Avid MediaLog User's Guide Media Log 11.7 User’s ML

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make manage move | media™
Avid
®
Avid® MediaLog™
User’s Guide
Copyright and Disclaimer
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Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its
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Portions of this software licensed from Paradigm Matrix.
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©1993–1998 Altura Software, Inc.
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Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.
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Footage
Arri — Courtesy of Arri™/Fauer — John Fauer, Inc.
Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
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Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.
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Windhorse — Courtesy of Paul Wagner Productions.
Arizona Images — KNX-TV Production — Courtesy of Granite Broadcasting, Inc.,
Editor/Producer Bryan Foote.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA.
Paragliding — Courtesy of Legendary Entertainment, Inc.
GOT FOOTAGE?
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Send us your reels and we may use your footage in our show reel or demo!*
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*Note: Avid cannot guarantee the use of materials submitted.
Avid MediaLog User’s Guide • Part 0130-05439-01 • February 2003
Contents
Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Related Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . . 18
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Avid Educational Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Chapter 1 Understanding MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
What Is MediaLog?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
How Does MediaLog Work?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
What Are the Basic Logging Steps?. . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Chapter 2 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Setting Up the Hardware (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Setting Up the Hardware (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Supported Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Turning On the Hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Installing MediaLog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Installing MediaLog on a Windows System . . . . . . . . . . . . . . . . . . . 28
Installing MediaLog on a Mac OS X System . . . . . . . . . . . . . . . . . . 29
Starting MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Setting Up Project Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Identifying a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Creating a New User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
6
Selecting an Existing User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Setting Film Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Selecting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Nesting Projects in Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Opening a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Ending a Work Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Quitting the MediaLog Application . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Turning Off Your Equipment (Windows) . . . . . . . . . . . . . . . . . . . . . . 40
Turning Off Your Equipment (Macintosh) . . . . . . . . . . . . . . . . . . . . . 41
Using Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . 43
Exploring the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Opening and Closing the Project Window. . . . . . . . . . . . . . . . . . . . . . . . 44
Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Displaying Folders of Bins in the Bins List . . . . . . . . . . . . . . . . . . . . 46
Creating a Folder in a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Creating a New Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Opening and Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Opening Selected Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Opening Bins from Other Projects . . . . . . . . . . . . . . . . . . . . . . . 49
Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Emptying the Trash in the Bins List . . . . . . . . . . . . . . . . . . . . . . . . . 51
Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Using the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
7
Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Reviewing Basic Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Logging Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Changing the Settings Scroll List Display . . . . . . . . . . . . . . . . . 60
Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Restoring Default Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Using the Info and Usage Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Viewing Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Using the Communications (Serial) Ports Tool. . . . . . . . . . . . . . . . . . . . 68
Using the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Chapter 4 Logging Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Understanding Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Automatic Deck Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Manual Deck Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Deleting Deck Configuration Elements . . . . . . . . . . . . . . . . . . . . . . 80
Setting Deck Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Understanding Drop-Frame Timecode and
Non-Drop-Frame Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Preparing to Log Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Accessing and Setting Up the Logging Tool. . . . . . . . . . . . . . . . . . . . . . 84
Accessing the Logging Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Setting Up the Logging Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Guidelines for Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . 85
8
Inserting Source Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Selecting Active Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Selecting the Target Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Selecting the Source Deck. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Identifying the Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Setting the Audio Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Logging from a Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Marking and Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Adding a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Logging On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Pausing a Deck While Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Logging with the Deck Offline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Logging Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Modifying Clip Information After Logging . . . . . . . . . . . . . . . . . . . . . . . . 98
Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Importing Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Importing Standard Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Compatible Logs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Importing Log Files into MediaLog Bins . . . . . . . . . . . . . . . . . . . . . 101
