Description
Stream Type
Defines the transport stream type:
•
Transport Stream: Use this option for both video and audio, for example, when exporting
to other devices.
•
Elementary Streams: Use this option for either video only or audio only.
Export Settings: DV Stream
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Format Options
Opens the DV Export Settings dialog box, which lets you select the DV format, video
format, and audio format options you want.
If you select DV as the DV format, you can choose to provide locked or unlocked audio.
For compatibility with DV cameras that require unlocked audio, deselect Locked.
If you select DVCPRO as the DV format, audio is always locked and the Locked option is
grayed out. Also, the audio rate is always 48 kHz and the Audio Rate menu is grayed out.
Video and Audio,
Video Only,
Audio Only
Defines whether your Avid editing application exports video only, audio only, or both.
Video Format
•
Color Levels: Sets the color to either RGB or 601/709.
•
File Field Order: Defines which field is the upper field during export. For 23.976p,
24p, or 25p projects, these options do not appear, and all fields are automatically
exported as progressive (still) frames.
Use Video Only, for example, if you want to add effects in a third-party application or to
use only the video in a multimedia project. Use Audio Only, for example, if you want to
use or enhance audio in a third-party application or you want to use the audio in a
multimedia project.
Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes
the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines
become the even-numbered lines.
Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1
becomes the lower field (its lines become the even-numbered lines) in the frame.
Field 2's lines become the odd-numbered lines.
Use the Single Field suboption if you want the output file to consist of only Field 1. In
this case, your Avid editing application resizes the single field of 243 lines for NTSC
(288 lines for PAL) to fit the frame as specified in the width and height selection.
1483
Export Settings
Export Settings: AVI Through QuickTime
Option
Description
Use Marks,
Use Enabled
Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Video and
Audio,
Video Only,
Audio Only
Defines whether your Avid editing application exports video only, audio only, or both.
Use Video Only, for example, if you want to add effects in a third-party application or to use
only the video in a multimedia project. Use Audio Only, for example, if you want to use or
enhance audio in a third-party application or you want to use the audio in a multimedia project.
Video Format •
•
Color Levels: Sets the color to either RGB or 601/709.
File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or
25p projects, these options do not appear, and all fields are automatically exported as
progressive (still) frames.
Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the
upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become
the even-numbered lines.
Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes
the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines
become the odd-numbered lines.
Use the Single Field suboption if you want the output file to consist of only Field 1. In this
case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines
for PAL) to fit the frame as specified in the width and height selection.
Export Settings: AVI Video Compression
Option
Description
Compressor
•
Cinepak Codec by Radius: For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for small-screen-size playback from
CD-ROM or hard drive. This codec uses a compression algorithm optimized for
CD-ROM playback.
Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can
then choose to compress to color or to black and white.
•
Compression
Quality slider
Apple’s QuickTime Codecs include: DV - PAL, DV/DVCPRO - NTSC and DVCPRO PAL
Adjusts compression quality for certain codecs.
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Export Settings
Option
Description
Key Frame
Every n frames
When this option is selected, your Avid editing application uses keyframes as a reference for
subsequent frames. Enter a numeric value to specify the frequency of the keyframes.
Limit Data Rate
n KB/sec
Defines a limit to the data rate for the compressed file, in kilobytes per second.
Export Settings: Windows Media (Windows Only)
Windows Media Legacy Template
The following table describes options available when you select Windows Media Legacy
Template from the Windows Media menu in the Export Settings dialog box.
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Version
Lets you select one of the available (v8, v7, or v4) Windows Media versions.
Templates
Lets you choose one of the Avid supplied Windows Media templates. For more
information, see “Exporting as Windows Media (Windows Only)” on page 1043.
Existing Windows Media Custom Profile
The following table describes options available when you select Windows Media Custom Profile
from the Windows Media menu in the Export Settings dialog box.
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Set
Lets you browse to find an existing .prx file on your system. For more information, see
“Exporting as Windows Media (Windows Only)” on page 1043.
Windows Media Video Settings
The following table describes options available when you select Windows Media from the
Windows Media menu in the Export Settings dialog box and then select a video track.
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Export Settings
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Width,
Height,
FPS
Set the width, height, and frame-per-second (fps) rate of the clips for export.
Video Type
Defines the video type, either Progressive or Interlaced.
Pixel Aspect Ratio
When this option is selected, your Avid editing application scales the video. This lets
you control the display format without modifying the source file.
Uncompressed
When this option is selected, your Avid editing application creates a high-quality export
in which no picture information is lost. This option does not compress the file and can
result in very large files.
Codec (not available
when you select
Uncompressed.)
Choose one of the following codecs:
•
Windows Media MPEG-4 Video V3: This codec creates high-quality video for
streaming, download, and play. Enables playback of interlaced content on
televisions.
•
ISO MPEG-4 Video V1: This codec delivers DVD (MPEG-2) quality video at lower
data rates and smaller file sizes.
•
Windows Media Video V7: This codec enables Windows Media Player 7 to view
encoded video content without first having to download the latest codecs. This is the
best choice when the encoding computer cannot support the performance
requirements of the newer Windows Media Video codecs.
•
Windows Media Screen V7: This codec is specially optimized for use for screen
captures and some animations.
•
Windows Media Video 9 Screen: This codec is optimized for screen captures. This
codec is ideal for delivering demos or demonstrating computer use for training.
Windows Media Video 9 Screen delivers better handling of bitmap images and
screen motion, even on relatively slow CPUs.
•
Windows Media Video 9: This codec offers improved quality over Windows Media
Video 8, with the highest gains seen at the higher bit rates, and provides improved
interlaced support.
•
Windows Media Video V8: This codec supports a wide variety of network
bandwidths, and deinterlaces interlaced content before encoding.
•
Windows Media Video 9 Advanced Profile: Use this profile to deliver either
progressive or interlaced content at data rates as low as one-third that of the MPEG-2
codec but with the same quality as MPEG-2.
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Export Settings
Option
Description
Passes (not available
when you select
Uncompressed)
Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content
passes through the encoder once, and compression is applied as the content is
encountered. With 2 Pass encoding, the content is analyzed during the first pass, and
then encoded in the second pass based on the data gathered in the first pass. 2 Pass
encoding might result in better quality but takes longer.
VBR (not available
when you select
Uncompressed)
Variable Bit Rate. This option defines the quality of the video profile setting.
Quality
Choose Constrained or Unconstrained. Choose Constrained when playing either locally
or on a device that has a constrained reading speed, such as a CD or DVD player.
Bit Rate
Defines the size of the data stream in megabits per second.
Buffer Size
Defines the number of seconds that you want content to be stored before encoding
begins. A larger buffer results in better quality content, but requires more memory.
When you encode content, the encoding process is delayed by the amount of time
specified in the buffer. The content is also delayed by the same amount of time when
streaming to a player.
Quality
Values for this option range from 0 to 100, with 100 being the highest quality.
Keyframe
Defines the number of keyframes used as part of the encoding sequence. The value is the
number of keyframes used for every second of video. A lower number results in higher
quality, but larger files.
Language
Select from the list of available languages.
Windows Media Audio Settings
The following table describes options available when you select Windows Media from the
Windows Media menu in the Export Settings dialog box and then select an audio track.
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Uncompressed
When this option is selected, your Avid editing application creates a high-quality export
in which no picture information is lost. This option does not compress the file and can
result in very large files.
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Export Settings
Option
Description
Codec (not available Select one of the following codecs:
when you select
• Windows Media Audio 9.1: This codec provides improvement in compression over
Uncompressed.)
the Windows Media 8 Audio codec and supports VBR audio encoding.
•
ACELP.net: In some instances, the Sipro Labs ACELP codec appears in the list of
codecs, for example, if you import a profile that was created by using Windows
Media Encoder version 7.1. If this occurs, Avid recommends that you use the
Windows Media Audio 9 Voice codec instead.
•
Windows Media Audio 9 Voice: This codec provides superior quality for audio
content with a voice emphasis and provides for mixed-mode encoding of voice and
music. It is intended for playback at bit rates at 20 Kbps or lower.
•
Windows Media Audio 9.1 Professional: This codec supports a full surround-sound
experience and dynamic range control. It is intended for data rates of 128 to 768
Kbps.
•
Windows Media Audio 9.1 Lossless: This codec provides lossless encoding of audio
content. It supports multichannel audio encoding and dynamic range control.
Passes (not available Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content
when you select
passes through the encoder once, and compression is applied as the content is
Uncompressed)
encountered. With 2 Pass encoding, the content is analyzed during the first pass, and
then encoded in the second pass based on the data gathered in the first pass. 2 Pass
encoding might result in better quality but takes longer.
VBR (not available
when you select
Uncompressed)
Variable Bit Rate. When you select this option, the formats available are VBR formats. If
you deselect this option, the formats available are CBR formats.
Format (These
You can encode audio and video content at either a constant bit rate (CBR) or a variable
options change when bit rate (VBR). Use CBR if you plan to stream the content. Use VBR when you plan to
you select VBR.)
distribute the content for downloading and playing either locally or on a device that has a
constrained reading speed such as a CD or DVD player. Choose from one of the format
options.
Buffer Size
Defines the number of seconds that you want content to be stored before encoding
begins. A larger buffer results in better quality content, but requires more memory. When
you encode content, the encoding process is delayed by the amount of time specified in
the buffer. The content is also delayed by the same amount of time when streaming to a
player.
Language
Select from the list of available languages.
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Export Settings
Export Settings: Audio
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Mono
Stereo
Use this option to export audio tracks in either mono or stereo.
Sample Rate
Defines an audio sample rate, either Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, or
96 kHz.
You can use this option if your sequence has a mix of sample rates and you need to create
a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For
more information, see “Audio Project Settings for Capture” on page 207.) You can also use
this option to change the sample rate if the application to which you are exporting does not
support the current sample rate.
Bit Depth
Defines the bit depth, either Project bit depth, 16 bit, or 24 bit.
Audio Format
Defines the audio format:
•
Project: When this option is selected, your Avid editing application exports the audio
format that you selected as the project default in the Audio Project Settings: Main tab.
•
WAVE: Select this option to export audio tracks in the WAVE format (.wav file name
extension). Nearly all Windows applications that support sound use WAVE files.
QuickTime also supports the WAVE format.
•
AIFF-C: Select this option to export audio tracks in the industry-standard AIFF-C
format, which is compatible with many third-party sound editing and multimedia
applications.
•
SDII (Macintosh only): Select this option to export audio tracks in the Sound Designer
II format, which is compatible with Pro Tools and other third-party applications.
n
If you export with the Project option selected and PCM (MXF) selected in the Audio
Project Settings: Main tab, a WAVE file is exported.
Export Settings: Graphic
The following table describes options available in Export Settings: Graphic.
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
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Export Settings
Option
Description
Graphic Format
Defines a graphic format for export. The Format Options button lets you set export
parameters. For more information on available graphic formats, see “Export Settings:
Graphic Format” on page 1490.
Width x Height
Defines the size of the clip. Click the Fast Menu button, and select from a list of standard
dimensions.
The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad
suboption instructs your Avid editing application not to scale or resize the frames. If
necessary, it adds black lines to the top and bottom of the frame to achieve the correct size.
Color Levels
This option lets you set color to either RGB or 601/709.
Sequential Files
When this option is selected, your Avid editing application produces a series of still
images, numbered sequentially. The fps rate of the source file determines the number of
still image files that are produced.
Select Markers only to produce images only for those frames that contain markers.
File Field Order
•
Topmost Image: When this option is selected, if you have multiple tracks, and a
marker is on a lower track but is obscured by a higher track clip, the highest available
track will be used in the sequential list over the lower track.
•
Use Comments: When this option is selected, the marker comment will be used as the
name for the saved graphic.
Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects,
these options do not appear, and all fields are automatically exported as progressive (still)
frames.
•
Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes
the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines
become the even-numbered lines.
•
Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1
becomes the lower field (its lines become the even-numbered lines) in the frame.
Field 2's lines become the odd-numbered lines.
•
Use the Single Field suboption if you want the output file to consist of only Field 1. In
this case, your Avid editing application resizes the single field of 243 lines for NTSC
(288 lines for PAL) to fit the frame as specified in the width and height selection.
Export Settings: Graphic Format
Format
Options and Other Notes (if applicable)
Alias™
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Export Settings
Format
Options and Other Notes (if applicable)
BMP
Windows: Creates files that are compatible with systems running the Windows operating system.
OS/2: Creates files that are compatible with systems running the IBM® OS/2®operating system.
Chyron®
Cineon™
Blackpoint (Windows) or Black Point (Macintosh): Lets you adjust a film exposure value that
corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0
is adequate for most uses.
Whitepoint (Windows) or White Point (Macintosh): Lets you adjust a film exposure value that
corresponds to filming a 90% white card. Values can be between 1 and 1023. If the files came from
and will be transferred back to a Cineon™ system, use a white point of 1023. The default value of
685 is appropriate if the final destination is not a Cineon system — for example, a video display.
Gamma: Defines an adjustment to correct for any gamma inconsistencies in the output display.
Values can range from 0.01 to 100.0. The default value is 1.0. Use a value of 1.0 for images to
display on a PC monitor, 0.59 for a Silicon Graphics® or a Macintosh monitor, and 0.45 for ITU-R
601 (CCIR 601) video.
ERIMovie
Pack 24 bits: Controls whether the image data is packed into 24-bit color depth (compressed) or is
saved as 32-bit (raw) color depth.
Framestore Your Avid editing application supports both compressed and uncompressed Framestore formats.
IFF
JPEG
Quality: Controls the output file size and quality. Higher values produce better images but larger
file sizes, while lower values reduce the image quality but result in smaller file sizes.
Baseline: Selected by default. To see if this option is required, see the documentation for your
JPEG-supported applications.
Progressive: Lets you save progressive JPEG files, which divide the file into a series of scans of the
image that increase in quality. Each scan progressively improves the recognizability of the image.
Progressive JPEG files are only recognized by applications with progressive JPEG support, such as
some Web browsers.
OMF
NTSC/PAL: Appears when you select a compression ratio that lets you select either NTSC or PAL.
When you select an option, the system displays the required image size and the default frame rate.
Compression: Controls the compression ratio and, therefore, the size of the file. You can choose
from all the compression ratio options used by your Avid editing application when recapturing. For
more information on Avid compression ratios, see “Resolutions and Storage Requirements” on
page 1557.
PCX™
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Export Settings
Format
Options and Other Notes (if applicable)
Photoshop
Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Compression: Controls the size of the file on disk. Disabling this option creates larger files on disk.
PICS
This option is available on Macintosh only. It creates a Macintosh QuickDraw picture encapsulated
in IFF format.
PICT
Create MacBinary header: This option, available on Windows only, creates a file with a MacBinary
header.
MacBinary is a file format for representing all the information in a Macintosh file in one binary
file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for
later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh
system.
Pixar®
PNG
Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Interlaced: lets you save the file for progressive display, similar to progressive JPEG files. As the
file is transmitted, the recognizability of the image improves. Interlaced PNG files are only
recognized by applications with interlaced PNG support, such as some Web browsers.
QRT
Rendition
SGI®
The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves
the image in the same depth as the original loaded image.
Softimage
SunRaster™
TARGA®
Color Depth: The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa
24/32 format.
Compression: Controls the size of the file on disk. Disabling compression creates larger files on
disk.
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Export Settings
Format
Options and Other Notes (if applicable)
TIFF
Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Compression: Controls the size of the file on disk. With None, i RLE (run length encoded)
produces relatively small and fairly portable files. JPEG
•
None: Image data is not compressed and can produce large file sizes.
•
RLE (run length encoded): Produces relatively small and portable files.
•
JPEG: Produces files that can vary in size, depending on the quality you set using the JPEG
Quality slider. The higher the quality setting, the larger the file size.
JPEG Quality: Adjusts the image quality of the JPEG file on a sliding scale from 0 to 100. The
higher the value, the higher the image quality of the JPEG file.
Wavefront® Format Type: Defines one of two output file formats supported by Wavefront (either RLA or RLB).
Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Gamma: Defines an adjustment to correct for gamma differences between Macintosh and Windows
output display. This option is intended for cross-platform applications that require adjustment. To
see if you need to adjust this value, check the documentation for your Wavefront application.
Usually, you can use the default setting.
XWindows
YUV
Format: Controls the video format of saved images. If set to NTSC, NTSC video format (720 x
486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with
black or cropped.
Smooth YUV: Enhances the fidelity of images saved in YUV color space (if originating in RGB
color space).
Export Settings: P2
To open the P2 Export Setting dialog box, select Output > Export to Device > P2. For more
information, see “Exporting Your Clip or Sequence to a P2 Card” on page 1052.
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
P2 Device
Defines the connected P2 device to which you want to export.
Video Format
Defines a video format. You can upconvert or downconvert.
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Film and 24P Settings
Option
Description
Bit Depth
Defines the audio bit depth, either 16 bit or 24 bit. Panasonic supports 16-bit audio at this
time.
Export Settings: XDCAM
To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM.
For more information, see “Exporting Media to XDCAM Devices” on page 1045.
Option
Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1472.
Target XDCAM
Disk
Defines the connected XDCAM disk to which you want to export.
Video Format
Defines a video format. You can upconvert or downconvert.
Bit Depth
Defines the audio bit depth, either 16 bit or 24 bit.
Film and 24P Settings
Option
Description
Edit Play Rate
Defines the edit play rate for your project. Options differ for PAL and NTSC projects.
Master Default
Film Type
Defines the film type. Select an option to meet your production lab standards and the
film type for your master.
Master Default
Edge Type
Defines the edge type for the master display in bins and cut lists.
Ink Number Default
Film Type
Defines the ink number film type. Select an option to meet your production lab standards
and film type.
Ink Number Default
Edge Type
Defines the edge type for the ink number display in bins and cut lists.
Auxiliary Ink Default Defines the film type for a second ink number (this is useful for tracking additional
Film Type
information for different film gauges). The choices are the same as for Ink Number
Default Film Type.
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Full Screen Playback Settings
Option
Description
Auxiliary Ink Default Defines the format for the auxiliary ink number edge type. The choices are the same as
Edge Type
for Ink Number Default Edge Type.
Video Pulldown
Defines how your Avid editing application handles pulldown:
Cadence (NTSC only)
• Video Rate, no pulldown: For 24-fps footage transferred MOS (without sound) to 30
fps by speeding up the film and using audio brought into your Avid system
separately at 100% of the actual speed.
Audio Transfer Rate
(PAL only)
•
Standard 2:3:2:3 pulldown: For 24-fps footage transferred to 30 fps using Standard
Pulldown with the audio synchronized to the picture.
•
Advanced 2:3:3:2 pulldown: For 24-fps footage recorded to 60 fields (NTSC) using
Advanced Pulldown with the audio synchronized to the picture.
Defines the transfer rate for audio in 24p PAL film projects. The choices are:
•
Film Rate (100%): For 24-fps film footage transferred MOS to 25 fps by speeding up
film with the audio coming in separately at 100% of the actual speed.
•
Video Rate (100%+): For 24-fps film footage transferred to 25 fps by speeding up
the film with the audio synchronized to the video picture.
n
It is important to keep the audio transfer rate constant for the project.
Audio Source Tape
Defines the source audio rate, either 30fps or 29.97 fps.
TC Rate (NTSC only)
Set Pulldown Phase
of Timecode
(NTSC only)
Defines a default pulldown phase for a 23.976p or 24p NTSC project.
Full Screen Playback Settings
For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” on
page 527.
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Full Screen Playback Settings
Option
Description
Scaling
Determines how images are scaled for full-screen playback:
•
Project: Uses the actual project type and aspect ratio to determine the scaling.
•
4x3 (Standard): If you are editing an HD project that contains a lot of SD material that
is stretched to fit the 16x9 aspect ratio, you might want to select this scaling option,
letting you restore its original aspect ratio.
•
16x9 (Widescreen): If you are in a 4x3 SD project, working with actual wide-screen
material (such as 16x9 material captured by a DV Camcorder), you can select this
option to display the material as 16x9 wide-screen.
•
Raw Pixel: This option lets you see the frame in the full screen window, pixel for
pixel, with no scaling. If the image is larger, it is scaled to fit the screen. This is only
useful when viewing SD in which pixels are non-square. Raw Pixel Aspect ratio is
slightly wider than 4x3.
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Full Screen Playback Settings
Option
Description
S3D View
Mix: Displays a 50/50 blend of both the left and right eye images.
Difference: Displays a blend of both left and right eyes, and highlights the difference
between the two. Embossed areas show the differences, while gray pixels represent no
differences.
Frame Compatible: Displays both the left and right eye images as dictated by the project
settings (side/side or over/under).
Mono: Displays only one of the stereoscopic images.
•
Left: Displays only the left eye image.
•
Right: Displays only the right eye image.
•
Leading eye: Displays only the image set as the leading eye on the stereoscopic clip.
Anaglyph: Displays a blended image with pixels for each eye corresponding to one of the
following color options:
•
Red-Cyan: Uses red for the left eye and cyan for the right.
•
Green-Magenta: Uses green for the left eye and magenta for the right.
•
Amber-Blue: Uses amber for the left eye and blue for the right.
B/W-Anaglyph: Displays a monochrome image with color highlights only where there
are differences in the left and right eye. The pixels in each eye image can be mapped to
the following color options:
•
B/W Red-Cyan: Shows differences in red and cyan for the left and right eyes
respectively.
•
B/W Green-Magenta: Shows differences in green and magenta for the left and right
eyes respectively.
Checkerboard: When this option is selected, your Avid editing application displays the
left and the right images simultaneously for stereoscopic viewing. The term
“checkerboard” refers to the way in which blocks of the left and right images are
displayed for stereoscopic viewing. Blocks are approximately n x n pixels in size.
Compare: Compares the left and right eye images using a diagonal split screen. You can
set the comparison mode to 25, 50, or 75%.
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Full Screen Playback Settings
Option
Description
S3D Overlay
Displays the disparity guides on the viewer so that you can see the depth budget limits
when adjusting the separation between your stereo 3D images. The guides for Parallax are
based on the project’s S3D settings (set from the Project window, Settings tab).
Parallax Near: Displays green guides that show the limits for objects that will appear in
front of the screen plane.
Parallax Far: Displays blue guides that show the limits for objects that will appear in front
of the screen plane.
Parallax Near/Far: Displays both guides (green and blue) that show the limits for objects
that will appear in front and behind the screen plane.
Target Mask
Full Screen
Allows you to set the mask area in the viewers:
•
No Mask: Does not display masked region.
•
Gray Mask: Displays masked region with a translucent gray to allow you to view the
full image.
•
Black Mask: Blacks out the masked region to display the image as it would appear
when output.
This option is selected by default.
When this option is deselected, the video displays with as little scaling as possible. Your
Avid editing application tries to display the image at its native height, and then matches
the width to the height using the Aspect Ratio selection from above.
Deselecting Full Screen and working in Draft quality (green/yellow) mode or Best
Performance (yellow/yellow) mode can also improve performance with some older video
cards that have limited pixel shader processing power.
Display Both
Fields
Select this option when your Avid editing application is connected to an interlaced
display.
If a progressive display (for example, an LCD monitor) is connected to the graphic card's
video output and you select this option, toothcombing appears in interlaced images.
Flip on
Vertical Sync
If your graphics board can render the frame of video before the vertical retrace, enabling
this option removes the tearing seen on the Full Screen Play monitor. (Vertical retrace is
the action within the monitor that turns the monitor beam off when moving it from the
lower right corner of the monitor to the upper left.) If the board is unable to render the
frame, you might see a stutter. The size of the video frame, the throughput of the board,
and the speed of the bus that the graphics board runs affect the ability of the board to
complete the render in time. This option is deselected by default.
Expand Luminance When this option is selected, the video image is represented more accurately when using
For Computer
Full Screen Play on a standard computer monitor. If you are driving a studio quality
Displays
monitor through either component, DVI or HDMI inputs you might want to run with this
option deselected. This option is deselected by default.
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General Settings
Option
Description
Current Monitor
Position
Defines which monitor displays the full screen playback. Drag the entire Full Screen
Playback Settings dialog box to the desired monitor, and then click Select Monitor.
(Macintosh only) If two or more graphics cards are installed, choose a monitor that is
connected to the primary graphics adapter.
General Settings
Option
Description
Project Format
Displays the format currently selected for the project.
Temporary File
Directory
When you use drag and drop Export or an export that creates an intermediate movie file,
your Avid editing application must store the intermediate file, which can be as large as
the final export. By default, the Temporary File Directory is located in the same directory
as your Avid editing application.
To improve efficiency or to avoid DISK_FULL errors when exporting, you can specify a
different directory for these temporary files. The ideal setting for this field is to type in a
directory on the drive to which you are exporting, or simply one with plenty of free
space.
Default Starting TC
Defines the timecode value you want your Avid editing application to use as the default
starting timecode for each new sequence. For more information, see “Understanding
Timecode” on page 192.
Default Starting EC
Defines the edgecode value you want your Avid editing application to use as the default
starting edgecode for each new sequence.
Effect Apertures
Controls the number of horizontal lines of an image that your Avid editing application
uses to create an effect.
NTSC Has Setup
•
DV25: Select this option when you are using DV media exclusively. For more
information, see “Setting Effect Aperture Options” in the Help.
•
ITU 601 (default): Select this option when you are using uncompressed media or
mixed resolutions.
This option allows systems using NTSC-EIAJ to use the correct color mapping.
NTSC-EIAJ users should not select this option. All other users should select this option.
1499
Grid Settings
Option
Description
Use Windows
Prevents you from using the characters /\:*?”<>| and adding leading spaces, trailing
compatible file names spaces, or a trailing period in bin, project, or user names. These characters are not
(Macintosh only)
allowed in Windows file names. This option is useful for moving bins and projects from
Macintosh to Windows platforms.
Generate LTC On
Playback
Depending on your Avid input/output hardware, this option lets you output LTC
timecode. For more information, see “Using LTC Timecode for Output” on page 1057.
Grid Settings
Grid Settings: Coordinates Tab
Option
Description
Scale Mode Lets you work with a grid that indicates boundaries for a format other than the one in which you
are working. This is useful when you are creating graphics (like titles) that must remain safe in
other formats.
Select one of the following options depending on the current and target formats you need. When
you do not specifically need a grid that represents another format, use the Normal option, which is
the default.
Increments
•
Normal
•
4:3 Inside 16:9 Monitor
•
4:3 Outside 16:9 Monitor
•
1.66 Inside 4:3
•
1.77 Inside 4:3
•
1.85 Inside 4:3
Lets you control grid increments.
•
Fields: Sets the number of tick marks along the grid axes as well as the number of visible grid
points. The default value is 12.
•
Sub Fields: Sets the number of divisions between visible grid points for the snap-to-grid
feature. Setting Sub Fields to 1 snaps objects to visible points only. A value of 2 provides
1/2-field jumps. A value of 4 (the default value) provides 1/4-field jumps, and so on. Setting
Sub Fields to 0 turns off the snap-to-grid feature.
Source Scan For film projects, where an optical house scans film for the addition of visual effects. The default
Size
values are 720 x 486 pixels.
1500
Grid Settings
Option
Description
Source Grid Lets you shrink or offset the grid.
Adjustments
• Hor. Offset and Vert. Offset: These options move the grid on the image either horizontally or
vertically, and are intended mainly for film projects.
•
Inset: This option shrinks the grid proportionally.
Grid Settings: Display Tab
Option
Description
Type
Selects a different grid for each standard film type. For video projects, use the Square grid
type. The grid for the Academy option includes a safety margin on the left that is used for
adding the optical sound track.
The following options are available: Square, Standard Film, Academy, Super 35,
Anamorphic.
Color
Defines a color for the grid axes and the grid points.
Show Safe Title
Displays the safe title area. Create video titles within this area to ensure that they are
viewable on a regular television screen.
Show Safe Action
Displays the safe action area for video display. This box is self-adjusting for different
project formats.
Show 14x9 Zone
Show 1.66 Aspect
Show 1.85 Aspect
Show 1.77 Aspect
Select one or more of these options to display the grid you want.
Show Axes
Displays the grid axes.
Show Tick Marks
Shows tick marks along the axes. Use the Fields option to set the number of tick marks.
Show Thirds
Divides the screen into three sections. This is especially useful if you are creating titles for
the lower third of the screen.
Show Points
Shows the grid points. Use the Fields option to set the number of grid points.
Show Position Info
Displays the position coordinates of any point in the Effect Preview or Record monitor.
Your Avid editing application uses compass coordinates and X, Y coordinates. For
compass coordinates, (0, 0) is the center of the axes. For X, Y coordinates, (0, 0) is the top
left corner of the monitor. X values increase to the right, and Y values increase as you
move down. For more information, see “Displaying Position Coordinates” in the Help.
1501
Import Settings
Import Settings
Import Settings: Image Tab
Option
Description
Image Size
Adjustment
Controls the dimensions of imported images. The following options are available:
•
Image sized for current format: Select this option if the image is properly sized and formatted
for the current project format, or to maintain field data when you import two-field media that
follows exact NTSC or PAL dimensions. Your Avid editing application converts the existing
pixel dimensions, if necessary, so that the image fills the screen. HD projects use the ITU-R
709 color space instead of ITU-R 601. This is the default option.
If the aspect ratio of the original frames does not match the aspect ratio your Avid editing
application is using, the imported frames might appear distorted.
For best full-screen resolution in SD projects of files created in a square-pixel environment,
use 648 x 486 (NTSC), 648 x 480 (NTSC DV) or 768 x 576 (PAL). To create a single
resolution for both NTSC and PAL, use 720 x 540.
•
Crop/Pad for DV scan line difference: Select this option to compensate for the six missing
scan lines in NTSC DV. If you select a 486-line resolution and are importing a 720x480
graphic or animation, your Avid editing application pads the frame out by six lines. If, on the
other hand, you select the DV25 resolution and are importing a full-frame 720x486 graphic
or movie, your Avid editing application crops the top four and bottom two scan lines out of
the image.
•
Do not resize smaller images: Select this option to import graphic files that have a smaller
size than the full-raster SD or HD frame. You typically use this option for either temporary
web graphics (in either SD or HD) or to bring SD-formatted graphics into an HD project
without blowing them up and losing quality.
•
Resize image to fit format raster: Select this option to resize both smaller and larger images
to fit the full-raster SD or HD frame. Your Avid editing application maintains the file’s aspect
ratio.
1502
Import Settings
Option
Description
Field
Ordering in
File
Controls the field ordering (sometimes referred to as field dominance) of the media you are
importing. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are
automatically imported as progressive (still) frames.
When the field ordering (or spatial field position) of the imported media matches the field
ordering of the project format, no special processing is required. For more information, see
“Field Ordering in Graphic Imports and Exports” on page 1554.
This option does not apply to OMFI imports when the import resolution matches the OMFI file.
The following options are available:
File Pixel to
Video
Mapping
•
Ordered for current format: Select this option when the file you are importing is correctly
field ordered for the video format being used (for example, Even or lower ordered for NTSC,
Odd or upper ordered for 1080i HD). This is the default option.
•
Odd (Upper Field First) ordered: Select this option if the file is odd ordered and you are
importing it into an even ordered format, for example, when you are importing PAL DV into
PAL.
•
Even (Lower Field First) ordered: Select this option if the file is even ordered and you are
importing it into an odd ordered format., for example, when you are importing NTSC into
1080i HD.
Controls how your Avid editing application handles color in the imported images. The following
options are available:
•
Computer RGB (0–255): Select this option if the file you are importing uses RGB graphics
levels. Most computer-generated graphics use RGB graphics levels. The RGB color values
are remapped to ITU-R 601 (formerly CCIR 601) or ITU-R 709 video color values
appropriate for your Avid editing application.
•
Computer RGB, dither image colors: Select this option if the file you are importing uses
complex color effects, such as a gradation, and you are importing at a high resolution (2:1).
Do not use this option to reimport an image that you have already imported with dithering.
•
601 SD or 709 HD (16–235): Select this option if the file you are importing uses video levels
based on the ITU-R 601 (formerly CCIR 601) or ITU-R 709 (HD) standard. These graphics
include Avid color bars or images that include superblack (zero black) for keying purposes.
1503
Import Settings
Option
Description
Alpha
Channel
Controls how your Avid editing application handles the alpha channel in imported images. The
following options are available:
•
Invert on import (white = opaque): Select this option to reverse the black and white elements
of the alpha channel if they differ from the matte key requirements of your Avid editing
application. Avid applications use a white background, a black foreground, and a gray
transparency blend between the two.
•
Do not invert (black = opaque): Select this option to import the image, using the existing
alpha channel information.
•
Ignore: Select this option to import an image that contains alpha channel transparency
information as one opaque graphic. The imported graphic appears as a single master clip in
the bin.
n
Dilate Fill
If an image contains an embedded alpha channel but your Avid editing application does
not support alpha channel import for the file type, select this option to import the image
successfully. For information on alpha channel support, see “Import Specifications for
Supported Graphics File Formats” on page 1540.
This option bleeds the fill just a bit along the edges where transparent alpha meets
non-transparent alpha.
It is useful when importing graphics files containing alpha that have abrupt transitions between
transparent and opaque. It can help prevent black/gray pixels from seeping into the fill.
Frame Import Defines the duration of the single frame your Avid editing application creates from the import.
Duration
The default is 10 seconds. This option does not apply to importing sequential image files because
each file represents one frame of the clip, so the total number of files determines the total
Duration n
duration.
seconds
Importing an image with alpha channel creates a matte key effect as a single frame, with no
associated media file.
Importing as a single frame takes less time and requires less storage than importing as a media
file. However, a single frame has limited real-time playback capabilities, particularly at high
resolutions, because your Avid editing application loads the frame into memory and handles it in
real time, rather than playing it back from a disk.
Autodetect
Sequentially
Numbered
Files
When this option is selected, your Avid editing application recognizes that a sequence of
connected files is present and automatically imports the whole sequence.
When this option is deselected, your Avid editing application does not automatically import a
whole sequence of files that have sequential extensions. You can then select any single file for
import.
You can import sequential files for any of the supported still-image formats. For information on
preparing a sequence of image files, see “Specifications for Animation Files” on page 1545.
1504
Import Settings
Import Settings: OMFI/AAF Tab
Option
Description
Resolution
Use the source file’s resolution.
When this option is selected, your Avid editing application maintains the
source file’s resolution. Your Avid editing application disregards the
resolution setting in the Select Files to Import dialog box as well as the
resolution set in the Import tab of the Media Creation dialog box.
Use the current import resolution.
When this option is selected, your Avid editing application disregards the
source file resolution and uses the current import resolution setting.
Ask me to set the resolution for
each file that is different from the
current import resolution setting.
When this option is selected, your Avid editing application displays a query
about resolution selection for each imported file when the resolution of the
source file is different from the current import resolution setting.
Import Settings: Shot Log Tab
Option
Description
Maintain events as logged. When this option is selected, your Avid editing application maintains all events as
originally logged.
Combine events based on
scene and automatically
create subclips.
When this option is selected, your Avid editing application combines all the events
for a scene into a single master clip and then links the master clip to subclips that
represent the original events for that scene. To use this option, you must have scene
numbers logged in a scene column in the bin.
Combine events based on
camera roll and
automatically create
subclips.
When this option is selected, your Avid editing application combines all the events
from a camera roll into a single master clip and then links the master clip to
subclips that represent the original events for that camera roll. To use this option,
you must have camera roll numbers logged in a camera roll column in the bin for a
film project.
Merge events with known
sources and automatically
create subclips.
When this option is selected, your Avid editing application creates subclips for
events that are merged or relinked to their source clips upon import. Use this option
if you have already entered master clips in a bin for each camera roll or master
scene, and have subsequently logged all the events related to those clips for import.
Merge events with known
master clips.
n
You must select the clips that you want to merge before selecting this option.
n
You must select the clips that you want to merge before selecting this option.
When this option is selected, your Avid editing application merges information in
the shot log onto selected master clips based on the matching tape name. Use this
option if you have already logged (or captured) master clips in a bin for each take.
1505
Import Settings
Import Settings: Audio Tab
Option
Description
Multichannel Audio
Allows you to map source audio channels to multichannel or mono tracks in your
imported clips. Click Edit to open the Set Multichannel Audio dialog box and specify
mono or audio tracks for a maximum of 16 audio channels. For more information, see
“Importing with Multichannel Audio” on page 305.
Sample rate convert
source sample rate to
project sample rate
Controls sample rate conversion during audio import.
When this option is selected, your Avid editing application converts incoming media to
the sample rate of the current project. This option is selected by default.
When this option is deselected, your Avid editing application imports audio media at the
source sample rate. If your Avid editing application does not support the source sample
rate, it autoconverts the audio media to the current project sample rate.
If you select this option, the “Do not convert sources with pullup or pulldown rates”
option is available. Select this option to skip the conversion of incoming media marked
with pullup or pulldown sample rates to the sample rate of the current project. The
length and pitch of the imported files are changed by plus or minus .1%. Deselect this
option to convert audio media with pullup or pulldown source sample rates to the project
sample rate. Length and duration do not change for the imported audio files. This option
is selected by default.
For more information, see “Sample Rate Conversion and Audio Import” on page 309.
Convert source bit
depth to project bit
depth
Controls bit depth conversion during audio import.
When this option is selected, your Avid editing application converts the incoming media
to the bit depth of the current project (deselected by default).
When this option is deselected, your Avid editing application imports audio media at the
source bit depth. If your Avid editing application does not support the source bit depth,
it autoconverts the audio media to the current project bit depth.
Apply attenuation/gain When this option is selected, your Avid editing application applies attenuation/ gain
effect on import
effects made to clips prior to import. If you apply gain from the Clip menu after you
have adjusted the gain before import, the pre-import gain is ignored. For example, if you
apply -6 dB before import, and then apply another -6 dB to the clip, the clip remains at
-6 db and not -12 db.
Select the CD only option if you only want to apply attenuation/gain to all of the music
files on a CD.
Automatically center When this option is selected, your Avid editing application adds a center pan effect to all
pan monophonic clips monophonic clips on import.
1506
Import Settings
Option
Description
Autodetect Broadcast
Wave Monophonic
Groups
When this option is selected, your Avid editing application imports multichannel,
monophonic BWF files as a single master clip. This lets you import an eight-track
recording, for example, as an eight-track master clip with sequential file names based on
the track order (filename_1.wav is associated with track A1, filename_2.wav is
associated with track A2).
Subframe Alignment
to Broadcast WAV
Start Time
Media Composer has frame-accurate time stamping and Pro Tools has sample-accurate
time stamping. This can result in misalignment when importing from Media Composer
into Pro Tools. When this option is selected, imported broadcast WAV files have either
silence added to the beginning, or up to half a frame of audio deleted from the
beginning, in order to be in alignment with the audio start time specified in the original
Broadcast Wave media file. This results in an AAF export whose audio will be in
alignment with the same audio imported into Pro Tools.
Import Settings: XDCAM Tab
Option
Description
Force import of both
Proxy & High-resolution
When this option is selected, your Avid editing application imports both proxy and
high-resolution versions of the selected file or files. When this option is deselected,
your Avid editing application imports only the selected files (proxy or
high-resolution). Your Avid editing application imports proxy files first.
Only import clips with
Good Shot Flag
When this option is selected, your Avid editing application restricts XDCAM
imports to only those clips described with the OK or KP (keep) flag. You can flag
clips with these and other descriptive values in the Sony proxy browser software.
Batch import
High-resolution Video
When this option is selected, your Avid editing application uses the Batch Import
function to import high-resolution media from the XDCAM device and
automatically conform it with the low-resolution proxy media.
Type the number of frames you want to use as handles for batch imported clips in
the Handle Length: nn Frames text box. Handles refer to material outside the IN and
OUT points that you can use for dissolves and trims with the new, shorter master
clips. The default is 30.
Automatically import
Proxies when disk is
inserted
When this option is selected, your Avid editing application imports all proxy media
stored on the XDCAM disc when you insert the disc in the XDCAM device.
Deselect this option if you want to import only selected media files.
Import Essence Marks as
Markers
When this option is selected, your Avid editing application imports XDCAM
Essence Marks as markers that you can display in the Source/Record monitor or in
the Markers Window.
1507
Interface Settings
Option
Description
Convert Proxy Audio to
When this option is selected, your Avid editing application converts the sample rate
Project Rate during Import for proxy media (8 kHz) to the project rate when you import the media. This option
is selected by default.
Import Audio Channels
Defines the maximum number of audio channels to import: 2, 4, 6, or 8. For
example, if a file has 8 channels of audio, you can select 8 to import all 8 channels
or you can select 2 to import only the first 2 channels of audio.
Interface Settings
Option
Description
Interface Brightness
Controls the brightness of the user interface.
Preview
Displays a preview of the foreground color as you move the Interface Brightness
slider.
Highlight Color
Lets you select the color of button highlighting from available presets.
Default Timeline V Tracks
Selecting this option sets the color of all Timeline video tracks to the default. If
you change the track color for a video track, this option changes to deselected.
Default Timeline A Tracks
Selecting this option sets the color of all Timeline audio tracks to the default. If
you change the track color for an audio track, this option changes to deselected.
Default Timeline TC Tracks Selecting this option sets the color of the Timeline timecode track to the default. If
you change the track color for the timecode track, this option changes to
deselected.
Allow Custom Bin
Backgrounds
When you select this option, you can set custom background colors for bins.
Show Labels in Tool Palette When this option is selected, your Avid editing application displays text labels
with the icons on the Tool palette. This option is selected by default.
Show ToolTips
When this option is selected, your application displays labels for buttons and icons
when you position the mouse pointer over them. This option is selected by default.
You can also turn ToolTips on and off from the Help menu.
Delay n seconds before
showing
Controls the length of the delay before tooltip labels display. This lets you move
the mouse pointer across the interface without displaying the labels on items
between the starting point and the destination of the mouse pointer.
1508
Interplay Folder, Interplay Server, and Interplay User Settings
Option
Description
Windows Standard Alt Key Switches between standard Windows and Avid application Alt key behavior.
Behavior (Windows only)
When this option is selected, pressing and holding the Alt key together with
another key works as a keyboard shortcut for certain Windows actions (for
example, opening menus).
When this option is deselected, pressing and releasing the Alt key and then
pressing another key works as the Windows keyboard shortcut. Pressing and
holding the Alt key together with another key works as a keyboard shortcut for
certain Avid functions. This is the default option.
For more information on Windows shortcuts, see the Windows documentation. For
more information on Avid shortcuts, select Help > Shortcuts.
Automatic Num Lock
Activation (Windows only)
When this option is selected, your application automatically sets the numeric
keypad in numeric mode the next time you start the application. When this option
is deselected, the Num Lock key on the keyboard controls the mode of the numeric
keypad.
With either selection, you can use the Num Lock key to change the mode of the
numeric keypad.
Automatically Launch Last
Project at Startup
When this option is selected, your application opens your last project when it
starts.
Use Classic Character
Mapping
When this option is selected, your application uses default text character mapping
tables from older versions of Avid editing applications. These default mappings
differ from current character mappings. Using the classic mappings might correct
some text display problems in the Title Tool — for example, the display of Greek
text or of special characters. For more information, see “Controlling Character
Mapping for Title Text” in the Help.
Interplay Folder, Interplay Server, and Interplay User
Settings
You need to configure your Avid editing application before you can interact with the asset
manager. For more information, see the Avid Interplay Installation Guide.
Interplay Folder Settings
Option
Description
Interplay Root Folder for Defines the default directory for your workgroup project (where the asset
this Project
manager checks in media assets).
1509
Keyboard Settings
Option
Description
Set
Lets you navigate to a directory on the Interplay Server and set a new
default Interplay Root Folder.
Append project to
directory path
Automatically adds the name of your project to the directory path
specified in the Interplay Root Folder text box.
Verify directory path
On login: A message box asks you to confirm the directory path after you
log in to Interplay. Select “for new projects only” if you want this message
box displayed only after you create a new project. If you select the option
“force selection of directory path.” you will be prompted to select the
directory path for the new project. You must click Set to select the
directory path.
On first checkin: The first time you check in from a bin, displays a
message box that asks you to verify the folder into which the assets will be
checked in. This message box is displayed once each time you work in a
project.
Interplay Server Settings
Option
Description
Interplay Server Name Lets you enter the computer name of your Interplay Server.
Interplay User Settings
Option
Description
User Name
Lets you enter a user name. This name must be a known workgroup user.
Automatic Login at Logs you in to the asset manager automatically every time you open a project.
Project Selection
Login/Logout
Connects to or disconnects from the asset manager.
Keyboard Settings
The following illustration displays the default keyboard settings.
1510
Marquee Title Settings
To view the name of a button in the Keyboard settings window, move the mouse pointer over the
button. To get help for the button, right-click and select What’s This?
For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 131.
When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard,
you can map user-selectable buttons to the keyboard. If the Windows operating system is set to
French or German regional settings, and you click the center of the Enter key in the Keyboard
palette, foreign keyboard mapping mode turns off. To return to foreign keyboard mapping mode,
Select Standard, and then select Map Foreign Keyboard again.
Marquee Title Settings
Option
Description
Create New Title
using
Controls which Title tool your Avid editing application uses when you select Clip > New
Title or Tools > Title Tool:
•
Marquee: Your Avid editing application always opens Marquee.
•
Title Tool: Your Avid editing application always opens the classic Title Tool.
•
Ask me: Your Avid editing application displays the New Title dialog box. You can then
select either Marquee or the Title Tool. This is the default setting.
1511
Media Creation Settings
Option
Description
Promote Title Tool Controls whether your Avid editing application promotes classic Title Tool titles to
titles to Marquee
Marquee when you open the title for editing from a bin or from within a sequence:
Backup Title on
Promote
•
Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title.
For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee
Help.
•
No: Your Avid editing application never promotes a Title Tool title to a Marquee title.
•
Ask me: Your Avid editing application displays the Edit Title dialog box. You can then
choose whether to promote the title to Marquee. This is the default setting.
When this option is selected, your Avid editing application creates a backup Title Tool
version of any title that it promotes to Marquee. The backup copy is a fast-saved
(unrendered) title with [TT] added to the name of the backup copy to differentiate it from
the newly created Marquee version.
Media Creation Settings
For more information about options in the Media Creation Settings dialog box, see “Selecting
Video Resolutions and Media Drives” on page 176.
Media Creation Settings: Drive Filtering & Indexing Tab
Option
Description
Filter Network Drives
Based on Resolution
Removes as a storage choice network drives that cannot support the selected
resolution or cannot play back the selected resolution.
Filter Out System Drive
Removes as a storage choice the drive on which the operating system resides.
Filter Out Launch Drive
Removes as a storage choice the drive on which your Avid editing application
resides.
Auto-index local drives as Enables automatic indexing of local drives by the Media Indexer, a background
they come online (using
service that keeps track of the media files in storage locations that you identify.
filtering rules)
Auto-indexing uses filtering selections on the left side of the tab, so that if you
select “Filter Out System Drive,” any media on that drive is not indexed. For more
information about configuring the Media Indexer, see the Avid Interplay Software
Installation Guide.
Manual Storage Scan
Enables immediate indexing of local drives by the Media Indexer. If the
Auto-index option is deselected, you can click this button to index local drives and
folders. You can then use the Interplay Service Configuration tool to remove
specific drives or folders.
1512
Media Creation Settings
Option
Description
On indexing failure
Determines how your Avid editing application reports indexing failure messages.
For information on using the Console, see “Using The Console Window” on
page 134.
Media Creation Settings: Common Options in Capture, Titles, Import,
Mixdown & Transcode, Motion Effects, and Render Tabs
Option
Description
Video Resolution
Select a resolution.
Apply to All
Applies your chosen resolution to all the Media Creation dialog box tabs, and to any
other place in your Avid editing application where you select a resolution.
n
n
The resolution options are not available in the Motion Effects tab.
Your Avid editing application always renders an effect at the highest resolution
used in the effect source clips.
Video/Audio Drive
Defines the drives your Avid editing application uses to store video and audio media.
In the Titles tab, only a Video Drive option is available.
Apply to All
Applies your chosen video and audio drives to all the Media Creation dialog box tabs,
and to any other place in your Avid editing application where you select drives.
Media Creation Settings: Additional Options for Capture Tab
Option
Description
Slot
Displays slot number 1-4.
Data Type
Defines the type of ancillary data you want to assign to a particular slot.
DID and SSID
Displays the DID and SDID number values for the ancillary data packets that your
Avid editing application captures and preserves by default.
n
The DID and SDID information captured with the data clip displays in the bin.
Enable
Lets the system capture the ancillary data selected to the slot on the system.
Ancillary Data Mode
Setting (Avid Nitris DX
or Avid Mojo DX)
This option varies depending on your Avid input/output hardware:
(Avid Nitris DX or Avid Mojo DX only) Choose between SMPTE 436M or Legacy.
To capture to a data track, select SMPTE 436M or to capture ancillary data to a
DNxHD video file, select Legacy
1513
Media Creation Settings
Media Creation Settings: Additional Options for Render Tab
Option
Description
Same as Source
When this option is selected, your Avid editing application renders the effect using the
resolution of the clip or clips used to create the effect. If an effect is created from clips
that use different resolutions, your Avid editing application uses the highest quality
resolution.
Effects Processing
Controls the resolution (bit depth) used for effects processing. The following options are
available:
•
8-bit: Select this option when rendering time is more important than image quality.
Also use this option if you are mainly working with effects that don’t support 16-bit
precision.
•
16-bit: Select this option for the best overall image quality. Use this option if you use
10-bit resolutions, use many levels of nested effects, or want the best color fidelity for
rendered effects.
•
Automatic: Select this option if you want the media source to determine the effects
resolution. This is the default.
Save after Render
When this option is selected, your Avid editing application saves open bins after you
perform a render operation.
AMA Source
Scaling/Quality
Sets the playback quality for AMA plug-ins that support adjustable playback quality (e.g.
RED, Sony HDCAM-SR, Sony RAW, AVCHD, and ARRI RAW). You can choose Full,
Half (Best Quality), Half (Good Quality), Quarter, Eighth, Sixteenth.
Media Creation Settings: Media Type Tab
Option
Description
Video File Format Defines the video file format, either Open Media Format (OMF) or Material Exchange
Format (MXF). This option applies to video format menus in the Capture tool, the
Consolidate/Transcode dialog box, and other places in your Avid editing application. For
more information, see “File Format Specifications” on page 1540.
n
If your project uses an HD resolution, you cannot select OMF as a file format. MXF
is selected by default.
1514
Media Services Settings (Windows Only)
Media Services Settings (Windows Only)
The Media Services Settings dialog box lets you connect to a Media Services Broker. You use
the services provided by Avid Interplay Media Services Broker in an Avid Interplay environment
where dedicated computers automate time-consuming operations. For more information, see the
Avid Interplay Media Services Setup and User’s Guide.
Option
Description
Media Services
are available
Ensures that you are connected to the Media Services Broker. Deselect this option to
disconnect without losing your setting information.
Broker
Defines the Broker name as it appears in the Media Services Broker application
window, for example:
http:\\myBrokerPC:8080
Consult your Media Services Broker administrator for this information.
Username
Defines your Media Services Broker username.
Password
Defines your Media Services Broker account password.
Shared Storage
Defines the directory where you intend to save QuickTime reference movies that the
service creates. You can click the Browse button to locate the directory.
Notify me of job
completion by email
When this option is selected, you are notified by email when jobs complete.
Email address
If you select “Notify me of job completion by email,” type your e-mail address.
n
You can also check the Avid Interplay Media Services Broker Jobs window to see
the status of your job.
Mouse Settings
Option
Description
Scroll Wheel Behavior —
Vertical Scroll Speed
Controls the speed of scrolling with the mouse wheel within your Avid editing
application — Normal, Moderate, or Fast. For more information, see “Using the
Mouse Scroll Wheel for Navigating” on page 62.
Mouse Button Assignments
Assigns functions to three additional mouse buttons. Drag buttons from the
Command Palette. For more information, see “Customizing Mouse Functions”
on page 62.
1515
NRCS Settings (Media Composer | NewsCutter Option)
NRCS Settings
(Media Composer | NewsCutter Option)
For more information about options in the NRCS Settings dialog box, see “Configuring the
NRCS Tool” on page 1162.
NRCS Settings: NRCS Tab
Option
Description
Server
Defines the name of the server.
Server menu
Defines the type of NRCS server (iNEWS or ENPS) you want to connect to. The second
tab in the NRCS Settings dialog box changes to match the selection.
Default User Name Defines a default iNEWS user name.
(iNEWS only)
Logout when NRCS When this option is selected, your Avid editing application terminates the connection to
Tool is closed
the server every time you close the NRCS tool.
Automatic update
from server
(iNEWS only)
When this option is selected, iNEWS updates the information in the NRCS tool
periodically. Enter a time interval in the Update interval text box to set the time interval
between updates. The default interval is 1 minute.
NRCS Settings: iNEWS Tab (iNEWS Only)
The following table describes the options in the iNEWS tab.
Option
Description
Show Message-of-the-Day When this option is selected, a Message-of-the-Day (MOTD) displays. Select either
Every Connection (to see the message on every connection) or First Connection (to
see the message only on the first connection of the day).
Message-of-the-Day
Directory
Defines the name of the MOTD directory if it is not the default directory on the
server (SYSTEM.MESSAGE).
Mail Directory
Defines the name of the folder where you want your mail saved.
1516
NRCS Settings (Media Composer | NewsCutter Option)
Option
Description
“Create Sequence” Data
When you use the Build Sequence button a to create a sequence from a story, the
new sequence uses the specified Duration (tape-time), Name (title), and TapeID
(video-id) from the iNEWS story fields setting. If you want to use another iNEWS
field for the metadata, type the name of the story field in the appropriate text box.
Type the default time you want for new sequences in the Default Value text box.
If the heading in the Story Form is empty or is zero, you can set a default value for
the duration of the new sequence.
Browser Fields
When this option is selected, the Labels text boxes list the column headings
available for display in the Directory panel of the NRCS tool. If you want to change
the default label, type a new name in the appropriate text box.
n
The Page (page-number) and Name (title) fields are always available and do
not need to be set in this dialog box.
The Field text boxes display the default fields from the iNEWS server. If you want
to change these fields, type the name of an iNEWS story field in the appropriate text
box. For more information, see “Starting the NRCS Tool” on page 1167.
NRCS Settings: ENPS Tab (ENPS Only)
Option
Description
MOS Identification Defines how your Media Object Server (MOS) identification is determined.
•
Use Computer Name: Select this option if you want your Avid editing system to be
identified in the ENPS by the computer name. The computer name appears in the
MOS ID text box
•
Other: Select this option and type a specific MOS ID in the MOS ID text box if you
want your Avid editing system to be identified in the ENPS by a specific name.
Type the Network Computer System identification (NCS ID) of the server you are using
in the NCS ID text box.
List Format
The following options are available:
•
Show running order start date/time: Select this option if you want running order names
to be listed, including the Editorial Start date and time.
•
Show story page number: Select this option if you want story names to be listed,
including the page number.
Sequence Creation
Defines the default duration for sequences created with the Build Sequence button. Type a
value in the Default Duration text box.
MOS Objects
When Show MOS ID is selected, the MOS identification displays below MOS object cues
in the Production panel.
1517
Passthrough Mix Tool
NRCS Settings: Post to Web Tab
Option
Description
Include Closed Caption
(green) text
Converts all text marked as Closed Caption to plain text.
Add paragraph tags ()
at the start of new lines
Converts line breaks into paragraph breaks, so each line is displayed as a separate
paragraph on the Web page.
n
Web formatting ignores line breaks that are the result of the text wrapping
within the Story text box. It converts only those line breaks created when the
user enters a new line.
Convert story to lowercase The following options are available:
•
Always: Converts all stories to lowercase characters, even if the source script
contains both uppercase and lowercase text.
•
Only if story is all UPPERCASE: Converts only those stories with no
lowercase characters.
Passthrough Mix Tool
Option
Description
Passthrough Mix Tool
See “Using the Passthrough Mix Tool” on page 215.
PortServer Settings
Option
Description
Auto-connect to LANshare at Launch Your Avid editing application recognizes LANshare workspaces when
it starts.
Connect/Disconnect
Starts or terminates the connection.
1518
Remote Play and Capture Settings
Remote Play and Capture Settings
Remote Play and Capture lets you use your Avid editing application like a videotape recorder
(VTR) or edit controller, giving you access to some of the features of an external editing suite
through your Avid editing application interface.
Option
Description
Mode
When Remote Capture is selected, your Avid editing application captures the media being
sent to it immediately without setting up parameters like IN and OUT points. Select this
option when you want to perform a quick capture. This mode is also known as crash record.
Remote Capture supports record and stop with the controller.
When Remote Play is selected, you can control sequences via an edit controller. Remote
Play supports play, cue, and stop.
When Remote Punch-In is selected, you can perform a quick audio punch-in. Remote
Punch-In allows your Avid editing application to record the audio being sent to it
immediately without setting up all parameters, such as OUT points. Remote Punch-In
supports play, cue, record, and stop with an external controller.
Device Code
Defines the device code that identifies the VTR to emulate. The edit controller adjusts to
this choice. The default value is a Sony PVW-2800, which performs all the common play
and capture functions.
You do not need to change this option unless your edit controller does not recognize the
VTR or you want to emulate a specific VTR.
Runup (frames)
This option is only available with Remote Play. Defines the time (measured in frames) it
takes the deck to start playing from a cued position. The default value is 1 frame.
When the runup times of two video devices are similar, it is easier for the edit controller to
synchronize the devices during preroll. If your Avid VTR does not sync up as often as you
want, try adjusting this value so the two devices attain full speed at nearly the same time.
Inhibit preloading
when cueing by
single frame.
This option is only available with Remote Play and Remote Punch-In. Avid recommends
that you do not inhibit preloading under normal circumstances.
Preloading occurs by default in your Avid editing application. It improves playback
performance by preparing the digital media for playback each time you cue a new frame.
When this option is selected, your Avid editing application matches the behavior of a tape
deck when you step through footage frame by frame. Avid recommends this option only for
projects that require quick cueing of one frame after another, for example, when you are
using your Avid editing application to present a sequence of still images as in a slide
presentation.
1519
Render Settings
Render Settings
Option
Description
Image
Interpolation
This option allows you to choose filtering quality vs. speed.
•
Advanced (Polyphase) is the highest quality option, but is the most demanding. Images
will appear sharpest with this option.
•
Standard (Bilinear) trades some quality for better performance.
•
Draft (Nearest Neighbor) is a low quality option that requires very little processing and
is fastest.
Timewarps Render Determines the processing method when your Avid editing application render or rerenders
Using
Timewarp effects.
The Original Preference, Duplicated Field, Both Fields, Interpolated Field, and VTR-Style
options are the same as those for Motion Effects Render Using (see the preceding
descriptions).
The Blended Interpolated and Blended VTR options are also available. These options add
pixel blending to the Interpolated Field or VTR-Style techniques. Your Avid editing
application blends, or averages, pixels from the original frames or fields to create
intermediate frames or fields. For example, at 25% speed, your Avid editing application
creates three blended images between outgoing Image A and incoming Image B. The first
blended image weights the pixels from Image A at 75% and Image B at 25%, the second
weights the pixels from Image A at 50% and Image B at 50%, and the third weights the
pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to
Image B appear to fade out of Image A and fade in to Image B.
Timewarp effects that render using Blended Interpolated or Blended VTR render less
quickly than Interpolated Field or VTR-Style.
1520
Render Settings
Option
Description
Motion Effects
Render Using
Determines the processing method when your Avid editing application renders existing
motion effects. The following options are available:
•
Original Preference: Effects render as whatever type they were when originally created.
•
Duplicated Field: Displays a single field in the effect. For two-field media, this drops
one field of the image, resulting in a lower quality image. For single-field media, this is
usually the best choice because of its speed (the other options do not improve effect
quality for single-field media).
With JFIF resolutions, this option causes the effect to render in the shortest amount of
time. With DV and MPEG resolutions, the effect renders approximately as quickly as it
would if you select Both Fields as the rendering option.
You can use this option to remove unwanted field motion in interlaced material brought
into a progressive project.
•
Both Fields: Displays both fields in the effect. For example, the first two frames of a
half-speed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice.
This option is good for shots without inter-field motion, NTSC or PAL film-to-tape
transfers, and still shots. With footage that includes inter-field motion, this option
might result in minor shifting or bumping of the image because it disturbs the original
order of fields: a Field 1 appears both before and after the corresponding Field 2.
The effect renders relatively quickly. For best results with this option, use evenly
divisible frame rates.
•
Interpolated Field: Creates a second field for the effect by combining scan line pairs
from the first field in the original media. This option calculates the motion effect at the
field level rather than the frame level. Because your Avid editing application considers
all fields and does not disturb the original order of fields, the smoothest effect results.
Effects that render using this option take the longest amount of time to render.
•
VTR-Style: Creates a second field for the effect by shifting selected video fields of the
original media by a full scan line. High-quality professional video decks use a similar
technique when playing footage at less than normal speed. This option also creates the
motion effect at the field level rather than the frame level. However, because pixels are
not filtered, the final image is sharper than that created by the Interpolated Field option.
The image might jitter slightly at certain speeds.
Effects that render using this option take longer to render than effects created using
either Duplicated Field or Both Fields, and a similar time to those created using
Interpolated Field.
1521
S3D Settings
Option
Description
Render Completion Defines a sound that your Avid editing application plays once the rendering process is
Sound
complete. This is useful when you are rendering multiple effects. The following options are
available:
•
None: Disables the rendering completion sound. This is the default.
•
System Beep: Sets the rendering completion sound to match the sound set for your
operating system.
•
Render Sound: Sets the rendering completion sound to a customized sound. On
Macintosh systems, several customized sound choices are available.
Use frame blending When clips of a different frame rate than the sequence are dropped on the timeline, a
in Motion
motion adapter is automatically applied. Motion Adapter effects allow mixed rate clips to
Adapters.
play at the project’s frame rate and to have the correct field motion.
The frame blending setting will give you some flexibility with mixed-rate media by
offering a choice between temporal smoothness and spatial smoothness. It controls whether
or not any new motion adapters use the Blended Interpolated render option.
When this option is selected, the Blended Interpolated mode is used. The behavior is the
same as previous versions of Media Composer, and uses Blended Interpolated for most
motion adapters. When it is not selected, the Interpolated Field mode is used for interlaced
clips, and Both Fields mode is used for progressive clips.
n
Changing this setting does not have any effect on existing motion adapters. If you
want to apply this to an existing motion adapter, you will need to reload the
cross-rate source clips into the source viewer after changing the setting.
S3D Settings
Option
Description
Unit System
Choose between Imperial or Metric units of measure.
Viewing Distance
Enter the average distance between the audience and the screen.
Screen Width
Enter the width of the screen for which the final output will be
delivered.
Raster Resolution
Enter the resolution at which the final output will be projected.
Eye Separation
Set the average intra-ocular distance between human eyes (the
default is 6.35 cm).
1522
Safe Colors Settings
Option
Description
Depth Limit Near
Enter the depth budget available in front of the screen. This is
always a negative value.
Depth Limit Far
Enter the depth budget available behind the screen. This is
always a positive value.
Parallax Near
This distance is automatically calculated. If you set the
drop-down button to manual, you may override the calculated
setting.
Parallax Far
This distance is automatically calculated. If you set the
drop-down button to manual, you may override the calculated
setting.
Safe Colors Settings
Option
Description
Composite
Defines safe color values for the composite video signal.
Luminance
Defines safe color values based on brightness.
RGB Gamut
Defines safe color values based on color range.
Units buttons
Define the units of measurement for the three types of safe color values.
The following options are available for the Luminance and RGB Gamut menus:
•
8 Bit: Measures the adjustment on a scale from 0 to 255.
n
The RGB value for a color in the Color Correction tool is not identical to the RGB value
for the same color in a graphics application such as Adobe Photoshop. For example, the
8-bit RGB values for reference black and reference white are 16 and 235 respectively.
•
%: Measures the adjustment on a percentage scale from 0 to 100.
•
IRE: Measures the adjustment in IRE units.
•
mVolts: Measures the adjustment in millivolts.
For the Composite Units menu, only the IRE and the mVolts (millivolts) options are available.
1523
Script Settings
Option
Description
Actions buttons Define how your Avid editing application implements the safe color settings. The top menu
controls both the Composite and the Luminance limit types. The bottom menu controls the
RGB Gamut limit type. The following options are available:
•
Ignore: Your Avid editing application does not limit based on these settings. This is the
default setting.
•
Warn: Your Avid editing application provides warnings when an image exceeds these
limits. For more information on safe color warnings, see “Understanding Safe Color
Warnings” in the Help.
Script Settings
Option
Description
Font
Defines the font for imported scripts.
Size
Defines the font size. The default is 12 points.
Left Margin (pixels) Defines the left margin size. The default is 40 pixels.
Take Coloring
Defines the color that your Avid editing application applies to takes.
Show Frames
When this option is selected, your Avid editing application shows frames in take slates.
Show All Takes
When this option is selected, your Avid editing application shows all takes in each slate.
When this option is deselected, your Avid editing application displays only one take per
slate.
Interpolate Position When this option is selected, you can click in a take line within a script, and the image in
the Source monitor updates to the approximate position in the take where you have
clicked. If you deselect this option, the Source monitor does not respond when you click in
a take line.
Hold Slates
Onscreen
When this option is selected, slates stay on the screen when you scroll through a script in
the Script window. Each slate remains on the screen as long as the take lines to which it is
linked remain on the screen.
1524
Sound Card Configuration Settings (Windows Only)
Sound Card Configuration Settings
(Windows Only)
Sound Card Configuration Settings are only available in software-only configurations.
Options
Description
Record/Input list
Lists the input sources available with the audio hardware installed on your system.
Playback/Output list
Maps input sources to the output sources available with the audio hardware installed
on your system. The options available on your system determine which sources are
listed as sub-options.
Select if you do not want an input source mapped to an output source.
Override Source menu
Lets you override settings made by your Avid editing application and accept the
default settings of the Windows Master Volume control. The options available on
your system determine which sources are listed as sub-options.
Use Windows Mixer
When this option is selected, all options in the dialog box are deselected, and your
Avid editing application allows the Windows mixer to map input sources to output
sources.
Audio device name
Lists the sound card installed on your system.
Timeline Settings
Timeline Settings: Display Tab
Option
Description
Show Toolbar
When this option is selected, the Timeline top toolbar displays.
Show Marked Region When this option is selected, the region from the IN point to the OUT point is
highlighted in the Timeline.
This option modifies the behavior of the Replace Edit function. When this option is
selected, Replace Edit obeys IN and OUT marks in the Timeline. When this option is
deselected, Replace Edit ignores IN and OUT marks in the Timeline. For more
information, see “Performing a Replace Edit” on page 593.
Show Marked
Waveforms
When this option is selected, your Avid editing application draws waveforms between
an IN point and an OUT point instead of over the entire composition.
1525
Timeline Settings
Option
Description
Highlight Suggested
Render Areas After
Playback
When this option is selected, thin colored indicator lines display in the Timecode track
of the Timeline. These lines provide information about the real-time effects in your
sequence. For more information, see “Real-Time Playback of Video Effects” in the
Help.
Show Position Bar
When this option is selected, the Timeline shows the blue position bar.
Show Effect Contents When this option is selected, your Avid editing application displays effect information
in the Timeline.
Double-Click to Show When this option is selected, your Avid editing application lets you double-click
Nesting
segments in the Timeline to display the nested effects.
Show Four-Frame
Display
When this option is selected, your Avid editing application shows the head and tail of
incoming or outgoing frames of video when you drag a segment.
Use Fast Scrub
When this option is selected, your Avid editing application responds faster and more
smoothly when you drag the position indicator through the Timeline (scrub). However,
markers such as the start-of-clip and end-of-clip marks, sawtooth marks for IN and OUT
points, and markers do not display, and some effects do not display completely in HD
projects.
When this option is deselected, all markers and HD effects display. This is the default
option.
Movement During
Play
Select one option to control the movement of the Timeline while you play a sequence:
•
Page — moves the Timeline section by section as the position indicator reaches the
end of the visible Timeline.
•
Scroll — moves the Timeline while keeping the position indicator stationary.
•
None — keeps the Timeline stationary as the position indicator moves, even after
the indicator goes beyond the end of the visible Timeline.
Timeline Settings: Edit Tab
Option
Description
Start Filler Duration
Defines a default duration for the filler added at the start of a sequence. For more
information, see “Adding Filler” on page 587.
Find Flash Frames
Shorter Than n frames
Defines the maximum number of flash frames you want your Avid editing
application to detect. The default is 10, which tells your Avid editing application to
detect clips with 9 frames or fewer. For more information, see “Finding Black Holes
and Flash Frames” on page 728.
1526
Timeline Settings
Option
Description
Auto-Patching
When this option is selected, your Avid editing application automatically patches the
enabled source tracks to the tracks enabled in the Timeline sequence.
Auto-Monitoring
When this option is selected, your Avid editing application monitors the track you
patch. This option is selected by default.
Segment Drag Sync
Locks
When this option is selected and you click the Sync Lock buttons in the Track
Selector panel, your Avid editing application maintains audio and video
synchronization when you drag clips in Segment mode. Your Avid editing
application adds filler where necessary. For more information, see “Maintaining
Sync with Segment Edits” on page 695.
Default Snap-To Edit
When this option is selected, clips snap to an existing transition endpoint when you
drag them from a bin to the Timeline. When this option is deselected, clips move
freely to any position on the track.
Default Sync Locks On
Enables sync locks on all video and audio tracks as the default Timeline setting.
Select Filler with
Segment Tools
This option allows you to choose whether or not you want filler to be selected when
using the Segment Tools.
Clicking the TC Track or Allows you to disable all edit tools in the Smart tool on the Timeline palette by
ruler Disables Smart
clicking either the Timeline ruler or the Timecode track.
Tools
Only One Segment Tool
Can Be Enabled At A
Time
Prevents both segment tools from being enabled at once.
Default Segment Tool
Specifies which segment tool — Segment Insert or Segment Overwrite — is enabled
by default when you select segments for segment editing with no segment tools
active on the Timeline palette.
New Sequences
Defines the number of video and audio tracks that display in the Timeline for new
sequences. You can select a maximum of 24 video tracks and 24 audio tracks.
Lassoing transitions
enters:
Trim Mode: Select this option if you want the editing application to enter Trim Mode
when lassoing transitions.
Segment Mode: Select this option if you want the editing application to enter
Segment Mode when lassoing transitions. This works only when the Keyframe
Selection Tool is deselected.
1527
Transfer Settings
Transfer Settings
The Transfer Settings dialog box appears only if your system is part of an Avid Interplay
environment and you have configured Avid Interplay Transfer. For more information, see the
Avid Interplay Transfer Setup and User’s Guide.
Settings Tab
Option
Description
Standalone/Incoming •
Requests
•
Refuse all Requests — Select this option if you do not want to receive
files from another workgroup.
User Dialog To Accept/Refuse — Select this option if you want accept
files from another workgroup, and then select one of the following dialog
box options:
Accept/Refuse Dialog Behavior:
Status Window
•
Wait for User Action (No Timeout) — You receive a message request for
a transfer. You must click OK for the transfer to occur.
•
Accept after Timeout — The system automatically accepts the file after
the timeout.
•
Refuse after Timeout — The system does not accept the file after the
timeout. You can specify the timeout period by typing the number of
seconds in the Timeout (seconds) text box.
Update Frequency (seconds): [n] — Type the number of seconds that you
want the status window to update after in the text box.
Bring up window if error occurs — Select this option if you want errors to
display.
1528
Transfer Settings
Option
Description
Send to Playback
•
Highlight mixed-resolution items — This option allows you to identify
any mixed-resolution sequences before you try to send them to playback.
Output Audio Mix
•
Direct channel output — Select this option if you do not want to perform
a mixdown on audio tracks before sending them to playback.
•
Stereo Output — Select this option to mix all the tracks to a stereo pair,
using pan controls to split the tracks.
•
Multiple Mixes — Select this option if you want to assign audio tracks to
specific output channels for the send to playback operation. Click Edit to
open the Multiple Mixes dialog box, which allows you to map audio
tracks to output channels. For more information, see “Mapping Audio
Tracks to Output Channels” on page 1316.
Transcode
Tape ID character
limit
•
Transcode before sending to playback — This option allows for the
transcoding of clips before performing a send to playback operation.
•
Minimum resolution warning threshold — allows you to specify the
lowest resolution allowed to transcode before a warning message is
displayed. The warning is on by default. If you do not want the warning
to appear, deselect this option.
Allows you to specify a Tape ID character limit during Send to Playback.
Certain playback systems truncate Tape ID names that are too long. This
option allows you to set the Tape ID name length.
TMClient.ini Tab
Option
Description
My Workgroup
•
Server — In a workgroup environment, type the Interplay Transfer server
computer name. (This can be any name you give your workgroup.) In a
standalone environment, type the computer name of the local system (this
computer).
•
Workgroup — In a workgroup environment, type the name of your
workgroup. In a standalone environment, type the name you want to see
in the Transfer menu.
n
If you want to edit the names of any of the Interplay Transfer servers
or workstations listed in the Other Workgroups area, select the name,
click Edit, and make the changes.
1529
Trim Settings
Option
Description
Other Workgroups
Click Add to open the Add Workgroup to List dialog box.
•
In a workgroup environment, type the name of the other Interplay
Transfer server in the Server text box, and type the name of the your
workgroup in the Workgroup text box.
•
In a standalone environment, in the Server text box, type the computer
name of other workstation, and in the Workgroup text box, type the name
you want to see in the Transfer menu.
Trim Settings
Trim Settings: Play Loop Tab
Option
Description
Preroll
Defines a preroll value for a playback loop.
Postroll
Defines a postroll value for a playback loop.
Intermission
Defines a transition effect duration for a playback loop.
Trim Settings: Features Tab
Option
Description
Never use Small Trim
mode
When this option is selected, your Avid editing application enters Big Trim mode when
you perform any operation that activates Trim mode. Big Trim mode replaces the
Source and Record monitors with displays of outgoing and incoming frames.
“Go to Transition” uses When this option is selected, your Avid editing application enters Small Trim mode
Small Trim mode
only when you click the Go to Previous or Go to Next button.
Always use Small Trim When this option is selected, your Avid editing application enters Small Trim mode
mode
when you perform any operation that activates Trim mode. Small Trim mode leaves the
Source monitor display, Information Row displays, user tool palettes, and some
Monitor menu functions intact.
This option lets you continue to perform basic editing functions.
Auto focus when
entering Trim mode
When this option is selected, your Avid editing application enlarges the Timeline at the
transition selected for trimming if you enter trim mode with no trim editing tools
selected on the Timeline palette.
1530
Video Display Settings
Option
Description
Render On-the-Fly
When this option is selected, your Avid editing application displays the results of
effects as soon as you create them. This might slow down the editing of the sequence.
Dual Image Play
When this option is selected, your Avid editing application enables dual-image play
(dual-roller trim) while trimming. Outgoing and incoming frames display in real time
while you trim your edit (adding or removing the same number of frames on both sides
of a transition).
J-K-L Trim
When the J-K-L Trim option is selected, you can use the J-K-L keys in Trim mode. For
more information, see “Trimming with the J-K-L Keys” on page 746.
Video Display Settings
Option
Description
DV Output Setting
The following options are available:
Desktop Play Delay
•
Output to DV Device: Select this option if you have connected a DV device to a
software-only system.
•
Format: This option is available only if you have Output to DV Device selected
and a device connected. Select the compressed format to send to the DV device.
•
Realtime Encoding: This option is available only if you are in an SD project
with Output to DV Device selected and a device connected. Lets you enable or
disable real-time effects for better performance. For more information, see
“Playing Back to a DV Device” on page 541.
Defines a frame offset in the Composer monitor so that the media on the desktop
and the media in the DV device play simultaneously. For more information, see
“Adjusting the Play Delay Offset” on page 528.
Defines the Open GL processing method. Select either the Open GL board for your
Open GL® Hardware
Preview DVE effects with: video display, or Software OpenGL if you do not have an OpenGL video board.
For more information, see “Options for Controlling Real-Time Effects Playback”
in the Help.
Enable Confidence View
(also called passthrough)
When this option is selected, you can view incoming media in the Record monitor
while you are capturing. Deselect this option for better performance.
1531
Video Input Tool Settings
Option
Description
High-Quality Scaling for
Real-Time Decode
When this option is selected, image quality is improved during playback of
mixed-format sequences where material requires resizing. This option is selected
by default, and only affects playback with the Full Quality or the Full Quality
10-bit video quality setting. For more information, see “Setting the Video Quality
for Playback” on page 544.
This option improves image quality for SD sequences that contain HD material, or
for sequences that mix HD sizes (for example, 720p with 1080p).
Because this option affects playback performance, you might want to deselect it if
you are working with complex sequences. In particular, you might notice that a
sequence with many video streams that played back successfully in previous
releases of Avid editing applications does not play back smoothly. (This option
functions differently in earlier releases that include it.) You have two alternatives:
Maximum Real Time
Streams
•
If you do not need to view your sequence at full resolution, you can select
either Draft Quality or Best Performance in the Video Quality menu. These
quality settings do not use the High-Quality Scaling for Real-Time Decode
option.
•
If you need to view your sequence at full resolution, you can deselect this
option.
Defines the number of video streams your Avid editing application uses during
playback. For more information, see “Options for Controlling Real-Time Effects
Playback” in the Help.
Video Input Tool Settings
For information on how to use the Video Input Tool settings, see “Preparing to Capture Video”
on page 221.
Option
Description
Input menu
Defines the video input for SD projects: Composite, Component, S-Video, or SDI. For HD
projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV
media through a 1394 port on your system, the menu displays Host-1394. For more
information, see “Capturing Directly from a DV Device” on page 243.
Waveform Monitor
and Vectorscope
Monitor buttons
Opens or hides the Waveform monitor and the Vectorscope monitor.
n
Sliders
Let you change the value for each setting.
Your Avid editing application supports the SMPTE/EBU component standard for
625 timing and Betacam component levels for 525 timing. Your Avid editing
application does not support the MII component video standard.
1532
Video Output Tool Settings
Option
Description
Preset buttons
These buttons are highlighted when the factory preset levels are displayed.
SignalLock
Lets you switch between the following:
•
Professional: preset sync using a wider bandwidth for non-TBC sources.
•
Consumer: automatic sync using time-base correctors (TBC) internal to the video
source
Settings menu
Lets you save the settings for an individual tape each time you calibrate bars.
100% Bars button
Select this option when the source tape has color bars with 100% (versus 75%)
chrominance levels.
Video Output Tool Settings
Specific options apply to different projects, resolutions, and Avid input/output hardware. You
might not see all of the following options in your Avid editing application. The Video Output
tool is not available in software-only versions of Avid editing applications.
Video Output Tool Settings: Options Tab
Option
Description
Sync Lock
Locks your output connection to the reference or an internal signal on the
Avid input/output hardware. Your Avid editing application detects the type of
Avid input/output hardware you have and displays the appropriate options
from the following:
HDMI Color Space
•
Internal
•
Reference
•
REF 1
•
REF 2
•
TriLevel (on some models, your Avid editing application detects
TriLevel Sync automatically so it does not appear as an option)
•
Loop through
Defines the color standard (either YCbCr or RGB) to use for your HDMI
(High-Definition Multimedia Interface) output. You must have
HDMI-compatible Avid input/output hardware attached to your system. If
you are working in the YUV color space, the RGB option appears as Convert
to RGB. If you are working in the RGB color space, crossconvert is not
supported
1533
Video Output Tool Settings
Option (Continued)
Description
HDMI Format
•
SDInterlaced
•
SDProgressive
•
HD
Crossconvert
Defines a format to output an HD format from an HD sequence with a
compatible frame rate. The options are specific formats (choices depend on
the format of the sequence) or OFF.
Downconvert
Defines how downconverted SD video is resized. The options are
Anamorphic, Letterbox, Center Cut, or OFF.
Component Format
VBI
(DV resolutions
unsupported)
Controls whether your Avid editing application preserves or blanks 5 lines
above each field in NTSC and 8 lines above each field for PAL when you
display a sequence or perform a digital cut. These lines store encoded
information such as closed captioning, edgecodes or key numbers for film
projects, or various interactive or enhanced TV codes.
•
Blank: Your Avid editing application blanks the VBI (vertical blanking
interval) information and lets you turn off its display. Your Avid editing
application fills the vertical blanking interval with video black (RGB: 16,
16, 16). This is the default option.
•
Preserve: Your Avid editing application preserves the VBI information
for a digital cut (does not change the output signal).
If your facility uses VBI information, you add the VBI information to the
video before you capture the footage. Your Avid editing application
automatically captures VBI information when you capture footage.
cannot preserve VBI information for DV or HD resolutions.
c You
You can only preserve VBI information for JFIF, uncompressed,
and MPEG IMX resolutions.
You should only preserve vertical blanking information if you have a specific
need for it. For more information see “Vertical Blanking Information” on
page 1119.
Your Avid editing application saves the VBI value from session to session.
You can change the value at any time before you perform a digital cut.
Test Patterns
Lets you choose a test pattern for calibrating during output.
S3D View
Set the display or output mode for your stereoscopic 3D sequence.
Follow Project
Outputs at the project format settings.
Mix
Outputs a 50/50 blend of both the left and right eye images.
1534
Video Output Tool Settings
Option (Continued)
Description
Difference
Outputs a blend of both left and right eyes, and highlights the difference
between the two. Embossed areas show the differences, while gray pixels
represent no differences.
Frame Compatible
Outputs both the left and right eye images as dictated by the project settings
(side/side or over/under).
Full Frame
Outputs both the left and right eye at full resolution.
Mono
Outputs only one of the stereoscopic images.
Left
Outputs only the left eye image.
Right
Outputs only the right eye image.
Leading eye
Outputs only the image set as the leading eye on the stereoscopic clip.
Mono-Anaglyph
Outputs the image in grayscale with color highlights only where there are
differences in the left and right eye. The pixels in each eye image can be
mapped to the following color options:
Mono Red-Cyan
Uses red for the left eye and cyan for the right.
Mono Green-Magenta
Uses green for the left eye and magenta for the right.
Anaglyph
Outputs the image with the selected color highlights only where there are
differences in the left and right eye. The pixels in each eye image can be
mapped to any of the following color options:
Red-Cyan
Uses red for the left eye and cyan for the right.
Green-Magenta
Uses green for the left eye and magenta for the right.
Amber-Blue
Uses amber for the left eye and blue for the right.
Checkerboard
When this option is selected, your Avid editing application outputs the left
and the right images simultaneously for stereoscopic viewing. The term
“checkerboard” refers to the way in which blocks of the left and right images
are displayed for stereoscopic viewing.
You can set the block size accordingly.
Compare
Outputs a comparison between the left and right eye images using a diagonal
split screen. You can set the comparison mode to 25, 50, or 75%.
Follow S/R
Outputs at the settings in the source/record monitors.
S3D Overlay
Off
Outputs with disparity guides over the image.
Does not display any disparity guides.
1535
Video Output Tool Settings
Option (Continued)
Description
The following options display disparity guides on the viewer so that you can
see the depth budget limits when adjusting the separation between your
stereo 3D images. The guides for Parallax are based on the project’s S3D
settings (set from the Project window, Settings tab).
Parallax Near
Displays green guides that show the limits for objects that will appear in
front of the screen plane.
Parallax Far
Displays blue guides that show the limits for objects that will appear behind
the screen plane.
Parallax Near/Far
Displays both guides (green and blue) that show the limits for objects that
will appear in front and behind the screen plane.
Settings menu
Lets you save the settings for an individual tape each time you calibrate bars.
Video Output Tool Settings: SD Cal Tab
Option
Description
Output menu
Lets you select either Component, Composite, S Video.
On some systems, all outputs on the input/output hardware are active.
Select an analog signal from the Output menu to calibrate for output. For
more information, see “Calibrating for Video Output” on page 1059.
H Phase
Lets you adjust the horizontal blanking interval used to synchronize the
timing of two or more video signals. Available on some systems for the S
Video, Component, or Composite output.
Hue
Lets you adjust an attribution of color perception based on varying
proportions of red, green, and blue in the video signal (also known as color
phase). Available for S Video or Composite output.
Sat
Lets you adjust saturation, a measurement of chrominance or the intensity
of color in the video signal. Available for S Video or Composite output.
SC Phase
Lets you adjust the subcarrier phase (the color-burst portion of a signal used
to synchronize the timing of two or more video signals). Available for S
Video or Composite output.
Setup
Lets you set the relative lightness and darkness of images. Available for S
Video, Component, or Composite output.
Gain
Lets you adjust the variation of the lightest or brightest in comparison to the
darkest portions of the image. Available for S Video or Composite output.
1536
Video Output Tool Settings
Option (Continued)
Description
Y Gain, RY Gain, BY Gain, Available for Component output only in some Avid input/output hardware
Pr Gain, Pb Gain
configurations.
•
Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the
video signal that is the whitest point in the visible picture. Use color
bars to set the white level.
•
RY Gain: Lets you adjust the red (R) minus luminance (Y)
color-difference signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the following base
equation for red (R), green (G), and blue (B) components: R–Y =
–0.587G – 0.114B + 0.701R.
•
BY Gain: Lets you adjust the blue (B) minus luminance (Y)
color-difference signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the following base
equation for red (R), green (G), and blue (B) components: B–Y=
(–0.587G + 0.886B – 0.299R) * gain value.
•
Pr Gain: Lets you adjust the gain of the Pr color-difference signal (a
scaled version of the RY signal) of an analog component system.
•
Pb Gain: Lets you adjust the gain of the Pb color-difference signal (a
scaled version of the BY signal) of an analog component system.
System Phase
In some Avid input/output hardware configurations, lets you modulate the
timing of the output signal and a reference signal. Available for S Video,
Component, or Composite output.
SubPixel HPhase
Provides a fine adjustment of Horizontal phase. Available for S Video,
Component, or Composite output.
Settings menu
Lets you save the settings for an individual tape each time you calibrate
bars. Available for S Video, Component, or Composite output.
Video Output Tool Settings: HD Cal Tab
Option
Description
Output menu
Lets you select an HD component output, either Convert to
HD Component RGB or HD Component YPbPr.
Gain
Lets you adjust a measurement of luma (Y) in the video signal that is the
whitest point in the visible picture. Use color bars to set the white level.
Available on some systems for HD Component RGB or
HD Component YPbPr output.
1537
Video Satellite Settings
Option (Continued)
Description
B Gain
In some Avid input/output hardware configurations, lets you adjust the blue
(B) minus luminance (Y) color-difference signal of an analog component
system in the SMPTE NTSC video standard. Available for HD Component
RGB (on some systems) or HD Component YPbPr output.
Pb Gain
In some Avid input/output hardware configurations, lets you adjust the gain of
the Pb color difference output, scaled from BY using the BT. 709 color space
in HD component systems. Available for HD Component YPbPr output.
R Gain
In some Avid input/output hardware configurations, lets you adjust the red (R)
minus luminance (Y) color-difference signal of an analog component system
in the SMPTE NTSC video standard. The signal consists of the following base
equation for red (R), green (G), and blue (B) components: R–Y = –0.587G –
0.114B + 0.701R. Available for HD Component RGB or
HD Component YPbPr output.
Pr Gain
In some Avid input/output hardware configurations, lets you adjust the gain of
the Pr color-difference signal (a scaled version of the RY signal) of an analog
component system. Available for component output only.
H Phase
Lets you adjust the horizontal blanking interval used to synchronize the timing
of two or more video signals. Available on some systems for S Video,
Component, or Composite output.
System Phase
Lets you modulate the timing of the output signal and a reference signal.
Available for HD Component RGB or HD Component YPbPr output.
Settings menu
Lets you save the settings for an individual tape each time you calibrate bars.
Video Satellite Settings
For information on the use of these settings, see the Video Satellite Guide provided by Avid.
1538
Workspace Linking Settings
Workspace Linking Settings
Option
Description
Link Timeline Mode Buttons to a
Workspace:
Lets you link the mode buttons in the Timeline palette to a
workspace. Clicking a linked mode button (Source/Record
mode, Effects mode, Color Correction mode) opens the linked
workspace.
•
Source/Record mode
•
Effect mode
•
Color Correction mode
1539
34 File Format Specifications
This chapter contains specifications and notes that are useful when you are importing or
exporting specific file formats.
•
Specifications for Graphics (Image) Files
•
Specifications for Animation Files
•
Specifications for Importing OMFI Files
•
Working with BWF Files
•
Field Ordering in Graphic Imports and Exports
For more information on importing and exporting, see “Importing Files” on page 297, “Import
Settings” on page 1502, “Exporting Frames, Clips, or Sequences” on page 1019, and “Export
Settings” on page 1470.
Specifications for Graphics (Image) Files
Import Specifications for Supported Graphics File Formats
The following table contains specifications for the graphics file formats that your Avid editing
application can import.
Bit depth refers to the color-depth resolution of the image. 2-bit images display in black and
white. 8-bit images display in 256 colors. 16-bit images display in thousands of colors. 24-bit
images display in millions of colors. 32-bit images display in millions of colors with an alpha
channel.
An alpha channel determines regions of transparency in the picture when it is keyed over a
background. An alpha channel must be straight and not premultiplied. Your Avid editing
application does not properly import premultiplied alphas.
Specifications for Graphics (Image) Files
Format and
Default File
Name Extension Bit Depth Support
Alpha
Channel
Support Notes
Alias (.als)
24-bit color, 8-bit grayscale
No
BMP (.bmp)
1-, 4-, 8-, and 24-bit
No
Four-bit BMP files saved with RLE
compression are not supported.
Photoshop does not support four-channel
BMP files.