Transferring Bins from Another MediaLog System. . . . . . . . . . . . . 103
Chapter 5 Organizing with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Preparing to Work with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Film Scene Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Understanding Bin Display Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . 111
Saving a Custom Bin View. . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Selecting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
9
Duplicating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Moving Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Copying Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Deleting Clips and Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Assigning Colors to Bin Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Adding a Color Column to a Bin . . . . . . . . . . . . . . . . . . . . . . . 116
Assigning a Source Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Assigning a Custom Source Color. . . . . . . . . . . . . . . . . . . . . . 117
Limiting Color Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Sifting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . . . 119
Sifting Within a Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . . 123
Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Arranging Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Moving and Rearranging Columns . . . . . . . . . . . . . . . . . . . . . 125
Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Showing and Hiding Columns . . . . . . . . . . . . . . . . . . . . . . . . . 125
Deleting a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Duplicating a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . 128
Changing a Custom Column Heading . . . . . . . . . . . . . . . . . . . 129
Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . . . 129
Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Copying Information Between Columns . . . . . . . . . . . . . . . . . 135
Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Sorting Clips in Ascending Order . . . . . . . . . . . . . . . . . . . . . . 136
Sorting Clips in Descending Order . . . . . . . . . . . . . . . . . . . . . 137
Multilevel Sorting with Columns. . . . . . . . . . . . . . . . . . . . . . . . 137
Sorting Clips by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Displaying Timecodes in a 23p, 24p or 25p Project. . . . . . . . . . . . 138
Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . . 139
Adding Timecode Columns to a Bin . . . . . . . . . . . . . . . . . . . . 139
Adding Timecode Values to the Timecode Columns. . . . . . . . 140
10
Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Chapter 6 Creating MediaLog Output . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Exporting Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Transferring Bins to an Avid Editing System. . . . . . . . . . . . . . . . . . . . . 148
Transferring Projects and Bins Using AFE Files . . . . . . . . . . . . . . . . . . 149
Appendix A Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . 153
Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Appendix B Working with a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Creating a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Setting the Format and Display of Ink Numbers . . . . . . . . . . . . . . . 169
Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . 169
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Logging Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . 177
Modifying the Pulldown Phase Before Digitizing . . . . . . . . . . . 178
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . 180
Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Entering Additional Timecodes (Optional) . . . . . . . . . . . . . . . . . . . 181
Entering the Ink Number (Optional) . . . . . . . . . . . . . . . . . . . . . . . . 182
Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
11
Tables
Table 1 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Table 2 Bin Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . .58
Table 3 Settings Display Groups . . . . . . . . . . . . . . . . . . . . . . . . . .60
Table 4 Window Changes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
Table 5 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Table 6 Deck Preferences Options. . . . . . . . . . . . . . . . . . . . . . . . .82
Table 7 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . .100
Table 8 Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . .102
Table 9 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . .108
Table 10 Range Menu Items for Explicit Ranges . . . . . . . . . . . . . .121
Table 11 Range Menu Items for Implicit Ranges . . . . . . . . . . . . . .121
Table 12 Modifiable Bin Headings . . . . . . . . . . . . . . . . . . . . . . . . .131
Table 13 Modify Command Options . . . . . . . . . . . . . . . . . . . . . . . .133
Table 14 Timecode Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Table 15 Timecode Frame Counts for Record . . . . . . . . . . . . . . . .139
Table 16 Bin Column Selection . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Table 17 Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . . . .155
Table 18 Avid Log Column Headings . . . . . . . . . . . . . . . . . . . . . . .156
Table 19 Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . . .159
Table 20 Project Types for Systems That Support 23p, 24p and
25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Table 21 Film Setting Dialog Box Options . . . . . . . . . . . . . . . . . . .169
12
Using This Guide
This guide provides information about the configuration and operation of
Avid® MediaLog™.
nThe documentation describes the features and hardware of all models.
Therefore, your system might not contain certain features and hardware
that are covered in the documentation.
Who Should Use This Guide
This guide is for video and film editors who wish to log clips before
bringing them to an Avid editing system for batch digitizing and editing.
About This Guide
This guide is designed to keep pace with current advances in the Avid
system’s logging capabilities by consolidating in one comprehensive
resource all the information you will need to take advantage of the many
MediaLog options available to you.
This guide includes basic logging information and has the following
overall structure:
•Chapter 1, “Understanding MediaLog,” provides an overview of
MediaLog.
•Chapter 2, “Getting Started,” describes how to set up the hardware and
run MediaLog sessions.
•Chapter 3, “Working with the Project Window,” describes how to
structure and view important information in a project.
Using This Guide
14
•Chapter 4, “Logging Source Material,” describes how to use
MediaLog to log your clips in preparation for digitizing later when
using Avid editing system products.
•Chapter 5, “Organizing with Bins,” describes how, after creating clips,
you can rename, subcatalog, sort, sift, select, duplicate, and delete
them. This chapter also describes how you can analyze the clips in a
Bin view.
•Chapter 6, “Creating MediaLog Output,” provides information on how
you can print the bins to create a paper record of your log, export the
bin files for use in a different application, or transfer the bins to an
Avid editing system for digitizing and editing the footage.
• The appendixes provide reference information such as specifications
for creating an Avid log file and how to log film information.
• Finally, a detailed Index helps you quickly locate specific topics.
Symbols and Conventions
Unless noted otherwise, the material in this document applies to the
Windows® 2000, Windows® XP and Mac OS® X operating systems. When
the text applies to a specific operating system, it is marked as follows:
• (Windows) or (Windows only) means the information applies to the
Windows operating system.
• (Macintosh) or (Macintosh only) means the information applies to the
Mac OS X operating system.
The majority of screen shots in this document were captured on a
Windows 2000 system, but the information applies to both Windows 2000
and Mac OS X systems. Where differences exist, both Windows 2000 and
Mac OS X screen shots are shown.
Symbols and Conventions
15
Avid documentation uses the following symbols and conventions:
Symbol or Convention Meaning or Action
nA note provides important related information,
reminders, recommendations, and strong
suggestions.
cA caution means that a specific action you take could
cause harm to your computer or cause you to lose
data.
wA warning describes an action that could cause you
physical harm. Follow the guidelines in this
document or on the unit itself when handling
electrical equipment.
> This symbol indicates menu commands (and
subcommands) in the order you select them. For
example, File > Import means to open the File menu
and then select the Import command.
tThis symbol indicates a single-step procedure.
Multiple arrows in a list indicate that you perform
one of the actions listed.
kThis symbol represents the Apple or Command key.
Press and hold the Command key and another key to
perform a keyboard shortcut.
Margin tips In the margin, you will find tips that help you
perform tasks more easily and efficiently.
Italic font Italic font is used to emphasize certain words and to
indicate variables.
Courier Bold font
Courier Bold font identifies text that you type.
Click Quickly press and release the left mouse button
(Windows) or the mouse button (Macintosh).
Double-click Click the left mouse button (Windows) or the mouse
button (Macintosh) twice rapidly.
Using This Guide
16
If You Need Help
If you are having trouble using MediaLog, you should:
1. Retry the action, carefully following the instructions given for that task
in this guide. It is especially important to check each step of your
workflow.
2. Check the release notes supplied with your Avid application for the
latest information that might have become available after the hardcopy
documentation was printed.
3. Check the documentation that came with your Avid application or
your hardware for maintenance or hardware-related issues.
4. Visit the online Knowledge Center at www.avid.com/support. Online
services are available 24 hours per day, 7 days per week. Search this
online Knowledge Center to find answers, to view error messages, to
access troubleshooting tips, to download updates, and to read/join
online message-board discussions.
5. For Technical Support, please call 800-800-AVID (800-800-2843).
For Broadcast On-Air Sites and Call Letter Stations, call
800-NEWSDNG (800-639-7364).
Right-click Quickly press and release the right mouse button
(Windows only).
Drag Press and hold the left mouse button (Windows) or
the mouse button (Macintosh) while you move the
mouse.
Ctrl+key
k+key
Press and hold the first key while you press the
second key.
Symbol or Convention Meaning or Action
Related Information
17
Related Information
This guide frequently refers to other Avid manuals for additional
information. The following table shows the references and the related
manuals.
nAvid Xpress and Avid NewsCutter systems do not have input and output
guides. All relevant information is included in the user’s guide for these
products.
nIn this guide, the term Avid system is a generic term that refers to any Avid
application, including MediaLog. The term Avid editing system refers to
one of the Avid video editing applications such as Avid Symphony, Avid
Media Composer, Avid Film Composer, Avid Xpress, or Avid NewsCutter.
Avid Editing System References Related Manual
Avid Symphony™ editing guide Avid Symphony Editing Guide
input and output
guide
Avid Symphony Input and Output Guide
Avid Media Composer®
and Avid
Film Composer®
editing guide Avid Media Composer and Film Composer Editing
Guide
input and output
guide
Avid Media Composer and Film Composer Input and
Output Guide
Avid Xpress®user’s guide Avid Xpress User’s Guide
Avid NewsCutter®user’s guide Avid NewsCutter User’s Guide
Using This Guide
18
If You Have Documentation Comments
Avid Technology continuously seeks to improve its documentation. We
value your comments about this guide, the Help, the Online Publications
CD-ROM, and other Avid-supplied documentation.
Simply e-mail your documentation comments to Avid Technology at
TechPubs@avid.com
Please include the title of the document, its part number, and the specific
section you are commenting on in all correspondence.