Chyron (.chr)
32-bit
Yes
Cineon (.cin)
10-bit (logarithmic)
Not
applicable
Framestore (.fs)
24-bit
No
Pixel aspect information saves with
image data.
When importing files generated from Video
Toaster, select Force to Fit Screen.
IFF (.iff)
1-bit to 24-bit color;
1-bit to 8-bit grayscale;
64-color EHB;
4096-color HAM;
262,144-color HAM8;
SHAM; A-HAM; A-RES
1-bit
Pixel aspect information saves with
alpha only image data.
JPEG (.jpg)
24-bit color, 8-bit grayscale
No
OMFI (.omf)
PCX (.pcx)
See “Specifications for Importing OMFI
Files” on page 1547.
Color-mapped and 24-bit color
Photo CD
(Macintosh only)
Not
PCX files with 1-bit color depth or
applicable odd-numbered pixel widths are
not supported.
Not
You must install QuickTime software and a
applicable compatible QuickTime driver for Photo CD
to import Photo CD files.
Most Photo CD files are high resolution. If a
photo has a portrait orientation, the image is
automatically rotated upon import. Use a
paint or image-processing program to crop or
resize the image before importing.
1541
Specifications for Graphics (Image) Files
Format and
Default File
Name Extension Bit Depth Support
Photoshop (.psd)
Alpha
Channel
Support Notes
RGB 8-bits/channel, RGB16
Yes
bits/channel, grayscale, indexed
color, and duotone variations
Your Avid editing application can import
multilayered graphics. For more information,
see “Photoshop Graphics Import” on
page 311.
Duotone files are loaded as grayscale.
Multichannel (greater than four channels)
files and CMYK files are not supported.
PICT (.pic)
2-, 4-, 8-, 16-, and 32-bit
Yes
Pixar (.pxr)
24-bit, 36-bit
Yes
PNG (.png)
1-bit to 32-bit
Yes
QRT (.dbw)
24-bit
No
Rendition (.6rn)
32-bit
Yes
SGI (.rgb)
8-bit or 16-bit grayscale;
8-bit grayscale plus 8-bit
alpha channel;
24- and 48-bit color;
24-bit color plus 8-bit
alpha channel;
64-bit (16 bits per component)
Yes
Softimage (.pic)
24-bit plus 8-bit alpha
Yes
Transparent areas in a PNG file are
interpreted as an alpha channel on import.
Pixel aspect information saves with
the image.
(Windows only) Double-clicking a
Softimage file starts the application
associated with PICT files because they use
the same file name extension. Avoid
double-clicking Softimage files to
view them.
Sun Raster (.sun)
1-, 8-, or 24-bit
No
Targa (.tga)
8-, 15-, 16-, or 24-bit; 32-bit
Yes
1542
Specifications for Graphics (Image) Files
Format and
Default File
Name Extension Bit Depth Support
Alpha
Channel
Support Notes
TIFF (.tif)
8-bit color-mapped;
8-bit or 16-bit grayscale;
24- and 48-bit color;
24-bit color plus 8-bit alpha;
36-bit color plus 12-bit alpha;
42-bit color plus 14-bit alpha;
48-bit color plus 16-bit alpha
Yes
Wavefront (.rla)
32-bit and 64-bit
Yes
XWindows (.xwd)
1-, 2-, 4-, 8-, 16-, 24-, and 32-bit No
YUV (.yuv)
24-bit
Multichannel (greater than four channels)
files, Group 3-compressed (fax) files,
CMYK files with extra channels and
JPEG-compressed files are not supported.
Four-channel files from Avid Matador™ are
imported as three-channel files.
No
Pixel aspect information (based on the video
format) saves with image data.
When importing, select Force to Fit Screen.
Preparing Graphics Files for Import
Your Avid editing application can import graphics files that have a wide range of specifications.
If necessary, you can make adjustments during the import process. However, graphics files that
conform to basic specifications make the import process easier and more efficient. The following
table summarizes the requirements for graphics files that you import into your Avid editing
application.
Aspect
Requirement
Notes
Frame size
(4:3)
Square pixels:
648 x 486 (NTSC)
640 x 480 (NTSC DV)
768 x 576 (PAL)
These are the preferred sizes for NTSC and PAL. You can also use
720 x 540, in some situations, for both NTSC and PAL. Your Avid
editing application stores these as non-square pixels. For more
information, see “Frame Size for Imported Graphics” on page 1545.
Frame size
(16:9)
Square pixels:
864 x 486 (NTSC
anamorphic)
1024 x 576 (PAL
anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)
Preferred sizes. SD media is stored by your Avid editing application
as non-square pixels.
Alpha channel
White foreground
(transparent), black
background (opaque)
This is the standard for graphics, animation, and compositing
packages. The graphics must have the alpha channel inverted on
import.
1543
Specifications for Graphics (Image) Files
Aspect
Requirement
Notes
Color mode
RGB
ITU-R 601
ITU-R 709
Other formats, including CMYK, can cause import errors.
ITU-R 601 is used for SD and ITU-R 709 is used for HD. In HD
projects, your Avid editing application automatically converts the
media.
File format
Various
Your Avid editing application accepts many file formats for input.
TIFF (.tif), PICT (.pct), and PNG (.png) are commonly used formats.
See “Import Specifications for Supported Graphics File Formats” on
page 1540.
File field order
Odd (Upper field first) For interlaced media, your Avid editing application uses the
Even (Lower field
following order:
first)
• NTSC (601 and DV): lower field first
•
PAL 601: upper field first
•
PAL DV: lower field first
•
HD Interlaced: upper field first
If the field order of the graphic is not correct, select the field order of
the graphic during import and your Avid editing application will
reverse the fields appropriately.
Field order does not apply to progressive media. See “Field Ordering
in Graphic Imports and Exports” on page 1554.
Before you import a graphics file, you can also use third-party image-editing software to make
adjustments such as the following:
n
•
Create the file in the appropriate size, resolution, and bit depth.
•
Crop or color-correct an image.
•
Eliminate jagged edges in an image by using the image-editing application’s anti-aliasing or
high-quality option.
•
Add transparency (to some formats) by adding an alpha channel.
•
In some cases, convert an image file that does not support an alpha channel to a format that
does, in order to add transparency.
You can import and key the image over video by using key effects within your Avid editing
application. However, importing an image with an existing alpha channel provides the best
results.
For more information, see the documentation for your image-editing software.
1544
Specifications for Animation Files
Frame Size for Imported Graphics
The table in this topic shows the frame sizes to use when creating and importing graphics and
sequences. The table includes sizes for both square and non-square pixels.
Computer displays, most graphic and animation programs, and most HD video formats use
square pixels. Standard-definition (SD) digital video does not use square pixels. The ITU-R 601
standard specifies a 720-pixel width for both NTSC and PAL. However, because NTSC and PAL
each has a different number of scan lines (486 for NTSC, 576 for PAL), digital video pixels are
stretched vertically for NTSC and horizontally for PAL. These stretched pixels are referred to as
non-square pixels.
Your Avid editing application stores SD video and DVCPRO HD video as non-square pixels and
stores other HD video as square pixels.
Some graphics programs can render a graphic or animation in either square or non-square pixels.
In general, you should render standard-definition animations and composites in non-square
pixels, but export static graphics in square pixels (your Avid editing application converts these
into non-square pixels during the import process).
The numbers in the following table describe the recommended width and height, in pixels, to
create a source image that displays full-screen after import. An image with smaller dimensions
takes up less of the screen or is distorted, while an image that exceeds these dimensions might
appear distorted, depending on your choices when importing. For more information, see “Import
Settings: Image Tab” on page 1502.
Frame Size
Square Pixels
Non-square Pixels
Frame size (4:3)
648 x 486 (NTSC)
640 x 480 (NTSC DV)
768 x 576 (PAL)
720 x 486 (NTSC)
720 x 480 (NTSC DV)
720 x 576 (PAL)
Frame size (16:9)
864 x 486 (NTSC
anamorphic)
1024 x 576 (PAL anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)
720 x 486 (NTSC)
720 x 576 (PAL)
Not applicable
Not applicable
Specifications for Animation Files
This topic describes the animation file formats that your Avid editing application supports.
1545
Specifications for Animation Files
In addition to the specific formats described in the table below, your Avid editing application
also supports sequences of image files. You must name image file sequences appropriately for
your Avid editing application to handle them correctly on import. Name each file in the sequence
NameN.ext, with Name identifying the animation, N indicating the file order, and .ext indicating
the file type (for example, Image1.jpg, Image2.jpg, Image3.jpg). The numbering can start at any
number except 0, or use any numbering format (for example, Image010.jpg, Image012.jpg, or
Imagef28.jpg, Imagef29.jpg).
n
Your Avid editing application imports the file at the frame rate that is set in the project. Set the
appropriate frame rate for the project when you export from a third-party application.
Format
Description
ERIMovie
ERIMovie files use the .mov or .eri file name extensions. QuickTime for Windows
also uses the .mov file name extension. However, QuickTime does not support
ERIMovie, and double-clicking an ERIMovie file causes an error.
n
PICS (Macintosh only)
There is no player for ERIMovie on Windows or Macintosh platforms. The
mview program supports ERIMovie on Silicon Graphics systems.
A PICS file is a sequence of PICT images. Many applications that handle multiple
image formats on the Macintosh platform also support PICS files.
You can only store uncompressed data in PICS format. PICS export does not allow
PICS containers larger than 16 MB.
QuickTime
QuickTime files use the .mov file name extension. After you import a QuickTime
file, the file maintains the .mov file name extension, which is visible in a bin. The
.mov file name extension is the default for export.
Avid QuickTime codecs enable you to fast import and export QuickTime files. To use
the codecs in a third-party application, see “Exporting from a Third-Party QuickTime
or AVI Application” on page 1042.
To take advantage of the speed of Avid QuickTime codecs, you must export the files
from the QuickTime application at the appropriate frame size for the project you plan
to import to in your Avid editing application.
AVI
AVI files use the .avi file name extension. After you import an AVI file, it maintains
(Audio Video Interleave) the .avi file name extension, which is visible in a bin. The .avi file name extension is
(Windows Only)
the default for export.
Avid AVI files can be quite large, especially at high video resolutions, and require
adequate storage and transfer capabilities.
1546
Specifications for Importing OMFI Files
Specifications for Importing OMFI Files
OMFI was developed by Avid Technology, Inc. and many industry and standards partners for the
interchange of digital media data between platforms and applications. For information about
creating an OMFI file on a non-Avid application, see the documentation for the application.
The information in the following table applies to importing OMFI files.
Option
Description
Frame or Edit rate You must import sequences and clips to projects that have the same edit rate (29.97 fps or
23.976 fps for NTSC, 25 fps for PAL, 24 fps for film). If the edit rates do not match, you
receive an error message.
n
Your Avid editing application cannot import an OMFI audio file that was produced
with an edit rate equal to the audio sampling rate. If you try to import such a file you
receive an “Unrecognized file type” error message. Create the source file with an edit
rate at the project edit rate (29.97 fps, 25 fps, 24 fps, or 23.976 fps).
Resolution
For optimum import speed and quality, export or render the file from the source application
at the resolution you want, and then import the file into your Avid editing application at that
resolution. For more information, see “Import Settings: OMFI/AAF Tab” on page 1505.
OMFI version
Avid editing applications recognize and support OMFI 1.0 composition and media files and
OMFI 2.0 composition files.
The following OMFI 2.0 effects are supported generally:
•
Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black
•
Audio effects: pan and volume, audio dissolves
You can import other effects from other Avid applications.
Film pulldown
To import audio media, set the pulldown switch to 1.0.
Audio sample rate Audio media imports at the sample rate that is set in your Avid editing application.
n
File transfer
Avid editing applications cannot import an OMFI audio file that was produced with
an edit rate equal to the audio sampling rate. If you try to import such a file you
receive an “Unrecognized file type” error message. Set the edit rate to the project edit
rate (29.97 fps, 25 fps, 24 fps, or 23.976 fps).
If you transfer an OMFI file over a network, transfer it as a binary file.
Reimporting Avid If you import OMFI files that contain media you exported from the same system, you need
media files
to delete the original media. Otherwise, the new media does not overwrite the original
media. To learn how to find related media files for a sequence, see “Finding a Related Media
File” on page 493.
1547
Working with BWF Files
Working with BWF Files
Avid editing applications support any BWF files that adhere to the BWF specification.
The following information from BWF information always appears in bin columns.
Bin Column
BWF Source
Clip name
Imported file name. If scene and take information is provided, the clip name is
created as scene/take.
Tape ID
Imported file name.
Start
The start timecode specified in the file.
Shoot date
The origination date specified in the file.
Tape Name
If there is no tape name specified in the file, a name is created by concatenating
the origination date and the imported file name.
You can use Avid-specific coding to add additional information. Currently, the following vendors
have products that can provide this additional information:
•
Aaton
•
Zaxcom
•
Nagra
•
Fostex
Avid editing applications support 24-bit audio data, and up to 16 tracks in a single file. You can
use the AutoSync™ feature to sync these tracks. You can also use AutoSync to sync picture and
sound.
Preparing Custom BWF Information
Additional BWF information that can display in bin columns must be coded in a particular
format. The recording device must provide this information in the BWF Description field, using
keyword/value pairs with the following format:
uKEYWORD=data[CR/LF]
1548
Working with BWF Files
Syntax
Definition
u
Letter code of the manufacturer. Use the letter u unless otherwise instructed by Avid.
KEYWORD Designation of the bin column.
=
Terminates the keyword.
data
Information to include in the bin column.
[CR/LF]
(carriage return/line feed) Terminates the data.
For example, the keyword/value pair uSCENE=1A[CR/LF] displays “1A” in the Scene column of
the bin into which you import it.
The following table describes how to code BWF information for particular bin columns:
Bin Column
BWF Source
Comments (editable text field that uNOTE=x, where x is text.
appears in the bin script view)
Scene
uSCENE=x, where x is text.
Take
uTAKE=x, where x is text.
Tape Name
uTAPE=x, where x is text. If no tape name is specified,
a name is created by concatenating the origination date
and the file name.
TRK1 through TRK8
uTRKn=x where n is the track number, and x is text.
User Bits (custom column)
uUBITS=$hhhhhhhh where hhhhhhhh is the 32-bit
hexadecimal encoded user bits.
If you want to assign a file to a particular track number, the file name must end in _n, -n, or a
space followed by n (where n is the track number). For example, a file named Orchestra_1.bwf
would create the audio on track A1.
To bypass the frame rate dialog box during import, you can specify the frame rate using either of
the following syntaxes:
•
uFRAMERATE=nnDF
•
uFRAMERATE=nnND
1549
Working with BWF Files
In these examples, nn is the frame rate (25, 29.97, or 30), DF is drop-frame, and ND is
non-drop-frame.
Importing, Syncing, and Reimporting BWF Files
You can import BWF files into an Avid editing application approximately 10 to 12 times faster
than capturing in real time. The files maintain pure digital quality for all audio post processing.
For basic information on importing audio files, see “Importing Media Files” on page 301.
During import of NTSC BWF files, if no frame rate is specified in the file, a dialog box appears
and asks if the conversion should use 29.97 fps or 30 fps, and drop-frame or non-drop-frame.
Your choices depend on how the audio was recorded.
After you capture video, use the AutoSync feature to sync picture and sound or multiple tracks of
sound. If you are using BWF files from a 24-fps shoot in a PAL project, you must use the PAL
Method 2 approach, in which picture and sound are captured separately. If you are working in a
PAL 24p project, you need to take an extra step to make sure the picture and sound are correctly
synced.
You can reimport BWF files in the same way as you reimport other audio files. You can also
batch capture from a source tape, because the clips are associated with a tape name. For more
information on reimporting and batch capturing, see “Reimporting Files” on page 334 and
“Batch Capturing from Logged Clips” on page 250.
To import and sync BWF files:
1. Create a project, based on the source footage.
2. Import the log file, and capture the video footage.
3. Import the BWF file into the same bin in which you captured the video footage.
4. For 24p PAL projects, you need to create a new bin column:
a.
Highlight the Start timecode column.
b.
Select Edit > Duplicate.
c.
From the list of columns, select Aux TC 24 and click OK.
d. In the dialog box, click Convert.
e.
Display the Auxiliary TC1 column.
f.
Highlight the Aux TC 24 column, and copy it to the Auxiliary TC1 column.
Use Auxiliary TC 1 only as a sync point reference for AutoSync. Do not use it for data
tracking or EDL generation.
1550
Working with BWF Files
Use the Aux TC24 column to generate a 24-frame EDL for audio only. Use the Film TC
column to generate a 24-frame EDL for video only. This timecode field represents the video
timecode of a HD downconvert to standard definition video.
5. Ensure all entries in the Shoot Date column use the same syntax.
Currently, some BWF files use the format 2009/10/03 as the Shoot Date while some ALE
files use 2009-10-03. This field is used as part of the AutoSync process to guarantee the
uniqueness of the timecode. To fix this problem, do one of the following:
-
Manually change the format of one set of clips to match the other.
-
If you do need the information, create a custom column with a different name, select
Edit > Duplicate to copy the information into the custom column, and delete the Shoot
Date column.
6. Highlight the picture and audio clips and select Bin > AutoSync.
7. For 24p PAL projects, use Auxiliary TC1 as a sync point. For other projects, use the Start
timecode.
Your Avid editing application creates new subclips with synced picture and sound, which are
ready for editing.
Importing Multichannel Broadcast Wave (BWF) Files
You can import multichannel, monophonic BWF files into your Avid editing application as a
single master clip. For example, when you import an eight-track recording, an eight-track master
clip is created with a sequential file name based on the track order (filename_1.wav is associated
with track A1, filename_2.wav is associated with track A2, filename_3.wav is associated with
track A3).
To import a BWF file as a single master clip:
1. In the Settings list of the Project window, double-click Import.
The Import Settings dialog box opens.
2. Click the Audio tab, and then select Autodetect Broadcast Wave Monophonic Groups.
This option is the default.
3. Click OK.
4. Click the bin into which you want to import the file.
5. Select File > Import.
The Select files to Import dialog box opens.
6. Locate the files and select only one .wav file in the group.
You do not need to select multiple files. As long as you select just one of the .wav files in the
group, all the files import.
1551
Working with BWF Files
7. Click Open.
The file imports and a new master clip appears in the bin with all audio tracks associated
with the new master clip.
n
Your Avid editing application might skip some audio track labels (A1, A2, A3) because there is
no file for that track.
For more information about importing, see “Importing Files” on page 297.
iXML Metadata in Broadcast Wave and AIFF Files
The editing application contains a WaveAIFF AMA plug-in that can read AIFF and WAV with
uncompressed 16-bit or 24-bit audio up to 24 channels. If the BWAV or AIFF contains iXML
metadata, it is preserved and carried with the master clip in the Bin. This information is also
exported in the AAF where it can be available to Pro Tools.
To AMA Link to a Broadcast Wave or AIFF File:
1. Right click a bin and select AMA link.
The Open Dialog box opens.
2. Navigate to the location where the BWAV or AIFF files reside and select the files you want
to link to.
3. From the files of Type menu, choose WaveAiff.
4. Click Open.
The clips appear in the bin. A link appears next to the clips. The audio track settings are
based on the AMA settings.
If the file contains iXML metadata and Broadcast Wave metatdata, relevant data is entered
into the appropriate bin columns. If there is a conflict between the Broadcast Wave data and
the iXML metadata, the iXML metadata will be used.
The interpretation of audio start time for Broadcast Wave and iXML files requires file frame
rate information. The file’s frame rate is determined in this priority order:
-
If the frame rate is given in the iXML data, it has highest priority.
-
If the frame rate is in the Avid extension to the BWAV, it has next highest priority.
-
Otherwise, the Audio Start Time Option in the Link Options tab of the AMA Settings is
used.
The audio start time appears in the Sound TC column. If the audio TC rate is different from
the project TC rate, the frame rate appears in the Soundroll column. The Sound TC is
re-interpreted in the current project's frame rate to become the clip’s start timecode.
1552
Working with BWF Files
Difference between Importing BWAV or AMA Linking to a BWAV with WaveAIFF
Plug-In
The following describes the differences between importing a BWAV file or AMA linking to a
BWAV file using the WaveAIFF Plug-In.
•
The import process does not read iXML metadata. Performing an AMA Link using the
WaveAIFF plug-in will read iXML metadata.
•
If the BWAV files contains an iXML tape name, this will appear as the “Sound Roll” and
will override the BWAV specification of “Tape.”
•
Import will automatically group multiple mono clips based on file name patterns. AMA
linked files will not.
•
The AMA linked version of the clip may sometimes be one frame shorter than the imported
version. This is because import is able to pad the end of the file with silence to fill out a
shortage of audio samples in the last video frame.
•
During the import process, you are prompted to select the TC rate and the Sound TC and
start time are displayed. During the WaveAIFF AMA linking process, you are not prompted
to select the TC rate. The file TC rate comes from a setting (if not present in the file itself),
and the Sound TC and TC rate used are displayed in bin columns.
1553
Field Ordering in Graphic Imports and Exports
Field Ordering in Graphic Imports and Exports
Graphic images consist of one or more image files, each of which contains a full frame. These
frames contain fields (formed from the odd-numbered and even-numbered lines of the image
frame) that have three basic arrangements:
•
Progressive or still frame: The upper and lower fields in the frame originated at the same
instant of time, or are coherent with each other, as shown in the following illustration.
Dashed lines = Field 1 (.1), Solid lines = Field 2 (.2), and the arrow represents time.
.1
.2
.1 and .2
•
Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines
are numbered starting from 1) occurs temporally before the lower field, as shown in the
following illustration. This arrangement is termed “upper field first” (or “lower field
second”).
.1
.2
.1
•
.2
Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally
first, as shown in the following illustration. This arrangement is termed “lower field first” (or
“upper field second”).
.2
.1
.1
.2
1554
Field Ordering in Graphic Imports and Exports
Preventing a Spatial Field Mismatch on Import
The following table shows the proper spatial field position for each of the common interlaced
video formats in Avid editing applications.
n
In the following table, Odd Field or Even Field specifies whether the temporally first field in the
frame has the odd or even numbered lines, starting from 1.
Avid Video Format
Upper/Lower Field Spatial
Setting
Field Setting for Import and
Export
AVR NTSC
Upper field is first.
Odd Field
AVR PAL
Upper field is first.
Odd Field
Other NTSC
Lower field is first.
Even Field
Other PAL
Upper field is first.
Odd Field
Graphics applications such as Adobe After Effects let you select either spatial relation for the
fields when you render a sequence of interlaced fields. Use the settings in the preceding table to
ensure that the import is correct.
If the spatial positions of the two fields are reversed (for example, the upper field should be a
lower field), your Avid editing application cannot complete the import without correcting the
spatial relationship. In this spatial mismatch situation, Avid applications convert the upper field
to a lower field by deleting the top line of the upper field and replicating the bottom line. The
field is thus converted to a lower field relative to the other field.
n
When you export to DVD for TV playback, Avid recommends that you transcode any clips that do
not match the field ordering of the majority of the clips. If you do not do this, the field ordering is
reversed during playback.
Spatial Field Relationship on Export
The default export operation is automatically carried out as shown in the preceding table. The
fields are properly interleaved in the export frames (one frame per file).
If your Avid editing application corrects an import with a spatial mismatch as described in the
preceding section, you might want to prevent a shift up or down by a line when you export. The
Export Settings dialog box lets you select the spatial arrangement that is the opposite of what is
otherwise recommended. You should rarely need to use this option.
1555
Field Ordering in Graphic Imports and Exports
24p and 25p Import and Export
The spatial field selection options do not apply for 24p and 25p projects because the frames in
these projects are already in progressive or still-image form.
Field Dominance
Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all
cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color
framing) until the frame unit is defined. Defining the dominant field for the system defines the
“frameness” of the video stream, as shown in the following illustration.
.2 .1 .2
.1 .2
.1 .2 .1 .2 .1
Left: the dotted lines represent the limits of a field-1 dominant frame. Right: the dotted lines represent the limits of a
field-2 dominant frame.
Avid editing applications all use field 1 as the dominant field. This means that the first field
temporally in the edit frame is always field 1 and the second frame is always field 2. Cuts will
always precede field 1.
Fields in Video
In the video signal, fields have a temporal position that is unambiguously and uniquely tied to the
details of the video signal, regardless of whether the signal is analog or digital (SDI). This means
that you should work around a field spatial mismatch by correcting the spatial relation between
the two fields rather than the temporal position. In some cases, you can modify the field
dominance of the input image files, but this is results in the loss of two fields, and is more
difficult to carry out than either the workaround provided in Avid editing applications or
rerendering properly to the other spatial relationship.
1556
35 Resolutions and Storage Requirements
This chapter describes the different resolutions available in your Avid editing application and
lists their specifications. It also explains how to estimate the drive space you need to store your
captured media:
n
•
Compression and Avid Editing Applications
•
Monitor Display Resolutions
•
Resolution Specifications
•
Support for Uncompressed HD Media
•
Mixing Resolutions
•
Resolution Groups and Image Quality
•
Estimating Drive Space Requirements
•
Storage Requirements
•
Considerations for Managing Storage
The resolutions available in your Avid editing application depend on its model and options.
Compression and Avid Editing Applications
Avid editing applications support both compressed and uncompressed resolutions.
When an Avid editing application captures and stores compressed video, the compression
techniques affect the size of the resulting files and the resolution of the images they contain. The
less the data is compressed, the higher the image resolution, and the more drive space the file
requires.
Large media files at high resolutions can use very large amounts of drive space. When you are
choosing an image resolution for your project, you need to balance your requirements in terms of
image quality with your available drive resources. For detailed guidelines on estimating space
requirements, see “Storage Requirements” on page 1575.
You can use lower resolutions when your work does not require very high image quality (for
example, in offline work, or in CD-ROM or Web authoring projects), and higher resolutions
when you need excellent image quality. You can also mix different resolutions within the same
Monitor Display Resolutions
project as long as those resolutions are compatible with one another. (see “Mixing Resolutions”
on page 1573).
Avid editing applications also support the capture and storage of video that is not processed by a
data compression scheme:
•
Uncompressed video (1:1) is available as standard definition (conforming to the ITU-R 601
standard) or as high definition (conforming to the ITU-R 292M standard). The image quality
of uncompressed video is very high, but uncompressed files require very large amounts of
drive space. For more information, see “Support for Uncompressed HD Media” on
page 1573.
•
DV (digital video) is a compressed media format. SMPTE standards specify how to take 601
video and convert it to a compressed format. When capturing through a 1394 connection,
your Avid editing application records DV media in its native format, and does not compress
it further.
Monitor Display Resolutions
The display resolution for the monitors in your Avid editing application varies depending on the
video format, as described in the following table.
Video Format
Active video displayed (in Stored video not
pixels)
displayed
NTSC JFIF (ITU-R 601)
NTSC 1:1 (Uncompressed)
NTSC MPEG IMX
720 x 486 non-square
10 lines of blanking or varietal
interval timecode (VITC) per
frame (5 lines per field)
NTSC DV 25 and DV 50
720 x 480 non-square
None
PAL JFIF (ITU-R 601)
PAL 1:1 (Uncompressed)
PAL MPEG IMX
720 x 576 non-square
16 lines of blanking or VITC per
frame (8 lines per field)
n
For more information on blanking or VITC, see “Vertical Blanking Information” on
page 1119.
PAL DV 25 and DV 50
720 x 576 non-square
None
HD 720
1280 x 720 square
None
HD 1080
1920 x 1080 square
None
1558
Resolution Specifications
Resolution Specifications
Avid editing applications provide you with a range of resolutions, both compressed and
uncompressed, that you can use at various stages of your project. You can also mix certain
resolutions within a sequence. The tables in the following topics list specifications for the
various resolutions.
For information on resolutions to use when importing graphics or sequences from a third-party
application, see “Frame Size for Imported Graphics” on page 1545. For information on drive
striping requirements for different resolutions, go to the Avid online Knowledge Base at
www.avid.com/onlinesupport and search for “Drive Striping Tables.” .
n
The resolutions available on your Avid editing application might vary from this list, depending
on the model and the hardware used in your system.
Symphony Option supports single-field resolutions (s resolutions) and multicam resolutions (m
resolutions) for capture, render and play. You cannot create titles or import in these resolutions.
Higher than HD Formats Supported by Media Composer
The editing application supports higher than HD formats. For information on working with
Higher than HD formats see the Avid High-Resolution Workflows Guide.
Resolution Specifications: HD
Your Avid editing application supports the capture, editing, and output of high-definition (HD)
media in Avid DNxHD™, Avid DNxHD444, DVCPRO HD, (for Macintosh only) Apple® ProRes
422 and Apple ProRes 4444 resolutions. For information on support for 1:1 (uncompressed) HD
media, see “Support for Uncompressed HD Media” on page 1573.
Avid DNxHD encoding technology delivers mastering-quality 8-bit or 10-bit HD media at
standard-definition (SD) data rates and file sizes.
Avid editing applications support editing and playback of J2K media. You can import, playback,
transcode, and consolidate these resolutions. All J2K resolutions are encoded with variable
bit-rate (VBR) encoding to meet a target, average bit-rate. Depending upon video content, the
actual average rate will vary. The range of the bit-rate can be from 120 to 250.
The following table provides information about HD resolutions for interlaced and progressive
media. HD resolutions are available only in MXF format. Unless otherwise specified in the
resolution name, all resolutions are in the YCbCr color space. Avid DNxHD444 resolutions only
appear when the HD project’s Color Space is set to RGB 709 (1080p projects only).
1559
Resolution Specifications
Project
Format
Frame Size
Megabits per
second
Frames/sec (Mb/sec)
1280 x 720
23.976
442
354
90
90
60
40
100
50
100
59
88
41
18
132
60
50
25.00
440
352
90
90
60
45
55
50
100
61
92
42
19
138
65
50
Resolution
Bits
1:1 10-bit HD
1:1 HD
DNxHD 90 X
DNxHD 90
DNxHD 60
DNxHD 40
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 720p
AVC-Intra 50
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
10
720p/23.976
1:1 10-bit HD
1:1 HD
DNxHD 90 X
DNxHD 90
DNxHD 60
DNxHD 45
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 720p
AVC-Intra 50
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
10
720p/25
960 x720
1280 x 720
960x720
1560
Resolution Specifications
Project
Format
Frame Size
Megabits per
second
Frames/sec (Mb/sec)
Resolution
Bits
1:1 10-bit HD
1:1 HD
DNxHD 110 X
DNxHD 110
DNxHD 70
DNxHD 50
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 720p
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
720p/29.97
1280 x 720
29.97
527
422
110
110
70
50
55
50
100
73
110
51
23
165
75
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DNxHD 85
DVCPRO HD
XDCAM HD 50
ACV-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 720p
AVC-Intra 50
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
10
720p/50
1280 x 720
50
879
704
175
175
115
85
110
50
100
122
184
84
38
275
125
50
960 x720
1561
Resolution Specifications
Project
Format
Frame Size
Megabits per
second
Frames/sec (Mb/sec)
Resolution
Bits
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DNxHD 100
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 720p
AVC-Intra 50
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
10
720p/59.94
1280 x 720
59.94
1105
884
220
220
145
100
100
50
100
147
220
101
45
330
150
50
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 80
DNxHD 36
DNxHD444 350 X
AVC-Intra 100
XAVC Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 1080p
AVC-Intra 50
XAVC Intra 50
10
10
8
10
8
8
8
8
10
10
10
10
10
10
10
10
10
10
10
1080p/23.976
1920 x 1080
23.976
1591
994
795
175
175
115
80
36
350
100
100
117
176
82
36
264
120
50
50
1440x1080
1562
Resolution Specifications
Project
Format
Frame Size
Megabits per
second
Frames/sec (Mb/sec)
Resolution
Bits
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 80
DNxHD 36
DNxHD444 350 X
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 1080p
10
10
8
10
8
8
8
8
10
10
10
10
10
10
10
1080p/24
1920 x 1080
24.00
1593
995
796
175
175
115
80
36
350
117
176
82
36
264
120
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DNxHD 85
DNxHD 36
DNxHD444 365 X
AVC-Intra 100
XAVC Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 1080p
10
10
8
10
8
8
8
8
10
10
10
10
10
10
10
10
10
1080p/25
1920 x 1080
25.00
1659
1037
829
185
185
125
85
36
365
100
100
122
184
85
38
275
125
1563
Resolution Specifications
Project
Format
Frame Size
Megabits per
second
Frames/sec (Mb/sec)
Resolution
Bits
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DNxHD 100
DNxHD 45
XDCAM HD 50
AVC-Intra 100
XAVC Intra 100
DNxHD444 440 X
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 1080p
10
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
10
10
1080p/29.97
1920 x 1080
29.97
1989
1243
994
220
220
145
100
45
50
100
100
440
147
220
102
45
330
150
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DNxHD 85
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
XAVC Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 1080i
AVC-Intra 50
XAVC Intra 50
DNxHD TR-120
10
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
10
10
10
8
1080i/50
1920 x 1080
25.00
1659
1037
829
185
185
120
85
100
50
100
100
122
184
85
38
275
125
50
50
120
1440x1080
1564
Resolution Specifications
Resolution
Bits
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DNxHD 100
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
XAVC Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
J2K 1080i
AVC-Intra 50
XAVC Intra 50
DNxHD TR-145
10
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
10
10
10
8
Project
Format
Frame Size
Megabits per
second
Frames/sec (Mb/sec)
1080i/59.94
1920 x 1080
29.970
1440x1080
1989
1243
994
220
220
145
100
100
50
100
100
147
220
102
45
330
150
50
50
145
The data rate (bandwidth) for Avid DNxHD resolutions is calculated per second for each frame
rate. For example, DNxHD 220 has a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD
185, which is an equivalent resolution, has a compressed data rate of 185 Mb/sec at 25 fps.
A good guideline for selecting a resolution is to use the Avid DNxHD resolution that matches the
megabit data rate of the acquisition format. For HDCAM-originated material, for example, select
DNxHD 145, which closely matches the data rate of HDCAM but provides better mastering
results and uses significantly less storage. The following table compares Avid HD formats to the
HDCAM format.
Avid DNxHD 36 Avid DNxHD 145 Avid DNxHD 220
Sony HDCAM
Bit Depth
8-bit
8-bit
8-bit and
10-bit
8-bit
Sampling
4:2:2
4:2:2
4:2:2
3:1:1
Bandwidth
36 Mb/sec
145 Mb/sec
220 Mb/sec
135 Mb/sec
1565
Resolution Specifications
Resolution Specifications SD: J2K
Avid editing applications support editing and playback of J2K media. You can import, playback,
transcode, and consolidate these resolutions. All J2K resolutions are encoded with variable
bit-rate (VBR) encoding to meet a target, average bit-rate. Depending upon video content, the
actual average rate will vary.
The following table provides J2K specifications by project type.
Resolution
Bits
Project
Format
Frame Size
Megabits per
Frames/sec second (Mb/sec)
J2K NTSCi
10
30i
720 x 486
30
50
J2K PALi
10
25i
720 x 592
25
50
J2K NTSCp
10
30p
720 x 486
30
50
Resolution Specifications: AVC-Intra with AVC-I Codec Module
The following information applies if you have the Nitris DX with the AVC-I codec module
installed. The codec module provides real-time encoding to the AVC-intra compression format,
using the 10-bit high definition H.264 intra-frame codec.
This module allows for real-time baseband capture with the Nitris DX and allows real-time
performance for most rendering and mixdown operations.
When you start your Avid editing application, it detects the presence of the AVC-I codec module.
It will use the module for capture, render and mixdown. If the module is not present, the editing
application uses the software codec to perform these operations. Although, baseband capture of
AVC-I is supported only with the hardware codec module.
The following table provides AVC-Intra (with AVC-I Codec Module) specifications by project
type.
Project
Edit Rate
Resolution Name MB/Sec
Raster Size
1080i
59.94
AVC-Intra 50
50MBit
1440x1080
AVC-Intra 100
100MBit
1920x1080
AVC-Intra 50
50MBit
1440x1080
AVC-Intra 100
100MBit
1920x1080
AVC-Intra 50
50MBit
1440x1080
1080i
1080p
50
29.97
1566
Resolution Specifications
Project
1080p
Edit Rate
23.976
Resolution Name MB/Sec
Raster Size
AVC-Intra 100
100MBit
1920x1080
AVC-Intra 50
50MBit
1440x1080
AVC-Intra 100
100MBit
1920x1080
1080p
25
AVC-Intra 100
100MBit
1920x1080
720p
59.94
AVC-Intra 50
50MBit
960x720
AVC-Intra 100
100MBit
1280x720
AVC-Intra 50
50MBit
960x720
AVC-Intra 100
100MBit
1280x720
720p
50
Resolution Specifications: JFIF Interlaced
Avid JFIF resolutions use a simple notation ( x:1) to identify the level of compression. The value
of x indicates the level of compression that is applied to the image data. For example, a 3:1
compression ratio compresses the original data to one-third of its uncompressed size.
A lower compression ratio (a lower number to the left of the colon) results in better image
quality but requires more drive space to store the captured media. A lower compression ratio
might also require drive striping to keep up with the high volume of data.
The following table provides information about the Avid resolutions for interlaced media (30i
NTSC and 25i PAL projects). Field size does not include blanking or VITC lines.
Resolution
Field Size
(Visible Pixels)
Fields
Per
Frame
Quality
15:1s
352 x 243 (NTSC)
352 x 288 (PAL)
1
Offline — provides maximum storage with enough image
detail to make basic editing decisions (you can check lip sync
on a medium shot).
4:1s
352 x 243 (NTSC)
352 x 288 (PAL)
1
Offline — a good storage resolution combined with a good
offline image quality.
2:1s
352 x 243 (NTSC)
352 x 288 (PAL)
1
Online — provides enough detail for finishing multimedia
jobs such as CD-ROM and Web authoring.
20:1
720 x 486 (NTSC)
720 x 576 (PAL)
2
Offline — useful for mixing storage-efficient offline footage
with online-quality resolutions.
1567
Resolution Specifications
Resolution
Field Size
(Visible Pixels)
Fields
Per
Frame
Quality
10:1
720 x 486 (NTSC)
720 x 576 (PAL)
2
Offline/online — a good compromise for high-quality,
two-field offline or low-quality online that saves drive space.
3:1
720 x 486 (NTSC)
720 x 576 (PAL)
2
Online — a medium-quality online resolution that can
sustain two-stream playback on 2-way striped drives.
2:1
720 x 486 (NTSC)
720 x 576 (PAL)
2
Online — provides the highest image quality of any
compressed resolution and sustains two-stream playback on
4-way striped drives.
1:1 SD
720 x 486 (NTSC)
720 x 576 (PAL)
2
Online uncompressed — provides the highest 8-bit image
quality.
1:1 10b SD
(MXF only)
720 x 486 (NTSC)
720 x 576 (PAL)
2
Online uncompressed — provides 10-bit image quality.
n
Symphony Option supports single-field resolutions (s resolutions) and multicam resolutions (m
resolutions) for capture, render and play. You cannot create titles or import in these resolutions.
Resolution Specifications: JFIF Progressive
The following table provides information about the Avid resolutions for progressive media (24p
NTSC and 24p PAL projects). Frame size does not include blanking or VITC lines.
Frame Size
(Pixels)
Quality
35:1
720 x 486 (NTSC)
720 x 576 (PAL)
Offline — provides maximum storage with enough image detail to make
basic editing decisions.
28:1
720 x 486 (NTSC)
720 x 576 (PAL)
Offline — offers low storage requirements combined with a good offline
image quality.
14:1
720 x 486 (NTSC)
720 x 576 (PAL)
Offline — provides the best offline image quality.
3:1
720 x 486 (NTSC)
720 x 576 (PAL)
Online — a medium-quality online resolution that can sustain two-stream
playback on 2-way striped drives.
2:1
720 x 486 (NTSC)
720 x 576 (PAL)
Online — provides the highest image quality of any compressed resolution
and sustains two-stream playback on 4-way striped drives.
1:1 SD
720 x 486 (NTSC)
720 x 576 (PAL)
Online uncompressed — provides the highest 8-bit image quality.
Resolution
1568
Resolution Specifications
Resolution
Frame Size
(Pixels)
1:1 10b SD
(MXF only)
720 x 486 (NTSC)
720 x 576 (PAL)
Quality
Online uncompressed — provides 10-bit image quality.
Resolution Specifications: Multicam
Both interlaced and progressive projects support multicamera resolutions (m resolutions). You
cannot mix m resolutions with resolutions in other families. The capture of a multicamera
resolution in a video project results in single-field compressed media that is resized horizontally
to 288 pixels wide. Playback decompresses and resizes to 720 pixels wide. The resulting single
field plays back the same as s resolution media, where one field per frame time is presented to
the video out device. Frame size does not include blanking or VITC lines.
n
n
M resolutions were recommended for Multicam in Meridien-based Avid editing applications.
They remain available in current Avid editing applications for compatibility reasons, but are not
recommended for use.
Symphony Option supports single-field resolutions (s resolutions) and multicam resolutions (m
resolutions) for capture, render and play. You cannot create titles or import in these resolutions.
Resolution
Frame Size (Pixels)
Quality
10:1m interlaced
720 x 486 (NTSC)
720 x 576 (PAL)
Offline
8:1m progressive
720 x 486 (NTSC)
720 x 576 (PAL)
Offline
4:1m interlaced
720 x 486 (NTSC)
720 x 576 (PAL)
Online
3:1m progressive
720 x 486 (NTSC)
720 x 576 (PAL)
Online
Resolution Specifications: Digital Video (DV)
Digital video (DV) is an international standard created by a consortium of 10 companies to serve
as a consumer digital video format. Avid editing applications support three DV resolutions: DV
25, DV 50, and DVCPRO HD.
1569
Resolution Specifications
DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch tape to record very high
quality digital video. The video is sampled at the same rate as D1, D5, or Digital Betacam video
(720 pixels per scan line). The color information in DV 25 is sampled at the D1 rate of 4:1:1 in
525-line (NTSC) and 4:2:0 in 625-line (PAL) formats. DV 50 is defined as 720 x 480,
50-megabit-per-second (Mb/s) 4:2:2 DV. DVCPRO HD is an HD format (DVCPRO HD), which
is available in both 720p and 1080i resolutions, at 100 Mb/sec.
The following table provides DV resolution specifications for Avid editing applications with the
DV/MPEG option or the HD option.
Resolution
Frame Size
Color Sampling
Megabits per
second (Mb/sec)
DV 25 411 interlaced
720 x 480 (NTSC)
720 x 576 (PAL)
4:1:1
25
DV 25p 411 progressive 720 x 480 (NTSC)
720 x 576 (PAL)
4:1:1
25
DV 25 420 interlaced
720 x 576 (PAL)
4:2:0
25
DV 50 interlaced
720 x 480 (NTSC)
720 x 576 (PAL)
4:2:2
50
DV 50p progressive
720 x 480 (NTSC)
720 x 576 (PAL)
4:2:2
50
DVCPRO HD (720p)
1280 x 720
4:2:2
100
DVCPRO HD (1080i)
1920 x 1080
4:2:2
100
Resolution Specifications: MPEG
MPEG resolutions are specifically intended to support the SMPTE Type D-10 bit stream
produced and recorded by devices such as Sony MPEG IMX VTRs. They use 4:2:2 sampling.
The following table provides MPEG resolution specifications. Frame size does not include
blanking or VITC lines.
Resolution
Frame Size (Visible pixels) Megabits per second (Mb/sec)
MPEG 30
720 x 480 (NTSC)
720 x 576 (PAL)
30
MPEG 40
720 x 480 (NTSC)
720 x 576 (PAL)
40
1570
Resolution Specifications
Resolution
Frame Size (Visible pixels) Megabits per second (Mb/sec)
MPEG 50
720 x 480 (NTSC)
720 x 576 (PAL)
50
Resolution Specifications SD: Apple ProRes
Avid editing applications support editing and playback of Apple ProRes media encoded using
the Apple ProRes MXF codec. You can import, playback, transcode, and consolidate Apple
ProRes MXF resolutions.
The following table provides Apple ProRes MXF specifications by project type.
Resolution
Bits
Project
Format
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10
23.976pNTSC 720 x 486
23.976
24
50
23
10
75
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10
24pPAL
720 x 576
24
41
61
28
12
92
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10
24pNTSC
720 x 486
24
24
50
23
10
75
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10
25iPAL
720 x 576
25
41
61
28
12
92
Frame Size
Megabits per
Frames/sec second (Mb/sec)
Proxy Resolutions
The following proxy resolutions are available for all media creation except Capture.
1571
Resolution Specifications
Project
Proxy Resolution
1080i50
H.264 800Kbps Proxy
H.264 2.0Mbps Proxy
1080i59
H.264 800Kbps Proxy
H.264 2.0Mbps Proxy
1080p23
H.264 800Kbps Proxy
1080p24
H.264 800Kbps Proxy
1080p25
H.264 800Kbps Proxy
1080p29
H.264 800Kbps Proxy
23pNTSC
H.264 800Kbps Proxy
24pNTSC
H.264 800Kbps Proxy
24pPAL
H.264 800Kbps Proxy
25iPAL
AVCIBP-BLL2.0
H.264 800Kbps Proxy
H.264 1500Kbps Proxy
25pPAL
H.264 800Kbps Proxy
30iNTSC
AVCIBP-BLL2.0
H.264 800Kbps Proxy
H.264 1500Kbps Proxy
720p23
H.264 800Kbps Proxy
720p25
H.264 800Kbps Proxy
720p29
H.264 800Kbps Proxy
720p50
H.264 800Kbps Proxy
H.264 2.0Mbps Proxy
AVCIBP-BLL3.0
720p59
H.264 800Kbps Proxy
H.264 2.0Mbps Proxy
AVCIBP-BLL3.0
1572
Support for Uncompressed HD Media
Support for Uncompressed HD Media
Depending on your Avid input/output hardware, your Avid editing applications let you play, edit,
import, render, transcode, and export a single-stream of real-time uncompressed (1:1) HD media.
However, only Avid Nitris DX supports capture of uncompressed HD media.
To make uncompressed HD media available on a system that cannot capture it directly, capture
the media on an Avid editing application that supports capture of uncompressed HD media, and
then share the media through shared storage, a network, or removable media.
The following guidelines and limitations apply to handling uncompressed HD media on systems
that do not support capture of uncompressed HD media:
•
You can play uncompressed HD media using the Best Performance (yellow) and Draft
Quality (yellow/green) video quality settings. Playback of uncompressed HD media through
the Avid input/output hardware as Full Quality (green) is not supported.
You can view and play uncompressed HD media in Full Quality mode in the Source and
Record monitors (and in full-screen playback if available), but you might notice skipped
frames during playback. Media plays as black in a Client monitor.
•
10-bit uncompressed HD media plays back as 8-bit preview.
•
You can play and edit uncompressed HD media in HDV projects, but you cannot create
uncompressed HD media.
•
For information on drive requirements for uncompressed HD media, see the drive striping
tables for your Avid editing application at Avid’s online Knowledge Base. Go to
www.avid.com/onlinesupport and search for “Drive Striping Tables.”
Mixing Resolutions
Mixing resolutions in a sequence saves time and effort in a variety of circumstances:
•
You can do most of your work at a resolution that can play back real-time effects, capturing
only the most complex shots and graphics at a high-quality, single-stream resolution.
•
For storage and playback efficiency, you can capture complex footage at the draft-quality
online resolution and edit it along with other online resolutions.
•
You can avoid some recapturing by importing complex graphics at a high-quality resolution
and by capturing the remaining footage at draft quality during the offline phase.
•
You can exchange material between projects with a minimum of recapturing.
•
You can develop material among workstations at different resolutions and bring the material
together for a final cut without recapturing.
1573
Resolution Groups and Image Quality
n
For information on resolutions to use when importing graphics or sequences from a third-party
application, see “Frame Size for Imported Graphics” on page 1545.
Resolution Groups and Image Quality
In general, a lower compression ratio means higher image quality. However, the resolution group
itself (single-field, two-field, progressive, or uncompressed) is also a factor in the quality of the
final image.
Single-field resolutions work with smaller amounts of original image data than two-field or
progressive resolutions. They use only half the image width of two-field resolutions, and they
use only one of the two fields in the standard video signal.
For example, there is a 2:1 resolution for both single-field and two-field resolutions. In both
cases, the image data is compressed to one-half of its original size. However, the image quality of
these two resolutions is different. The single-field 2:1 resolution has lower image quality because
it processes only one-quarter of the original image data used by the two-field 2:1 resolution.
Estimating Drive Space Requirements
You should plan the use of drive volumes in advance, especially when you capture many tapes.
You need to select a resolution that provides adequate picture quality for your project. However,
you might be limited by the amount of media drive space available. Before you capture, estimate
your media drive space requirements.
To estimate media drive space requirements:
1. Use the appropriate resolution specifications table.
See “Resolution Specifications” on page 1559 and the information in your media drive
documentation to select a resolution that is compatible with the drive and striping capacity
on your system.
2. Open the Capture tool, select a resolution and target drive or drives, and note the time
remaining on the selected drives.
For more information, see “Selecting the Target Drives” on page 204.
3. Get a total duration for all the clips you plan to capture.
Use the Console and the Get Bin Info commands, as described in “Using The Console
Window” on page 134.
4. Use the estimated storage requirements table to estimate your drive space requirements
based on the resolution and the number of audio tracks.
5. Compare the gigabytes available on your drives with the storage requirements table.
1574
Storage Requirements
If your needs are greater than your drive space, select a lower resolution and recalculate.
The information in the storage tables is approximate, so it’s a good idea to slightly
overestimate the amount of drive space you require.
Storage Requirements
The following topics provide estimated drive space requirements for the various resolutions.
They show figures for estimated minutes per gigabyte and also figures for the drive space
required for certain amounts of material.
“Estimating Drive Space Requirements” on page 1574 contains recommendations for achieving
efficient storage for your digital media. It explains how playback performance is affected by the
way you set up the storage drives and target them when you capture.
Estimated Storage Requirements: HD
This table does not include estimated storage requirements for audio.
Resolution
Bits
Project Format
1:1 10-bit HD
1:1 HD
DNxHD 90 X
DNxHD 90
DNxHD 60
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/23.976
1575
Drive Space Needed for
1 Hour of Media (GB)
185
148
37
37
24
48
22
24
26
40
18
8
59
12
Storage Requirements
Drive Space Needed for
1 Hour of Media (GB)
Resolution
Bits
Project Format
1:1 10-bit HD
1:1 HD
DNxHD 90 X
DNxHD 90
DNxHD 60
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/25
198
158
41
41
27
25
22
24
28
41
19
9
62
12
1:1 10-bit HD
1:1 HD
DNxHD 110 X
DNxHD 110
DNxHD 70
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/29.97
237
190
50
50
32
25
22
24
33
49
23
10
74
12
1576
Storage Requirements
Drive Space Needed for
1 Hour of Media (GB)
Resolution
Bits
Project Format
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/50
396
317
79
79
52
50
22
48
55
83
38
17
124
24
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/59.94
232
185
92
92
61
48
22
48
66
99
46
20
148
24
1577
Storage Requirements
Drive Space Needed for
1 Hour of Media (GB)
Resolution
Bits
Project Format
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 36
DNxHD444 440 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
10
8
10
8
8
8
10
10
10
10
10
10
10
10
1080p/23.976
716
417
333
74
74
49
15
148
48
53
79
37
16
119
24
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 36
DNxHD444 440 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
10
8
10
8
8
8
10
10
10
10
10
10
10
10
1080p/24
717
417
334
74
74
49
15
148
48
53
79
37
16
119
24
1578
Storage Requirements
Drive Space Needed for
1 Hour of Media (GB)
Resolution
Bits
Project Format
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DNxHD 36
DNxHD444 440 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
10
8
10
8
8
8
10
10
10
10
10
10
10
10
1080p/25
746
435
348
77
77
51
15
155
48
55
83
38
17
124
24
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
10
8
10
8
8
8
8
10
10
10
10
10
10
10
1080i/50
746
435
348
77
77
51
48
22
48
110
165
77
34
248
24
1579
Storage Requirements
Resolution
Bits
Project Format
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
10
8
10
8
8
8
8
10
10
10
10
10
10
10
1080i/59.94
Drive Space Needed for
1 Hour of Media (GB)
895
521
417
92
92
61
48
22
48
132
198
92
41
297
24
Estimated Storage Requirements: JFIF Interlaced
Resolution
Audio
Tracks
Drive Space
Needed for
Minutes Per 1 Minute of
Gigabyte
Media
15:1s
0
48.5
20.6 MB
206 MB
618 MB
1
38.6
25.9 MB
259 MB
777 MB
2
32.1
31.2 MB
312 MB
936 MB
3
28.2
35.5 MB
355 MB
1.07 GB
4
24.5
40.8 MB
408 MB
1.22 GB
8
16.1
62.0 MB
620 MB
1.86 GB
0
11.6
85.8 MB
858 MB
2.57 GB
1
11.0
91.1 MB
911 MB
2.73 GB
2
10.5
95.4 MB
954 MB
2.86 GB
3
9.9
101 MB
1.01 GB
3.03 GB
4:1s
1580
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Storage Requirements
Resolution
2:1s
20:1
10:1
3:1
Audio
Tracks
Drive Space
Needed for
Minutes Per 1 Minute of
Gigabyte
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
4
9.4
106 MB
1.06 GB
3.18 GB
8
7.9
127 MB
1.27 GB
3.81 GB
0
5.8
172 MB
1.72 GB
5.16 GB
1
5.7
177 MB
1.77 GB
5.28 GB
2
5.5
182 MB
1.82 GB
5.46 GB
3
5.4
187 MB
1.87 GB
5.61 GB
4
5.2
193 MB
1.93 GB
5.79 GB
8
4.7
214 MB
2.14 GB
6.42 GB
0
16.6
60.1 MB
601 MB
1.80 GB
1
15.3
65.4 MB
654 MB
1.96 GB
2
14.1
70.7 MB
707 MB
2.12 GB
3
13.2
76.0 MB
760 MB
2.28 GB
4
12.3
81.3 MB
813 MB
2.44 GB
8
9.8
103 MB
1.03 GB
3.09 GB
0
8.3
120 MB
1.20 GB
3.60 GB
1
7.9
126 MB
1.26 GB
3.78 GB
2
7.6
131 MB
1.31 GB
3.93 GB
3
7.3
136 MB
1.36 GB
4.08 GB
4
7.2
140 MB
1.40 GB
4.20 GB
8
6.2
161 MB
1.61 GB
4.83 GB
0
2.9
344 MB
3.44 GB
10.32 GB
1
2.9
349 MB
3.49 GB
10.47 GB
2
2.8
354 MB
3.54 GB
10.62 GB
3
2.8
360 MB
3.60 GB
10.80 GB
4
2.7
365 MB
3.65 GB
10.95 GB
1581
Storage Requirements
Resolution
2:1
1:1 SD
(Uncompressed)
1:1 10b SD
(10-bit
Uncompressed)
Audio
Tracks
Drive Space
Needed for
Minutes Per 1 Minute of
Gigabyte
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
8
2.6
386 MB
3.86 GB
11.58 GB
0
1.9
516 MB
5.16 GB
15.48 GB
1
1.9
521 MB
5.21 GB
15.63 GB
2
1.9
526 MB
5.26 GB
15.78 GB
3
1.9
531 MB
5.31 GB
15.94 GB
4
1.9
537 MB
5.37 GB
16.11 GB
8
1.8
558 MB
5.58 GB
16.74 GB
0
0.8
1.22 GB
12.2 GB
36.6 GB
1
0.8
1.23 GB
12.3 GB
36.9 GB
2
0.8
1.23 GB
12.3 GB
36.9 GB
3
0.8
1.24 GB
12.4 GB
37.2 GB
4
0.8
1.24 GB
12.4 GB
37.2 GB
8
0.8
1.26 GB
12.6 GB
37.8 GB
0
0.6
1.53 GB
15.3 GB
45.9 GB
1
0.6
1.54 GB
15.4 GB
46.2 GB
2
0.6
1.54 GB
15.4 GB
46.2 GB
3
0.6
1.55 GB
15.5 GB
46.5 GB
4
0.6
1.55 GB
15.5 GB
46.5 GB
8
0.6
1.58 GB
15.8 GB
47.4 GB
1582
Storage Requirements
Estimated Storage Requirements: JFIF Progressive
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
35:1
0
36.4 (NTSC)
30.3 (PAL)
27.5 MB
33.0 MB
275 MB
330 MB
824 MB
990 MB
1
30.5 (NTSC)
26.1 (PAL)
32.8 MB
38.3 MB
328 MB
383 MB
983 MB
1.14 GB
2
26.3 (NTSC)
22.9 (PAL)
38.1 MB
43.6 MB
381 MB
436 MB
1.14 GB
1.30 GB
3
23.1 (NTSC)
20.4 (PAL)
43.4 MB
48.9 MB
434 MB
489 MB
1.30 GB
1.47 GB
4
20.5 (NTSC)
18.4 (PAL)
48.7 MB
54.2 MB
487 MB
542 MB
1.46 GB
1.63 GB
8
14.3 (NTSC)
13.3 (PAL)
69.9 MB
75.4 MB
699 MB
754 MB
2.10 GB
2.26 GB
0
29.1 (NTSC)
24.3 (PAL)
34.4 MB
41.2 MB
344 MB
412 MB
1.03 GB
1.23 GB
1
25.2 (NTSC)
21.5 (PAL)
39.7 MB
46.5 MB
397 MB
465 MB
1.19 GB
1.39 GB
2
22.2 (NTSC)
19.3 (PAL)
45.0 MB
51.8 MB
450 MB
518 MB
1.35 GB
1.55 GB
3
19.9 (NTSC)
17.5 (PAL)
50.3 MB
57.1 MB
503 MB
571 MB
1.51 GB
1.71 GB
4
18.0 (NTSC)
16.0 (PAL)
55.6 MB
62.4 MB
557 MB
624 MB
1.67 GB
1.87 GB
8
13.0 (NTSC)
12.0 (PAL)
76.8 MB
83.6 MB
768 MB
836 MB
2.30 GB
2.51 GB
0
14.6 (NTSC)
12.1 (PAL)
68.5 MB
82.6 MB
685 MB
826 MB
2.05 GB
2.48 GB
1
13.6 (NTSC)
11.4 (PAL)
73.8 MB
87.9 MB
738 MB
879 MB
2.21 GB
2.64 GB
28:1
14:1
1583
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Storage Requirements
Resolution
3:1
2:1
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
2
12.6 (NTSC)
10.7 (PAL)
79.1 MB
93.2 MB
791 MB
932 MB
2.37 GB
2.80 GB
3
11.8 (NTSC)
10.1 (PAL)
84.4 MB
98.5 MB
844 MB
985 MB
2.53 GB
2.96 GB
4
11.1 (NTSC)
9.6 (PAL)
89.7 MB
103 MB
897 MB
1.04 GB
2.69 GB
3.12 GB
8
9.0 (NTSC)
8.0 (PAL)
111 MB
125 MB
1.11 GB
1.25 GB
3.33 GB
3.75 GB
0
3.6 (NTSC)
3.0 (PAL)
278 MB
333 MB
2.78 GB
3.33 GB
8.33 GB
10.0 GB
1
3.5 (NTSC)
3.0 (PAL)
283 MB
339 MB
2.83 GB
3.39 GB
8.49 GB
10.2 GB
2
3.5 (NTSC)
2.9 (PAL)
288 MB
344 MB
2.88 GB
3.44 GB
8.65 GB
10.3 GB
3
3.4 (NTSC)
2.9 (PAL)
294 MB
349 MB
2.94 GB
3.49 GB
8.81 GB
10.5 GB
4
3.3 (NTSC)
2.8 (PAL)
299 MB
355 MB
2.99 GB
3.55 GB
8.97 GB
10.6 GB
8
3.1 (NTSC)
2.7 (PAL)
320 MB
376 MB
3.20 GB
3.76 GB
9.61 GB
11.3 GB
0
2.4 (NTSC)
2.0 (PAL)
417 MB
500 MB
4.17 GB
5.00 GB
12.5 GB
15.0 GB
1
2.4 (NTSC)
2.0 (PAL)
422 MB
505 MB
4.22 GB
5.05 GB
12.7 GB
15.2 GB
2
2.3 (NTSC)
2.0 (PAL)
427 MB
510 MB
4.27 GB
5.11 GB
12.8 GB
15.3 GB
3
2.3 (NTSC)
1.9 (PAL)
433 MB
516 MB
4.33 GB
5.16 GB
13.0 GB
15.5 GB
4
2.3 (NTSC)
1.9 (PAL)
438 MB
521 MB
4.38 GB
5.21 GB
13.1 GB
15.6 GB
1584
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Storage Requirements
Resolution
1:1 SD
(Uncompressed)
1:1 10b SD
(10-bit
Uncompressed)
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
8
2.2 (NTSC)
1.8 (PAL)
459 MB
542 MB
4.59 GB
5.42 GB
13.8 GB
16.3 GB
0
1.0 (NTSC)
0.9 (PAL)
1.00 GB
1.15 GB
10.0 GB
11.5 GB
30.0 GB
34.5 GB
1
1.0 (NTSC)
0.9 (PAL)
1.01 GB
1.15 GB
10.1 GB
11.5 GB
30.3 GB
34.6 GB
2
1.0 (NTSC)
0.9 (PAL)
1.01 GB
1.16 GB
10.1 GB
11.6 GB
30.3 GB
34.8 GB
3
1.0 (NTSC)
0.9 (PAL)
1.02 GB
1.17 GB
10.2 GB
11.7 GB
30.6 GB
35.1 GB
4
1.0 (NTSC)
0.9 (PAL)
1.02 GB
11.7 GB
10.2 GB
11.7 GB
30.6 GB
35.1 GB
8
1.0 (NTSC)
0.8 (PAL)
1.04 GB
1.19 GB
10.4 GB
11.9 GB
31.3 GB
35.8 GB
0
0.8 (NTSC)
0.7 (PAL)
1.25 GB
1.44 GB
12.5 GB
14.4 GB
37.5 GB
43.2 GB
1
0.8 (NTSC)
0.7 (PAL)
1.26 GB
1.44 GB
1.26 GB
14.4 GB
37.9 GB
43.2 GB
2
0.8 (NTSC)
0.7 (PAL)
1.26 GB
1.45 GB
12.6 GB
14.5 GB
37.8 GB
43.5 GB
3
0.8 (NTSC)
0.7 (PAL)
1.28 GB
1.46 GB
12.8 GB
14.6 GB
38.4 GB
43.8 GB
4
0.8 (NTSC)
0.7 (PAL)
1.28 GB
1.46 GB
12.8 GB
14.6 GB
38.4 GB
43.8 GB
8
0.8 (NTSC)
0.7 (PAL)
1.30 GB
1.49 GB
13.0 GB
14.9 GB
39.0 GB
44.7 GB
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Estimated Storage Requirements: DV
This table does not include estimated storage requirements for audio.
1585
Considerations for Managing Storage
Drive Space
Needed for
Resolution
Minutes Per 1 Minute of
(NTSC and PAL) Gigabyte
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
DV 25
5.0
200 MB
2.0 GB
6.0 GB
DV 50
2.5
400 MB
4.0 GB
12.0 GB
DVCPRO HD
1.2
800 MB
8.0 GB
24.0 GB
Estimated Storage Requirements: MPEG
This table does not include estimated storage requirements for audio.
Drive Space
Needed for
Resolution
Minutes Per 1 Minute of
(NTSC and PAL) Gigabyte
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
MPEG 30
4.7
210 MB
2.1 GB
6.3 GB
MPEG 40
3.6
280 MB
2.8 GB
8.4 GB
MPEG 50
2.9
350 MB
3.5 GB
10.5 GB
Considerations for Managing Storage
Maximizing Drive Space
If your media drive space is limited or you are capturing a large amount of source material,
follow these suggestions to maximize your usage of the media drive space:
n
•
Capture only the audio channels required for the edit.
•
Log in advance. Batch capture only the footage required for the edit.
•
Capture at a lower resolution for editing. Recapture only the clips included in the final cut at
a higher resolution.
For more information on batch capturing and recapturing, see “Batch Capturing from Logged
Clips” on page 250.
1586
Considerations for Managing Storage
Managing Storage to Improve Playback Performance
The way you set up the media drives and target them when you capture can affect playback
performance. Here are some suggestions for working with complex video images at high
resolution, multiple video layers, or multicamera material:
•
For more effective playback of multiple streams of video at higher resolutions, stripe the
media drives. Some resolutions require drive striping; see the drive striping tables for your
Avid editing application at Avid’s online Knowledge Base. Go to
www.avid.com/onlinesupport and search for “Drive Striping Tables.”
•
For more effective playback of multiple streams of video at higher resolutions without drive
striping, distribute the video tracks as evenly as possible among available drives, and target
separate drives for audio and video.
•
Try to target one volume per reel.
1587
36 Working in HD and High-Resolution
Projects
Avid editing applications support HD and high-resolution media (2K and above). A full list of
the video formats supported for capture, linking, editing, rendering and output is available on the
Avid web site—refer to “Avid Editing Systems Supported Formats” on the Avid Knowledge
Base.
n
Depending on the model of your Avid editing application and on your Avid input/output
hardware, some of these resolutions might not be available for capture in their uncompressed
form. For more information, see “Support for Uncompressed HD Media” on page 1573.
This chapter covers the various film and HD workflows that require the acquisition, editing and
output of high-resolution media.
•
Delivery Methods for Cinema and Television
•
HD Workflow: Video-Based Television
•
Producing Graphics for Broadcast
•
(Media Composer | Symphony Option) Using HD Universal Mastering
•
Working with HDV
•
Understanding HDV
•
HDV Workflow
•
Capturing and Importing HDV
•
Playing Back HDV Media
•
Outputting HDV
Delivery Methods for Cinema and Television
Media originates either from film or video cameras in the form of digital high-resolution files,
film reel, or video tape. This media can be converted into different formats for the
post-production process and final delivery. Avid applications provide support for universal
mastering which means that you can edit once and deliver to multiple film, HD and SD formats.
Transferring Film to Tape
Based on delivery format requirements, you need to determine the best format for acquisition of
the media. It’s best to begin with the highest resolution and quality source, and then “down-rez”
to the required output format.
Cinema (High-Resolution input and output)
Feature film or documentary release to theaters demands high-resolution, high-quality source
material and output to film. It is important to acquire the media at the highest possible resolution
at a film rate of 24/25fps, and aspect ratio of 16:9. This media can be converted to lower-res
proxies during the editing process, and then finished and output at high-res for recording back to
film.
HD Television (High Definition video broadcast, Blu-Ray disc)
High-definition television (HDTV) is a digital broadcasting technology that delivers a larger,
clearer, more detailed picture than standard definition television (SDTV). HDTV uses a 16:9
aspect ratio in place of the standard definition 4:3 ratio, and requires output to HD video format.
With digital television formats expanding the options for content distribution, there is renewed
interest in the oldest format in the industry: 24-fps film. Through a telecine transfer and the
capturing process, Avid editing applications capture and store film frames as 24-fps to maintain
the quality options.
Many production companies even use film-resolution media from digital cameras (such as RED)
as the primary source and then down-rez to HD for final delivery.
SD Television (Standard Definition video broadcast, DVD)
Standard definition television broadcast and DVD distribution usually requires output to NTSC
or PAL video formats.
Transferring Film to Tape
You have your film rolls from the day’s shooting, and you’re ready to edit on your Avid system.
To capture that footage into the system, you first need to transfer the film to videotape. This
process uses a special film projector called a telecine, which is usually part of a production
system that includes audiotape recorders, a controller, and other equipment. The steps in the
process will differ, depending on whether you include audio and whether the transfer produces
NTSC or PAL videotapes.
This section provides some guidelines to ensure that the film shoot and transfer process is
well-planned for the Avid editing session.
1589
Transferring Film to Tape
Film Shoot Specifications
Use the guidelines in the following table to help you plan for film shoots that will be edited on an
Avid.
Element
Supported Formats
Notes
Film type
16mm
Use Standard 16mm or Super 16mm.
Super 16’s aspect ratio closely matches 16:9.
35mm: 2, 3, 4, 8, and 12 perf
16mm, 35mm 4 perf, and 35mm 3 perf are
supported as projects in the Avid system. The
remaining formats are supported through ink
numbers and auxiliary ink numbers. For more
information, see “Film and 24P Settings” on
page 1494.
65mm: 5, 8, 10, and 15 perf
Film wind
B-wind
Always use camera rolls with key numbers in
ascending order.
Audio media
BWF file-based recorders
Use to record digital audio.
Audio timecodes
30-fps drop-frame or non-drop-frame Use for NTSC transfer projects, and for generating
audio EDLs.
Sync methods
25-fps timecode
Use for PAL transfer projects, and for generating
audio EDLs in the PAL format.
Audio sync to in-camera timecode
(Arri® 24-fps timecode)
Use for automatic syncing of sound with picture in
the Avid system.
Clapsticks
Use for manual syncing of sound with
picture.
Electronic slate (smart slate)
Use for semiautomatic syncing.
In-camera timecode, with audio sync Use for automatic, “slateless” syncing in the
telecine.
Slate information
Camera roll, scene and take, shoot
date, sound-roll ID
Mark sound-roll ID as a backup.
Sound-roll cues
Sound-roll ID, date, start and end
time-of-day timecode
Include verbal time-of-day cues as a backup.
1590
Transferring Film to Tape
Film-to-Tape Transfer Guidelines
Observe the following general guidelines when transferring film to tape:
n
•
Instruct the telecine facility to record timecode on the address track.
•
Instruct the facility to use only a telecine transfer process when transferring to NTSC
videotape. Do not use a film chain or any other transfer device.
•
PAL transfers do not require pulldown, so you can use either a telecine or a film chain.
However, quality is much better on a telecine.
•
Transfer all of the project’s source film footage to disk or tape by using either the NTSC or
PAL method.
-
For NTSC projects, you can mix footage transferred at 24 fps (23.976 fps) or 30 fps
(29.97 fps), and mix sound transferred at 1.0 or 0.99. Do not mix 24-fps and 30-fps
transfers on the same transfer tape.
-
For PAL projects, you cannot mix audio that has been transferred at 4.1 percent speedup
(PAL Method 1) with audio that has not been sped up (PAL Method 2).
PAL film-to-tape transfers that use pulldown are not currently supported in Avid editing
applications.
Project
Format
Source footage
During the telecine process
SD
24 fps
To create ITU-R 601 video, the telecine process adds 2:3
pulldown to film footage to create an NTSC videotape, or uses
4.1% speedup for PAL videotape.
25 fps
The telecine process transfers 25-fps film footage at 1:1 (no
pulldown).
The sound recording can be synchronized as part of the telecine
transfer.
n
23.976 fps
For NTSC output, this method slows the audio by 4
percent. If you plan to output to both NTSC and PAL, you
might want to shoot at 24 fps and use 24p instead of 25p.
The telecine process syncs audio and transfers film footage at 1:1
(no pulldown).
1591
Transferring Film to Tape
Project
Format
Source footage
During the telecine process
HD
24 fps
The telecine process transfers 24-fps film footage at 1:1 (no
pulldown).
It can also transfer the footage at HD 1080p/23.976 video at 1:1.
This lets you create the project at 24p and later change it to 1080p
without having to create a new project and sequence. In addition,
you can keep both offline SD material and online HD material
available in the same project.
23.976 fps
The telecine process syncs audio and transfers film footage at HD
1080p/23.976 video at 1:1 (no pulldown).
25 fps
For PAL broadcast, transfer film at 1080p/25, edit offline in a 25p
PAL project, and edit online in a 1080p/25 project.
Film-to-Tape Transfer Quality Options and Production Aids
The quality of the film-to-tape transfers depends upon several options for the telecine transfer.
The following table describes common transfer-quality options available from a telecine facility:
Option
Description
One-light
This transfer involves a single setting of color correction values, resulting in the
simplest, fastest, and least-costly type of transfer. One-light transfers are often
used during offline stages of editing.
Best-light
This transfer involves optimum settings of the color-grade controls, but without
scene-by-scene color correction. Best-light transfers are an intermediate level in
terms of both quality and cost.
Timed
(scene-by-scene)
This transfer involves color correcting each scene or shot during transfer. Timed
transfers are the most expensive and time consuming. This option sets up the
proper black and white levels so that you can perform a tape-to-tape color
correction from the source tapes, if needed.
You can use the film-tape-film-tape feature to perform two separate telecine processes for a
project:
n
•
Perform a one-light or best-light transfer to obtain the most material for the initial edits.
•
After editing is complete, perform a timed, fully color-corrected transfer of the clips that will
be used in the final cut.
For more information on the film-tape-film-tape option, see “Relinking Clips by Key Number”
on page 289.
1592
Transferring Film to Tape
After you perform the final telecine operation, you can capture at a finishing resolution, such as
1:1 (uncompressed).
The transfer facility might have available one or more of the production aids described in the
following table, which you can include in your film-to-tape transfer:
Aid
Description
Automatic logging
Whenever possible, you should instruct the facility to log tracking information directly
into a computer database program. Logs generated automatically are more accurate
than manual logs and can be imported easily into the Avid editing system. A log file
typically indicates the relative timecode, key numbers, and pullin (“A” frames) for
each clip that will be captured.
A keypunch at the head Ask the lab or transfer house to keypunch the head of each camera roll at the zero
of each camera roll
frame and give you a list of the corresponding key numbers. After you have captured,
you can match this list with your captured material to check for potential transfer
errors.
Burn-in code
If the transfer facility is equipped with a timecode or film-code character generator,
you can instruct the facility to display or “burn-in” tracking codes on the videotape
transfer. Burn-in code provides visual feedback for logging and tracking footage.
code cannot be removed from the image and should be used only
c Burn-in
for the offline stage of a project.
16:9 wide screen format Your Avid editing application supports the 16:9 wide-screen display format. You can
either shoot your footage by using a 16:9 lens, or transfer the footage anamorphically
to display a larger area of the film aspect ratio during offline and online editing. Also,
this aspect ratio lets you create media that takes advantage of 16:9 monitors that
conform to SDTV and HDTV standards.
Transfer of 24-fps Film to NTSC Video
For an NTSC transfer, the telecine converts your film footage into video running at 29.97 fps.
The video can then be captured and edited at 24 fps in the Avid editing system. This approach
ensures that all your edits correspond to true film frames so you see an accurate representation of
the finished film.
n
If you transfer sound along with picture, your Avid editing application captures audio at the
slowed-down speed. Then during editing and playback, your Avid editing application speeds up
the play rate by 0.1 percent to play in sync with the 24-fps video. Audio plays at 44100 Hz (44.1
kHz) or 48000 Hz (48 kHz).
1593
Transferring Film to Tape
Transferring Film to Video
Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in frame rates between film
and video prevents a direct frame-to-frame transfer. To compensate, the telecine process creates
an extra six frames every second (the difference between 24 and 30). This method of creating
extra frames is known as pulldown.
At the same time, the telecine slightly reduces the film’s running speed to 23.976 fps. NTSC
video, the broadcast standard used in the United States, Japan, and other countries, plays at an
actual rate of 29.97 fps, although it is usually referred to as 30 fps. An accurate conversion
requires exact adherence to the 4:5 ratio, but this ratio breaks down when you compare 24 fps to
29.97 fps. To achieve a true 4:5 ratio, the film frame rate is slowed down to 23.976 fps. The
telecine process makes this correction automatically, slowing NTSC video 0.1 percent from the
original film speed, so that the video plays at 99.9 percent of its original speed.
The following table describes the film to video ratio:
Film
Video
24 fps
30 fps
4 frames
5 frames (10 fields)
23.976 fps (0.999 x 24)
29.97 fps (0.999 x 30)
During the capture process, your Avid editing application reverses the pulldown procedure to
capture the film footage at 24 fps. It removes the extra fields added by the pulldown process to
create full-frame, 24p media. The capture process captures video and audio at the slowed-down
speed (0.999).
Maintaining Synchronized Sound
In most cases, the sound for your production has been recorded on a digital audio system, such as
a BWF file-based recorder. You need to synchronize the sound with the picture and make sure
they are in sync in your Avid editing application. You can take one of three basic paths:
•
Transfer only the picture through the telecine process to HD videotape, capture picture from
tape and sound from BWF, and sync them in your Avid editing application.
•
Transfer the original sound recording to mag track, sync the mag track to the film work print,
and transfer both to videotape through a telecine process.
•
Sync the original sound recordings to picture during the telecine process, and transfer both
to videotape.
If the telecine transfers sound along with picture, the sound intended to be slowed down for
telecine is usually recorded at 48.048 kHz, so that it ends up being 48 kHz.
1594
Transferring Film to Tape
Transfer of 24-fps Film to PAL Video
If you use a PAL transfer, the film-to-video process takes place in two stages:
•
Transfer the film to videotape by speeding up the film rate during the telecine process.
•
Capture the transferred videotape into the Avid system at the sped-up rate.
There are two approaches to synchronizing sound, which are often referred to as PAL Method 1
and PAL Method 2.
PAL Method 1
With PAL Method 1, you synchronize sound with picture during the telecine process.
As with an NTSC film-to-tape transfer, the telecine process creates two video fields for each film
frame. However, because the film rate of 24 fps is close to the PAL video rate of 25 fps, most
PAL film-to-tape transfers involve simply speeding up the frame rate. This speedup changes the
frame rate from 24 to 25 (an increase of 4.1 percent). There is no pulldown that creates extra
fields.
n
Some PAL film-to-tape transfers use pulldown. This method is not currently supported in Avid
editing applications.
With PAL Method 1, there are two ways to sync sound with picture in the telecine process:
•
Transfer the original sound recording to mag track, sync the mag track to the film work print,
and transfer both to videotape through a telecine process.
•
Sync the original sound recordings to picture during the telecine process, and transfer both
to videotape.
In either case, the telecine process speeds up sound at the same rate as picture: 4.1 percent.
After you receive the PAL transfer tapes, the next step is capturing the footage in a 24p PAL
project. During the capturing process, your Avid editing application captures the material at the
PAL rate of 25 fps, capturing every picture frame. It stores the two video fields as a single
progressive frame, which you edit at 24 fps.
n
You must capture audio along with video at the PAL rate of 25 fps if you want to use audio that
was transferred along with picture during the telecine process. You set the Audio Transfer rate as
Video Rate (100+%) in the New Project dialog box. For more information, see “Audio Transfer
Options for 24p PAL Projects” on page 1596.
1595
Transferring Film to Tape
You have the option of playing back the footage at 24 fps or 25 fps. If you select 24 fps, the
system slows both the picture and the sound by 4.1 percent for playback. This approach lets you
edit at the original film rate, but the slowdown creates a limitation for audio. Because you
capture the audio at a rate faster than playback, some audio samples are duplicated during
playback, and sound quality is compromised.
n
Select the Edit Play Rate option in the Film and 24p Settings dialog box. For more information,
see “Film and 24P Settings” on page 1494 and “Filtering the Settings List” on page 1422.
If you select 25 fps, there is a different limitation with audio. Because you are playing back at the
sped-up rate (4.1 percent), the audio pitch rises slightly. This is usually acceptable for broadcast,
so PAL Method 1 is primarily used for PAL television broadcast.
PAL Method 2
With PAL Method 2, you capture sound and picture separately using the same telecine process
for picture (create a video frame of two fields for each film frame, speed up rate by 4.1 percent).
The difference is that you do not synchronize sound as part of the telecine process.
n
Some PAL film-to-tape transfers use pulldown. This method is not currently supported in Avid
editing applications.
Here’s an example where you have your picture-only videotapes (at the rate of 25 fps) and your
source recording tapes. To capture at 24 fps, you need to follow a two-step process:
1. Capture the picture to create 24p media.
2. Capture the sound at the film rate of 24 fps.
n
When you created the project, you set the Audio Transfer rate as Film Rate (100%) in the New
Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects”
on page 1596.
In most cases, you will choose to edit at 24 fps. The sound maintains source quality (44.1 kHz
and 48 kHz) and plays in sync with 24-fps video.
Audio Transfer Options for 24p PAL Projects
When you create a 24p PAL project, you must specify the appropriate audio transfer rate for the
project. (This is not necessary for a 25p PAL project because there is no film speedup during the
transfer.) The New Project dialog box provides Audio Transfer options that lets you select either
Film Rate or Video Rate. This value is project specific and should not be changed after you
create the project unless you have a specific element that you need to transfer at a different rate.
n
The Audio Transfer options are also located in the Film and 24p Settings dialog box and can be
changed after the project is created. See “Film and 24P Settings” on page 1494.
1596
Transferring Film to Tape
n
The Info tab in the Project window lets you view the audio transfer rate you selected when you
created the project. The actual audio transfer rate might be different from the display if you used
the Film and 24p Settings dialog box to change the audio transfer rate.
The following table describes the Audio Transfer options:
Option
Description
Film Rate (100%)
Select this option when your 24-fps film footage has been transferred
MOS (roughly translated as “without sound”) to 25 fps by speeding up the
film, and the audio comes in separately at 100 percent of the actual speed
(PAL Method 2).
Video Rate (100%+)
Select this option when your 24-fps film footage has been transferred to
25 fps by speeding up the film, and the audio is synchronized to the video
picture. This means that the audio speed is increased by 4.1 percent (PAL
Method 1).
Viewing Video Dailies
The video dailies method relies on videotape transfers from negative for screening, transferring,
and creating conformed cuts during editing.
The advantage of working with video dailies and film negative is that you can avoid the cost of
work print until the finishing stages, or altogether. The disadvantage is you are limited to the
aspect ratio, resolution, and contrast range of video previews. For this reason, video dailies are
preferred for television projects, but you can also use this method to economize on a feature film
production.
The illustration below describes the video dailies method:
5
BWF
2
1
HD 4:2:2
4
HD RGB 4:4:4
ALE/FLEx
EDL/ALE/OMFI/AAF
33
PULL LIST
6
Avid Media Composer
1597
VIDEO
DELIVERABLES
(HD, SD, DVD, BLU-RAY)
HD Workflow: Video-Based Television
Description
1
Transfer reels of negative via telecine to HD 4:2:2 for the offline editing.
2
Import the film transfer files (FLEx, Evertz, Aaton, AFE) into Media Composer project bins and
batch capture the footage from the dailies.
3
Generate a Pull List using Lists Tool that provides a concise list of footage to be retransferred at a
higher resolution.
4
Retransfer the final footage to HD 4:4:4. The source timecodes and tapename are easily matched
using the common denominator which is the KeyKode information of the OCN. Once the bins
are relinked, the sequence will point to the newly transferred sources, tape, timecode, etc.
5
Audio can be captured directly from a BWF file-based recorder, and synced with the video
during the editing process.
6
Perform the final edit and output the final production. Alternativly, you can export files for audio
or video finishing on other editing systems.
HD Workflow: Video-Based Television
You can use this workflow for video footage shot at 720p/23.976, 720p/59.94 or 1080p/29.97. In
these cases, however, you cannot simply change the project format (step 6). Instead, you need to
create a new project that matches the source footage, open the bin or bins from the NTSC 30i
project, change the sequence format, decompose, and batch capture.
The following illustration shows an offline/online workflow using an HD video source for
HDTV:
1598
HD Workflow: Video-Based Television
1080i/59.94 HD
1
HD VTR
7
30i NTSC SD
Avid
Media
Composer
2
33
5
6
4
9
OMFI/AAF
10
8
Avid Pro Tools
1080i/59.94 HD
To create a video-based HDTV program:
1. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p PAL.
2. Open a project that is suitable for HD finishing.
When you start the online session, you can create a new project in the final format, or use the
original project and change the project format. If your project requires final mastering in
HD, use the corresponding SD project for offline editing. For more information, see “Offline
Formats for HD” on page 1140.
3. Capture your material. Edit, apply effects, and create a final sequence.
Avid HD editing applications support direct device control at 24 fps, enabling you to capture
true 24-fps timecode from HD decks. When you are capturing 23.976-fps or 24-fps material
in HD, the Capture tool displays 24-fps timecode for the Mark IN and Mark OUT points.
After you capture a clip, the Start and End timecodes are also shown as 24-fps timecode.
4. (Option) Export an OMFI or AAF file to a Pro Tools digital audio workstation to create a
final audio mix.
For more information, see “Transferring Audio Files” on page 1156.
5. If you started the project in a different format, change the project format to the
corresponding HD online format — see “Changing the Project Format” on page 1604.
1599
Producing Graphics for Broadcast
6. Duplicate the final sequence, and then modify the format of the sequence to create a new
sequence in the corresponding HD format — see “Changing the Sequence Format” on
page 1605.
7. Decompose the new HD sequence and batch capture from the source tape.
8. (Option) Import the final audio mix.
9. Finish the sequence by batch capturing graphics, recreating title media and reviewing the
program for effects that need fine-tuning.
Use the original offline sequence for reference.
10. Render all effects and output a master tape.
Producing Graphics for Broadcast
An important part of the HDTV workflow is to produce graphics, such as bumpers and promos
that are created in graphics programs for HDTV broadcast.
To create a graphics-based HDTV program:
1. Create files on a graphics workstation, using either 1280x720 for 720p or 1920x1080 for
1080i.
2. Export the files to a location that the Avid editing system can access.
3. Create a 720p or 1080i project, import the files, edit, and finish.
4. Create a broadcast master tape in the desired format. Cross-convert to output an alternative
format.
Creating a Film-Based Project
When you create a project that uses footage coming either from film reel or high-resolution
digital files (2K+), the options that you choose for your project should be determined by:
•
The acquisition format (high-res digital files, 16mm or 35 mm film, HD video)
•
The audio rate (film speed of 48 kHz, or video speed of 48.048 kHz)
•
The finishing and output requirements of the project
To create a new film-based project:
1. Start your Avid editing application.
2. In the Select Project dialog box, select the folder in which you want to create the project:
Private, Shared, or External.
3. Click New Project.
1600
Creating a Film-Based Project
4. Type the name of your new project in the text box.
5. Click the Format menu and select the most appropriate project type. The format you choose
must take into consideration both the frame rate at which the film was shot, as well as the
final delivery format for the production.
Format
Source
Output
24p NTSC
Film-based or other 24-fps footage transferred to Standard
Definition NTSC videotape.
Film,
HD Broadcast,
Video
23.976 NTSC Film transferred at 23.976 or footage shot at 23.976. Audio
remains synchronized with video throughout with no
conversion required.
HD Broadcast,
NTSC Video
In addition, chose this option if the production was shot with
a DV (digital video) camera.
24p PAL
Film-based or other 24-fps footage transferred to PAL
videotape. Ideal for a dual system production.
Film,
HD Broadcast,
PAL Broadcast,
PAL Video
25p PAL
Film-based material or other 25-fps footage shot at 25 fps
transferred to PAL video.
Film,
HD Broadcast
PAL Broadcast,
PAL Video
1080p/23.976 High-resolution files coming from digital film cameras such Film,
as RED, film transferred to HD videotape at 23.976 fps, or HD Broadcast,
HD-originated 23.976-fps footage. This is the most
NTSC Broadcast
commonly used HD project in NTSC-based countries.
1080p/24
High-resolution files coming from digital film cameras such Film,
as RED, or HD-video originated production (shot at 24 fps). HD Broadcast
This format is also used if you’re working on older Avid
systems that do not support the 23.976 frame rate.
1080p/25
High-resolution files coming from digital film cameras such Film,
as RED, or HD-video originated production (shot at 25 fps). HD Broadcast,
This is the most commonly used HD project in PAL-based PAL Broadcast
countries.
1080i/59.94
High-resolution interlaced files (shot at 59.94 fps).
HD Broadcast,
NTSC Broadcast
1080i/50
High-resolution interlaced files (shot at 50 fps).
HD Broadcast,
PAL Broadcast
1601
Creating a Film-Based Project
Further options might change depending on the format that you chose.
6. Select Film if your source material originated on film reel.
This will give you access to film options such as Perf Slip and Film and 24p settings.
7. Set the following additional option(s), where applicable:
Option
SD (NTSC/PAL)
HD and Film
Aspect Ratio Select either 4:3 or 16:9
Only uses the 16:9 aspect ratio.
The project uses the aspect ratio setting to determine the display setting in the
monitors, and as a factor in determining whether material requires resizing or
repositioning in sequences.
Raster
Dimension
N/A
The Raster Dimension menu appears only for
HD projects on a supported system.
Color Space
N/A
Select RGB 709 to retain the best color quality
from the film shoot.
Film Gauge
Available for 23.976p, 24p, 25p, 720p, and
1080p film projects. If you are using source
material originating on film reel, click the Film
button and select a format for film gauge
tracking from the Default Film Type menu.
Audio
Transfer Rate
Available for 24p PAL projects where material
originated from tape.
Matchback
Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only. If you
are using source material from film reel, select Matchback, then click the Film button
and select a format for film gauge tracking from the Default Film Type menu. The
Matchback item appears only if your Avid editing application includes the Matchback
option
8. Click OK.
Your Avid editing application creates the new project files and folder, and then returns to the
Select Project dialog box. The project name is highlighted in the Projects list.
9. Double-click the project name in the Projects list to open the project or click OK with the
project name highlighted.
The Project window, the Composer window, and the Timeline open with the User settings
loaded. The title bar of the Project window contains the project name and the user profile
selected in the Select Project dialog box.
10. (Option) If your project uses a film project type, set film preferences immediately after you
create the project.
1602
Creating a Film-Based Project
Before you capture or output film reel footage, refer to the following topics—“Selecting a
Project Format during Capture” on page 1603 and “Selecting a Project Format during
Output” on page 1603.