How to Order Documentation
To order additional copies of this documentation from within the
United States, call Avid Sales at 800-949-AVID (800-949-2843). If you
are placing an order from outside the United States, contact your local
Avid representative.
Avid Educational Services
For information on courses/schedules, training centers, certifications,
courseware, and books, please visit www.avid.com/training or call
Avid Sales at 800-949-AVID (800-949-2843).
Chapter 1
Understanding MediaLog
MediaLog is a tool that helps you select and log footage before your edit
session. Although you can log footage with Avid editing system products,
using MediaLog can free up your Avid editing system for editing rather
than for logging footage. After logging shots (for example, on a laptop),
you can use your Avid editing system to digitize and edit the footage. In
addition, you can transfer film to National Television Standards
Committee (NTSC) or Phase Alternating Line (PAL) video, use MediaLog
to log the material, and then transfer the logged shots (also known as clips)
to an Avid editing system for digitizing and editing.
This chapter answers the following questions:
•What Is MediaLog?
•How Does MediaLog Work?
•What Are the Basic Logging Steps?
What Is MediaLog?
MediaLog is portable; you can install it on a laptop and on most desktop
computers that are running the Windows NT®, Mac OS® X, Windows 98,
Windows®98,Windows 2000, or Windows XP operating system. To log
shots from a source tape, your computer must be connected to a deck that
uses Sony® serial deck protocol. MediaLog allows you to control the deck
while viewing your source tapes and selecting the shots for your log. You
can also log without a deck and enter the logging information by hand.
Chapter 1 Understanding MediaLog
20
For each shot that you log, MediaLog saves the start and end timecodes,
duration, tracks selected, and tape name.
MediaLog also lets you add new categories of information to your log, so
you can record the scene, take, location, or any other comments that can
help you to identify the footage.
Once you have created a log, the MediaLog Sort command orders your
shots according to criteria you specify. The Sift command uses your
criteria to pick out specific footage, such as all the product shots or all
shots from a certain location.
How Does MediaLog Work?
The MediaLog system uses clips, bins, and projects to organize your work.
MediaLog clips and bins are a lot like their film counterparts. Just as film
editors pull clips from their raw footage and store the clips in bins for the
editing session, MediaLog lets you select shots from your tapes and store
information about the shots in electronic bins.
A clip corresponds to a shot you select from a tape. Clips contain
information about your footage such as the start and end timecodes and the
number of video and audio tracks. Clips are stored in electronic bins,
which have built-in database capabilities to help you easily find a specific
shot.
Each time you log clips, you open a bin and use Logging Tool controls to
play your tapes, mark the shots, and add the clips to the open bin.
A bin is open while you log clips to it.
How Does MediaLog Work?
21
Deck and log controls are in the Logging tool.
If you have a log sheet, you can log clips without using a deck. You type
the start and end timecodes for each clip, and then add them to the bin.
MediaLog uses a project file to organize all the work you do on a single
job. You must always create a new project or open an existing project
before you can open a bin and log your shots.
As you work on a project, MediaLog remembers the name of each bin you
open and displays a list of bin names in the Project window. The list is
useful for helping you to quickly access bins.
Sample Bin
Deck controls Log controls
Chapter 1 Understanding MediaLog
22
What Are the Basic Logging Steps?
To perform a logging session:
1. Start your computer and the MediaLog program.
2. Create a new project, or open an existing project.
3. Create a new bin, or open an existing bin.
4. Prepare to log:
a. Select a video format.
b. Enter Logging mode.
c. Select a source name.
5. Select the tracks you want to log from the tape.
6. Log the clips.
7. Save and organize the bin.
8. Quit the MediaLog application, and (optionally) shut down the
computer.
Bin names
Sample Project
window
Chapter 2
Getting Started
This chapter describes how to set up the hardware and run MediaLog
sessions.
This chapter covers the following topics:
•Setting Up the Hardware (Windows)
•Setting Up the Hardware (Macintosh)
•Supported Decks
•Turning On the Hardware
•Installing MediaLog
•Starting MediaLog
•Setting Up Project Files and Folders
•Backing Up Your Project Information
•Ending a Work Session
•Using Help
Setting Up the Hardware (Windows)
Make sure your computer meets the following requirements:
• The computer must be running the Windows NT, Windows 98,
Windows 2000, or Windows XP operating system.
Chapter 2 Getting Started
24
• The computer includes at least 32 megabytes (MB) of random-access
memory (RAM).
MediaLog can control a deck that uses Sony serial deck protocol and a
timecode reader. You can control a single deck by connecting an RS-232
to RS-422 serial adapter kit to the serial port of your computer. MediaLog
can also control a deck through V-LAN® VLXi® connections.
nIf you need to connect and control more than one video deck, see the setup
guide for your Avid editing system.
A direct serial video deck connection requires a serial adapter kit that
contains these items (see the following figure):
• An RS-232 to RS-422 serial adapter
• Two serial cables; male 9-pin connectors at both ends
cThe computer and the deck must be off when you are connecting the
serial cable.
To connect a single deck to your PC:
1. Turn off the computer and the deck.
2. Attach one end of the first 9-pin cable to the end of the serial adapter
labeled RS-232.
3. Attach the other end of the first 9-pin cable to the serial port of your
computer.
nWhen you attach the cable to the serial port on the computer, note if it is
port 1 or port 2. You will have to select the port in the Avid software.
To your
computer
To yo u r
deck
RS-422 connection
Serial adapter
RS-232 connection
Setting Up the Hardware (Macintosh)
25
4. Attach one end of the second 9-pin cable to the end of the serial
adapter labeled RS-422.
5. Attach the other end of the second 9-pin cable to the remote serial port
of the deck.
nSet the deck to Remote mode before you attempt to control the deck using
the software.
For more information about connecting decks, see the setup guide for your
Avid editing system.
Setting Up the Hardware (Macintosh)
Make sure your computer meets the following requirements:
• The computer must be running the Mac OS X operating system.
• At least 12 MB of RAM must be available to run MediaLog (20 MB or
more is preferred when working with large bins).
MediaLog can control a deck that uses Sony serial deck protocol and a
timecode reader.
cThe computer and the deck must be off when you are connecting the
serial cable.
To connect a single deck to your system:
1. Locate a serial cable.
2. Attach the round 8-pin DIN connector to a USB-to-serial adapter.
3. Connect the USB-to-seral adapter to one of the following:
tA USB connector on the rear of your Macintosh G4 system
tA USB hub (See the following figure.)
Chapter 2 Getting Started
26
4. Attach the 9-pin D connector to the remote serial connector on the
back of the deck.
nYou might have to place the video deck in Remote mode by turning a
switch before attempting to use the software to control the video deck.
For more information about connecting decks, see the setup guide for your
Avid editing system.
Supported Decks
For a list of supported decks, search for “Supported Decks” in the Avid
Customer Support Knowledge Center on www.avid.com. For instructions
on how to access the Knowledge Center, see the Avid editing application
release notes.
USB-to-serial adapter
USB hub
Turning On the Hardware
27
Turning On the Hardware
To be sure that the computer detects all the attached hardware and to
avoid damage to any component, turn on the hardware in the
following order:
1. If your computer has media drives, turn on each drive.
Wait 15 to 30 seconds for the drives to spin up before you turn on the
computer system; otherwise, the computer will not communicate with
the storage devices successfully.
2. If you will be logging clips using a deck, turn on the deck.
Set the REMOTE/LOCAL switch on the deck to REMOTE.
3. Turn on the computer.
cDo not disconnect or turn off individual drives while the
computer is on.
You can now install the MediaLog software.
Chapter 2 Getting Started
28
Installing MediaLog
This section describes how to install the MediaLog software.
cDo not install the MediaLog application on disks where you store
media.
cIf you install MediaLog on an Avid editing system, make sure the
MediaLog application is in a folder separate from the Avid editing
application. Each application has its own preferences.
Installing MediaLog on a Windows System
You can install MediaLog on the following Windows operating systems:
•Windows NT
• Windows 98
• Windows 2000
•Windows XP
MediaLog software is shipped on the MediaLog CD-ROM and the Avid
editing application CD-ROM.
nFor information on installing MediaLog from the Avid editing application
CD-ROM, see the release notes for your Avid editing system.
To install MediaLog software on a Windows system:
1. Quit all Windows applications.
2. Insert the MediaLog CD-ROM into your computer’s CD-ROM drive.
If the installer doesn't run automatically after you insert the application
CD-ROM, do the following:
a. Double-click the My Computer icon.
b. Double-click the CD-ROM icon.
c. Double-click Launch.exe to run the installer.
The MediaLog Installer CD-ROM window opens.