Selecting a Project Format during Capture
Before you capture film reel footage into your editing system, make sure you select the correct
project format. The following table explains how the Avid system creates the digitized media
from your source footage.
Project
Format
Source
footage
During the capture process
SD
24 fps
The Avid system removes the 2:3 pulldown and creates 24p media.
25 fps
Use a 25p deck if you need to downconvert HDTV to ITU-R 601 video.
The deck does not need to add pulldown or speed up the audio since the
footage will remain at 25 fps. The Avid system creates 25p media.
23.976 fps
Use a 24p deck if you need to downconvert HDTV to ITU-R 601 SD
video. The deck adds 2:3 pulldown for video but maintains audio at 48
kHz. The Avid system removes both normal (2:3:2:3) and advanced
(2:3:3:2) pulldown types. It maintains audio at 48 kHz, and creates
23.976p media.
HD
All HD footage is captured in its native format. If you need to
downconvert HD media to an SD format, then refer to the appropriate
SD rows above.
Selecting a Project Format during Output
Before you output your sequences, make sure you select the correct project format. The
following table explains how the Avid system handles the digitized media during the output
process.
Project
Format
Source
footage
SD
24 fps
For NTSC and PAL, the system reinserts the pulldown or re-creates
the speedup.
25 fps
For NTSC, the system inserts 2:3 pulldown and slows down the
audio by 4%. No adjustment is needed for PAL.
During the output process
1603
Changing the Project Format
Project
Format
HD
Source
footage
During the output process
23.976 fps
For NTSC video, Symphony Option system reinserts pulldown.
24 fps
Creates a 24p EDL for use in an online suite.
25 fps
Creates a 25p EDL for use in an online suite.
23.976 fps
Creates a 24p EDL for use in an online suite.
Use the Digital Cut tool to output a 1080p/23.976 master tape. Then
convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast.
Optionally, use your Avid editing application to crossconvert to
720p/59.94 or 1080i/59.94 for preview or reference. The HD VTR
can also create 1080i/50 for PAL broadcast.
Film
24 fps
For conforming film, it creates a 24p cut list.
25 fps
For film, it creates a 25p cut list.
23.976 fps
For conforming film, it creates a 24p cut list.
Changing the Project Format
Changing formats is especially useful if you are working with downconverted HD material in an
offline-to-online workflow. Each HD format has an equivalent SD format that you can use for
offline editing.
For details, see “Offline Formats for HD” on page 1140.
The Format tab in the Project window lets you change the format of the project to another format
that shares the same frame rate. On systems with supported Avid input/output hardware, you can
also change the raster dimension to improve performance as you edit HD projects.
1604
Changing the Sequence Format
When you change the project format, the following changes take place:
•
The hardware changes to support input and output for the new project.
•
The available resolutions and, for some configurations, raster dimensions change to those of
the new project.
•
Any new sequences you create use the format of the new project.
If necessary, you can then modify the format of an existing sequence, see “Changing the
Sequence Format” on page 1605.
To change the project format:
1. Click the Format tab on the Project window.
2. Select the corresponding format for your workflow.
n
You can select only projects with the same edit rate.
3. If available, click the Raster Dimension menu and select a raster size.
For information on raster types and raster sizes, see
Changing the Sequence Format
When your Avid editing application creates a sequence, it uses the format of the current project.
1605
Changing the Sequence Format
You may not always need to change the edit rate of the sequence. For example, you can change
an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94. In other cases, you do change the edit
rate, and the modified sequence uses motion adapter effects and contains other adjustments
necessary to allow the sequence to play at the new edit rate.
n
There are special workflows for converting a 23.976p NTSC sequences. See “(Media
Composer | Symphony Option) Converting a 24p NTSC Sequence to 1080p/23.976” on
page 1607 and “Converting a 23.976p NTSC Sequence to 720p/23.976” on page 1608.
To modify the format of a sequence:
1. (Option) Duplicate the sequence.
2. Select the sequence you want to modify.
3. Select Clip > Modify.
4. Select Set Format from the top list.
5. Select the format to which you want to convert from the Format menu.
6. Click OK.
A message box tells you whether the sequence has been duplicated or modified.
Your Avid editing application changes the format of the sequence. In cases where timecode
needs to be converted, your Avid editing application creates a new sequence and unlinks the
media. No media is converted. For more information, see “Understanding Options for
Modifying the Sequence Format”
You can check the format of the sequence in the Format column of the bin. This column
displays the format of a clip or sequence as determined by the project type, such as 30i
NTSC or 1080i/59.94. This is especially useful if you have both SD and HD clips in the
same bin.
Format column in the bin
1606
(Media Composer | Symphony Option) Converting a 24p NTSC Sequence to 1080p/23.976
(Media Composer | Symphony Option) Converting a
24p NTSC Sequence to 1080p/23.976
The most efficient offline format for a project that needs to be delivered as 1080p/23.976 is
23.976p (NTSC). In some cases, however, you might need to edit the offline sequence at 24 fps
— for example, if the offline system does not support 23.976p NTSC projects. To convert a 24p
NTSC sequence to 1080p/23.976p, you need to take an intermediate step and first convert it to
23.976p NTSC.
Several limitations apply to this conversion:
•
Audio captured without pulldown (60 Hz) needs to be recaptured with pulldown (NTSC
reference at 59.94 Hz).
•
Media for the new 23.976p sequences and clips is offline. Sequences and clips cannot be
linked to the original 24p media.
•
You need to batch capture and import media. In most cases, you would do this after
converting the sequence to 1080p/23.976.
The last two limitations also apply to other sequence conversions that create new sequences.
To convert a 24p NTSC sequence to 1080p/23.976:
1. On the HD online system, open a 1080p/23.976p project or create a new one.
2. Switch the project format to 23.976p NTSC.
3. Open the bin that contains the original 24p sequence and select the sequence.
4. Select Clip > Modify.
5. Select Set Format from the top list and select 23.976 NTSC from the Format menu.
6. Click OK.
Your Avid editing application creates a new sequence labeled with the extension 23.976 fps.
7. Switch the project format back to 1080p/23.976p project.
8. Select the new 23.976p sequence.
9. Select Clip > Modify.
10. Select Set Format from the top list and select 1080p/23.976 from the Format menu.
11. Click OK.
12. Batch capture, import graphics, and finish the sequence.
1607
Converting a 23.976p NTSC Sequence to 720p/23.976
Converting a 23.976p NTSC Sequence to 720p/23.976
Because the source edit rates are different for these formats, you cannot simply change the
project and sequence format. The following sequence is based on source material shot or
transferred to 720p/23.976 and edited offline in a 23.976p NTSC project.
To convert a 23.976p NTSC sequence to 720p/23.976:
1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin.
2. Decompose the sequence.
3. Select the master clips and export them as a shot log file.
4. Create a 720p/23.976p HD project.
5. Import the shot log file into a bin.
6. Batch capture the clips.
7. Open the SD bin containing the duplicated sequence.
8. Relink the SD sequence to the new HD clips.
See “Relinking Media Files” on page 494.
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:
n
•
Single-frame step commands move at 1/60th of a second. Single-field step commands are
deactivated; if you click a button, your Avid editing application beeps.
•
Draft Quality plays back at 30 fps. Full Quality plays back at 60 fps.
•
You can mark IN and OUT points at 1/60th of a second increments.
•
You can trim at 1/60th of a second increments.
•
Transition effects default to one-second duration (60 frames).
•
Deck control for capture and digital cut is limited to 30 fps. A message box warns you if you
try to mark an odd timecode value (such as 01:00:00:03).
1080i/50 and 1080i/59.94 are interlaced resolutions that you edit at 25 frames per second and
30 frames per second.
1608
Displaying 24p and 25p Media
Displaying 24p and 25p Media
This section applies to you only if you are working with Standard Definition (SD) formats.
When your Avid editing application captures video that has been transferred from film (or video
shot at 24 fps), it creates 24p media. It creates this media by capturing the video fields, by
dropping extra pulldown fields (NTSC transfers only), by combining (deinterlacing) two fields
for each film frame (A1+A2, B1+B2, and so on), and by storing the fields together as a full
frame. The system always stores media as a fully reconstructed, progressive frame. It is the
construction of this full frame that gives you the flexibility to create multiformat output.
You typically use 25p media when capturing film or video shot at 25 fps. In this case, the system
also stores the media as a fully reconstructed, progressive frame. The difference is that there is
no need for pulldown fields because there is a 1:1 correspondence between the source tape and
the captured frames.
Displaying Media While Editing
When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit
Play), the system separates (interlaces) the progressive frames into fields and does the following:
•
n
On the Source, Record, Playback, or pop-up monitor, your Avid editing application displays
the footage at 23.976 fps, 24 fps, or 25 fps, depending on your project and editing
preference.
Choose your preference for playback in the Film and 24p Settings dialog box. For more
information, see “Filtering the Settings List” on page 1422.
•
•
On an NTSC monitor, the system does one of two things:
-
If playing at 23.976 fps (audio pulldown ON), the system performs a 2:3 pulldown that
replicates the telecine pulldown, and displays the interlaced media at 29.97 fps.
-
If playing at 24 fps (audio pulldown OFF), the system performs a 2:3 pulldown, drops
every 1000th frame in the Client monitor, and displays the interlaced media at 29.97 fps.
On a PAL monitor, the system does one of two things:
-
If playing at 24 fps, the system duplicates two fields per second to display the interlaced
media at 25 fps.
-
If playing at 25 fps, the system performs a 4.1 percent speedup, maintains 1:1 transfer of
film frames to video frames, and displays the interlaced media at 25 fps.
For 25p projects, 25 fps is the only playback rate. The playback rate is 1:1 with no speed change.
1609
Outputting a Sequence
Displaying Media During a Digital Cut
The Digital Cut tool lets you output multiple formats at various play rates, all from 24p and 25p
media. When you click the Play Digital Cut button, the system displays the sequence as
described in “Displaying Media While Editing” above, depending on your selection in the
Digital Cut tool.
For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p
Projects” on page 1089.
Outputting a Sequence
You can output your sequence at HD by first transcoding it to an HD resolution. You can then
output it by performing a Digital Cut or an export to file. Avid editing systems support output to
tape, write-back to the original device, or export to common industry-standard formats.
n
Some media formats cannot be output to their native format. Refer to the Avid Editing
Systems—Supported Formats compatibility guide in the Avid Knowledge Base.
(Media Composer | Symphony Option) Using HD
Universal Mastering
Universal Mastering is the ability to generate many different types of output from a single
sequence and project and from the same 24p, 25p, or 23.976p media. HD Universal Mastering
allows 1080p high-definition sequences edited at one frame rate to be played back in real time at
a different frame rate and with audio conversion that matches the video conversion.
HD Universal Mastering applies only to sequences created in a 1080p project format, and the
audio quality is best if you are working with 48 kHz audio.
If you create a sequence in one frame rate (for example, 24 fps), you can then output the
sequence at an alternate frame rate (for example, 25 fps). This modifies the duration of the
sequence to roughly 96% of its original length.
HD Universal Mastering preserves synchronization with the converted video by remastering
audio at a different sample rate to generate replacement audio tracks from previously
mixed-down audio clips. Once replacement audio tracks have been generated, you can edit them
into a new sequence, or edit them into the original sequence as alternative tracks, and then use
the Digital Cut tool to output the sequence.
With Nitris DX, when you downconvert a 1080p/24 project to NTSC, there is no need to
resample the audio.
1610
(Media Composer | Symphony Option) Using HD Universal Mastering
The following frame rates are supported for HD Universal Mastering of sequences (sample rates
are included as examples of remastered audio):
Original Frame Rate Mastered Frame Rate
Original Sample Rate
Mastered Sample Rate
23.976 fps
24 fps
48000
47952
23.976 fps
25 fps
48000
46034
24 fps
23.976 fps
48000
48048
24 fps
25 fps
48000
46080
25 fps
24 fps
48000
50000
25 fps
23.976 fps
48000
50050
(Media Composer | Symphony Option) Converting Audio for HD Universal
Mastering
Before you output your sequence with HD Universal Mastering, you need to convert the audio
tracks so that they match the frame rate of the video tracks.
n
With Nitris DX, when you downconvert a 1080p/24 project to NTSC, there is no need to resample
the audio.
To prepare audio tracks for HD Universal Mastering:
1. Load a sequence in the Record monitor or the Timeline.
2. Click the Track buttons in the Track Selector panel in the Timeline to select the audio tracks
you want to mix down.
3. Perform an audio mixdown.
For more information on how to mix down audio, see “Mixing Down Audio Tracks” on
page 836.
The audio is mixed down, and your Avid editing application displays the new master clip in
the bin.
4. Select the mixed-down audio clip in the bin, and do one of the following:
t
Select Clip > Change Sample Rate.
t
Right-click the clip and select Change Sample Rate.
1611
(Media Composer | Symphony Option) Using HD Universal Mastering
The Change Sample Rate dialog box opens.
5. Click the Sample Rate menu, and select the appropriate conversion option:
t
23.97fps -> 24fps for Universal Mastering
t
24fps -> 25fps for Universal Mastering
t
24fps -> 23.97fps for Universal Mastering
t
25fps -> 23.97fps for Universal Mastering
t
25fps -> 24fps for Universal Mastering
t
23.97fps -> 25fps for Universal Mastering
6. (Option) Click the Quality menu and select one of the following conversion quality options:
n
t
High
t
Medium
t
Low
Avid recommends you accept the default Quality setting of High. Selecting a lower Quality
setting might lead to degraded audio quality in your media output.
7. (Option) Select the Delete Original Media option if you want the system to delete the
original media automatically after the conversion process is complete.
8. (Option) Click the Target Drive menu and select a drive for the new media files different
from the drive setting in the Audio Project settings. For more information on Audio Project
settings, see “Audio Project Settings for Capture” on page 207.
Make sure that you choose a target drive with enough storage space for the generated media
files and the ability to play back media.
9. Click OK.
10. Select Clip > New Audio Track twice to create two new audio tracks in the Timeline.
1612
(Media Composer | Symphony Option) Using HD Universal Mastering
11. Use the Track Selector buttons to select only the two new audio tracks.
12. Mark an IN point on the first frame of the sequence.
13. Make sure the position indicator in the Timeline is on the first frame of the sequence.
14. Click the Overwrite button to add the converted audio to original sequence.
(Media Composer | Symphony Option) Performing a Digital Cut with HD
Universal Mastering
Once you have mixed down your audio tracks and added the new audio clip to your sequence,
you can output your sequence at a new frame rate by performing a digital cut.
You can perform several types of cross-conversion or downconversion digital cuts from 1080
projects by selecting from the Output Format menu in the Digital Cut tool. These digital cuts are
frame-accurate and allow for standard deck control.
The output formats available to you vary depending on the project format and on your Avid
input/output hardware. The following table describes the available options.
Project Format
Output Formats
1080p23.976
1080p23.976
1080p24
1080p25/PAL
1080i59.94/NTSC
1080p24
1080p24
1080p23.976
1080p25/PAL
1080i59.94/NTSC
1080p25
1080p25 PAL
1080p23.976
1080p24
1080i59.94 NTSC
1080i50
1080i50
PAL 25i
1080i59.94
1080i59.94
NTSC 30i
When you make downconvert output format selections, you can select further options, such as an
SD downconvert resize or, for NTSC, a timecode format.
1613
(Media Composer | Symphony Option) Using HD Universal Mastering
To output a digital cut in this way, you must have a deck that can record the output you want to
create available and configured, and you must select that deck in the Digital Cut tool. In the
current version of your Avid editing application, you can select any deck template that is valid
for a digital cut from the current project. You must also ensure that the sync source you are using
matches the output format you want to create.
To perform a digital cut with HD Universal Mastering:
1. Make sure your sequence is loaded in the Source monitor.
2. Select Output > Digital Cut.
The Digital Cut tool opens.
Components of the Digital Cut tool for HD Universal Mastering. Top left: Sequence Track buttons. Top right:
Play Digital Cut button. Bottom: Output Format menu, SD Downconvert menu, and Timecode Format menus
(NTSC only).
3. Select the video tracks you want represented in the digital cut by using the Sequence Track
buttons.
1614
Working with HDV
4. If appropriate, deselect all audio tracks except the converted tracks by using the Sequence
Track buttons.
For more information, see “(Media Composer | Symphony Option) Converting Audio for
HD Universal Mastering” on page 1611. “Converting Audio for HD Universal Mastering” in
the Help for the Media Composer family.
5. Click Output Format, and select the appropriate frame rate option:
For more information, see the table above this procedure.
6. (Option) Click SD Downconvert, and select the appropriate resize option.
The options available depend on the selected Output Format option. For more information
on SD Downconvert, see “Video Output Tool Settings: HD Cal Tab” on page 1537.
7. (Option) If you are performing an NTSC downconvert, select the appropriate timecode
format information in the RS-422Output and LTC Output menus.
For more information, see “Selecting the Timecode Format for Output” on page 1093.
8. Select the appropriate options for your digital cut.
In particular, make sure that you select an appropriate deck configuration for the output
format you have selected.
For more information on using the Digital Cut tool, see “Using the Digital Cut Tool” on
page 1079.
9. Click the Play Digital Cut button.
Your Avid editing application cues the record deck, then plays and records the sequence at
the remastered frame rate. The playback appears in the Record monitor and in the Client
monitor. Once the digital cut completes (or is aborted), the input/output hardware resets to
the original project frame rate.
n
If you select a deck or tape for your digital cut that is set for a frame rate different from the
current sequence format, a message reminds you to switch the genlock signal to match the
selected output rate and indicates the genlock changes that best match the output. Also, there
might be a slight delay in playback as the input/output hardware adjusts the frame rate.
Working with HDV
Avid editing applications provide the following High Definition Video (HDV) project types. For
HDV projects on supported systems, you should select an appropriate raster size. (Some project
types are not available for some Avid input/output hardware configurations.)
•
720p/23.976
•
720p/25
1615
Understanding HDV
•
720p/29.97
•
720p/50
•
720p/59.95
•
1080i/50
•
1080i/59.94
Avid editing applications capture and process DVCPRO HD media and HDV media in its native
format, through a 1394 port on your computer.
You can capture from an HDV device and edit in native HDV using these project types.
You can also use HDV in other project types, but Avid editing applications are more efficient and
perform better with the dedicated HDV project types. The other project types you can use
include:
n
•
PAL 25i
•
NTSC 30i
You cannot capture or export native HDV in the non-HDV project types.
Understanding HDV
HDV is a low-cost prosumer format that lets you record HD video onto standard DV
videocassettes. This is achieved through the use of interframe compression, where a given frame
in the video stream can be composed of information from adjacent frames. Frames are grouped
into a sequence called a “Group of Pictures,” or GOP. Long-GOP (also known as IPB encoding)
refers to the structure of HDV media.
A GOP contains several different types of compressed frames:
•
I frames, which are compressed frames that do not depend on any frames around them.
I frames anchor the beginning of the GOP.
•
P (predictive) frames and B (bidirectional) frames, which depend on the frames around
them.
Interframe compression is more efficient than frame-based schemes (such as DV 25), allowing
high-bandwith HD images to be contained on media designed for standard definition (SD).
However, HDV is more difficult to edit since frames are not independent of one another. Avid
provides a workflow that lets you edit natively with HDV-compressed video without requiring a
transcode to frame-based media, and without limiting where you make your cuts.
1616
HDV Workflow
Your Avid editing application uses a technique called long-GOP splicing when encoding an
HDV MPEG-2 sequence for export. For more information, see “Long-GOP Splicing for HDV
Encoding” on page 1620.
HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about
25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at
1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976.
In some 1080i formats on qualified systems, you can reduce the data rate of the video before
compression by setting the video display (raster) to resize horizontally from 1920 x 1080 pixels
to 1440 x 1080 pixels or to 1280 x 1080 pixels. In contrast, 720p projects use the standard HDV
raster size of 1280 x 720. A special resolution, DNxHD-TR (for Thin Raster), improves the
performance of 1080 HDV editing. This resolution matches the 1080i HDV raster size, reducing
artifacts that would come from repeated compressions when rendering effects and graphics.
HDV Workflow
A basic workflow for an HDV project is as follows:
1. Select one of the following Avid project types depending on the format in which your HDV
camera records and the project types available for your input/output hardware:
-
720p/23.976
-
720p/25
-
720p/29.97
-
720p/50
-
720p/59.94
-
1080i/50
-
1080i/59.94
2. Click the Raster Dimension menu, and select the appropriate raster size.
3. Do one of the following:
-
Capture HDV material.
-
Import an HDV file.
The media is brought in as one video track and two 48-kHz audio tracks.
4. Edit the material.
1617
Capturing and Importing HDV
5. Select the sequence.
6. You can also export the file in other formats or use Windows Media 9 for export to a
third-party HD-DVD authoring system, see “Exporting HDV as Windows Media” on
page 1621.
Capturing and Importing HDV
You can import an HDV transport stream file (.m2t). Transport streams combine video and audio
for transmission through an IEEE-1394 port. Your Avid editing application separates the
transport stream after import or capture into the video and audio for editing.
After import or capture, the master clips in your Avid editing application contain HDV
long-GOP MPEG-2 video in MXF format and 2 channels of uncompressed 48 kHz 16-bit audio.
To capture HDV material use a 1394 port on the computer (Host 1394).
Sony 1080i HDV cameras mark accurate timecode so you can use them for batch capturing. The
JVC 720p/29.97 HDV camera restarts timecode every time your system starts to capture, so you
cannot batch capture HDV material with a JVC 720p/29.97 HDV camera.
For more information, see “Capturing Directly from a DV Device” on page 243.
To import HDV media, you must import an HDV transport stream. You cannot import transport
stream types other than HDV.
n
The file name extension .m2t does not indicate if the transport stream contains HDV media.
To capture HDV material:
1. Set up an HDV project, depending on the format in which your HDV camera records.
2. Select Tools > Capture.
Your Avid editing application automatically selects the correct resolution for native HDV.
3. Select other options, and start to capture.
For more information about capturing, see “Capturing Media” on page 232.
To import an HDV transport stream:
1. Select File > Import.
The Import As dialog box opens.
2. Select Files of Type > HDV files (*.m2t).
3. Select the target drive (no other import options are needed).
1618
Playing Back HDV Media
4. Click Open.
Your Avid editing application copies the media in a fast import as native HDV.
Playing Back HDV Media
Depending on your input/output hardware, there might be some limitations when you play back
HDV media. With a DV device connected in IEEE-1394 mode, you can play back to the DV
device in Draft Quality and Best Performance quality only. With no device connected, you can
play back as Full Quality and use the full-screen playback monitor. You can play back to the DV
device as Full Quality only if you first transcode the material to DNxHD or DNxHD-TR. For
more information, see the table in “Outputting HDV” on page 1619.
In a 1080i HDV project you can play back through some Avid input/output hardware
configurations by changing the project type.
If you have a system with Avid Nitris DX or Avid Mojo DX input/output hardware, you do not
need to transcode your HDV media or change your project type for playback.
To play back HDV media:
t
In the Project window, click the Format tab. From the Project Type menu, select a project
type as follows.
For 1080i/50 projects
Select 25i PAL
For 1080i/59.94 projects,
Select 30i NTSC
The media is downconverted and plays in SD with an anamorphic squeeze.
Outputting HDV
To output HDV, you need to use a transport stream. You can use an existing transport stream or
create a new one. To create a digital cut to go out to other devices, you need to first render and
transcode the sequence.
You cannot render to an HDV resolution. However, you can render or transcode the HDV
sequence to an HD compressed format (see “Outputting HDV through Avid Input/Output
Hardware” on page 1620). The following table provides information on which resolutions are
used for rendering and transcoding in each project type when you select an HDV raster
dimension.
1619
Outputting HDV
HDV Project Type Renders or Transcodes to
720p/23.976
DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD
720p/25
DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD
720p/29.97
DNxHD 75, DNxHD 110, DVCPro HD
720p/50
DNxHD 120, DNxHD 185, DNxHD 185x, DVCPro HD
1080i/50
DNxHD–TR 120
1080i/59.94
DNxHD–TR 145
For more complete information on rendering and transcoding, see “Basics of Effects Rendering”
in the Help and “Using the Transcode Command” on page 483.
Long-GOP Splicing for HDV Encoding
Your Avid editing application uses a technique called long-GOP splicing when encoding an
HDV MPEG-2 sequence for export. Your Avid editing application uses splicing to reconstruct
only the edited sections of the media, such as cut points, transitions, and segments that contain
effects. Other areas of the sequence are copied intact. The result is faster encoding at higher
quality.
Outputting HDV through Avid Input/Output Hardware
You can use Avid input/output hardware to output a sequence created with HDV media, but you
must transcode the sequence and then use the standard Digital Cut tool.
To perform a digital cut on a system using Avid input/output hardware:
1. Select the sequence or marked section.
2. Transcode the sequence as described in “Outputting HDV” on page 1619.
3. Select Output > Digital Cut
4. Proceed as with any digital cut.
See “Using the Digital Cut Tool” on page 1079.
Exporting an HDV Transport Stream
You can export an HDV transport stream for use in other applications.
1620
Outputting HDV
To export an HDV transport stream:
1. Select the sequence or marked section.
2. Select Export in the Settings tab of the Project window.
The Export Settings dialog box opens.
3. Select Export As > HDV.
4. Select Use Marks and Use Enabled Tracks as desired.
See “Export Settings: HDV” on page 1482.
5. Click OK.
You can also export to other formats, such as QuickTime movie, or use the Send To function
to send the sequence to an application such as Sorenson Squeeze. You can also export to
Windows Media 9 for finishing to HD-DVD.
To export to other formats:
t
Export the sequence or use the Send To function as usual.
See “Exporting With the Export Command or the Drag-and-Drop Method” on page 1028 or
“Exporting With the Send To Templates” on page 1022.
Exporting HDV as Windows Media
Use the following samples as a guide when exporting an HDV sequence as Windows Media for
use on the Web or for use in DVD authoring:
To export HDV as Windows Media for use on the Web:
1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.
4. Select Export As > Windows Media.
5. Set the following:
Setting
Value
Width
720
Height
540
FPS
60
1621
Outputting HDV
Setting
Value
Video Type
Progressive
Pixel Aspect Ratio
16:9
Codec
Windows Media 9
VBR
Enabled and set to Quality
Audio Settings
Leave set at defaults
6. Click Save to export the sequence.
7. In the Export As dialog box, select the destination folder for the file.
8. Click Save.
The sequence is exported using the selected settings.
To export HDV as Windows Media for use in DVD authoring:
1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.
4. Select Export As > Windows Media.
5. Set the following:
Setting
Value
Width
1440
Height
1080
FPS
60
Video Type
Progressive
Pixel Aspect Ratio
16:9
Codec
Windows Media 9
VBR
Enabled and set to Quality
Audio Settings
Leave set at defaults
1622
Raster Dimensions
6. Click Save to export the sequence.
7. In the Export As dialog box, select the destination folder for the file.
8. Click Save.
The sequence is exported using the selected settings.
Finishing HDV on Avid DS
The following procedure outlines the steps to take if you want to finish an HDV sequence on an
Avid DS system.
To finish an HDV sequence on an Avid DS system:
1. When in a 1080i/59.94 HDV project, transcode your sequence to DNxHD 145.
2. Export as an AFE.
3. Import the AFE file to Avid DS v7.6 QFE 3 or later.
Raster Dimensions
Some earlier versions of Avid editing applications allowed you to create projects based on some
device-specific HD compression formats, including 1080i 59.94 HDV and 1080i 50 HDV. Some
versions allowed you to set specific raster types for your HD projects — for example, DVCPro
HD. When you open existing projects that use these formats, current Avid editing applications
preserve the raster size (the dimensions of the video frame displayed in the monitor) for your
project and list the raster as an option in the Raster Dimension menu.
New HD projects on systems with supported configurations allow you to directly select the raster
size used for playback and editing. This allows your Avid editing application to support HD
compression formats that use anamorphically-scaled, nonstandard HD raster sizes. These
formats include those compatible with a variety of professional HD devices and standards.
Using the Raster Dimension selection lets you improve the playback of your HD sequences
without having to transcode the video to an Avid DNxHD resolution.
When you select an HD project format in the New Project dialog box, a Raster Dimension menu
appears allowing you to select from the formats available for the selected project type. This lets
you play back your sequence in the native raster size for certain HD formats. When you output
your final HD sequence, your Avid editing application resizes the sequence to the standard raster
size for your project.
n
Standard raster sizes for 1080i/1080p and 720p projects are 1920 x 1080 and 1280 x 720,
respectively. All other rasters are called “thin rasters” because the horizontal resolution is lower
than the standard rasters.
1623
Raster Sizes
The format you select to work in also determines which HD compression is used by your Avid
editing application. For example, if your HD project format is 1080i 59.94 and you select a raster
dimension of 1440 x 1080, the Video Resolution menu in the Media Creation settings dialog box
displays the following options:
•
DNxHD-TR 145 MXF
•
XDCAM HD 17.5Mbits MXF
•
HDV 1080i MXF
•
XDCAM HD 35Mbits MXF
You can open an existing HD project (for example, a 1080i 50 HDV project) created either with
an earlier version of an Avid editing application or with a version that does not support Raster
Dimension selection. You can also create a new project using Raster Dimension selection that
has the same size used in an existing project. Use the following guidelines when switching
between existing and new project types.
Existing Project Type
New Project Type
Raster Dimension
1080i 50
1080i 50
1920 x 1080
1080i 50 HDV
1080i 50
1440 x 1080
1080p 23.976
1080p 23.976
1920 x 1080
720p 29.97 HDV
720p 29.97
1280 x 720
If you open a new HD project on an Avid editing application that does not support all Raster
Dimension options, the project switches to the standard raster (see “Raster Sizes” on page 1624).
In this case, you do not receive the performance benefit of using the native raster size. When you
move to an environment where other rasters are supported, you can manually switch your project
to a specific raster.
Raster Sizes
The following tables list the raster dimensions available for each compression format and project
type. You should select a format depending on your workflow and playback mode. (For
information on video quality playback modes, see “Video Quality Options for Playback” on
page 543.)
1624
Raster Sizes
Availability of Raster Dimensions for Full Quality Playback
Project type
1280 x 720
960 x 720
1920 x 1080
1440 x 1080 1280 x 1080
720p 23.976
Yes (standard)
Yes
No
No
No
720p 25
Yes (standard)
Yes
No
No
No
720p 29.97
Yes (standard)
No
No
No
No
720p 50
Yes (standard)
Yes
No
No
No
720p 59.94
Yes (standard)
Yes
No
No
No
1080p 23.976
No
No
Yes (standard)
Yes
No
1080p 24
No
No
Yes (standard)
No
No
1080p 25
No
No
Yes (standard)
No
No
1080p 29.97
No
No
Yes (standard)
No
No
1080i 50
No
No
Yes (standard)
Yes
No
1080i 59.94
No
No
Yes (standard)
Yes
Yes
1625
37 Dual Link HD RGB Support
The Avid editing applications with Nitris DX support RGB HD dual link. If you have a Nitris
DX-based system, you can capture, monitor, and output projects in HD-RGB using the two HD
SDI connections to handle the high-bandwidth resolutions.
AUDIO
LINE IN
CH 1
CH 2
CH 3
CH 4
CH 1
CH 2
CH 3
CH 4
IN
LTC
OUT
L
R
AUDIO
MON
OUT
SPDF/ADAT
AES I/O
L
R
IN
OUT
BALANCED AUDIO IN
SERIAL
HD SDI
A
IN
n
n
n
AUDIO
CLK OUT
IN
OUT
B
IN
ANALOG VIDEO IN
SDI
OUT
IN
REF
SYNC
ANALOG VIDEO OUT
OUT
OUT
HOST PCIe
HDMI OUT
Y/G
PR/B
PR/R
CVBS
S-VIDEO
Y/G
PR/B
PR/R
CVBS
RGB Dual Link does not support Universal Mastering. Universal Mastering is available in the
YCbCr 709 Color Space only.
Crossconvert is not supported with RGB Dual Link SDI.
RGB media requires high bandwidth. For effective playback of multiple streams of video at
higher resolutions, you should distribute the video tracks as evenly as possible among available
drives, and target separate drives for audio and video.
See the following topics:
•
HD RGB Capture
•
HD RGB Playback to High Resolution Monitor
•
HD RGB Digital Cut
HD RGB Capture
To setup:
1. Connect the Nitris DX to a dual link compliant camera or deck. Use the HD-SDI A IN and
HD-SDI B IN connectors for dual ingest HD-RGB capture.
2. Open the Capture Tool window.
HD RGB Playback to High Resolution Monitor
3. Select the RGB resolution.
4. See “Capturing Media” on page 232 for details on performing a capture.
HD RGB Playback to High Resolution Monitor
To setup:
1. Connect the Nitris DX to a dual link high resolution monitor. Use the HD-SDI B IN and
OUT connectors for dual ingest HD-RGB capture and output on the editing application
connected to a Nitris DX.
2. Click the Format tab in the Project window.
3. Click the Color Space menu and select RGB.
4. Set the Video Quality button to Full Quality 10-bit.
You can now playback video to the high resolution monitor.
HD RGB Digital Cut
To setup:
1. Connect the Nitris DX to a dual link compatible deck. Use the HD-SDI B IN and OUT
connectors for dual ingest HD-RGB output on an editing system connected to a Nitris DX.
2. Open the Video Output Tool.
3. Select the HD RGB Dual Link SDI resolution.
4. See “Using the Digital Cut Tool” on page 1079.
1627
38 International Character Support (ICS) in
Avid Editing Applications
This chapter provides information on international character support (ICS) in your Avid editing
application.
n
•
Choosing a Locale on an English Language Operating System
•
Using a Local Language Operating System (Windows Only)
•
Non-English Character Support (Macintosh)
•
Non-English Character Support (Windows)
•
Using Foreign Keyboard Mapping (Windows)
•
Considerations for International Character Support
Avid Interplay applications also support ICS. For more information, see the Interplay Help and
the Interplay ReadMe.
Choosing a Locale on an English Language
Operating System
You can display and input international characters within the English language version of your
operating system by choosing a locale for another language. This method is common on
Windows systems, and it is the only option on Mac OS® X systems.
You need to instruct your operating system to display the appropriate language in menus and
dialog boxes and specify the language you want to use for keyboard layouts by following the
instructions for your operating system in either “Non-English Character Support (Macintosh)”
on page 1629 or “Non-English Character Support (Windows)” on page 1632
On Windows systems only, if you are using a language other than English, French, Italian,
German, or Spanish, you might need to adjust the mapping for the keyboard so the keys in the
Keyboard palette match the keys on your physical keyboard. See “Using Foreign Keyboard
Mapping (Windows)” on page 1636.
Using a Local Language Operating System (Windows Only)
Using a Local Language Operating System
(Windows Only)
On Windows systems only, you can display and input characters in languages other than English
by installing the local language version of the operating system and working within that
operating system.
n
Interplay applications are not qualified on systems running local language operating systems.
When you start your Avid editing application for the first time, it automatically creates a
keyboard setting for that language. You can view the keyboard mapping by clicking the
appropriate Keyboard setting in the Settings list.
If you are using a language other than English, French, Italian, German, or Spanish, you might
need to adjust the mapping for the keyboard so the keys in the Keyboard palette match the keys
on your physical keyboard. For more information, see “Using Foreign Keyboard Mapping
(Windows)” on page 1636.
You can also work with international characters within the English language version of the
Windows operating system. For more information, see “Choosing a Locale on an English
Language Operating System” on page 1628.
Non-English Character Support (Macintosh)
To enable international character support on Mac OS X systems, you need to specify the
language for menus and dialog boxes in the System Preferences > Language & Text window.
You must make sure that the operating system lists your language at the top of the language list
in the Language tab and that you specify your region in the Formats tab. You can also add the
language in which you want keyboard layouts and input methods to function.
To set the language in the Language & Text window:
1. Select Apple menu > System Preferences > Language & Text.
The Language & Text window opens to the Language tab.
1629
Non-English Character Support (Macintosh)
2. In the Languages list, click the language you want, and drag it to the top of the list. If you do
not see the language you want in the list, click Edit List, select the language, and click OK.
3. (Option) Click the Text tab and select other options.
4. Click the Formats tab, and then click the Region menu and select your region.
1630
Non-English Character Support (Macintosh)
If you do not see your region, select “Show all regions” and then click the Region menu
again.
5. Click the Close button.
6. Logout and log back in to enable the changed settings.
n
For more information about the Language & Text window, see Mac Help by clicking the question
mark icon in the window.
To add your language’s keyboard layout, input method, and character set palette to the
operating system’s Input menu (Flag icon):
1. Select Apple menu > System Preferences > Language & Text.
The Language & Text window opens to the Language tab.
2. Click the Input Sources tab.
1631
Non-English Character Support (Windows)
3. Select the language or languages in which you want to type.
4. Select “Show input menu in menu bar.”
5. Click the Close button.
6. In the Finder title bar, click the Flag icon and select the input language. You can also select a
character set palette.
The Flag icon changes depending on which input language you select.
7. Restart your system.
Non-English Character Support (Windows)
On Windows systems only, you can specify a non-English keyboard layout and text entry format
for the language in which you want to type. The operating system itself does not need to be in the
same language as that in which you are typing.
For more information, see “Using Foreign Keyboard Mapping (Windows)” on page 1636 and
your Windows documentation.
1632
Non-English Character Support (Windows)
To specify a language in which to type (Windows 7):
1. (Option) Attach a regional keyboard to your system.
2. Click the Start button, and select Control Panel.
3. Do one of the following:
t
If the View by menu is set to Category, in the Clock, Language, and Region area, click
“Change display language.”
t
If the View by menu is set to Large icons or to Small icons, click Region and Languages.
The Region and Language dialog box opens.
4. Click the Formats tab, and then click the Format menu and select a language.
5. Click the Location tab, and then click the Current location menu and select your location.
6. Click the Keyboards and Languages tab.
1633
Non-English Character Support (Windows)
7. If necessary, click “Install/uninstall languages” and follow the prompts to install
supplemental languages.
8. Click “Change keyboards.”
The Text Services and Input Languages dialog box opens.
1634
Non-English Character Support (Windows)
9. In the “Installed services” area in the General tab, select a language and a keyboard layout
for that language.
10. If the language you want is not in the list, click Add, select an input language and a keyboard
layout for the language, and then click OK.
11. In the “Default input language” area, select an input language.
You must select a language in the Installed Services area (step 9) before it appears in the
Default input Language list.
12. Click OK to close the Text Services and Input Languages dialog box.
13. Click the Administrative tab, and click the Change system locale button and select your
language.
c
It is important to select your language in the “Language for non-Unicode programs” area.
Do not skip this step.
14. Click OK to close the Region and Language dialog box.
A keyboard icon appears in the taskbar to let you switch keyboard layouts.
15. Restart your system.
1635
Using Foreign Keyboard Mapping (Windows)
Using Foreign Keyboard Mapping (Windows)
On Windows systems, when you start your Avid editing application under a new locale, your
Avid editing application automatically creates a Keyboard setting for your language. You can
view the keyboard layout by clicking the appropriate Keyboard setting in the Settings list.
The default Avid keyboard layouts for English, French, or German map correctly to the
characters on the physical keyboard. If you are using another language, the display in the
Keyboard palette might not match your physical keyboard layout. You can use the Foreign
Keyboard Mapping button in the Keyboard palette to display the correct character in the
Keyboard palette.
n
Avid supports the international English keyboard for Spanish and Italian. The default keyboard
setting for Spanish and Italian is an English keyboard. If you use a Spanish or Italian keyboard,
use keyboard mapping to match the physical keyboard to the Keyboard setting layout.
To set the keyboard mapping for a key:
1. In the Settings list of the Project window, double-click Keyboard.
The Keyboard palette opens.
2. Compare the layout to your physical keyboard.
If some of the letters do not match, you can change the characters displayed in the Keyboard
palette.
3. Click the Foreign Keyboard Mapping button.
4. Click the key that you want to change in the Keyboard palette.
The key changes to white.
5. Press the corresponding key on your keyboard.
The image in the Keyboard palette changes to match your keyboard, and the mapped key
changes to blue.
n
Each language has a certain number of keys that do not map to functions in your Avid editing
application. These are referred to as “dead” keys. You cannot map functions to these dead keys.
If you try to do so, your Avid editing application displays an error message.
Considerations for International Character Support
This topic provides recommendations, tips, and information on limitations for using international
character support in your Avid editing application.
1636
Considerations for International Character Support
Use One Locale When Sharing Files
Make sure that your projects do not contain characters from more than one locale. File sharing
might not work correctly. See “Choosing a Locale on an English Language Operating System”
on page 1628
In an Interplay workgroup, all clients and applications must use the same locale, either English
or one other locale.
Entering ASCII Characters in Double-Byte Systems
If you are working on a double-byte operating system, you should use single-byte ASCII
characters to name bins, projects, tapes, or other Avid elements. If you use double-byte
characters, they might appear with extra space between them and the names might not be
recognizable by other systems.
Operating systems that use a double-byte character system usually allow the user to choose
between single-byte ASCII or double-byte ASCII characters. If you have a choice, use
single-byte characters when entering ASCII text.
Characters to Avoid When Naming Avid Elements
Do not use the Japanese yen symbol in the ASCII character set. Your Avid editing application
converts the symbol to a backslash, and this can cause problems with pathnames.
Do not use the Y-acute and Y-diaeresis characters. Your Avid editing application does not
recognize the Y-acute character, and it can cause problems with file recognition. Your Avid
editing application might not display the Y-diaeresis character correctly.
When you name a Mac OS X computer, use single-byte ASCII characters without spaces. Your
Avid editing application uses the name in .pmr files (in the OMFI MediaFiles folder), and
non-ASCII characters and spaces can cause problems with .pmr files.
If you plan to move projects between Macintosh and Windows systems, avoid using characters
that are not in both the MacRoman and Latin1 (ANSI) character sets. Search the Avid
Knowledge Base for “MacRoman” to access documents that list the characters you should avoid.
You might have to set your Web browser to display characters in Unicode format to see all the
characters in these documents correctly. For example, in Internet Explorer 7, select View >
Encoding > Unicode (UTF-8).
Traditional Chinese Big 5 Character Set
When using Traditional Chinese, set the Input Method Editor (IME) to use the Traditional
Chinese Big 5 character set.
1637
Considerations for International Character Support
(Windows) When setting the Input Locale in the Regional Options dialog box, click IME
Settings and select the bottom option, which translates to “Only show Big 5 characters.”
(Macintosh) When you select Traditional Chinese in the System Preferences > Language & Text
window, your system displays a menu with several options. Select Big 5.
Rebuilding the asifont.map File (Windows Only)
If you cannot display Chinese or Japanese characters in your Avid editing application, you might
need to regenerate the asifont.map file under the Japanese or Chinese locale. If you install your
Avid editing application after you set up your system for international character support, you
should not need to rebuild the asifont.map file.
To rebuild the asifont.map file, do one of the following:
•
Navigate to Program Files\Avid\application name, locate the asifont.map file, and delete it.
Ensure you are in the Japanese or Chinese locale and restart your Avid editing application.
•
Uninstall your Avid editing application and then reinstall it under the Japanese or Chinese
locale.
Note that your system uses the current locale to create the asifont.map file appropriate for that
locale.
Creating Vertical Text
To create a title with vertical lettering, such as on Japanese and Chinese Windows systems, use
the Marquee title tool, and use one of the fonts with an “@” symbol at the beginning of its name.
You can create a style or template for this kind of text box to make the titles easier to create.
1. Create a Text Box, then exit Text mode.
2. Select a font with an @ sign at the start of the name for the text box.
3. In the Transform pane, rotate the box by setting rotate Z to -90.
4. Enter Text mode, and type in your text.
The text appears moving down vertically.
Additional Tips and Limitations for Working with International Characters
•
You must install your Avid editing application after you set up your system for international
character support.
•
If you export files from a FIGS (French, Italian, German, or Spanish) operating system that
contain certain diacritical marks (for example, a capital A, I, or E with circumflex), they
might not import or display correctly on an English operating system. When you attempt to
import the file, your system displays the following error message:
“File: [File name and location] not found.”
1638
Considerations for International Character Support
followed by:
“EXCEPTION: SYS ERROR, status: 2, msg: The system cannot find the file specified.”
To work around this limitation, retype the file name (with the same diacritical marks if
desired) and then import it from the English OS.
•
If you use New Change input (Traditional Chinese), you cannot use certain key
combinations to form Chinese characters in user, project, bin, clip, and sequence names.
When you press Enter to execute these key combinations, a question mark appears in the
text. The following are examples of non-functional combinations: R + Y, S + D, R + J, F +
U, Q + U + Q + U.
•
You might see problems with certain combinations of Japanese and Roman characters in
user names.
Avoid mixing Roman and Chinese or Japanese characters in user names. Your system might
generate error messages or extra user names with incorrect text strings.
In an Interplay workgroup environment, use Roman characters for user names. Avid
Interplay workgroups do not support Chinese and Japanese user names.
•
Do not use fonts that have an “@” sign at the start of the font name when naming Avid
elements. These fonts are intended for text that displays vertically. Letters or characters
might appear on their side in elements such as bin and clip names.
1639
39 Open I/O Support
With the Media Composer family of products, Avid has implemented a Hardware SDK allowing
3rd party vendors to develop plug-ins for their hardware I/O devices. The plug-ins will enable
3rd party I/O hardware to interact with the Avid editing applications. Currently, the 3rd party
vendors who have access to develop plug-ins for their hardware in order to work with Avid
editing software are AJA, Matrox, Blackmagic Design, Motu and Bluefish444.
The 3rd party I/O hardware can be configured through a software control panel developed by the
3rd party vendor. Functionality, such as output type for capture, input type for different
connectors, up convert, downconvert, crossconvert, hardware reference clocking, HD progressive
frame type, etc. can be controlled by the 3rd party control panel.
It is important for you to install the editing application first and then install the 3rd party
plug-ins. The plug-in will not install properly if the editing application is not already
installed.
Note the following when working with the 3rd party Open I/O devices:
•
The Video Input and Video Output items on the Tools menu are replaced with a Hardware
Setup menu item. Choosing the Hardware Setup option opens the 3rd party Control Panel.
•
The Video Input and Video Output settings in the Project window will launch the 3rd party
Control Panel
•
The “Cp” and Video Tool buttons in the Capture Tool will open the 3rd party Control Panel.
•
The “Cp” button in the Hardware tab of the Audio Project Settings will open the 3rd party
Control Panel.
Open I/O Limitations
With this release, the 3rd party hardware plug-ins will not be able to support the entire feature set
of the editing application and therefore will not support the following in the Avid editing
application:
•
Ancillary Data
•
LTC Input and Output
•
Stereoscopic Full Frame Capture and Output
•
Utilize any Hardware Codec Modules
•
Universal Mastering (Frame & Signal Convert to a Different Format)
1641
Index
Numerics
1 Pass encoding 1485
1:1 video
defined 1557
1080p/23.976 projects
converting NTSC sequence from 24p 1607
1394
capturing HDV through 1618
capturing through 243, 243
connecting devices 193
1394 button
playback to DV device with 541
selecting DV device with 243
selecting output device with 1055
setting video quality with 544
16:9 display
format (Composer settings) 1454
16:9 format 172, 1589
16-channel audio
enabling 1074
2 Pass encoding 1485
2:3 pulldown
transferring film to video with 1594
23.976p projects
converting NTSC sequence to 720p/23.976 1608
24-fps film
transferring to NTSC video 1593
transferring to PAL video 1595
24-fps timecode
logging additional 165
24p and 25p projects
creating 1600
displaying media while editing 1609
displaying timecodes in 366
indicating the destination timecode rate 1094
output formats 1089, 1089, 1089
timecode for output 1093
24p media
capturing without pulldown 284
stored and displayed 1609
24p projects
converting NTSC sequence to 1080p/23.976 1607
25p media
stored and displayed 1609
3 x 3 averaging
setting eyedropper option 1458
3-perf support 1117
4-perf support 1117
5.1 audio 779
60 fps
editing 720p project 1608
7.1 audio 779
720p/23.976 projects
converting NTSC sequence from 23.976p 1608
8-bit units 1523
A
AAF (Advanced Authoring Format) files
described 1033
exporting 1033
methods for exporting 1033
AAF export
exporting to Pro Tools 1033
Aborting
Frame Chase captures 249
Accepting transfers 1312
Active Palette option (Command palette) 133
Adaptive deinterlacing 597
Add Alt Key button (Command palette, Other tab) 129
Add Channel button (Deck Configuration dialog box)
188
Add Comments command (Clip Name menu) 612
Index
Add Control Key button (Command palette, Other tab)
129
Add Deck button (Deck Configuration dialog box) 188
Add Dissolve button
See Quick Transition button
Add Edit button 813
for maintaining sync 620
for MultiCamera editing 1385
Add Edit function
for maintaining sync 620
using 722
Add Filler at Start command (Clip menu) 587
Add Keyframe button
commands 1467
Add Marker button 550
Add New Column dialog box (Interplay Window) 1248
Add Option Key button (Command palette, Other tab)
129
Add Page button (Script window) 642
Add Scene button (Script window) 642
Add Scene/Page dialog box 642
Adding
bin columns 363
clip names during capturing 234
color indicators (Script window) 652
comments during capturing 234
comments during editing 612
edits 722
filler during trimming 751
filler to a sequence 587
markers while editing 550
memory mark 153
new tracks 715
off-screen indicators (Script window) 651
page and scene numbers in the Script window 642
Production cues (NRCS tool) 1177
script marks 653
takes in the Script window 649
Adjust Auto Volume/Pan command (Audio Mixer Tool
Fast menu) 820
Adjust Deck command (Deck Selection menu in
Capture tool) 196
Adjust Deck command (Deck Selection menu in Digital
Cut tool) 1081
Adjust Pan/Vols command (Audio Mixer Tool Fast
menu) 808
Adjusting
1643
audio buffer size 787
audio input levels 214
chrominance and luminance settings for video
output 1061
margins in the Script window 637
Motion Adapter effect 597
offset between audio and video playback 528
output 1072
pan in the Audio Mixer tool 797
pan, using an external fader or mixer 871
take lines in the Script window 649
video levels 221
video levels for tapes without color bars 230
volume and pan in Timeline 813
volume in the Audio Mixer tool 797
volume, using an external fader or mixer 871
adjustments 810
Advanced keyframes
Add Keyframe button commands 1467
Indent Rows command 1467
Large Text command 1467
Real-Time Update option 1467
Set Position To Keyframe command 1467
Show Add Keyframe Mode Menu command 1467
Sliders option 1467
Thumbwheels option 1467
Update Position While Playing command 1467
AFE
exporting as 1022
AFE files
described 1036
exporting projects and bins 1036
Affinity model
described 1335
AIFF-C file format 209
option in Audio Project settings 1438
AIR Chorus RTAS plug-in 947
AIR Distortion RTAS plug-in 948
AIR Dynamic Delay RTAS plug-in 949
AIR Enhancer RTAS plug-in 951
AIR Ensemble RTAS plug-in 952
AIR Filter Gate RTAS plug-in 952
AIR Flanger RTAS plug-in 953
AIR Frequency Shifter RTAS plug-in 956
AIR Fuzz-Wah RTAS plug-in 957
AIR Kill EQ RTAS plug-in 958
AIR Lo Fi RTAS plug-in 958
Index
AIR Multi-Chorus RTAS plug-in 961
AIR Multi-Delay RTAS plug-in 962
AIR Non-Linear Reverb RTAS plug-in 963
AIR Phaser RTAS plug-in 964
AIR Reverb RTAS plug-in 966
AIR Spring Reverb RTAS plug-in 968
AIR Stereo Width RTAS plug-in 969
AIR Talkbox RTAS plug-in 970
AIR Vintage Filter RTAS plug-in 972
Alias
starting Avid editing application from 66
Alias file format
import specifications for 1541
Align Selected to Grid command (Bin menu) 346
Align to Grid command (Bin menu) 346, 362
Aligning columns in a bin 362
Alpha channel
adding to a graphics image 1540
defined 1540
support in graphics formats 1540
Alpha channel, options in Import settings 1502
Alternate Edit button 710
Alternate edits
creating 710
Alternate source capture 263
AMA
ancillary data 1128
virtual volumes 424, 424
AMA settings
described 1433
Ancillary data
AMA 1128
Data Track method 1124
Legacy Method 1131
Ancillary data and AMA
workflow 465
Animation file formats
described 1545
Animation files
importing 1545
Annotate feature 234
Anti-aliased images 1540
Application display
updating 1254
Application sets
Avid Artist Series controllers 917, 917, 920, 922
Applications command (Macintosh Go menu) 66
Applying
target settings for dynamic relink 1349
working settings for dynamic relink 1349
Archive to Videotape dialog box 504
Archiving
with MultiRez 1327
Archiving, media files 503
Arrow keys
stepping with 538
As List command (View menu in Macintosh Finder) 85
ASCII characters, in double-byte systems 1636
ASCII file format
importing Avid logs 146
ASCII text files
importing to a Script window 637
A-side (outgoing frames)
in trims 736, 746
ASIO driver configuration 886
Aspect Ratio options (Import settings) 1502
Assemble-edit recording 1076
enabling in Deck Preferences 1077
Assembling a rough cut
in the Script window 660
Asset Manager
specifying settings 468
Asset manager
accessing assets 1236
automatically checking in assets 1235
Avid Unity media network 1214
capturing media 1263
checking in to 1232
checking out from 1229
connecting to 1214
logging in 1214
remote assets 1204
settings for 468
using 468
using drag-and-drop method to check in assets 1232
using menu command to check in assets 1232
Asset types, selecting 1253
Associated sequences
described 1188
linking a sequence to a story 1185
locating sequences 1188
locating stories 1188
Attic folder
described 93
1644
Index
See Avid Attic folder
Attributes
searching remote assets for 1262
Audio
16-channel output 1074
5.1 779
7.1 779
adjusting pan defaults 812
adjusting volume 777
adjusting volume in Audio Mixer tool 797
adjusting volume in Timeline 813
adjusting volume while playing 810
and digital cuts 1096
Auto VO 863
buffer size adjustment 787
centering pan 812
converting for HD Universal Mastering 1611
creating leader 629
crossfading 831, 1438
digital scrub, described 768
digital scrub, performing 771
digital, capturing in film projects 203
dipping 831
dissolves 831, 1438
editing workflow 796
embedded, and sample rate conversion 1074
fading 831, 1438
file format, selecting 209
file formats (Audio Project settings) 1438
fine-tuning transitions 813, 831
HD Universal Mastering 1610
HDMI 779, 786
identifying sample rates 776
input levels, adjusting 1438, 1438
input, adjusting levels 214
input, selecting source 210
keyboard shortcuts for keyframing 821
levels, adjusting 798
Live Mix mode 826
locked 1438
mapping output channels 1438
marking clips 549
Master volume 1438
media for shoots 1589
mixing down 836
monitoring tracks 708
multichannel 762
muting 777
number of tracks supported 703
output 786
output options 1438
output, calibrating 1069
output, calibrating global levels 1070
output, calibration tone for 1069
output, monitoring global levels 1069
output, preparing for 1069
output, settings options 1072
overview of tools 760
pain and gain automation display 772
pan, adjusting in Audio Mixer tool 797
Project settings, adjusting 207
Project settings, audio file formats 209
Project settings, overview 207
quality matching for 1371
remastering 1611
requirements for film transfers 201
resyncing subclips 549
sample rate conversion during capture 208
sample rate, changing for a clip or sequence 835
sample rate, conversion overview 835
sample rate, selecting 208
scrub, defined 768
scrub, performing smooth 770
scrub, selecting tracks for 769
scrub, solo tracks 767
selecting mix modes 1438
settings, adjusting 207
settings, Default Pan options 812
settings, Digital Scrub options 770
solo feature, in Trim mode 740
solo feature, monitoring one track 708
sound card configuration 210
Sound Designer II, support for 1157
Sound Designer II, transferring files 1157
splitting stereo tracks to mono 717, 840
subframe sync adjustment 626
surround sound 779
sync, on output 1055
time compression 936
timecode for shoots 1589
tools, accessing 760
tracks, adjusting in Audio Mixer tool 798
tracks, soloing 767
transfer options 1595
1645
Index
transferring to Digidesign Pro Tools 1156
using leader to maintain sync 618
voice-over 854, 854
volume, adjusting in Audio Mixer tool 798
volume, adjusting in Timeline 815
waveform plots 773
Audio Data commands (Timeline Fast menu) 773, 815,
818
Audio effects
rendering order 795
Audio EQ 813
Audio EQ (Equalization)
adjusting while playing 854
removing 849
saving 847
templates 851, 851
Audio EQ command (Tools menu) 760, 842
Audio EQ tool
examples of usage 849
Fast menu options 846
features of 842
opening 842
saving effects with 847
Audio File format
displaying in bins 763, 779
options 1438
Audio file sample size 1438
Audio hardware calibration 217
Audio hardware options
project settings 1438
Audio IN and OUT points
removing 549
Audio input levels
adjusting 1438, 1438
calibrating for audio I/O device 217
calibrating with a tone generator 217
Audio Mark IN button 549
Audio Mark OUT button 549
Audio Meter menu button 777
Audio Mixdown command (Special menu) 836
Audio Mixdown dialog box 836
Audio Mixer command (Tools menu) 760, 797, 798,
818
Audio Mixer tool
adjusting clip gain and pan on a single track 798
adjusting levels by typing values 793
adjusting volume and pan on multiple tracks 798
Clip Gain and Pan mode 797
controls, described 789
Live Mix mode 826
Live Mix mode Fast menu commands 828
opening 789
resizing 793
selecting modes 789
setting default mode 789
showing and hiding sliders 793
sliders for Live Mix mode 828
sliders, for volume automation and pan 818
switching from Live Mix mode to other modes 828
track selection behavior 794
Volume Automation and Pan controls, described
817
Volume Automation and Pan Fast menu commands
820
Audio output
calibrating with an external meter 217
Audio output options
project settings 1438
Audio peak levels
checking 221
Audio Project Settings
Dolby E Safe settings 274
Audio Project settings
audio file formats 1438
described 1438
Effects tab 1438
Hardware tab 1438
Main tab 1438
Output tab 1438
saving 1438
Audio Project Settings dialog box 1072
Audio Punch-In tool
described 856
removing extra filler 1438
scenarios for using 859
using a GPI device with 890
Audio Punch-in tool
using 859
audio sample clock 1438
Audio sample rate
options 1438
Audio settings
described 1437
Audio Settings dialog box
1646
Index
adjusting digital scrub parameters 770
Audio Source Tape TC Rate (Film and 24p Settings
dialog box) 185
Audio sync
for capture 173
Audio timecode 761
Audio tone media
creating 214
Audio tool
Calibrate mode 217, 217, 217
checking input levels 214
described 212
digital scale 213
input levels, adjusting 214
opening 212
volume unit scale 213
Audio Tool command (Tools menu) 798, 1069, 1070,
1076
Audio Track Monitor button (Track Selector panel)
selecting tracks for scrubbing with 769
soloing tracks with 767
Audio tracks
making tracks inactive 767
selection in Timeline and in Audio Mixer tool 794
splitting stereo tracks to mono 717, 840
Audio transfer
Info tab 1595
Audio Transfer Rate (Film and 24p Settings dialog box)
185
Audio Volume Automation
configuring USB-to-MIDI software 882
Audio-only output 1096
AudioSuite command (Tools menu) 760
AudioSuite plug-ins
applying 932
Bomb Factory BF76 973
Compressor/Limiter III (Dynamics III) 981
core plug-ins 944
creating new master clips with 936
DC Offset Removal 986
DeEsser III (Dynamics III) 986
described
dialog box 934
Duplicate 990
D-Verb 985
EQ 992
Expander/Gate III (Dynamics III) 995
1647
Fast menu 935
Funk Logic Mastererizer 997
Gain 997
installing 925
Invert 998
limitations 942
Lo-Fi 998
Normalize 1004
Pitch Shift 1004, 1006
Recti-Fi 1007
rendering 936
Reverse 1008
Sci-Fi 1009
Signal Generator 1011
supported 944
Time Compression Expansion 1012
Time Shift 1014, 1610, 1611
Trim 1017
troubleshooting 942
Authoring a DVD in Avid DVD by Sonic 1022
Auto Pan command (Timeline Fast menu) 815, 818
Auto VO 863
Auto Volume command (Timeline Fast menu) 815, 818
Autocapturing 240
See also Batch capturing
See also Capturing
See also Recapturing
Auto-configure command (Deck Selection menu in
Capture tool) 196
Auto-configure command (Deck Selection menu in
Digital Cut tool) 1081
Auto-create New Tracks option (Composer settings)
1454
Auto-enable Source Tracks option (Composer settings)
1454
Auto-indexing
by Media Indexer 1512
Automatic opening of projects 76
Automounting workspaces
ISIS v2.0 and later 1226
Auto-Save
function 93
options (Bin settings) 1444
AutoSync command (Bin menu) 623
Autosync feature
syncing clips 622
Auxiliary timecode
Index
entering 165
AVCHD
workflow 445
AVI file format
brief description 1545
AVI files
methods for exporting 1484
Avid
online support 51
training services 51
Avid Artist Control
application sets 917
Avid Artist Mix
application sets 922
Avid Artist Series controller
application sets 917
customization 909
described 897
editing media 916
Ethernet connections 900
EuControl 897
EuControl settings 904
grouping faders 914
IP addresses 901
Jog mode 912
latch mode 916
recording volumen automation and pan 914
Shuttle ring 912
soft keys 909
volume automation and pan 913
Avid Artist Transport
application sets 920
Avid Asset Manager 1155
Avid assets
accessing assets 1236
automatically checking in to asset manager 1235
checking in and checking out 1232
checking in to asset manager 1232
checking out from asset manager 1229
checking out from Interplay database 1232
defined 1204
local bins 1210
permissions 1243
reservations 1242
restrictions 1243
Avid Attic files setting (Bin settings) 1444
Avid Attic folder
described 93
retrieving files from 82
Avid Calculator tool 133
Avid clients 1162
Avid Clipboard
See Clipboard
Avid Codecs for QuickTime
copying to another system 1041
described 1038
installing 1041
Avid DNA command (Device submenu of Special
menu) 544, 1055
Avid DNA hardware
sync sources 1055
Avid DS
conform and transfer to 1139
exporting to 1022
finishing HDV on 1623
Avid DV Codec, exporting with 1476, 1478
Avid editing application
backing up Title Tool titles when promoting to
Marquee 1511
location on system (Macintosh) 66
location on system (Windows) 66
quitting 79
starting (Macintosh) 66
starting (Windows) 66
Avid Interplay
See Interplay
Avid Interplay Administrator
Editor Database Settings 1235
Avid Interplay Archive
Services 1053
Avid Interplay Engine 468
Avid Interplay ProEncode
Services 1053
Avid Interplay Transcode
Services 1053
Avid Interplay Transfer
using 468
Avid Interplay Window
See Interplay Window
Avid logs
See also Shot log files
See Shot log files
clip data in 142
creating 137
1648
Index
custom Titles in 139
data entries in 142
formatting guidelines 137
global Titles in 138
importing ASCII file format 146
sample created with text editor 144
specifications 137
standard Titles in 139
Avid MCXpress for Windows NT
importing files from 1547
Avid Media Store 1390
login 1393
searching 1395
Avid MediaFiles folder
backing up 493
transferring media 1158
Avid Plugin Store 1415
Avid Projects folder
described 72
location 72
renaming 80
Avid Unity 1155
environment 468
LANshare 469
mapping workspaces on a network 1518
sending sequences to Pro Tools 1022
sharing bins and projects 118
transferring projects 1157
unmounting and mounting 470
using Zone 3 connection with Avid Unity ISIS 470
Avid Unity ISIS Client Manager
v2.0 and later 1226
Avid Unity PortServer Pro 469
Avid Unity workspaces 118
Avid Users folder
described 72
location 72
renaming 80
Avid-controlled deck
logging 148
AvidFontSub.avt file 1151
B
Background color
changing
in the Timeline 671
1649
changing in bins 356
Background consolidate and transcode 486
Background Queue Window 487
Backing up
automatically to Avid Attic folder 82
media files 493
Title Tool titles when promoting to Marquee 1511
Backtiming edits 719
Backup options (Bin settings) 1444
Bandwidths in Audio EQ tool 842
Bars and tone
preparing for capturing 316
recording to tape 1076
Batch capture
alternate source 263
Batch Capture command (Clip menu) 251, 262, 1329
Batch capturing
See also Autocapturing
See also Capturing
See also Recapturing
from logged clips 250
multiple resolutions 1329
options 251
preparing for 251
procedure 251
unattended 251
Batch Import command (Clip menu) 334, 1331
Batch Import dialog box 336, 1331
Batch importing
multiple resolutions 1331
procedure 334
XDCAM media 329
Best Performance command (Video Quality menu) 543
Best-light transfers
defined 1589
Big Trim mode
described 732
switching with Small Trim mode 734
Bin columns
copying information 366
Field Motion 599
Bin display 383
Bin editing
in Segment mode 701
using the keyboard 701
Bin Fast menu
described 351
Index
Loop Selected Clips command 530
opening 351
Bin headings
modifying data in 368
setting audio format in 763, 779
Bin settings
Auto-Save options 1444
Avid Attic files setting 1444
backup options 1444
described 1444
Bin views
customizing 344
saving 344
types of 344
Bins
adding columns 363
adding text in Script view 348
aligning columns 362
aligning frames in 346
auto-save function 93
Bin View menu 344
changing background color 356
changing fonts 109
closing 90
creating 89
creating a storyboard 382
creating rough cuts in 589
defined 88
deleting 92
deleting columns 362
deleting items 354
display views 341
displaying audio formats in 763, 779
displaying film columns in 159
displaying in Project window 88
displaying objects in 383
editing from, in Segment mode 701
exporting as AFE files 1036
extra text fields 271
finding 575
finding from the Script window 658
Frame view 346
headings for MultiRez 1363
highlights for mixed resolutions 383
Info display 102
information in the Console 134
list of, viewing 89
listing timecodes in 366
locking items in 358
logging directly into 147
moving columns 362
opening 90
playing clips in Script view 348
printing 390
rearranging clips in Frame view 346
rearranging clips in Script view 348
remote assets 1210
renaming 90
retrieving backup of 82
saving automatically 93
saving manually 93
Script view 348
selecting offline items 359
selecting sources 361
selecting unreferenced clips 361
setting Reformat value 605
shared, locking and unlocking 121
shared, performance suggestions 122
sharing on Avid Unity 118
showing and hiding columns 341
tabs 350
targeting for capturing 203
Text view 341
using system backup to save 81
Bins tab (Project window) 89
Bit depth
defined 1540
Black burst sync
for output 1055
HD formats 1056
Black holes 728
Black level
adjusting for input 223
adjusting for output 1061
Black segment
See Filler
Blank button (Command palette, Other tab) 129
Blue bar
See Position indicator
Blue-only feature 1061
BMP file format
additional export options 1490
import specifications for 1541
Bomb Factory BF76 AudioSuite plug-in 973
1650
Index
Browse button (Select Project dialog box) 76
Browsing
for projects 76
B-side (incoming frames)
in trims 736, 746
Buffer size
audio, adjusting 787
Build Sequence button (NRCS tool) 1168, 1181
Burn-in code 1589
Buttons
Add Alt Key (Command palette, Other tab) 129
Add Control Key (Command palette, Other tab) 129
Add Marker 550, 552, 553
Add Page (Script window) 642
Add Scene (Script window) 642
Alternate Edit 710
assigning workspaces to 115
Blank (Command palette, Other tab) 129
Build Sequence (NRCS tool) 1168, 1181
Disconnect (NRCS tool) 1168
displaying second row in the Source/Record monitor
517
Edit mode (NRCS tool) 1175
Edit/Save (NRCS tool) 1168
extra fields 271
Gang 620
Go to Next Marker 559
Go to Previous Marker 559
in the Avid Artist Series controllers 907
mapping 131
Mark Markers 558
Next In Group 1383
Nine Split 1377
Play (Script window) 649
Post To Web (NRCS tool) 1189
Previous In Group 1383
Quad Split 1377
Save Story (NRCS tool) 1168
Send Mail (NRCS tool) 1168
Set Color (Script window) 652
Set Offscreen (Script window) 651
Slip Left 755
Slip Left 1 Perf 627, 627
Slip Right 755
Slip Right 1 Perf 627, 627
Tail 721
Toggle Source/Record in Timeline 679
1651
Top 721
Transition Corner Display 757
Buttons,
Add Option Key (Command palette, Other tab) 129
Buttons, user-selectable
Add Edit 722
Add Script Mark 653
Find Script 658
Mark Markers 558
Next In Group 1383
Nine Split 1377
Previous In Group 1383
Quad Split 1377
BWF (Broadcast Wave Format) files
bin columns for 1548
custom information 1548
importing and syncing 1550
reimporting 1550
support for 1548
BY Gain slider
adjusting for video input 223
adjusting for video output 1061
Bypass volume settings 810, 1438
Bypassing
pan settings 812
volume settings 810
C
Calculator command (Tools menu) 133
Calculator tool 133
Calibrate command (Peak Hold Menu button) 217, 217,
217
Calibrate Hardware Sliders command (Audio Mixer
Tool Fast menu) 820
Calibrating
global output levels for audio 1070
phase controls 1066
video input 223
video output using test patterns 1064
video output, basic procedures 1061
video output, methods described 1059
calibrating
audio 217
calibrating audio output 217
Calibration tone
audio output 1069
Index
creating media for 214
CamCutter files
importing 318
Camera roll keypunch 1589
Camera setups
in the lined script 631
Camroll data 158
Capture command (Tools menu, Toolset menus) 194,
1263
Capture command (Tools menu) 148
Capture in Progress slide in monitors 247
Capture mode
entering 194
Capture Settings
DV Options tab 1446
Capture settings
Batch tab 1446
described 1446
DV Options 294
Edit options 282
Edit tab 1446
General tab 1446
Keys tab 265, 1446
MXF Media Files tab 1446
OMF Media Files tab 1446
Capture Tool
Dolby E Safe button 275
Capture tool
Interplay Folders option 1263
logging with 148
resizing 251
resolution, selecting 203
setting Pulldown switch 201
setting up 194
subclip status in 267
timed recording 281
capture video and audio 1438
Capturing
See also Autocapturing
See also Batch capturing
See also Recapturing
across control track breaks 251
across timecode breaks 182
adding clip names during 234
adding comments (annotating) during 234
ancillary data 1135
audio 201
audio sample rate conversion 208
bad frames 1446
bars and tone 316
Capture Tool setup 194
creating subclips during 267
detecting locked sync signal 201
digital audio in film projects 203
Dolby E media 273, 275
DV 50, DVCPRO HD, or HDV 243
DV media 243
establishing sync for 173
establishing sync for audio-only input 174
film transfers, minimum information for 158
Frame Chase, aborting 249
Frame Chase, overview 247
Frame Chase, requirements and guidelines 249
Frame Chase, settings 248
Frame Chase, unavailable resolutions 249
Frame Chase, update interval 248
from a mark IN to a mark OUT 236
from a non-Avid-controlled deck 241
from consumer grade decks 223
from music CDs 245
hardware considerations 172
HDV 1618
Interplay Folders option 1263
LTC timecode 278
media to remote projects 1263
multiple resolutions 1329
on-the-fly 237
preparations check list 230
preparing decks 196
preparing for video input 221
resolution selection 203
setting custom preroll 206
setting only one mark 237
settings for 176
single video frame (General Capture Settings) 1446
source track selection 198
storage guidelines 1575
sync requirements 172
tape selection 197
targeting bins 203
targeting drives for 204
to multiple media files 183
to the Timeline 282
using time-of-day timecode 242
1652
Index
video transferred without pulldown 284
while logging 233
with external timecode 278
CCIR
See ITU-R 601
CCIR video levels, Import settings 1502
Center Duration option (Composer settings) 1454
Center Pan command (Clip menu) 812
Change Sample Rate command (Clip menu) 835
Change Scene/Page dialog box 642
Changing
background color in bins 356
default pulldown frame 1097
font in the Script window 639
fonts in user interface 109
frame identifying a clip 346
frame sizes in bins 346
interface components color 107
page and scene numbers in the Script window 642
representative frame in takes 649
resolution by transcoding 483
track color in the Timeline 671
user profiles 105
Channel selection buttons (Capture tool) 198
Characters, avoiding when naming elements 1636
Check Decks command (Deck Selection menu in
Capture tool) 196
Check Decks command (Deck Selection menu in Digital
Cut tool) 1081
Check In All Open Bins To Interplay command (Bin
menu) 1232
Check In Bin To Interplay command (Bin menu) 1232
Check lists
capture preparations 230
preparing hardware before capturing 172
Checking in
Avid assets 1232
confirmation message 1218
Checking out
Avid assets 1232
Choosing
a locale (Windows) 1628
Choosing a locale (Macintosh) 1629
Choosing a locale (Windows) 1628
Chrominance settings
adjusting for video input 223
adjusting for video output 1061
1653
Chunking 1446
Chyron file format
import specifications for 1541
Cineon file format
additional Export options 1490
import specifications for 1541
Clear Both Marks button 545
Clear button (Project window) 103
Clear IN Mark button 545
Clear Monitor command (Clip Name menu in Source
monitor) 532
Clear OUT Mark button 545
Clearing
clips from monitors 532
marks 545
Client Manager
v2.0 and later 1226
Client monitor
connecting 524
playing video to 524
selecting setting 526
viewing 16:9 format 172
Clip colors
assigning source colors 357
for MultiRez 1357
viewing in bins 357
Clip data
in Avid logs 142
Clip Frames command (Timeline Fast menu) 665
Clip Gain and Pan mode (Audio Mixer tool) 797
Clip Gain effect, adjusting volume while playing 810
Clip Info dialog box 584
Clip information
displaying in the Info window 522
displaying, in a Script window 637
summary 508, 577
clip information
effect summary 508, 577
Clip Name menu
clearing clips with 532
switching between clips with 531
Clip parameters
QuickTime 460
RED 452
Clip tag (Post to Web) 1195
Clip Text command (Timeline Fast menu) 665
Clipboard
Index
copying to 609
described 610
preserving contents 610
recovering material from 610
Clipboard Contents command (Clip Name menu) 610
Clipboard Monitor command (Tools menu) 610
Clips
See also Master clips
See also Subclips
assigning local colors in the Timeline 671
assigning source colors in bins 357
audio, marking 549
autosyncing 622
batch capturing 251
changing identifying frame 346
changing resolution by transcoding 483
clearing from monitors 532
copying 352, 353
creating group clips 1375
creating multigroup clips 1377
creating multiple resolutions 1329
deleting 354
deleting MultiRez 1365
deleting unreferenced 492
displaying information about 522
displaying source colors in bins 357
duplicating 352
exporting 1028
finding from the Script window 658
finding names 569
finding with Match Frame 573
in-progress, capture overview 247
in-progress, duration of 247
in-progress, editing overview 1238
in-progress, editing workflow 1238
in-progress, limitations 1239
in-progress, sending sequences to playback 1238
linking to script 644
loading 1254
loading into monitors 530
locating master clip from subclip 576
locking in a bin 358
marking 547
marking IN and OUT points 545
mixed rate 594
moving 352
playing in a loop 530
playing in Script view 348
playing using buttons 535
rearranging in bin Frame view 346
rearranging in bin Script view 348
relinking by key number 289
remote editing 1289
renaming in Interplay Window 1254
searching for 569
selecting 351
sifting 383
switching between 531
Timeline display colors 667
tracking duration 519
transferring 1320
Close Bin command (File menu) 90
Close Project command (File menu) 76
Closed Caption
marking text for (NRCS tool) 1176
Closed captioning and Vertical Blanking Interval 1059,
1119, 1533
Closing
bins 90
projects 76
the Script window 637
Codec
DV25 software 1446
Codecs
Avid for QuickTime 1038
Avid for use with other applications 1042
copying Avid 1041
DV 1476, 1478
DV25 243
Coincidence Wait mode 281
Color
assigning local colors in the Timeline 671
assigning source color in bins 357
changing in interface 107
frame shifts 727
Color bars
adjusting video levels for tapes without 230
in Dupe Detection 723
recording bars and tone 1076
types of 223
Color column
adding to bins 357
Color correction
1654
Index
conforming Symphony Nitris sequences to Media
Composer or Avid Xpress Pro 1154
settings 1458
templates, for transferring corrections between Avid
applications 1154
Color frame shifts 727
Color Framing options (Composer settings)
defined 1454
Color indicators (script integration)
adding to takes 652
described 633
Color Match control
3 x 3 averaging of pixels, setting 1458
Color Match eyedropper 1458
Color submenu (Script menu) 652
Colors
local and source, displaying in Timeline 667
Color-sync signal phase 1454
Column headings
for MultiRez 1363
setting audio format in 763, 779
Column Titles
in Avid log file 139
Columns
adding (Interplay Window) 1248
bins 271
changing size in Research panel (Interplay Window)
1248
creating (Interplay Window) 1248
display options in Interplay Window 1247
enlarging and reducing in Research panel (Interplay
Window) 1248
hiding (Interplay Window) 1248
moving (Interplay Window) 1248
See Bins
Command Palette
Track buttons 705
Command palette
activating commands from 133
assigning functions to mouse buttons 62
described 129
mapping buttons 131
mapping buttons to fader controllers 868
mapping menu commands 132
Command Palette command (Tools menu) 62
Command|8 818
configuring 873
1655
recording volume automation 870
using with Avid editing systems 872
Command|8 controller 136
Commands
See listings by menu command name
Comments
adding during capturing 234
adding to Research panel (Interplay Window) 1254
adding to sequence clips 612
displaying in Timeline 612
Committing multicamera edits 1388
Communication (Serial) Ports Tool settings
described 1452, 1453
Composer settings
16:9 Monitors 1454
Auto-create New Tracks 1454
Auto-enable Source Tracks 1454
Center Duration option 1454
Color Framing options defined 1454
Copy Source Locators option 1454
described 1419
Digital Scrub Parameters option 1454
Edit tab 1454
Fast Forward options 1454
FF/REW tab 1454
First (lower) Row of Info 1454
First Row of Buttons 1454
Ignore Track Selectors 1454
MultiCam tab 1454
Phantom Marks 1454
Second Row of Buttons 1454
Second Row of Info 1454
setting Color Framing options 727
Single Mark Editing 1454
Single-Mark Editing option 594
Stop at Head Frames 1454
Stop at Locators 1454
Stop at Tail Frames 1454
Sync Point Editing option 1454
Tick Marks in Position Bars 1454
Undo Only Record Events 590, 1454
Window tab 1454
Composer window
customizing 515
resizing 516
Compression
defined 1557
Index
in relation to drive space 1557
in relation to image quality 1557
Compression ratios
See also Video resolutions
mixing 1573
Compression ratios (JFIF)
defined 1567
Configuring
Command|8 873
decks 188, 188
Digi 002 873
Conforming
workflow 1145
Connect
as a client 1162
Connecting
DV devices 193
Console command (Tools menu) 134
displaying drive space statistics using 101
Console window 134, 221
checking peak audio levels with 221
described 134
displaying bin information in 134
displaying system information 134
logging capturing errors to 267
network drives 134
printing marker information from 565
Consolidate/Transcode command (Clip menu) 479, 483
Consolidate/Transcode dialog box
options 483
Consolidating media files
background consolidate 486
described 477
master clips 477
options 483
options for 479
procedure 479
sequences 477
subclips 477
Consumer level audio
selecting an XLR adaptor 1075
Consumer-grade video deck
capturing from 223
limitations when capturing 227
Context menus 61
Control track
using for preroll 182
Control track breaks
capturing across 251
Controller settings 827
Avid Artist Series controller 899
described 1458
Controller Settings dialog box 827, 873
Controllers
Command|8 136
configuring 136
Digi 002 136
MCS3 136
Converting
audio sample rates 835
Coordinates
displaying, in monitors 1500
Copy Source Locators options (Composer settings)
1454
Copy to Clipboard button 609
Copying
clips and sequences 352, 353
information between bin columns 366
markers from source clips 558
Panasonic P2 files 399
remote assets 1244, 1254
segments in Timeline 700
text from the Info window 522
text in the Script window 639
to Clipboard 609
Copying XDCAM files 326
Core AudioSuite plug-ins 944
CoreAudio driver configuration 888
Correction Mode settings
Features tab 1458
Correction settings
AutoCorrect tab 1458
described 1458
Crash recording 1085
Create Subclip icon (Composer window) 547
Create Subsequence icon (Composer window) 549
Creating
a folder in a project 92
Avid log files 137
bins 89
folders in projects 91
group clips 1375
multigroup clips 1377
overlap edits 749
1656
Index
projects 1600
rough cuts 589
subclips 547
subclips during capturing 267
subsequences 549
tone media 214
user profiles 105
Web page 1189
Criterion menu (Custom Sift dialog box) 383
Crossconverted sequences
outputting 1066
Crossconverting HD
for output 1066
Crossfading audio 831, 1438
Custom colors
options for naming 1458
Custom preroll
selecting 206
Custom Profile Audio Settings 1485
Custom property
value for 1250
Custom Sift
command (Bin menu) 383
dialog box 383
Custom Titles
in Avid logs 139
Customizing
appearance of user interface 107
bin views 344
Composer window 515
timecode 584
Timeline 663
Trim mode 732
Cutaways
marking with markers 550
Cutting
segments from Timeline 700
text in the Script window 639
Cycle Picture/Sound button 705
Cycle Trim Sides button 736
Cycling
tracks 705
recording to 1061
DAT
See Digital audiotape (DAT)
Data entries
in Avid log file 142
Data Track
adding 1125
ancillary data 1124
capturing 1135
Data track
Data mixdown 1135
exporting 1136
Databases
checking out Avid assets 1232
DC Offset Removal AudioSuite plug-in 986
Deck
pausing while logging 152
Deck Configuration settings
Add Channel options 188
adjusting 188
Deck settings 1461
deleting elements in 192
described 1460
Deck controller 127
in Digital Cut tool 1081
Deck Preferences dialog box
enabling assemble-edit recording 1077
Deck Preferences settings
described 1462
for assemble-edit recording 1077
Deck Selection menu (Capture tool) 196
Deck Selection menu (Digital Cut tool) 1081
Deck settings
described 1461
Fast Cue option 1461
options 1461
Preroll option 1461
Deck Settings options (Deck Configuration settings)
1461
Deck templates 1460
Decks
capturing from consumer-grade 223
capturing from non-Avid-controlled 241
configuring 188
for digital cut 1081
limitations on consumer-grade 227
logging with Avid-controlled 148
D
D1 VTR
calibrating input from 221
1657
Index
logging with non-Avid-controlled 153
selecting 196
templates for 188
using the keyboard to control decks 270
Decompose command (Bin menu) 258
Decompose command (Clip menu) 258
Decomposing
described 256
Expert Decompose feature 256
including or excluding material 260
mixed-rate sequences 256
selecting target formats 260
sequences 256
DeEsser III (Dynamics III) AudioSuite plug-in 986
Default function buttons
Avid Artist Series controller 907
Default Pan options (Audio settings) 812
Default pulldown frame
changing the 1097
Default settings
restoring 1427
Default Setup command (Timeline Fast menu) 681
Defining
units of measurement 1523
Deinterlacing 1609
Delay, DV digital cut 1098
Delete command (Edit menu)
deleting columns 362
removing items from bins with 354
removing media files with 475
Delete Current Layout command (Interplay Window
Layout menu) 1256
Delete dialog box 354
Delete Take command (Script menu) 646
Deleting
add edits (match frames) 722
bin columns 362
bins 92
clips and sequences 354
columns 362
deck configurations 192
markers 559, 561, 563
media files in bins 354
media files with Media tool 475
MultiRez clips 1365
page and scene numbers in the Script window 642
Production cues (NRCS tool) 1177
projects 78
remote assets 1244
script marks 657
segments, in Segment mode 698
settings 1426
slates in the Script window 646
stories (NRCS tool) 1174
takes in the Script window 649
text in the Script window 639
tracks 715
unreferenced clips 492
user profiles 105
volume automation and pan keyframes 815
deleting clips 425
Deleting folders 1254
Desktop Play Delay dialog box 528
Destination bins
selecting 203
Destination drives
selecting 204
Destination timecode rate 1094
Details command (View menu in Windows Explorer) 82
Device Code option (Remote Play and Capture settings)
1519
Device commands (Special menu) 243, 541, 1055
Dialog
in the lined script 631
Dialog boxes
Add Scene/Page 642
Archive to Videotape 504
audio export settings 1489
Change Scene/Page 642
Controller Settings 873
Custom Sift 383
Delete (script integration) 642, 649
Export Settings 1470
Film and 24p Settings (transfer settings) 185
General settings (for capturing) 184
Group Clips 1375
Left Margin 637
Modify Pulldown Phase 163
Restore from Videotape 507
Script Settings 637
Select Tape 148
Send To 1022, 1026
Set Bin Display 383
Set Font 109, 639
1658
Index
Sync Selection 623
Tape Lengths 504
View Name (bin) 344
Digi 002 818
configuring 873
Digi 002 controller 136
DigiDelivery, exporting to 1022
Digidesign
exporting to 1022
Digidesign AudioSuite plug-ins
See AudioSuite plug-ins
Digidesign Pro Tools
transferring audio files to 1156
Digital audio
capturing in film projects 203
scrub, compared to smooth audio scrub 768
scrub, described 768
scrub, performing 771
Digital Audio Scrub options (Audio settings) 770
Digital audiotape (DAT)
capturing from 172, 201
Digital bars and tone
preparing 316
Digital Betacam VTR
calibrating input from 221
recording to 1061
Digital cut
cross-conversion and downconversion 1613
HDV 1619
outputting transcoded HDV sequence 1620
passthrough pausing during 1099
universal mastering 1613
Digital Cut command (Output menu) 1081, 1082, 1086
Digital cut delay, DV 1098
Digital Cut tool
24p and 25p output formats 1089, 1089, 1089
deck controller in 1081
selecting decks from 1081
using 1079
Digital cuts
audio-only 1096
custom preroll for 1082
previewing 1081
record options 1082
recording 1079
recording using Local mode 1086
recording using Remote mode 1082
1659
rendering effects for 1078
Digital file names for film frames 380
Digital scale (Audio tool) 213
Digital Scrub Parameters option (Composer settings)
1454
Dipping
audio 831
Directory panel
changing fonts 1258
deleting folders in 1254
deleting stories 1174
making shortcuts 1173
opening a story 1172
removing shortcuts 1173
saving stories 1188
using 1172
Directory panel (Interplay Window)
See Media Directory panel
Disabling available resolutions 178
Disconnect button (NRCS tool) 1168
Disconnecting from the iNEWS server (NRCS tool)
1203
Displaying
audio pan and gain automation 772
audio waveforms 773
bin column headings 368
changing fonts 1258
column headings (Interplay Window) 1248
marker comments 559
sync breaks 614
take numbers in slates 649
tracking information 518
Displaying 24p and 25p media
during a digital cut 1609
while editing 1609
Displaying film columns 159
Dissolve effects
audio 831
Skip Existing Transition Effects option 831
Dissolve Icons command (Timeline Fast menu) 665
DNA/1394 button
playback to DV device with 541
selecting DV device with 243
selecting output device with 1055
setting video quality with 544
DNxHD Native command (Video Quality menu) 543
DNxHD resolutions
Index
described 1559
specifications 1559
storage requirements 1575
DNxHD-TR
rendering HDV media to 1619
Dock
Macintosh, using 61
Dolby E 273, 274, 275
Dominance
described 1556
Dominance, Import settings options 1502
Double-byte systems, ASCII characters in 1636
Downconverted sequences
outputting 1066
Downconverting HD
for output 1066
downloading plugins 1415
downloading stock footage 1411
Draft Quality command (Video Quality menu) 543
Drag-and-drop method
exporting files with 1028
importing files 333
Dragging
IN and OUT points 545
marks 545
Drive filtering
in networked workflows 125
setting 180
Drive Filtering and Indexing tab 1512
Drive space
managing to improve playback performance 1586
maximizing use of 1586
planning 1575
statistics 101
Drive striping
in relation to resolutions 1559
Drives
See also Media drives
filtering 125, 180
saving work on 81
selecting 176
selecting for capturing 204
striped for capturing 172
striping 173
Drop-frame timecode
described 192
output 1093
simultaneous output with non-drop-frame 1094,
1094
Dropped frames
avoiding during output 1078
during digital cut 1082, 1086
Dual Link HD RGB
support for 1626
Dual-image play during trims 748
Dual-roller trim
playback 748
Dupe checking 1526
Dupe Detection 723
Dupe Detection Handles option (Timeline settings)
1526
Duplicate AudioSuite plug-in 990
Duplicate command (Edit menu)
creating new import settings with 298
duplicating clips and sequences with 352
duplicating settings 1425
Duplicating
assets when dragging from the Interplay Window
1231
clips and sequences 352
settings 1425
Duration tracking 519
DV
capturing 243
capturing, overview 243
devices, connecting 193
devices, selecting 243
devices, selecting for output 1055
DV 25 software codec 243
DV 25, capturing 243
playing back 541
DV audio pattern 1438
DV capture offset
described 243
DV Codec 1476, 1478
DV digital cut delay
described 1098
procedure for 1098
DV resolutions
Avid DV Codec for QuickTime 1038
described 1569
specifications 1569
storage requirements 1585
DV Scene Extraction
1660
Index
described 294
setting up 294
DV Stream files
exporting 1470
options 1470
DVCPro HD resolution
raster type 1623
DVD
exporting to 1022, 1022