Starting MediaLog
29
3. Click Install Avid MediaLog.
Follow the online instructions to install the software.
When the installation is complete, a message asks if you want to restart
the system.
4. Restart the computer now or later (before you start the MediaLog
application).
Installing MediaLog on a Mac OS X System
For Macintosh systems, MediaLog software is shipped only on the
MediaLog CD-ROM.
nThe Macintosh version of MediaLog v11.7 and later runs only on the
Mac OS X operating system.
To install MediaLog software on a Mac OS X system:
1. Restart your Macintosh system.
2. Quit any applications that run automatically at startup.
3. Insert the MediaLog CD-ROM into your computer’s CD-ROM drive.
4. Double-click the MediaLog Installer icon.
Follow the online instructions to install the software.
Starting MediaLog
After you install MediaLog, you are ready to start the application.
To start MediaLog:
1. Turn on the video deck.
2. Set the REMOTE/LOCAL switch on the deck to REMOTE.
3. Turn on the computer.
Chapter 2 Getting Started
30
cDo not run any other Avid editing application on the computer at the
same time as the MediaLog application. The two applications will
conflict with each other.
4. Do one of the following:
t(Windows) Click the Start button, and select Programs > Avid >
MediaLog.
t(Macintosh) Double-click the MediaLog folder to open it, and then
double-click the MediaLog application icon to start MediaLog.
The Select User and Project dialog box opens.
5. Select an existing user and project, or create new ones, as described in
“Setting Up Project Files and Folders” on page 31.
MediaLog project folders are stored
in the Avid Projects folder.
Project folder
User folders
Setting Up Project Files and Folders
31
Setting Up Project Files and Folders
Each time you start the MediaLog application or close your current project,
the Select User and Project dialog box opens. The first thing you do in the
dialog box is select an existing user and project or create new ones.
To establish your identity as a user, open a new or existing project, and
close a project, use the following procedures:
•Identifying a User
•Selecting a Project
•Opening a Project
•Closing a Project
You can also create additional folders to store projects, or you can quit the
application from the Select User and Project dialog box.
Users scroll list Projects scroll list
Chapter 2 Getting Started
32
Identifying a User
To identify a user for the project, you can either create and identify a new
user or select one from a list of existing users. This user name represents
the user profile, which includes the settings associated with that user. New
users begin with default user settings. When you customize the user
settings in MediaLog, these customized settings are associated with the
user name.
The Avid Users folder is the default location for user profile files. For
information about the Avid folders, see the editing guide or user’s guide
for your Avid editing system.
Creating a New User
To create a new user profile:
1. Click New User in the Select User and Project dialog box.
The New User dialog box opens.
2. Type a name for the new user in the text box.
nIf you plan to move bins and projects from one platform to another, do not
use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or
trailing periods, when naming projects, bins, and users. Bin and project
names are limited to 27 characters, not including the period and
3-character extension that the system automatically adds to a file name.
(Macintosh only) You can set the Use Windows® compatible File Names
option in the Avid application’s General Settings dialog box to prevent the
system from accepting these restricted characters in a bin, project, or user
name.
3. Click OK.
The Select User and Project dialog box reopens with your user name
highlighted in the Users scroll list.
cDo not share user settings between MediaLog and your Avid editing
system.
Setting Up Project Files and Folders
33
You are now ready to select a project. See “Selecting a Project” on
page 34.
Selecting an Existing User
To select from the list of existing users:
tClick the user name to select it in the Users scroll list on the left side of
the Select User and Project dialog box.
The selected user profile opens when you open a project.
Folders containing a collection of users open in the Users scroll list with an
asterisk (Windows) or a dot (Macintosh) preceding them.
For information about the location of the user profile files, see the editing
guide or user’s guide for your Avid editing system.
To select a user name within a folder:
1. Double-click the folder to open it and display the user names.
2. Click the user name to select it.
To change the location
of user profiles outside
the Avid Users folder,
you must use the
Windows operating
system or Macintosh
desktop.
If the user profile you want is stored on your system outside the Avid
Users folder (in another folder or on a network, for example), you can
locate it using the Directory pop-up menu in the Select User and Project
dialog box.
Directory pop-up menu
User names
Folder
Chapter 2 Getting Started
34
To search for another user profile folder:
1. In the Select User and Project dialog box, click the Directory pop-up
menu to display a list of other locations on the system.