DVD authoring, exporting to 1022
DVD One Step
exporting to 1022
D-Verb AudioSuite plug-in 985
Dynamic relink
applying target settings 1349
applying working settings 1349
described 1338
displaying available media 1356
limitations 1348
Media Composer Cloud 1302
quality matching 1369
to target settings 1353
Dynamic Relink Settings command (MultiRez menu in
Timeline) 1348
Dynamic Relink Settings dialog box
opening 1348
options 1464
settings for quality matching 1369
E
Edit controller
with Remote Play, Capture, and Punch-In 285
Edit mode
entering (NRCS tool) 1175
Edit Review button 745
Edit/Save button (NRCS tool) 1168, 1175
Editcam files
importing 318
Editing
adding new tracks during 715
deleting tracks during 715
directly from a bin 701
in Heads and Heads Tails views 720
multicamera material 1374
proxy media (XDCAM) 328
remote 1284
1661
Segment Mode, guidelines 688
stories (NRCS tool) 1175
sync breaks, avoiding 614
Sync Point 621
types of selective camera cutting (MultiCamera)
1388
with film track 726
with the Script window 659
Editor Database Settings 1235
Edits
adding (match-framing) 722
backtiming 719
copying to Clipboard 609
extending 750
Extract 609
Insert 591
Lift 609
Overwrite 592
Replace 593
replace clips 710
reviewing 745
rough cut 589
single-mark 594
Splice-in 591
undoing or redoing 590
Effect Editor Settings
described 1467
Effect templates
using with mixed rate clips 601
Effects
Audio EQ 842
finding information about 508, 577
location 508, 577
nesting described 703
rendering AudioSuite plug-in 936
rendering, for digital cut 1078
Ejecting drives
See Unmounting drives
Ejecting tapes with a button or key 273
Eleven plug-in
Input LED 991
Output 991
Embedded audio and sample rate conversion 1074
Empty Trash command (Bin display Fast menu) 93
Enable Clip Coloring command (MultiRez menu in
Timeline) 1357
Enable Confidence View
Index
video display setting 1531
Enable Track buttons (Digital Cut tool) 1079
End key 538
Enlarge Frame command (Edit menu) 346, 646
Enlarge Track command (Edit menu) 667
Enlarging
frames in the bin 346
tracks in the Timeline 667
ENPS
server 1162
ENPS server
configuring (NRCS tool) 1163
Entering
additional film data 158
frames-per-second rates for PAL transfers 164
ink numbers 166
key numbers 164
optional timecodes 165
pulldown of the sync point 160
Segment mode 689
Source/Record mode 583
Trim mode 743
EQ AudioSuite plug-ins 992
EQ effects
adjusting while playing 854
applying 842
removing 849
templates for 851
ERIMovie file format
additional export options 1490
brief description 1545
Errors
logged during capturing 267
viewing capturing errors in the Console window 267
viewing log of, in the Console window 134
Essence Marks 327
Estimating drive space requirements 1574
EuControl
configuration 904
installation 897
Existing Windows Media Custom Profile 1485
Exit command (File menu) 79
Exiting
Trim mode 743
Expander/Gate III (Dynamics III) AudioSuite plug-in
995
Expert Decompose
activating 258
described 256
target format reference 256
using 260
ExpertRender
using, for digital cut 1078
ExpertRender In/Out command (Clip menu) 1078
Export as dialog box 1028
Export command (File menu) 1028, 1036
Export Settings
described 1470
Export settings
Audio 1489
AVI 1484
AVI Video Compression 1484
DV Stream 1483
Graphic 1489, 1493
Graphic Format 1490
OMFI, AAF, and AFE 1473
QuickTime Compression settings 1481
QuickTime Movie Export options 1478
QuickTime Movie settings 1480
QuickTime Reference options 1476
Video Compression options 1155
video compression options 1484
Windows Media Export options 1485
XDCAM 1494
Export Settings dialog box 1032
Export Settings dialog box options 1470
Export settings, video compression options 1484
Exporting
AAF files 1033
audio tracks 1489
AVI files 1484
bins as AFE files 1036
clips 1028
data track 1136
DV Stream files 1470
frames 1028
from a third-party QuickTime or AVI application
1042
graphic files 1489
OMFI files 1033
preparing sequences for 1021
procedure for 1028
projects as AFE files 1036
QuickTime movies 1038
1662
Index
QuickTime movies procedure 1038
QuickTime reference movie 1038
reasons for 1020
sequences 1028
settings for, creating 1032
shot log files 166
TARGA files 1490
to Avid DS 1022
to Avid DVD by Sonic 1022, 1022
to DigiDelivery 1022
to Digidesign Pro Tools 1022
to DVD 1022, 1022
to HDV settings 1482
to Sorenson Squeeze 1022
to third-party applications 1026
user profiles 105
using drag-and-drop method 1028
Wavefront files 1490
Windows Media 1043
with Avid Codecs for QuickTime, described 1038
with Avid Codecs for QuickTime, procedure for
1038
XDCAM 1045, 1045
YUV files 1490
Exporting files
with Avid DV Codec 1476, 1478
Exporting sequences to P2 card 1052
Extend button 750
Extending
edits 750
External devices
turning off 79
turning on 59
External display monitor
connecting 524
selecting setting 526
viewing with 524
External drive
See Media drive
External fader controller
adjusting pan with 871
adjusting volume with 871
connecting to a system 867
troubleshooting connections 884
using 870, 877
External timecode 278
capturing with 278
Extra text fields 271
Extract button 609
Extracting material 609
Eyedropper
3 x 3 averaging of pixels, setting 1458
Color Match 1458
F
F5 button, refreshing with 1254
Factory preset buttons
in Video Input tool 223
in Video Output tool 1060
Fader controller
external, adjusting pan with 871
external, adjusting volume with 871
external, using 870, 877
recording audio volume 870
Fader controllers
described 865
external, adjusting pan with 818
external, adjusting volume with 818
Live Mix mode 827
Fading
audio 831
Fading audio 1438
Fast command (Vertical Scroll Speed menu in Mouse
Settings dialog box) 62
Fast Cue option (Deck settings) 1461
Fast Forward button
described 535
moving between audio keyframes with 821
Fast Forward options (Composer settings) 1454
Fast menus
Settings display in the Project window 1422
Field dominance
described 1556
Field dominance, Import Settings options 1502
Field Motion bin column 599
Field Motion clip attribute
overriding 599
Field motion types
mixing and matching 594
Field ordering
described 1554
FieldPak
importing files from 318
1663
Index
Field-stepping
mixed rate clips in draft qualities 601
File formats
animation 1545
File management 467
File names
for Avid Projects folder 72
for Avid Users folder 72
Files
batch import 336
exporting using drag-and-drop method 1028
exporting, procedure for 1028
exporting, reasons for 1020
guidelines for moving 1141
importing 301
importing, guidelines 298
importing, using drag-and-drop method 333
reimporting 334
specifications for importing graphics 1540, 1540
specifications for importing OMFI 1547
Fill Sorted command (Bin menu) 346
Fill Window command (Bin menu) 346
Filler
adding during trimming 751
adding to a sequence 587
setting duration of 587
Film
columns, displaying 159
data, entering 158
information, logging 158
minimum information for capturing 158
projects, capturing digital audio for 203
scene workflow 379
selecting options 1600
shoot specifications 1589
timecodes, entering 165
transferring to NTSC 1593
transferring to PAL 1595
Film and 24P settings
described 1494
Film and 24p settings
for transfer 185
pulldown phase 155, 155
Film speed
slowing to 23.976 fps 1594
Film timecode
logging additional 165
Film track, editing with 726
Film Type for shoots 1589
Film Wind for shoots 1589
FilmScribe
frame numbers in cut lists 380
Film-to-tape transfer
audio requirements for NTSC 201
guidelines for 1589
options for 1589
Filter Automation Pan command (Audio Mixer Tool
Fast menu) 820
Filter Volume Automation command (Audio Mixer
Tool Fast menu) 820
Filtering
drives 180
Filtering drives 125
Find Bin button 575, 576
in the Script window 658
Find Black Holes command (Clip menu) 728
Find command (Edit menu) 569, 642
Find Flash Frames command (Clip menu) 728
Find Frame button 577
Find Next Mismatched or Unavailable Clip command
(MultiRez menu in Timeline) 1361
Find Script button 658
Find window 569
Finding
bins from a monitor 575
black holes 728
clip names 569
clips 569
flash frames 728
frames, with the Find command 569
frames, with timecode offset 567
marker text 569
related media files 493
script from marked takes 658
text in the Script window 642
Finding bins
from the Script window 658
Finding markers 556
FireWire
capturing through 243, 243
connecting devices 193
selecting channel type 188
First (lower) Row of Info option (Composer settings)
1454
1664
Index
First Row of Buttons option (Composer settings) 1454
Flash frames 728
Flat View command (Bin display Fast menu) 91
Focus button (Timeline) 685, 745
Focusing
Timeline 685
Folders
Avid Projects 72
Avid Users 72
creating in projects 92
deleting 1254
navigating to from a selected asset 1255
Font Replacement command (Object menu) 1151
Fonts
changing in the Script window 639
changing in user interface 109
replacing title fonts 1151
Fonts, changing 1258
Footage
finding 566
loading into monitors 530
marking 545
marking IN and OUT 545
subcataloging 545
viewing in monitors 514
viewing in Timeline 514
viewing, overview 514
Foreign keyboard mapping 1636
Format display in the Project window
described 1604
Format elements
preparing leader for tracks 629
Format tab (Project window) 97
Four-frame display
described 694
suppressing 695
Frame Chase
capture settings 248
capture, aborting 249
capture, overview 247
capture, requirements and guidelines 249
capture, update interval 248
clip duration 247
editing workflow 1238
editing, limitations 1239
editing, overview 1238
sending sequences to playback 1238
1665
unavailable resolutions 249
Frame Chase editing 1355
limitations 1239
Frame count numbers 380
tracking with ink numbers and file names 364, 364
Frame offset 567
Frame rates
mixing and matching 594
Frame view (bin display)
arranging 346
described 346
in the Media tool 472
Frame-accurate recording 1075
Frame-based counting 380
Frame-by-frame movement in Timeline 687
Frames
aligning in bins 346
changing frame identifying a clip 346
changing size in bins 346
changing size in Research panel (Interplay Window)
1248
enlarging or reducing in Research panel (Interplay
Window) 1248
exporting 1028
finding on source tape 577
finding with Match Frame 573
finding with timecode offset 567
rearranging in bin Frame view 346
rearranging in bin Script view 348
Frames-per-second rates for PAL transfers 164
Framestore file format
import specifications for 1541
Frequencies (audio), adjusting 842
FTFT (film-tape-film-tape) feature
described 289
Full Quality 10-bit command (Video Quality menu) 543
Full Quality command (Video Quality menu) 543
Full Screen Playback
enabling 527
settings 1495
Full Screen Playback command (Special menu) 527
Full Size Video command (Composer window context
menu) 516
Full-Monitor Display 1377, 1377
Full-screen image size
defined 1540
Full-screen Timeline 674
Index
Function key commands (Capture Settings) 265
Funk Logic Mastererizer AudioSuite plug-in 981, 997
G
Gain
viewing gain values 775
Gain AudioSuite plug-in 997
Gang button 620
Ganging
footage in monitors 620
General settings
described 1499
General Settings dialog box 184
General-purpose interface (GPI) device
configuring with VLAN-VLXi controller 893
trigger signals 891, 892
using 890
using with V-LAN VLXi controller 892
Get Bin Info command (File menu) 134
Get Clip Info command (File menu) 584
Get Info command (Macintosh Finder File menu) 1160
Get Position Info command (File menu) 134
GFCAM
workflow 447, 449
Global settings
Import 298
Global Titles
in Avid log file 138
Go To Capture Mode command (Bin menu) 194, 240,
262
Go To Page command (Script menu) 642
Go To Scene command (Script menu) 642
GOP (Group of Pictures)
described 1616
GPI settings
creating 894
deleting 894
editing 894
Graphics (image) files
exporting 1489
field ordering in 1554
import specifications 1540, 1540
preparing for import of 1540
recommended field settings 1555
Grid
Safe Action setting 1500
Safe Title setting 1500
Grid settings
Coordinates tab 1500
described 1500
Display tab 1500
Group clips
command (Bin menu) 1375
creating 1375
dialog box options 1375
Video Quality settings 1382
Group menu 1386
Grouped clips
frame rate limitations 601
Grouping
multiple tracks on an Avid Artist Series controller
914
Grouping procedures 1375
Guidelines
for film-to-tape transfers 1589
for logging 147
for moving files 1141
for naming tapes 147
guitar amp simulators 1008
H
Halt Digital Cut button (Digital Cut tool)
stopping Digital Cut preview with 1081
stopping Digital Cut with 1082, 1086
Hard subclips 267
Hardware
check list for capturing 172
turning off 79
turning on 59
Hardware command (Tools menu) 135
Hardware tool
displaying information 102
using 135
HD
Component signal, adjusting output 1066
crossconverting and downconverting 1066
offline SD project formats for 1140
Raster Type selection for projects 75
sync options 1056
HD media
offline formats for 1604
HD SDI embedded audio
1666
Index
and sample rate conversion 1074
HD Universal Mastering
converting audio 1611
described 1610
frame rates 1610
HDMI 779, 786
HDTV
aspect ratio 1588
broadcast graphics workflow 1600
supported formats
using 16:9 format for 172
video-based workflow 1598
HDV
capturing 1618
capturing through IEEE port 1618
described 1616
exporting to HDV settings 1482
exporting transport stream 1620, 1620
finishing on Avid DS Nitris 1623
importing 1618
Long GOP splicing 1620
outputting digital cut by transcoding 1620
raster type 1623
rendering 1619
transcoding 1619
Head frames 1179
Headings (Interplay Window)
adding 1248
creating 1248
Headings command (Bin menu) 341, 357
Heads and Heads Tails views
in the Timeline 720
Hide Video command (Composer window context
menu) 516
Hiding
bin column headings 368
bin columns 341
column headings (Interplay Window) 1248
slate frames 646
Timeline top toolbar 680
High shelf in Audio EQ tool 842
High-definition television
See HDTV
Hinted streaming, exporting as 1480
Histogram
QuickTime 463, 463
RED 425, 425
Holding slates on screen 646
Home command (Windows menu) 674
Home key 538
House sync
for output 1055
Hue slider
adjusting for video input 223
adjusting for video output 1061
Hyperclip tag (Post to Web) 1197
I
ICS
choosing a locale for (Macintosh) 1629
choosing a locale for (Windows) 1628, 1628
recommendations and restrictions 1636
using to display and input characters 1628
IEEE 1394 command (Device submenu of Special
menu) 541, 544, 1055
IEEE-1394
capturing through 243, 243
connecting devices 193
IFF file format
import specifications for 1541
Ignore Track Selectors options (Composer settings)
1454
Image files
sequenced, naming for import 1545
Image quality
for interlaced resolutions 1567
Import command (File menu) 168, 301
Import Options section (Batch Import dialog box) 336
Import Settings
XDCAM tab 1507
Import settings
alpha channel options 1502
aspect ratio options 1502
Audio tab 1506
CCIR video levels 1502
described 1502
dominance options 1502
Image tab 1502
modifying 298
OMFI tab 1505
overview 298
RGB graphics levels 1502
Shot Log tab 1505
1667
Index
XDCAM tab 319
Import Settings dialog box 298
Import Target section (Batch Import dialog box) 336
Importing
a script 637
animation files 1545
converting sample rates 309
files, basic procedure 301
files, batch import 336
files, batch importing multiple resolutions 1331
files, drag-and-drop method 333
files, guidelines 298
files, preparing for 298
files, settings for 298
HDV transport stream file 1618
sample rate conversion options 310
shot log files 168
statistics files 100
test patterns 316
XDCAM media 319, 320, 325, 326
Importing clips and media from P2 card 332, 332
Importing files
EditCam 318
Photoshop files 311
preparing for 1540
specifications for graphics files 1540, 1540
specifications for OMFI files 1547
XDCAM 320, 326
IMX resolutions
See MPEG resolutions
IN and OUT points
dragging 545
marking 545
moving 545
using to define segment relationships 1458
In/Out buttons (Audio tool) 213
Indent Rows command 1467
Indicating off-screen dialog 651
iNEWS server
configuring (NRCS tool) 1163
disconnecting from (NRCS tool) 1203
setting up (NRCS tool) 1163
Info display (Project window)
described 102
displaying Hardware 102
displaying Memory 102
Info window
opening from a monitor 522
opening from a Script window 637
Inhibit Preloading option (Remote Play and Capture
settings) 1519
Ink numbers
displaying frame count numbers 364, 364
entering 166
In-progress clips
capturing, overview 247
duration 247
editing overview 1238
editing workflow 1238
limitations 1239, 1239
sending sequences to playback 1238
Input
audio 210
Input Gain 1438, 1438
Input Level slider 1438, 1438
Insert edits 591
Insert-edit recording 1076
with pulldown 1095
Installing
Avid Codecs for QuickTime 1041
Installing AudioSuite plug-ins 925
Interactive screenings in Script window 659
Interface settings
described 1508
General tab 1508
Interface settings (Appearance tab)
changing color of 107
changing text font and size 109
described 107
Interlaced clips
mixing with progressive 594
Interlaced resolutions
specifications for 1567
storage requirements for 1580
Internal command (Sync Lock menu in Video Output
tool) 1055
International character support (ICS)
taking advantage of 1628
International operating system 1629
Interplay
Media tool with 473
Interplay Asset Manager 1155
Interplay Assist
restrictions through 1243
1668
Index
Interplay environment
relinking in 1356
Interplay Folder Settings 1509
Interplay Folder settings
described 1509
Interplay Folder Settings dialog box 1214, 1286
Interplay Folders option (Capture tool) 1263
Interplay Host, specifying settings 468
Interplay Login dialog box 1217
Interplay Media Indexer
managing Media tool display 473
Interplay Media Services 1053
Interplay Root Folder
checking in assets 1232
specifying Media Composer Cloud settings 1286
specifying settings 1214
Interplay Server
specifying settings 1214
Interplay Server settings
described 1509
Interplay Server Settings dialog box 1214
Interplay settings 1214
Interplay Transfer 1155
Interplay User
specifying Media Composer Cloud settings 1286
specifying settings 1214
Interplay User settings
described 1509
Interplay User Settings dialog box 1214, 1217, 1286
Interplay User, specifying settings 468
Interplay Window
checking in assets to the Interplay Root Folder 1232
column display options 1247
connecting to database 1214
creating new columns 1248
defined 1204
described 1241
Interplay folders 1204
local bins 1204
Media Directory panel 1241
Media Search tab 1241
modifying the display 1246
opening 1217
permissions 1243
Research panel 1241
searching 1260
sorting columns 1248
1669
workgroup projects 1210
Interplay window
Property Merge dialog box 1255
Interplay Window command (Tools menu) 1217, 1229,
1232, 1236, 1263
Interpolating position
for script integration 646
Invert AudioSuite plug-in 998
ITU-R 292M
video standards 1557
ITU-R 601
video standards 1557
J
JFIF interlaced media
specifications 1567
storage requirements 1580
JFIF progressive media
specifications 1568
storage requirements 1583
J-K-L keys
audio scrub with 770
changing representative frame in bin 346
playing and shuttling footage with 539
trimming 746
trimming on-the-fly with 746
J-K-L keys (Three-Button Play) 746
JL Cooper
Media Control Station3 136
Jog mode
Avid Artist Series controller 912
Jogging
mouse 540
JPEG file format
additional Export options for 1490
import specifications for 1541
K
Key numbers
entering 164
formats for 164
relinking clips by 289
Keyboard
controlling decks from 270
mapping buttons to 131
Index
mapping foreign 1636
mappings for playback control 538
Keyboard shortcuts
audio keyframing 821
Volume Automation and Pan 821
Keyframes
adjusting pan for individual 871
adjusting volume for individual 871
audio, keyboard shortcuts 821
Keykode format 164
Keypunch
camera roll 1589
L
Labroll data 158
Language
non-English keyboard mapping 1636
non-English, typing in 1632
specifying in Get Info dialog box (Macintosh) 1629
Language, setting (Macintosh) 1629
LANshare 469
Large Text command 1467
Lassoing
objects 351
segments 689
latch mode (Avid Artist Series controllers) 916
Launch 66
Launching
Avid editing application (Macintosh) 66
Layer effects, preserving 314
Layout (Interplay Window)
changing 1256
custom 1256
deleting 1256
saving 1256
Layout button (Interplay Window) 1246
L-cut edit (Overlap edit)
described 749
for audio clips 549
Leader
creating 629
for managing sync breaks 618
Left Arrow key
moving through footage with 538
Left Margin command (Script menu) 637
Left Margin dialog box 637
Less Detail command (Timeline Fast menu) 665
Lift button 609
Lifting material 609
Limitations
for adjusting volume 811
Line slider (Waveform monitor) 223
Linear timecode
See LTC (longitudinal timecode)
Linecut option (MultiCamera) 1384
Lined script 631
Linked clips
described 1190
Linking clips to script 644
Live Mix mode 826
Audio Mixer Tool controls 828
Audio Mixer tool Fast menu commands 828
entering 827
example 829
external controllers 827
switching to other Audio Mixer modes 828
Load Filler command (Clip Name menu) 587
Load Media Database command (File menu) 490
Loaded cues
adding 1178
displaying head frames 1179
using 1178
Loading
filler 587
footage 530
media databases 490
takes from the Script window 649, 657
Loading clips 1254
Local colors
assigning in the Timeline 671
displaying in Timeline 667
Local language operating system, using 1629
Locales, using characters from only one 1636
Lock Bin Selection command (Clip menu) 358
Lock icon (Track Selector panel) 713
Lock Tracks command (Clip menu) 714
Locking and unlocking
bin items 358
shared bins 121
tracks 713, 714
Lo-Fi AudioSuite plug-in 998
Log files
importing from film-to-tape transfer systems 344
1670
Index
See Shot log files
Logging 137, 168
additional timecodes 165
automatic, during film transfer 1589
automatically with DV 294
bypassing by autocapturing 240
directly into a bin, with a non-Avid-controlled deck
153
directly into a bin, with an Avid-controlled deck 148
errors during capturing 267
errors to the Console window 134
film information 158
guidelines for 147
pausing deck while 152
preroll 147
timecode 147
while capturing 233
logging in to the Avid Media Store 1393
Logs
See Shot log files
Long GOP splicing 1620
Loop Selected Clips command (Bin Fast menu) 530
Low shelf in Audio EQ Tool 842
LTC (longitudinal timecode)
capturing with 278
establishing sync for output 1057
output for 24p and 25p projects 1093
output for downstream encoding 1094, 1094
reading user bits in 761
Luminance settings
adjusting for video input 223
adjusting for video output 1065
table of 1065
video input 223
M
Macintosh Dock, using 61
Macintosh systems
limitations with NTFS drives 1160
Mail
configuring directory for NRCS tool 1163
receiving (NRCS tool) 1202
sending (NRCS tool) 1201, 1201
Maintaining synchronized sound 1594
Make New
using template 1026
1671
Make Subclip button 547
Managing
media files 467
Mapping
buttons 131
buttons to Timeline top toolbar 680
menu commands 132
Margins
script, adjusting in Script window 637
Mark Clip button 547
marking clips in Segment Mode 699, 701, 701
Mark IN button 545
Mark In Time option (Digital Cut tool) 1082
Mark Markers button 558
Mark OUT button 545
Mark-and-park editing
See Single-mark editing
Marker edit entry window 558
Marker icon
changing color of 558, 561
Marker window
selecting marker items 561
Markers
adding while capturing 269
adding while editing 552, 553, 555
copying from source clips 558
creating automatically with DV 294
deleting 559, 561, 563
displaying comments 559
displaying in the Timeline 673
editing 558
Essence Marks (XDCAM) 327
finding 556
finding text of 569
for managing sync breaks 619
limitations with mixed-rate clips 601
marking an area with 558
moving to next or previous 559
printing 565
selecting in Markers window 561
using 550
Markers window
deleting markers from 561
displaying frames in 561
displaying MetaSync information 561
displaying timecode or footage column in 561
exporting 562
Index
importing 562
printing 565
sorting markers in 561, 561
Marking
audio clips 549
clips 547
footage 545
IN and OUT points 545
segments 547
segments in Segment mode 699, 701, 701
text as Closed Caption (NRCS tool) 1176
text as machine control (NRCS tool) 1176
text as normal (NRCS tool) 1177
text as Presenter Instructions (NRCS tool) 1176
with markers 550, 558
Marking tape location
using Mark Memory button 153
Marks
clearing 545
IN and OUT points 545
phantom 627
Marquee Title Settings
described 1511
Master clips
See also Clips
See also Subclips
consolidating 477
copying 352, 353
creating new, with AudioSuite 936
deleting 354
duplicating 352
importing from P2 card 332, 332
locating from subclips 576
locking 358
moving 352
recapturing 254
searching remote assets 1262
selecting 351
sifting 383
Master shot, in the lined script 631
Master Volume button 777
Masters
delivery requirements 1140
Match Frame
described 573
reverse 575
tracks 575
Match Frame button 573, 576
Match Frame feature
for MultiCamera editing 1388
Match Frame Track command (Timeline context menu)
575
Match framing (adding edits) 722
Matchback option
described 1117
limitations 1117
Matching
frames 573
Maximizing drive space 1586
Mbox
audio devices compared 879
configuring 880
passthrough monitoring 881
MCS3 controller 136
Media
importing from P2 card 332, 332
Media Composer Cloud
accessing clips 1289
configuration 1285
described 1284
downloading media 1305
dynamic relink 1302
logging in 1286
settings 1286
supported project types 1310
syncing sequences 1300
Upload Queue Window 1303
uploading media 1293, 1295
workflow 1284
Media Composer Cloud Upload Settings dialog box
1295
Media creation
restricting resolutions for 178
Media Creation command (Tools menu) 176, 180, 301,
334
Media Creation dialog box
setting file format for import 301
Media Creation settings
Capture tab 1513, 1513
described 1512
Drive Filtering and Indexing tab 1512
Import tab 1513, 1513
Media Type tab 1514
Mixdown & Transcode tab 1513, 1513
1672
Index
Render tab 1514
Titles tab 1513, 1513
Media databases
loading 490
refreshing directories 491
Media Directory panel
creating shortcuts 1246
described 1241
removing shortcuts 1246
Media drives
See also Drives
selecting 176
targeting 204
Media drives, unmounting 471
Media files
archiving 503
backing up 493
capturing to multiple 183
consolidating, described 477
consolidating, options for 479
consolidating, procedure 479
deleting in bins 354
deleting unreferenced clips 492
deleting using Media tool 475
finding related 493
managing in a workgroup environment 468
managing, overview 467
manipulating with the Media tool 471
restoring from videotape 507
unlinking 502
Media Files Capture settings 183
Media Indexer
auto-indexing local drives 1512
described 1327
Media Search tab
Interplay Window 1241
searching in Interplay Window 1260
Media Services Broker 1515
Media Services Settings 1053
Media Services settings
described 1515
Media Store 1390
Media tool
deleting files 475
in an Interplay environment 473
opening 473
summary of features 472
Media Tool command (Tools menu) 473
MediaCentral UX Messages window
described 1264
sending messages 1267
viewing messages 1265
Memory information 102
Memory marks
adding 153
Memory usage
system 103
Memory window
for checking system performance 613
for viewing memory 102
Menu commands
Add Comments (Clip Name menu) 612
Align to Grid (Bin menu) 362
Audio EQ (Tools menu) 842
AutoSync (Bin menu) 623
Calculator (Tools menu) 133
Calibrate (Peak Hold Menu button) 217, 217, 217
Capture Tools (Tools menu) 148
Color (Script menu) 652
Console (Tools menu) 134, 134, 221
Custom Sift (Bin menu) 383
Delete (Edit menu) columns 362
Delete Take (Script menu) 646
Duplicate (Edit menu) 1425
Enlarge Frame (Edit menu) 646
Export (File menu) 1036
Find (Edit menu) 642
Find Black Holes (Clip menu) 728
Find Flash Frames (Clip menu) 728
Get Bin Info (File menu) 134
Get Position Info (File menu) 134
Go To Page (Script menu) 642
Go To Scene (Script menu) 642
Group Clips (Bin menu) 1375
Hardware (Tools menu) 135
Home (Windows menu) 674
Left Margin (Script menu) 637
Lock Bin Selection (Clip menu) 358
mapping 132
Mount All (File menu) 471
New Deck Controller (Tools menu) 127
New Script (File menu) 637
Page Setup (File menu) 390
Print Bin (File menu) 390
1673
Index
Print Frame (File menu) 390
Print Timeline (File menu) 729
Reduce Frame (Edit menu) 646
Remote Play and Capture (Clip menu) 288
Remote Play and Capture (Special menu) 286, 287
Reveal File (File menu) 493
Select All (Edit menu) 251
Select Media Relatives (Bin menu) 360
Select Offline Items (Bin menu) 359
Select Sources (Bin menu) 361
Select Unreferenced Clips (Bin menu) 361
Set Bin Display (Bin menu) 383
Set Font (Edit menu) 639
Show All Takes (Script menu) 646
Show Every Frame (Timeline Fast menu) 726
Show Frames (Script menu) 646
Show Track (Timeline Fast menu) 726
Unlock Bin Selection (Clip menu) 358
Unmount (File menu) 471
Video Input Tool (Tools menu) 221, 223
View Type (Timeline Fast menu) 720
Message-of-the-Day options (NRCS tool)
configuring 1163
MetaSync information
in Markers window 561
MII component video standard
unsupported 1532, 1532
Millivolts (mVolts) 1523
Mix Mode Selection 1438
Mixed rate clips
defined 594
field-stepping in draft qualities 601
identifying in Timeline 597
limitations with XDCAM AMA media 601
summary of user interface 595
transcoding 601
using dynamic relink with 1354
using effect templates with 601
Mixed resolutions
highlighting in bins 383
Mixed-rate clips
limitations with markers 601
Mixed-rate sequences
decomposing 256
Mixer
adjusting pan with 871
adjusting volume with 871
using 870, 877
Mixing
video resolutions 1573
Mixing and matching
field motion types 594
frame rates 594
Mixing and monitoring audio 212
Mixing down audio 836
Mode option (Remote Play and Capture settings) 1519
Moderate command (Vertical Scroll Speed menu in
Mouse Settings dialog box) 62
Modify command
changing sequence format 1605
Modify Pulldown Phase dialog box 163
Modifying
data in bin headings 368
Import settings 298
pan values 797
settings 1421
the pulldown phase after capturing 292
Monitor resolutions
NTSC, PAL, HD 1558
Monitoring
audio output global levels 1069
icons (Track Selector panel) 708
tracks 708
Monitors
Capture in Progress slide 247
clearing clips from 532
displaying sequence information using 522
ganging footage in 620
hiding video in 516
loading footage 530
resizing 516
resizing Record 516
Mono option (audio) 836
More Detail command (Timeline Fast menu) 665
Motion Adapter effect
adjusting 597
field-stepping in draft qualities 601
promoting to Timewarp 597
Motion Adapter effects
defined 595
refreshing in sequences 608
Motion effects
rendering options 1522
Motion mode indicator (Timeline) 687
1674
Index
Mount All command (File menu) 471
Mounting workspaces
ISIS v2.0 and later 1226
Mouse
assigning functions to buttons 62
jogging and shuttling with 540
playback with 540
setting up the scroll wheel 62
settings 62
using scroll wheel 62
Mouse Jog button 540
Mouse Settings
described 1515
Mouse Settings dialog box 62
Mouse Shuttle button 540
Mouse support for multicamera editing 1384
Movement in Timeline, controlling 687
Moving
bin columns 362
clips and sequences 352
files, guidelines for 1141
frames in the bin 346
IN and OUT points 545
remote assets 1244, 1254
script marks 657
settings between systems 1158
slates in the Script window 646
through clips 535
tracks in the Timeline 667
Moving settings
between settings files 1427
MPEG resolutions
described 1570
specifications
storage requirements for 1586
Multi-angle View menus 1387
MultiCamera
editing 1374
Full-Monitor Display 1377
Nine Split Source view 1377
Quad Split Source view 1377
MultiCamera mode
committing edits 1388
described 1377
Group menu 1386
grouping 1375
linecut option 1384
Multi-angle menus 1387
MultiCamera Nine Split Edit 1377
MultiCamera Quad Split Edit 1377
Nine Split Source view 1377
Quad Split Source view 1377
selective cutting in 1388
switching camera angles in 1383, 1384
techniques 1383
video quality 1382
Multicamera resolutions
specifications 1569
Multi-channel audio
and Direct Out mode 1316
Multichannel audio 762
Multigroup clips
creating 1377
Multilayered files, importing 314
Multilevel sorting of columns 343
Multiple text fields 271
Multiple tracks 703
MultiRez
bin and column headings for 1363
clip coloring for 1357
deleting clips 1365
described 1327
examples 1357
partially online clips, consolidating and deleting
original media 1368
partially online clips, restoring from an archive
1342, 1368
partially online clips, viewing source in Timeline
1367
quality matching 1369
Send to Playback command with 1356
Multirez
clip coloring examples 1359
MultiRez button (Timeline)
enabling dynamic relink 1348
showing available media 1356
summary of right-click menu commands from 1361
Mute button 777
Muting audio 777
mVolt (millivolt) units 1523
MXF
Media Files tab 183
Media Files Tab (Capture Settings dialog box) 1446
workflow 464
1675
Index
MXF file format 176
choosing at target audio format for transcode 479
choosing target audio format for transcoding 483
transcoding to OMF 483
N
Nagra
capturing from 201
Naming tapes 147
Narration, recording voice-over 854, 854
Navigating
to a folder from a selected asset 1255
Navigation buttons
Avid Artist Series controller 907
NCSID option (NRCS tool)
configuring 1163
Nested effects 703
Nesting
tracks 703
Network drives
accessing from Console window 134
Network drives command 134
New Audio Track command (Clip menu) 586, 715
New Bin button (Project window) 89
New Bin command (File menu) 89
New Deck Controller command (Tools menu) 127
New Folder command (Bin display Fast menu) 91
New Meta Track command (Clip menu) 715
New Project button (Select Project dialog box) 1600
New Script command (File menu) 637
New sequence
setting up 583
New Sequence command (Clip menu) 583
New Video Track command (Clip menu) 586, 715
Next In Group button 1383
Nine Split button 1377, 1377
Nine Split Source view 1377, 1377
Non-Avid-controlled deck
capturing from 241
logging with a 153
Non-drop-frame timecode
described 192
output 1093
simultaneous output with drop-frame 1094, 1094
Non-English character support (Macintosh) 1629
Non-English characters
recommendations and restrictions 1636
using only one locale 1636
Non-English keyboard layout 1632
Non-square pixels 1540
Normal command (Vertical Scroll Speed menu in
Mouse Settings dialog box) 62
Normalize AudioSuite plug-in 1004
NRCS Settings
ENPS tab 1517
iNEWS tab 1516
NRCS tab 1516
Post to Web tab 1518
NRCS tool
adding loaded cues 1178
adding production cues 1177
adjusting story timing 1186
associated sequences 1185, 1188
building a sequence from a story 1181
deleting a story 1174
deleting production cues 1177
disconnecting from the server 1203
editing stories 1175
elements of, described 1168
ENPS tab options 1163
entering Edit mode 1175
finding read time of a story 1180
formatting text 1177
head frames 1179
linked clips 1190
loaded cues 1178
Logging out option 1163
Mail Directory options 1163
making shortcuts to directories 1173
marking text as Closed Caption 1176
marking text as machine control 1176
marking text as normal 1177
marking text as Presenter Instructions 1176
Message-of-the-Day options 1163
NCSID option 1163
opening a story 1172
overview 1161
Page column 1172
Post to Web feature 1189, 1192, 1199
processing scripts 1189
rearranging text 1175
receiving mail 1202
removing shortcuts to directories 1173
1676
Index
saving a story 1188
saving changes to a story 1188
sending mail 1201
starting 1167
Status column 1172
story lock 1175
user interface reference 1168
using loaded cues 1178
using the Directory panel 1172
VideoID column 1172
WPM rate 1180
NTFS drives
limitations on Macintosh systems 1160
NTSC (National Television System Committee) video
capturing audio from 201
creating Avid log files for 146
logging and capturing 233
luminance values 1065
transferring 24-fps film to 1593
waveform values 223
NTSC Has Setup option 184
NTSC Has Setup option (General Settings dialog box)
1059
NTSC-EIAJ format
setting 184
video output calibration 1059
waveform values 223
Numeric keypad support for multicamera editing 1384
O
Offline editing
detecting color-frame shifts during 727
detecting duplicate frames during 723
SD formats for HD masters 1140
Offline items
selecting in bins 359
Off-screen dialog
in the lined script 631
indicating in the Script window 651
Off-screen indicators (script integration)
adding to takes 651
described 633
Offset between audio and video playback, adjusting 528
Offset, DV Capture 243
OMF
capturing media files 183
1677
Media Files tab 183
Media Files tab (Capture Settings dialog box) 1446
OMF file format 176
preparing to export a sequence as 1021
transcoding to MXF 483
OMF Interchange files
additional export options for 1490
described 1033
exporting 1033
import specifications 1541, 1547
methods for exporting 1033
OMFI MediaFiles folder
backing up 493
transferring media 1158
One-light transfers 1589
Online support 51
Open Bin command (File menu) 82, 85, 90
Open Selected Bins command (File menu) 90
Opening
Audio Mixer tool 789
Audio tool 212
Bin Fast menu 351
bins 90
Media tool 473
projects 76
projects automatically 76
settings 96
shared projects 120
startup project 76
stories (NRCS tool) 1172
the Script window 637
Optical connection
project settings 1438
Optimizing
playback 543
Orphans
See Offline items
Other Bins folder (Project window) 90
OUT points
See IN and OUT points
Output
assemble-edit recording 1077
audio 786, 1096, 1438
audio settings options 1072
audio, preparing for 1069
crash recording 1085
crossconverted sequences 1066
Index
crossconverting and downconverting HD 1066
Digital Cut, overview 1079
downconverted sequences 1066
establishing sync for 1055
factory preset buttons 1060
generating 1054
longitudinal timecode (LTC) 1057
mapping audio channels 1438
masters, delivery requirements 1140
multiformat 1089, 1089, 1089
optical 1438
options 1054
preparing for 1054
rendering effects before 1078
selecting analog video signal 1059
selecting device for 1055
video calibration for NTSC-EIAJ 1059
video, adjusting luminance settings 1065
video, basic calibration 1061
video, calibrating 1059
Output formats
for 24p and 25p projects 1089, 1089, 1089
Output Gain 1438
Output timecodes
displaying in bins 366
Output to DV Device command (Video Quality menu)
541
Overlap edits
audio 549
creating 749
using extend edits 750
Override Working Settings with Target Settings
command (MultiRez menu in Timeline) 1353
Overriding
Field Motion clip attribute 599
Overwrite button
overwrite edits with 592
Overwrite edits 592
P
P2
spanned clips 419
P2 card
importing clips from 332, 332
writing sequences to 1052
Page and scene numbers (Script window)
adding 642
changing 642
deleting 642
searching for 642
Page column (NRCS tool) 1172
Page Setup command (File menu) 390
PAL (Phase Alternating Line) video
frames-per-second rates for transfers 164
logging and capturing 233
luminance values 1065
transferring film to 1595
waveform values 223
PAL Method 1
described 1595
PAL Method 2
described 1595
Pan
adjusting for individual keyframes 871
adjusting in Audio Mixer tool 820
adjusting in audio tracks 798
adjustment, bypassing 812
centering 812
default settings 812
modifying values 797
viewing automation pan values 775
Pan and gain automation display (Timeline) 772
Pan automation 813
Panasonic P2
exporting sequences to 1052
importing master clips 332, 332
transferring files 399
workflow 442, 446
Parametric midrange in Audio EQtool 842
Partially online clips
consolidating and deleting original media 1368
restoring from an archive 1342, 1368
viewing source in Timeline 1367
Passthrough
described 1099
Passthrough Mix tool
using 215
Pasting
See Copying
text in the Script window 639
Patching
tracks 709
when capturing to the Timeline 282
1678
Index
Pause button 535
PCX file format
import specifications for 1541
Peak Hold menu (Audio tool) 213
Performing
digital audio scrub 771
Phantom marks 627
Phantom Marks options (Composer settings) 1454
Phase controls
adjusting for output 1066
Photo CD file format
import specifications for 1541
Photoshop file format
additional export options for 1490
import specifications for 1542
Photoshop files
importing multilayered 311
importing single-layer 314
PICS file format
brief description 1545
PICT file format
additional export options for 1490
import specifications for 1542
PICT files
of bars, importing 316
Picture quality
ensuring by calibrating input levels 223
Pin button (Interplay Window) 1258, 1263
Pitch Shift AudioSuite plug-in 1004, 1006
Pixar file format
import specifications for 1542
Pixel aspect ratio 1540
Pixels
square and non-square for import 1540
Play button 535
Play button (Script window) 649
Play Calibration Tone command (Peak Hold menu in
Audio tool) 1069, 1070, 1076
Play Delay, adjusting 528
Play Digital Cut button (Digital Cut tool) 1082, 1086
Play IN to OUT button 612
Play Loop button 745
Play Reverse button 535
Play Standby button 535
Playback
changing speed of 539
controlling with buttons 535
controlling with position bars and indicator 533
full screen 527
improving performance of 613
improving performance of (storage management)
1586
limitations on multicamera media 1383
loop, starting 612
loop, trim during 749
optimizing 543
with audio scrub 768
with DV devices 541
Playback control
using keyboard 538
Playback devices
transferring files to 1320
Playing
clips and sequences using buttons 535
clips in a loop 530
takes from the Script window 649
Plug-in effects
dialog box 934
Digidesign AudioSuite described
Fast menu 935
Plugin store 1415
plugin store 1415
Plug-ins
See AudioSuite plug-ins
plugins
downloading 1415
PNG file format
additional export options for 1490
import specifications for 1542
PortServer Pro 469
PortServer Settings
described 1518
Position bar
described 533
in Timeline 683
Position bar in Timeline 685
Position indicator
in Timeline 683
using 533
Position indicator lights (Volume Automation and Pan)
794
Post to Web
Clip tag 1195
creating a Web page 1189
1679
Index
described 1189
export options 1199
Hyperclip tag 1197
linked clips 1190
processing scripts 1189
ProEncode 1199
Story tag 1193, 1193
Text tag 1194
Videoformat tag 1196
Web templates 1192
Postroll
in Trim mode playback loop 745
Power schemes (Windows) 194
POW-r Dither plug-in 1006
Preferences
fonts 1258
Premultiplied alpha 1540
Preparing
for batch capturing 251
for importing files 298
for output 1054
for video input 221
hardware before capturing 172
record tapes 1075
sequences for export 1021
shot log files with text editors 146
Preroll
custom for capturing 206
custom for digital cut 1082
in Trim mode playback loop 745
logging 147
method for setting 182
using control track for 182
Preroll option (Deck settings) 1461
Presenter Instructions (NRCS tool)
marking text 1176
Preserving
clipboard contents 610
Preset buttons
in Video Input tool 223
Preset buttons (Video tools) 1060
Prestriped tapes 1076
Preview Digital Cut button (Digital Cut tool) 1081
Previewing
a digital cut 1081
Previous In Group button 1383
Print Bin command (File menu) 390
Print Frame command (File menu) 390
Print Timeline command (File menu) 729
Printing
bins 390
markers 565
statistics 98
the Timeline 729
Pro Tools
AAF export to 1033
exporting to 1022
HD Native configuration 885
Production cues (NRCS tool)
adding 1177
deleting 1177
ProEncode
Post to Web 1199
Profiles
Windows media .prx files 1485
Profiles, user
changing 105
creating 105
deleting 105
described 104
exporting 105
updating 105
Progressive clips
mixing with interlaced 594
Progressive resolutions
storage requirements for 1583
Project settings
audio transfer 1595
described 1419
displaying 1422
Project window
Bins tab 89
displaying bins 88
displaying settings 1419
Format display, using 1604
Format tab 97
Info display 102
Info tab, using 1595
Other Bins folder 90
overview of elements 87
Settings tab 96
Trash 93
Projects
browsing for 76
1680
Index
modifying after capturing 292
modifying before capturing 163
option in Film and 24p Settings dialog box 155, 155
Pulldown switch (Capture tool)
setting 201
Pullin
changing 1097
Pullin frame
modifying 292
Pullout column 1097
Pullup
converting sample rates on import 309
purchasing stock footage 1390, 1410
changing formats 1604
changing name 80
closing 76
creating folders within 92
creating new 1600
creating shortcuts in Interplay Window 1246
deleting 78
exporting as AFE files 1036
files, restoring from backup 81
film, capturing digital audio 203
Media Composer Cloud 1310
opening 76
opening automatically 76
relinking media files for 502
remote assets 1210
remote editing 1310
removing shortcuts in Interplay Window 1246
saving 81
shared, opening 120
sharing on Avid Unity 118
startup 76
types 75
video, using script integration in 633
workgroup project settings 1210
Projects folder
See Avid Projects folder
Promoting
Motion Adapter effect to Timewarp 597
Title Tool titles, back up option 1511
Properties
selecting from a custom list 1250
Property Merge dialog box (Interplay window) 1255
Proxy editing
described 1327
Proxy media
editing 328
importing 323, 325
XDCAM 323, 1045
Pulldown
capturing without 284
converting sample rates on import 309
described 1594
finding at the sync point 160
output for downstream encoding 1094, 1094
Pulldown frame
changing the default 1097
Pulldown phase
Q
QRT file format
import specifications for 1542
Quad Split button 1377
Quad Split display 1377
Quad Split Source view 1377
Quality matching
audio 1371
example 1373
for dynamic relink 1369
video format 1371
video resolutions 1371
Quality of film-to-tape transfer 1589
Quick Record mode 276
Quick Transition button
fading audio with 831
Quick Trim mode 732
QuickTime
Avid codecs for 1038
clip parameters 460
Histogram 463, 463
source settings 460
workflow 458
QuickTime files 1545
QuickTime movie export 1480
QuickTime Movie files
exporting with Avid DV Codec 1478
QuickTime movies
exporting 1038
methods for exporting 1038
QuickTime Reference Movie files
exporting with Avid DV Codec 1476
1681
Index
QuickTime reference movies
exporting 1038
Quitting
Avid editing application 79
R
Raster sizes 1624
Raster types
described 1623
DVCPro HD 1623
HDV 1623
raster sizes 1624
Standard 1623
XDCAM HD 1623
Ratcheting
play speed 539
Read Audio Timecode
command (Special menu) 761
Read Audio Timecode dialog box 761
Read time, finding (NRCS tool) 1180
Real Time Update option 1467
Realtime Encoding command (Video Quality menu)
541
Rearranging
clips in bin Frame view 346
clips in bin Script view 348
Recapturing
See also Autocapturing
See also Batch capturing
See also Capturing
master clips and subclips 254
mixed-rate sequences 254
overview 254
sequences 254
using Decompose 256, 258
without Decompose 262
Receiving mail (NRCS tool) 1202
Record Deck Time option (Digital Cut tool) 1082
Record monitor
described 515
displaying information in 522
resizing 516
Record tool
extra text fields 271
quick record 276
Recording
assemble-edit 1077
digital cuts 1079
digital cuts, using Local mode 1086
digital cuts, using Remote mode 1082
preparing tapes 1075
volume automation information 818
Recording voice-over narration 854, 854
Recovering
material from clipboard 610
Recti-Fi AudioSuite plug-in 1007
RED
clip parameters 452
Histogram 425, 425
source settings 452, 456
transcoding clip 451
Redo command (Edit menu) 590
Redoing
edits 590
Reduce Frame command (Edit menu) 346, 646
Reduce Track command (Edit menu) 667
Reducing
frames in the bin 346
tracks in the Timeline 667
Reference command (Sync Lock menu in Video Output
tool) 1055
Reformat attribute 603, 605, 606
Reformatting
clips and sequences 603
Reformat options 606
setting Reformat value 605
Refresh All button, refreshing application with 1254
Refresh button, refreshing the Research panel with 1254
Refresh Media Directories command (File menu) 491
Refreshing
Motion Adapter effects 608
Regional keyboard support 1632
Reimporting
files, overview 334
files, procedure 334
Reimporting imported files 329
Relationships for color correction
defining with IN and OUT points 1458
Relink dialog box
in an Interplay environment 1356
Relinking
by resolution 499
clips by key number 289
1682
Index
consolidated clips 501
dynamic relink 1338
in an Interplay environment 1356
moved projects 502
selected clips 500
Remote assets
See also Interplay Window
accessing assets 1236
automatically checking in to asset manager 1235
Avid assets 1204
capturing to asset manager 1263
checking in all open bins 1232
checking in bin contents 1232
checking in to asset manager 1232
checking out assets by updating 1236
checking out from asset manager 1229
checking out from Interplay database 1232
copying 1244, 1254
deleting 1244
finding 1260
moving 1244, 1254
permissions 1243
reservations 1241, 1242
restrictions 1241, 1243
searching 1260
updating in local bin 1236
using drag-and-drop method to check in 1232
using menu command to check in 1232
Remote Capture 1519
enabling 286
Remote editing
accessing clips 1289
clips 1289
described 1284
downloading media 1305
logging in 1286
playback limitations 1290
supported project types 1310
syncing sequences 1300
Upload Queue Window 1303
uploading media 1293, 1295
Remote Play
enabling 287
Remote Play and Capture
command (Clip menu) 288
command (Special menu) 286, 287
Device Code option 1519
Inhibit Preloading option 1519
Mode type option 1519
Runup option 1519
setting ports for 1519
Remote Play and Capture settings
described 1519
Remote Sync Sequence 1293
Removable media
saving work on 81
Removable storage, sending to Pro Tools on 1022
Remove Auto Volume/Pan command (Audio Mixer
Tool Fast menu) 820
Remove Automation Pan command (Audio Mixer Tool
Fast menu) 820
Remove Clip Gain command (Audio Mixer Tool Fast
menu) 808
Remove Pan command (Audio Mixer Tool Fast menu)
808
Remove Pan/Vols command (Audio Mixer Tool Fast
menu) 808
Remove Volume Automation command (Audio Mixer
Tool Fast menu) 820
Removing
add edits (match frames) 722
audio EQ effects 849
audio IN and OUT points 549
color indicators (Script window) 652
deck configuration elements 192
off-screen indicators (Script window) 651
text from the Script window 639
Renaming
bins 90
clips in Interplay Window 1254
settings 1425
Render On-the-Fly option (Trim settings) 1530
Render order for audio effects 795
Render settings
described 1522
Rendering
AudioSuite plug-in effects 936
motion effects 1522
Rendition file format
import specifications for 1542
Replace Edit button 593
Replace edits 593
Replacing
deck configuration elements 192
1683
Index
Timeline views 681
title fonts 1151
Replacing edits 710
reports
stock footage 1409
Res (Resolution) menu (Capture tool) 203
Research panel
changing fonts 1258
refreshing 1254
Research panel (Interplay Window)
adding columns 1248
changing the custom layout 1256
closing tabs 1258
comments 1254
creating new columns 1248
deleting a saved layout 1256
described 1241
displaying multiple tabs 1258
hiding columns 1248
Media Search tab 1260
modifying the display 1246
moving columns 1248
sorting columns 1248
Research Panel tabs 1258
Reservations 1241, 1242
Reset Peak button (Audio tool) 213
Resizing
Audio Mixer tool 793
Capture tool 251
Composer window 516
Record monitors 516
slates in the Script window 646
Source and Record monitors 516
Resolution groups
image quality and 1574
Resolution Tracking command (Clip Color submenu in
Timeline Fast menu) 1357
Resolutions
relinking by 499
See also Screen resolutions
See also Video resolutions
Response
system, with external monitor 524
Restore Default Patch command (Special menu) 709
Restore from Videotape dialog box 507
Restoring
default settings 1427
default Timeline view 681
files from backup 81
media files from videotape 507
Restricting available resolutions 178
Restrictions 1241, 1243
Results window 569
Retrieving
files 82
Reveal File command (File menu) 493
Reverse AudioSuite plug-in 1008
Reverse Match Frame button 575
Reverse Selection command (Bin menu) 351, 492
Reviewing
edits 745
trim edits 745
Revising
scripts 659
Rewind button 535
moving between audio keyframes with 821
RGB graphics levels, Import settings 1502
RGB values
reference black and white 1523
Right Arrow key
moving through footage with 538
Right-click menus 61
Rollers
See Trim mode
Rough cut
assembling, in the Script window 660
Rough cuts
creating 589
RS422 output 1093
RTAS
copying plug-ins 930
editing plug-ins 928
inserting plug-ins 926
moving plug-ins 930
ordering plug-ins on a track 930
removing inserts 931
using RTAS effect templates 931
RTAS plug-ins
AIR Chorus 947
AIR Distortion 948
AIR Dynamic Delay 949
AIR Enhancer 951
AIR Ensemble 952
AIR Filter Gate 952
1684
Index
AIR Flanger 953
AIR Frequency Shifter 956
AIR Fuzz-Wah 957
AIR Kill EQ 958
AIR Lo Fi 958
AIR Multi-Chorus 961
AIR Multi-Delay 962
AIR Non-Linear Reverb 963
AIR Phaser 964
AIR Reverb 966
AIR Spring Reverb 968
AIR Stereo Width 969
AIR Talkbox 970
AIR Vintage Filter 972
Rundowns
working with 1322
Runup option (Remote Play and Capture settings) 1519
RY Gain slider
adjusting for video input 223
adjusting for video output 1061
S
Safe Action option (Grid settings) 1500
Safe Colors
defining units of measurement for 1523
Safe Colors settings
described 1523
Safe Title option (Grid settings) 1500
Sample Plot command (Timeline Fast menu) 776
Sample rate
audio, converting during capture 208
changing conversion quality 1438, 1438
converting 1438
converting on import 309
displaying mismatched 1438
mixing 1438
options 1438
options for import 310
Sample rates
audio, changing 835
audio, conversion overview 835
conversion for embedded audio 1074
identifying by color 776
SansAmp PSA-1 plug-in 1008
amp simulation 1008
cabinet simulation 1008
1685
equalization 1009
harmonic generation 1008
lo-fi textures 1009
tube sounds 1009
Sat slider
adjusting for video input 223
adjusting for video output 1061
Satellite mode
timed capturing 281
Save All command (File menu) 93
Save As command (Timeline View menu) 681
Save Bin command (File menu) 93, 93
Save Layout As command (Interplay Window Layout
menu) 1256
Save Story button (NRCS tool) 1168
Saving
audio EQ effects 847
bins automatically 93
bins, manually 93
changes to a story (NRCS tool) 1188
custom bin views 344
projects and bins 81
the Script window 637
Timeline views 681
work to drives or removable media 81
Saving settings
in Video Input tool 228
SC phase
adjusting for output 1061
Scale bar (Timeline) 685
Scanning for tapes 148, 241
Scene and page numbers (Script window)
adding 642
changing 642
deleting 642
searching for 642
Scene data 158
Schedule, satellite feed 281
Schedules
working with 1322
Sci-Fi AudioSuite plug-in 1009
Screen resolutions
NTSC, PAL, HD 1558
Screenings
interactive, in Script window 659
Script box in Script view 348
Script integration
Index
described 633
elements of 633
for video projects 633
holding slates on screen 646
importing a script for 637
in Script window 651
in slates 633
in takes 651
interpolating position for 646
lining conventions in 631
using color indicators 652
using off-screen indicators 651
using script marks 653
workflow 633, 659
Script Mark button 653
Script marks
adding 653
adding during automatic screening 655
deleting 657
described 633
manually placing 653
moving 657
using 653
using for playback 657
using to find script 658
Script range, splicing 660
Script settings
described 1524
using 637
Script Settings dialog box 637
Script text
changing font of 639
cutting, copying, and pasting 639
removing 639
selecting 639
Script view (bin display)
adding text 348
described 348
in the Media tool 472
playing clips in 348
Script window
adding color indicators 652
adding page and scene numbers 642
adding takes 649
adjusting margins 637
adjusting take lines 649
changing fonts 639
changing scene or page numbers 642
cutting, copying, and pasting text in 639
deleting slates 646
deleting takes 649
displaying clip and sequence information 637
displaying take numbers 649
editing with 659
exploring 637
finding bins from 658
finding clips from 658
hiding slate frames in 646
holding slates on screen in 646
indicating off-screen dialog in 651
interactive screening in 659
linking clips to 644
loading takes from 649
moving slates in 646
opening, closing, and saving 637
playing takes from 649
removing text in 639
resizing slates in 646
screening and marking in 655
searching through 642, 642
selecting slates 646
selecting text 639
splicing a range of script from 660
Scripts
importing into the Script windows 637
linking clips to 644
Post to Web options 1189
processing for Web 1189
revising 659
Scroll bar in Timeline 683
Scroll bar/position bar in Timeline 683
Scroll wheel
mouse, using 62
setting up 62
Scrubbing
audio 768
displaying markers during 1525
SDI embedded audio
and sample rate conversion 1074
Search tab (Interplay Window) 1241
Searches
Category attribute 1262
Interplay Window 1260
keeping open 1263
1686
Index
performing 1260
remote assets attributes 1262
saving 1263
Text attribute 1262
Time attribute 1262
Types attribute 1262
Searching
for page and scene numbers in the Script window
642
in the Script window 642, 642
searching for stock footage clips 1395
searching through the Avid Media Store 1395
Second row of buttons 517
Second Row of Buttons option (Composer settings)
1454
Second Row of Info option (Composer settings) 1454
Segment Drag Sync Locks option (Timeline settings)
695
Segment Mode
editing guidelines 688
Segment mode
adding comments 612
deleting segments 698
editing from a bin in 701
four-frame display, described 694
four-frame display, suppressing 695
in the Timeline 701
marking segments 699, 701, 701
Segment Drag Sync Locks option 695
using 675, 688
workflow 675, 688
Segment Mode buttons 689
Segments
copying and pasting in Timeline 700
cutting from Timeline 700
deleting in Segment mode 698
lassoing 689
marking 547
marking in Segment mode 699, 701, 701
moving in sync 695
selecting 689
Select All command (Edit menu) 251
Select All Tracks command (Edit menu) 705
Select Media Relatives command (Bin menu) 360
Select Offline Items command (Bin menu) 359
Select Project dialog box 73
Select Sources command (Bin menu) 361, 492
Select Tape dialog box 148
returning to previous 197
Select Unreferenced Clips command (Bin menu) 361
Selected Clips section (Batch Import dialog box) 336
Selecting
audio file format 209
audio sample rate 208
clips and sequences 351
custom preroll 206
deck configuration settings 188
decks for capturing 196
drives for capturing 204
DV device 243
media drives 176
offline items in bins 359
segments in Timeline 689
settings before capturing 176
slates in the Script window 646
sources in the bin 361
takes in Script window 649
tapes for capturing 197
text in the Script window 639
tracks 705
tracks for capturing 198
tracks, for audio scrub 769
tracks, for audio scrub (soloing) 767
transitions for trimming 739
transitions in Trim mode 739
trim sides 736, 746
unreferenced clips in the bin 361
video resolutions 176
Send Mail button (NRCS tool) 1168
Send To
DigiDelivery 1022
Digidesign Pro Tools 1022
DVD 1022, 1022
DVD authoring 1022
DVD One Step 1022
Sorenson Squeeze 1022
using predefined templates 1022
Send To dialog box 1022, 1026
Send to Playback
from an Avid editing system 1271
Send to Playback command
with MultiRez 1356
Sending mail (NRCS tool) 1201
Sequence Info dialog box 584
1687
Index
Sequence information
displaying, in a Script window 637
summary 508, 577
sequence information
effect summary 508, 577
Sequence Time option (Digital Cut tool) 1082
Sequence Track buttons (Digital Cut tool) 1079
Sequenced image files 1545
Sequences
adding comments to 612
adding tracks to 586
associating with NRCS stories (NRCS tool) 1185
building from a story (NRCS tool) 1181
changing audio sample rate for 835
changing resolution by transcoding 483
changing start timecode for 584
consolidating 477
copying 352, 353
creating new 583
crossconverted, outputting 1066
decomposing 256, 258
deleting 354
displaying information about 522, 584
downconverted, outputting 1066
duplicating 352
exporting 1028
finding original bin for 576
locating by association 1188
locking in a bin 358
making the first edit in 588
marking IN and OUT points in 545
modifying formats 1354
moving 352
output options for 1054
playback loop in 612
playback performance tips for 613
playing 612
playing using buttons 535
preparing for export 1021
recapturing 254
recapturing without Decompose 262
refreshing Motion Adapter effects 608
renaming 584
replacing grouped clips 1388
reviewing 612
rough cut 589
searching for 569
searching remote assets 1262
selecting 351
setting up 583
sifting 383
transcoding 483
writing to P2 card 1052
Serial digital input
calibrating 221
Serial digital output
calibrating 1061
Serial port output 1093
Servo-lock 276
Set Bin Background command (Edit menu) 356
Set Bin Display command (Bin menu) 383
Set Bin Display dialog box 383
Set Calibration Tone command (Peak Hold menu in
Audio tool) 1069
Set Color button (Script window) 652
Set Font
command (Edit menu) 639
dialog box 109, 639
Set Font command (Edit menu) 109
Set Level commands (Audio Mixer Tool Fast menu) 808
Set Live Mix as Automation command (Audio Mixer
Tool Fast menu) 828
Set Live Mix to Automation command (Audio Mixer
Tool Fast menu) 828
Set Live Mix to Default command (Audio Mixer Tool
Fast menu) 828
Set Offscreen button (Script window) 651
Set Pan commands (Audio Mixer Tool Fast menu) 808
Set Position To Keyframe command 1467
Set Type Filter dialog box 1253
Setting a language (Macintosh) 1629
Setting the bin display 383
Settings
AMA 1433
asset manager 468
Audio 1437
Audio export 1489
audio pan defaults 812
Audio Project 207, 1438
Audio Project, DV audio pattern 1438
audio transfer 1595
Bin 1444
Capture 1446
Communication (Serial) Ports Tool 1452, 1453
1688
Index
Controller 827, 1458
copying between files 1427
Correction 1458
Deck 1461
Deck Configuration 1460
deck configuration 188
Deck Preferences 1462
default 1427
deleting 1426
described 1419
displaying project 1422
duplicating 1425
DV Stream export 1470
dynamic relinking 1464
Effect Editor 1467
Export 1470
Film and 24p 1494
for configuring asset manager 468
Frame Chase capture 248
Full Screen Playback 1495
General 1499
GPI 894
Grid 1500
import 298, 1502
in Video Input tool 228
Interface 1508
interface (Appearance tab) 107
Interplay Folder 1509
Interplay Server 1509
Interplay User 1509
location of 72
Marquee Title 1511
Media Creation 1512
Media Files Capture 183
Media Services 1053, 1515
modifying 1421
Mouse 62, 1515
moving between settings files 1427
moving between systems 1158
multiple, working with 1419
NRCS 1189
OMFI export 1473
opening 96
overview of 1419
PortServer 1518
project described 1419
Remote Play and Capture 1519
renaming 1425
Render 1522
restoring defaults 1427
Safe Colors 1523
Script 1524
selecting before capturing 176
site described 1419
sound card configuration 210
Sphere Playback 1451
Sphere Upload 1451
tab 1419
Timeline 1525
Timeline, showing toolbar 680
Trim 1530
Trim, basic information 735
user 1419
user, linking to workspaces 113
using site 1429
Video Display 1531
Video display 526
Video Input Tool 1532
Video Output Tool 1533
viewing 1421
settings
Sound Card Configuration 1525
Settings list 1312, 1419
Composer 1419
Controller settings 868, 899
Settings Options
GPI 895
Settings tab (Project window) 96
SGI file format
additional export options for 1490
import specifications for 1542
Shared volume segmentation (chunking) 1446
Shortcut menus 61
Shortcuts
creating in Media Directory panel 1246
making (NRCS tool) 1173
removing (NRCS tool) 1173
removing from Media Directory panel 1246
Shot log files
Avid log file specifications 137
exporting 166
importing 168
preparing text editors for 146
Shot logs
1689
Index
See Shot log files
Show Add Keyframe Mode Menu command 1467
Show All Takes command (Script menu) 646
Show Entire Sequence command (Timeline Fast menu)
665
Show Every Frame command (Timeline Fast menu)
665, 726
Show Frames command (Script menu) 646
Show Markers command (Timeline Fast menu) 673
Show Mismatched Render Ranges command (MultiRez
menu in Timeline) 1361
Show Mismatches command (MultiRez menu in
Timeline) 1356
Show Position Bar option (Timeline settings) 685
Show Target Availability command (MultiRez menu in
Timeline) 1356
Show Track submenu (Timeline Fast menu) 726
Showing
bin columns 341
Timeline top toolbar 680
Shutting down the system 79
Shuttle ring
Avid Artist Series controller 912
Shuttling
J-K-L key method 539
mouse 540
with J-K-L keys 746
Sifting clips and sequences 383
Signal Generator AudioSuite plug-in 1011
Signal sequences
GPI 891
Signal, servo-lock 276
Single Mark Editing option (Composer settings) 1454
Single track monitoring
See Solo track monitoring
Single/Dual Drive Mode button (Capture tool) 204
Single-field step 535
Single-mark editing 594
Single-Mark Editing option (Composer settings) 594
Site settings
described 1419
moving between systems 1158
using 1429
Sixteen by nine (16:9) format 1589
Skip Existing Transition Effects option 831
Slate information for shoots 1589
Slates (script integration)
creating 644
deleting 646
described 633
hiding frames in 646
holding on screen 646
moving 646
resizing 646
selecting 646
showing one take in 646
Sliders option 1467
Slip Left 1 Perf button 627, 627
Slip Left button 755
Slip Right 1 Perf button 627, 627
Slip Right button 755
Slipping and sliding shots
in Source/Record mode 755
in Trim mode 753
Slowing film speed 1594
Small Trim mode
described 732
switching with Big Trim mode 734
Smart tool
disabling 674
Smooth audio scrub
compared to digital audio scrub 768
performing 770
SMPTE bars 1061
SMPTE timecode
formats for entering 567
SMPTE/EBU component standard
support 1532, 1532
Snapping
to transitions in Timeline 687
Soft Keys (Avid Artist Series controllers) 909
Softimage file format
import specifications for 1542
Software DV25 codec 1446
Solo track monitoring
in Timeline 708
in Trim mode 740
Soloing
audio tracks 767
tracks 708
tracks, advantages of 706
Sonic
authoring DVDs in 1022
burning DVD in one step 1022
1690
Index
Sony XDCAM
workflow 321
Sony XDCAM and XDCAM EX
workflow 436
Sony XDCAM low-resolution
workflow 438
Sorenson Squeeze
exporting to 1022
Sorting
clips 343
columns (Interplay Window) 1248
columns, multilevel 343
Sorting transfers 1325
Sound Card Configuration settings 1525
configuring sound cards 210
Sound Designer II audio
support for 1157
transferring 1157
Sound roll
cues for shoots 1589
entering data for 158
Sound timecode
logging additional 165
Source and Record monitors
resizing 516
Source colors
assigning in bins 357
displaying in Timeline 667
Source material
displaying in the Timeline 679
loading into monitors 530
Source monitor
described 515
Source settings
QuickTime 460
RED 452, 456
Source Settings Histogram 425, 463
Source tapes
selecting for capturing 197
Source tracks
selecting for capturing 198
Source/Record Editing command (Toolsets menu) 516
Source/Record mode
customizing window settings 515
entering 583
slipping shots in 755
Source/Record Mode button 583
1691
Sources
selecting in the bin 361
spanned clips
P2 419
SPE
See Sync Point Editing
Specifications
Avid log 137
for film shoots 1589
graphics file import 1540, 1540
OMF file import 1547
Sphere Playback settings
described 1451
Sphere Upload settings
described 1451
Splice-in button
insert edits with 591
making basic edit with 588
Splice-in edits 591
Splicing a script range 660
Split edits (Overlap edits)
audio 549
creating 749
using extend edits 750
Square pixels 1540
Squeeze
exporting to 1022
Standard definition television (SDTV)
Standard Titles
in Avid log files 139
Start timecode
changing 584
Starting
Avid editing application (Windows) 66
Startup project
opening 76
Statistics
displaying drive space 101
printing 98
viewing 98
Statistics file
described 98
Statistics files
importing 100
Status column (NRCS tool) 1172
Step Backward buttons 535
Step Backward One Field button 535
Index
Step Forward buttons 535
Step Forward One Field button 535
Stepping
J-K-L key method 539
mouse control of 540
single-field 535
with buttons 535
with J-K-L keys 746
Stereo option (audio) 836
stock footage 1390
downloading 1411
purchasing 1410
stock footage clips
about 1395
stock footage report 1409
Stop at Head Frames options (Composer settings) 1454
Stop at Locators options (Composer settings) 1454
Stop at Tail Frames options (Composer settings) 1454
Stop button 535
Storage
estimating drive space requirements for 1574
managing to improve playback performance 1586
maximizing 1586
planning 1575
Storage estimates
in minutes per gigabyte 1575
Storage requirements
DNxHD 1575
DV resolutions 1585
JFIF interlaced 1580
JFIF progressive 1583
MPEG resolutions 1586
Stories
adjusting timing (NRCS tool) 1186
associating sequences with (NRCS tool) 1185
building a sequence (NRCS tool) 1181
deleting (NRCS tool) 1174
editing (NRCS tool) 1175
finding read time (NRCS tool) 1180
saving (NRCS tool) 1188
saving changes to (NRCS tool) 1188
Storing 24p and 25p media 1609
Story body
changing fonts 1258
Story lock (NRCS tool) 1175
Story panel (NRCS tool)
adding production cues 1177
Story tag (Post to Web) 1193
Story timing
adjusting (NRCS tool) 1186
adjusting with time markers (NRCS tool) 1186
adjusting with time pad (NRCS tool) 1186
Storyboard
creating from a bin 382
Storyboard editing from the Script window 660
Stream Limit
video display setting 1531
Striped drives
capturing 172
online information for 173
Striping
record tapes 1076
Subcataloging
footage 545
Subclip status (Capture tool) 267
Subclips
See also Clips
See also Master clips
audio sync for 24p and 25p 549
consolidating 477
copying 352, 353
creating 547
creating automatically with DV 294
creating during capturing 267
deleting 354
duplicating 352
handles 547
locating a master clip from 576
moving 352
recapturing 254
searching remote assets 1262
selecting 351
sifting 383
Subframe sync adjustment 626
Subsequences
creating 549
Substituting
title fonts 1151
SunRaster file format
import specifications for 1542
Surround sound 786
surround sound 779
S-Video deck
capturing from 223
1692
Index
T
limitations when capturing 227
Swap Cam Bank button 1377
Switching multicamera angles 1383, 1384
Sync
autosyncing 622
breaks, avoiding when editing 614
breaks, defined 614
breaks, displaying 614
breaks, fixing 616
detecting locked signal when capturing 201
establishing for audio-only input 174
establishing for capture 173
establishing for output 1055
for capturing video 172
issues with Client monitor 524
maintaining during segment move 695
maintaining during trim 751
maintaining with Add Edit 620
maintaining with leader 618
maintaining with markers 619
methods for shoots 1589
options for HD formats 1056
perforation level 626
subframe level 626
trimming 740
trimming with sync-locked tracks 751
video input 223
Sync Breaks command (Timeline Fast menu) 616
Sync Lock All button (Track Selector panel) 751
Sync Lock button (Track Selector panel) 751
Sync Lock icon (Track Selector panel) 713
Sync Lock menu (Video Output tool) 173, 1055
Sync locking tracks in the Timeline 713, 714
Sync mode 1438
Sync point
finding the pulldown at 160
Sync Point Editing (SPE) 621
Sync Point Editing option (Composer settings) 1454
Sync Selection dialog box 623
Synchronized sound
maintaining 1594
Synchronizing
video and audio subclips 622
Sync-locked tracks 617
System information
displaying 134
System memory usage 103
Tabs
bins 350
Tail button 721
Tail command
performing a quick edit with 721
Takes (script integration)
adding 649
adjusting lines in 649
applying color indicators 652
applying off-screen indicators to 651
changing representative frame for 649
deleting 649
described 633
displaying numbers for 649
loading 649
loading from script marks 657
playing 649
removing color indicators 652
removing off-screen indicators 651
selecting 649
showing one per slate 646
Tape deck
See Decks
Tape Lengths dialog box 504
Tape name
finding 148
Tapes
ejecting 273
managing names for MultiRez 1333
preparing for output 1076
preparing for recording output 1075
recording digital cut to 1079
recording to 1075
recording tone and bars to 1076
returning to previous tape 197
See Videotape
striping requirements for 1076
TARGA file format
additional Export options 1490
import specifications for 1542
Target bin
selecting 203
Target Drive menu (Capture tool) 204
Target settings for dynamic relink
applying 1349
1693
Index
described 1338
relinking to 1353
Taskbar 60
Telecine
importing log file from 344
transfer quality 1589
Templates
Clip tag 1195
Hyperclip tag 1197
placeholders 1197
Post to Web 1192
Story tag 1193
Text tag 1194
using placeholders 1192
Videoformat tag 1196
Test patterns
for calibrating video output 1064
Test patterns, importing 316
Text
adding in bin Script view 348
copying (NRCS tool) 1175
cutting (NRCS tool) 1175
deleting (NRCS tool) 1175
formatting (NRCS tool) 1177
marking as Closed Caption (NRCS tool) 1176
marking as machine control (NRCS tool) 1176
marking as normal (NRCS tool) 1177
marking as Presenter Instructions (NRCS tool) 1176
pasting (NRCS tool) 1175
rearranging (NRCS tool) 1175
Text editors
creating Avid logs with 137
for Avid logs 146
Text fields in the Record tool 271
Text in the Script window
changing font of 639
cutting, copying, and pasting 639
linking clips to 644
removing 639
searching through 642, 642
selecting 639
Text tag (Post to Web) 1194
Text view (bin display)
described 341
in the Media tool 472
Three-button play (J-K-L keys) 539, 746
Three-point editing
with phantom marks 627
Thumbwheels option 1467
Tick Marks in Position Bars option (Composer settings)
1454
TIFF file format
additional Export options 1490
import specifications for 1543
Time Compression Expansion AudioSuite plug-in 1012
using to change media length 936
Time markers
adjusting story timing (NRCS tool) 1186
Time pad
adjusting story timing (NRCS tool) 1186
Time Shift AudioSuite plug-in 1014
Timecode
breaks, capturing across 182
changing 584
default starting 1499
display options for 24p and 25p projects 366
drop-frame and non-drop-frame described 192
entering 165
entering additional 165
external, capturing with 278
finding frames with 567
formats for entering SMPTE standard 567
indicating the destination rate 1094
logging drop-frame and non-drop-frame 147
selecting format for output 1093
time-of-day, capturing with 242
Timecode window 523
Timecodes
display options in the Timecode window 523
Timed (scene-by-scene) transfers 1589
Timed Record option 281
Timeline
adding new tracks to 715
adjusting volume in 815
assigning local colors to 671
capturing to 282
changing background color in 671
clip coloring for MultiRez 1357
controlling movement in 687
copying and pasting in 700
creating views 681
customizing 663, 665
cutting in 700
deleting tracks in 715
1694
Index
disabling Smart too 674
displaying clip colors 667
displaying comments 612
displaying detail 685
displaying markers 673
Dupe Detection Handles option 1526
dupe detection in 723
editing with film track in 726
examples of custom views 663
finding clip text in 569
focusing 685
full-screen view of 674
Heads and Heads Tails views of 720
identifying audio sample rate 776
identifying mixed rate clips 597
IN to OUT highlighting in 719
locking tracks in 713, 714
monitoring tracks 708
motion mode indicator 687
moving tracks 667
nesting in 703
paging option 673
patching tracks 709
position bar, switching to 685
position indicator in 683
printing 729
removing add edits in 722
resizing 674
saving 681
scale bar 685
scroll bar in 683
scroll bar/position bar in 683
scrolling option 673
Segment mode 675, 688
selecting segments 689
selecting tracks 705
setting the scroll bar 683
settings, Start Filler Duration option 587
soloing audio tracks 767
soloing tracks 708
source material, displaying 679
top toolbar 680
Track Control panel 678, 765
track selection behavior 794
Track Selector panel 703
viewing footage 514
views, replacing 681
views, restoring default 681
views, saving 681
volume automation keyframes in 815
window, summary of elements 683
working with multiple tracks 703
zooming in and out of 685
Timeline palette
trimming 732, 735
Timeline settings
described 1525
Display tab 1525
Edit tab 1526
Features tab 1530
Play Loop tab 1530
Time-of-Day Information, using to log 294
Time-of-day timecode
capturing with 242
external source 278
Time-remaining display (Capture tool) 204
Timewarp effect
field-stepping in draft qualities 601
Tips
logging 147
playback performance 613
Title tool
backing up titles when promoting to Marquee 1511
Toggle Source/Record in Timeline button (Timeline)
610, 679
tone generator
calibrating audio 217
Tone media
creating 214
recording to tape 1076
Tool palette
displaying text labels 529
using 529
Toolbar, top Timeline 680
Tools
Audio EQ 842
Audio Mixer 789
Audio Punch-In 856
Audio Punch-in 859
Calculator 133
Capture 194
Console 134
Deck Controller 127
Hardware 135
1695
Index
Media 473
Video Input 221
Video Output 1061
Top button 721
Top command
performing a quick edit with 721
Total Conform 1139
Track buttons
Command Palette 705
Track color, changing in Timeline 671
Track Control panel
components 678, 765
displaying 678, 766
hiding 678, 766
making tracks inactive 767
Track effects
copying RTAS plug-ins 930
editing RTAS plug-ins 928
inserting RTAS plug-ins 926
moving RTAS plug-ins 930
ordering RTAS plug-ins on a track 930
removing RTAS plug-ins 931
using RTAS effect templates 931
Track Hinter settings, for hinted streaming export 1480
Track Panel command (Timeline Fast menu) 665
Track Selector panel
Lock icon 713
Sync Lock icon 713
user preferences for 586
using 703
Track Solo and Track Mute buttons (Volume
Automation and Pan) 794
Tracking color-frame shifts 727
Tracking frames with frame numbers 364, 364
Tracking information
clip duration 519
displaying 518
options 519
Tracking Information menu
displaying 518
Tracks
adding 715
audio, adjusting in Audio Mixer tool 798
audio, mixing down 836
cycling through 705
deleting in Segment mode 715
deleting with Media tool 475
enlarging and reducing 667
grouping on an Avid Artist Series controller 914
locking 713, 714
matchframing 575
monitoring 708
moving in the Timeline 667
number supported 703
patching 709
preferences for creating and enabling 586
selecting 705
selecting for audio scrub 769
selecting for audio scrub (soloing) 767
selecting for capturing 198
setting up for a new sequence 586
soloing 708
soloing, advantages of 706
sync locking 713, 714
trimming with sync-locked 751
Training services 51
Transcode
RED clip 451
Transcoding
Background Queue Window 487
background transcode 486, 489
mixed-rate clips 601
options for 483
procedure for 483
Transcoding HDV 1619
Transfer settings
in an Avid editing application 1312
Transferring
audio files to Digidesign Pro Tools 1156
projects between systems 1158
settings between systems 1158
Sound Designer II audio files 1157
through AFE 1036
Transferring files
from within an Avid application 1320
to a playback device 1320
Transferring film to tape
aids to 1589
in NTSC format 1593
in PAL format 1595
quality options 1589
without sound (PAL) 1595
Transfers
method of accepting incoming 1312
1696
Index
setting up the Avid editing system for 1312
sorting 1325
Transition Corner Display 757
Transition effects
audio, fine-tuning 831
Skip Existing Transition Effects option 831
Transitions
selecting additional for trimming 739
selecting for trimming 739
trimming 757
Transparency
adding to a graphics image 1540
Transport stream
creating 1619
Trash
emptying 93
moving bins from 93, 93
viewing contents of 93
Tri-level command (Sync Lock menu in Video Output
tool) 1055
Tri-level sync
for output 1055
HD formats 1056
Trim
settings, basic information 735
slip and slide procedures 753
Trim A-side button 736
Trim AudioSuite plug-in 1017
Trim B-side button 736
Trim mode
basic trimming procedure 744
Big, described 732
Big, switching with Small Trim mode 734
customizing 732
described 732
Dual-image playback 748
entering 743
exiting 743
options (Trim settings) 1530
playing transition loop parameters 745
Quick, described 732
reviewing edits 745
selecting several transitions 739
selecting single transitions 739
selecting trim sides 736
selecting video tracks 738
Small, described 732
1697
Small, switching with Big Trim mode 734
trimming on-the-fly 746
using the Transition Corner Display 757
Trim Mode button (Timeline) 739
Trim settings
described 1530
Render On-the-Fly option 1530
Trim Mode options 1530
Trimming
adding filler during 751
basic procedure 744
during a playback loop 749
J-K-L keys 746
maintaining sync during 751
on-the-fly 746
reviewing 745
selecting sides 736, 746
single roller trim 740, 742
Timeline palette 732
trim states 735
two heads or tails 739
video tracks 738
with sync-locked tracks 751
Troubleshooting 51
vertical blanking interval information problems
1122
Turning off equipment 79
Turnover points in the Audio EQ tool 842
Two-field media
and field dominance 1556
and field ordering 1554
Two-field mode indicators 535
U
U-matic deck
capturing from 223
limitations when capturing 227
Unattended batch capturing 251
Uncompressed video
defined 1557
Undo command (Edit menu) 590
Undo Only Record Events option (Composer settings)
590, 1454
Undo/Redo List command (Edit menu) 590
Undoing and redoing
edits 590
Index
Units of measurement
defining for Safe Colors feature 1523
Unity 1155
LANshare 469
PortServer Pro 469
See Avid Unity
Zone 3 configuration in Avid Unity ISIS 470
Universal Mastering 1089
See also HD Universal Mastering
HD sequences 1610
Universal mastering
digital cut 1613
Unlinking 499
Unlinking media files 502
Unlock Bin Selection command (Clip menu) 358
Unlock Tracks command (Clip menu) 714
Unlocking and locking
bin items 358
tracks 713, 714
Unmount command (File menu) 471
Unmounting drives 470
Unreferenced clips
deleting 492
selecting in the bin 361
Update from Interplay command (Bin menu, Bin Fast
menu) 1236
Update from Interplay command (Bin menu) 1238
Update Media Status command (MultiRez menu in
Timeline) 1361
Update Position While Playing command 1467
Updating
remote assets 1236
user profiles 105
writable properties (Interplay window) 1255
Upload Queue Window 1295
Upload Queue Window dialog box 1303
Usage information
viewing 98
USB-to-MIDI converter
configuring software 882
testing installation 883
troubleshooting connections 884
User
changing folder name 80
selecting another 1424
User bits in LTC
reading 761
User files
restoring from backup 81
User interface
customizing appearance 107
User profiles
changing 105
creating 105
deleting 105
described 104
exporting 105
items created by system 72
updating 105
User settings
described 1419
linking with workspaces 113
selecting a user from 1424
Users folder
See Avid Users folder
User-selectable buttons
Add Marker 555
V
Variable-speed play 539, 746
Varicam
support for Panasonic camera 296
VBI (Vertical Blanking Interval) 1119, 1533
preserving information 1059
Vectorscope monitor
using 223
Vertical Blanking Interval
and effects 1121
and video quality 1122
line ranges in 1119
preserving information 1119, 1533
VHS decks
capturing from 223
limitations when capturing 227
Video
creating leader 629
display settings, selecting 526
hiding in monitors 516
input, adjusting chrominance settings for 223
input, adjusting luminance settings 223
input, calibrating 223
input, preparing for 221
input, sync for 223
1698
Index
leader, using to maintain sync 618
monitoring tracks 708
number of supported tracks 703
output, calibration 1059
output, calibration for NTSC-EIAJ 1059
resolutions, dynamic relinking 1371
resolutions, selecting 176
resolutions, selecting in the Capture tool 203
soloing 708
trimming tracks 738
Video compression
defined 1557
Video Compression options (Export settings) 1155,
1484
Video decks
See Decks
Video Display settings
described 1531
Video Display Settings command (Video Quality menu)
544
Video Display Settings dialog box 526
Video Effect Safe Mode button (Digital Cut tool) 1082,
1086
Video Input menu (Video Input tool) 223
Video Input tool
Line slider 223
saving settings in 228
Vectorscope monitor 223
Waveform monitor 223
Video Input Tool command (Tools menu) 221, 223
Video Input Tool settings
described 1532
Video levels
adjusting without color bars 230
Video Mixdown
AAF export to Pro Tools 1033
Video Output tool
options display 1061
Sync Lock menu 1055
using preset buttons in 1060
Video Output Tool command (Tools menu) 1055, 1059,
1061, 1066, 1076
Video Output Tool settings
described 1533
HD tab 1537
SD tab 1533, 1536
Video projects
1699
using script integration in 633
Video quality
settings with multicamera and group clips 1382
Video Quality Menu button 543
Video resolutions
availability for Frame Chase capture 249
disabling 178
drive striping requirements 1559
guidelines for use 1557
mixing 1573
specifications 1559
storage in minutes per gigabyte 1575
storage requirements for 1574
Video test patterns 1064
Videoformat tag (Post to Web) 1196
VideoID column (NRCS tool) 1172
Videotape
archiving media files with 503
capturing bars and tone from 316
guidelines for naming 147
restoring media files from 507
Videotape decks
See Decks
Videotapes
See Tapes
View mode (NRCS tool)
editing in 1174
View Name dialog box (bin) 344
View Type command (Timeline Fast menu) 720
View, bin
customizing 344
saving 344
types of 344
View, Timeline
Heads and Heads Tails 720
Viewing
bins, list of 89
footage, in monitors 514
footage, in Timeline 514
footage, overview 514
statistics 98
usage information 98
Virtual volumes
AMA 424, 424
VITC (Vertical Interval Timecode)
for downstream encoding 1094, 1094
in a bin 368
Index
V-LAN VLXi 188
V-LAN VLXi controller
configuring with general-purpose interface (GPI)
device 893
using with general-purpose interface (GPI) device
892
Voice-over narration 854, 854
creating 855
Volume
adjusting for individual keyframes 871
adjusting in the Audio Mixer tool 798
bypassing adjustments 1438
in Timeline 815
limitations for adjusting 811
meters, in the Timeline 815
recording audio volume 818
while playing an effect 810, 813
Volume automation 813
Volume Automation and Pan 813
adjusting gain with sliders 815
Audio Mixer Fast menu commands 820
Audio Mixer tool sliders 818
controls in Audio Mixer tool, described 817
deleting keyframes in 815
enabling and adding keyframes in 815
fader controller or mixer, testing 883
keyboard shortcuts 821
recording 818
Track Solo and Track Mute buttons 794
Volume control 777
Volume unit scale (Audio tool) 213
Volumen Automation and Pan
moving keyframes in 815
VTR
See Decks
VTR Emulation
See Remote Play and Capture
W
WAVE file format 209
option in Audio Project settings 1438
Waveform monitor
calibrating input 223
Waveform plots
options in the Timeline Fast menu 773
Wavefront file format
additional Export options 1490
import specifications for 1543
Web page
creating 1189
Web templates
Clip tag 1195
formatting stories 1192
HTML tags 1192
Hyperclip tag 1197
placeholders 1197
Story tag 1193
Text tag 1194
using placeholders 1192
Videoformat tag 1196
Wide-screen format (16:9) 172
Windows
changing fonts 109
Composer 515
Interplay 1217
Marker edit entry 558
Project 87
Windows Media
exporting as 1043
Windows Media Legacy Template 1485, 1485
Windows Media Options Video settings 1485
Windows power schemes 194
Windows taskbar 60
Word processor
creating Avid logs with 137
Workflows
ancillary data and AMA 465
audio editing 796
AVCHD 445
conforming and transferring projects 1145
editing a sequence 55
editing overview 52
film scene 379
GFCAM 447, 449
graphics for HDTV 1600
MXF 464
outputting a sequence 57
Panasonic P2 442, 446
preparing to edit 54
QuickTime 458
script integration 633
Segment mode 675, 688
Sony XDCAM 321
1700
Index
Sony XDCAM and XDCAM EX 436
Sony XDCAM low-resolution 438
starting a project 53
video-based HDTV 1598
Workgroup environment
working with Avid Interplay 468
working with media files 468
Workgroup settings 1214
Workgroups
configuring Interplay Server settings 1214
configuring Interplay settings 1214
logging in 1214
project settings 1210
projects with remote assets 1210
working with Avid assets 1243
working with remote assets 1204
Working settings for dynamic relink
applying 1349
described 1338
Workspace settings 1539
Workspaces
assigning to buttons 115
Avid Unity 118
described 111
linking to user settings 113
mounting, ISIS v2.0 and later 1226
WPM rate (NRCS tool)
finding 1180
Wrap Around command (Timeline Fast menu) 665
Writable Interplay properties 1255
Writable P2 device 1052
XDCAM HD 1623
XDCAM raster type 1623
XDCAM AMA media
limitations with mixed rate clips 601
XLR adaptor
for consumer level audio 1075
XWindows file format
import specifications for 1543
Y
YUV file format
additional Export options for 1490
import specifications for 1543
Z
Zoom Back command (Timeline Fast menu) 685
Zoom In command (Timeliine Fast menu) 685
X
XDCAM
batch import 329
copying files 326
editing 328, 332
Essence Marks 327
exporting 1045, 1045
high-resolution media 329, 332
import options 319, 320, 326
importing proxy media 323, 325
markers 327
proxy media 328, 1045
resolutions 1045
workflow 1045
1701
41
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Product Information
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