2. Select a drive from the Volumes submenu, if necessary, and locate the
folder.
3. Double-click a selected folder to open it. Continue to open any
additional folders until the Users scroll list includes the appropriate
user name.
4. Click the user name to select it.
You are now ready to select a project. See “Selecting a Project” on
page 34.
Selecting a Project
You can either create and open a new project or open an existing project.
Creating a New Project
To create a new project:
1. Click New Project in the Select User and Project dialog box.
The New Project dialog box opens.
Directory pop-up menu
Setting Up Project Files and Folders
35
2. Type a name for your new project in the text box, and click OK.
nIf you plan to move bins and projects from one platform to another, do not
use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or
trailing periods, when naming projects, bins, and users. Bin and project
names are limited to 27 characters, not including the period and
3-character extension that the system automatically adds to a file name.
3. Select a project type from the Format pop-up menu, based on your
source footage (NTSC or PAL) and your Avid editing system model.
nFor information on creating a film project, see “Creating a Film Project”
on page 165. Reference to 24p projects include 23.976p projects unless
otherwise noted.
nFor additional information on creating a project, see the editing guide or
user’s guide for your Avid editing system.
4. (Option) Click Matchback. The Matchback item appears only if your
Avid editing system includes the Matchback option.
For more information about matchback, see “Using the Matchback
Option” in the input and output guide or user’s guide for your Avid
editing system.
5. Click OK.
The system creates the new project files and folders, and then returns
you to the Select User and Project dialog box. The project name is
highlighted in the Projects scroll list. You are now ready to open the
project. See “Opening a Project” on page 38.
Chapter 2 Getting Started
36
Setting Film Preferences
If you are logging 24p or 25p footage for a film project, set film
preferences in the Film Settings dialog box immediately after you create
the project. This will provide the system with important information about
the type of film and audio transfer you used for your job. For more
information, see Appendix B.
Selecting an Existing Project
Existing projects appear in the Projects scroll list in the Select User and
Project dialog box.
For information about the location for the project files, see the editing
guide or user’s guide for your Avid editing system.
To select an existing project, do one of the following:
tClick an existing project name to highlight it.
tPlace the cursor in the Avid Projects scroll list and press the first letter
of the project name on the keyboard to highlight it. (If there are
multiple projects that begin with the same letter, the first project in the
list that begins with that letter will be highlighted.)
Projects scroll list Directory pop-up menu
Setting Up Project Files and Folders
37
To open a project nested in a folder:
1. Double-click the folder name to open it and display the contents in the
Projects scroll list.
2. Click the project name to select it.
If the project you want is stored on your system outside the Avid Projects
folder (in another folder or on a network, for example), you can locate it
using the Directory pop-up menu in the Select User and Project dialog box.
To locate a project in another folder:
1. In the Select User and Project dialog box, click the Directory pop-up
menu and select a drive from the Volumes submenu.
The Select User and Project dialog box displays all the stored folders.
2. Double-click a folder name to open it. Continue to open any additional
folders until the Projects scroll list includes the project folder you
want.
3. Click the project name to select it.
You are now ready to open the project. See “Opening a Project” on
page 38.
Nesting Projects in Folders
You can create folders in the Select User and Project dialog box for storing
related projects.
To create a folder:
1. Click New Folder in the Select User and Project dialog box.
The New Folder dialog box opens.
2. Type a name for the folder in the text box, and click OK.
The folder name appears in the Projects scroll list with an asterisk
(Windows) or a dot (Macintosh) preceding it.
3. Double-click the folder name to open the folder.
Any new projects you create are displayed and stored in this folder.
Chapter 2 Getting Started
38
You can also nest projects using the desktop to move existing projects into
folders that appear in the Select User and Project dialog box. For more
information about moving existing projects, see the input and output guide
or user’s guide for your Avid editing system.
Opening a Project
After you select the appropriate user and project names in the scroll lists of
the Select User and Project dialog box, you can open the project with the
selected user settings.
To open the project, do one of the following:
tClick OK in the Select User and Project dialog box.
tDouble-click the highlighted project name in the Projects scroll list.
tDouble-click the highlighted user name in the Users scroll list.
nIf you press and hold the Alt key (Windows) or the Option key (Macintosh)
while opening a project, the project opens with all bins closed.
For more information
about the Project
window, see Chapter 3.
The Project window opens with the selected user settings loaded.
The title bar of the Project window contains the project name and user
name you selected in the Select User and Project dialog box.
Project name User name
Close button
Backing Up Your Project Information
39
Closing a Project
To close the current project and return to the Select User and Project
dialog box, do one of the following:
tClick the Close button in the Project window.
tWith the Project window active, select File > Close.
The Project window and all open bins close, and the Select User and
Project dialog box opens.
Backing Up Your Project Information
Although MediaLog automatically saves your bins, projects, and settings,
you should back up these items frequently to avoid losing any of your
work in case your drive fails. Because the storage requirements are
minimal, you can back up these files to a variety of storage devices, such
as:
• Floppy disk or equivalent drive
• Removable storage device
• Network storage device (such as a file server)
For information on backing up a project and restoring information from a
backup, see the editing guide or user’s guide for your Avid editing system.
Ending a Work Session
To end the work session, first you must quit the application, and then turn
off your equipment in the order described in these sections:
•Quitting the MediaLog Application
•Turning Off Your Equipment (Windows)
•Turning Off Your Equipment (Macintosh)
Chapter 2 Getting Started
40
Quitting the MediaLog Application
There are two ways to quit the MediaLog application, depending upon
whether you have a project open or you are between projects:
tIf you are working on an open project and want to quit MediaLog
quickly, select File > Exit (Windows) or File > Quit MediaLog
(Macintosh).
The project closes and the application quits.
tIf you are between projects, from the Select User and Project dialog
box:
a. Click the Quit button.
A message box opens, asking if you want to leave the application.
b. Click Leave to quit the application. Click Cancel to return to the
Select User and Project dialog box, and select another project.
Turning Off Your Equipment (Windows)
When you finish using your system and want to turn it off completely,
follow these steps to avoid damaging your system or media storage drives.
Quit the Avid application before turning off your equipment.
To turn off your equipment:
1. Select Start > Shut Down.
The Shut Down Windows dialog box opens.
2. Select Shut down from the pop-up menu, and click OK.
3. When a message states that you can safely turn off your computer,
press the computer’s Power button.
4. Turn off your speakers and monitors.
5. Turn off each external drive in the chassis, and then turn off the chassis
itself.
6. Turn off all other hardware.
Using Help
41
cNever remove media drives from your Avid system when it is turned
on. Shut down the computer and then remove the drives.
Turning Off Your Equipment (Macintosh)
When you finish using your system and want to turn it off completely,
follow these steps to avoid damaging your system or media storage drives.
Quit the Avid application before turning off your equipment.
To turn off your equipment:
1. Select Apple P menu > Shut Down.
This turns off your Macintosh system. The screens on the Bin and Edit
monitors become dimmed.
2. Turn off your speakers and monitors.
3. Turn off each external drive in the chassis, and then turn off the
chassis itself.
4. Turn off all other hardware.
cNever remove media drives from your Avid system when it is turned
on. Shut down the computer and then remove the drives.
Using Help
You can get help and background information for tasks, windows, dialog
boxes, and screen objects through your Avid Help system. The Help
system is HTML based and operates in the Microsoft® Internet Explorer
Web browser. Avid recommends using Internet Explorer Version 5 or
later.
To open the Help system:
tSelect Help > Media Log Help.
The Help system appears in a browser window.
Chapter 2 Getting Started
42
To close the Help system, do one of the following:
tClick the Close button in the browser.
t(Windows) Select File > Close.
t(Macintosh) In Internet Explorer, select Explorer > Quit. In Netscape
Navigator, select Netscape > Quit.
tNavigate to another Web site.
Chapter 3
Working with the Project
Window
The Project window provides controls for structuring and viewing
important information about your current project.
This chapter covers the following topics:
•Exploring the Project Window
•Opening and Closing the Project Window
•Using the Bins Display
•Using the Settings Scroll List
•Using the Info and Usage Displays
•Changing Font and Point Size
•Customizing Your Workspace
•Viewing Keyboard Settings
•Using the Avid Calculator
•Using the Communications (Serial) Ports Tool
•Using the Console Window
n(Windows only) This chapter refers to the installation default directory
path for the various Avid folders. If you selected a different directory path
during the installation, you must substitute that path when using this
chapter.
Chapter 3 Working with the Project Window
44
Exploring the Project Window
The Project window provides controls (Bins, Info, and Usage) for
structuring and viewing information about your current project. The
Project window also provides access to the Settings scroll list for altering
various User, Project, and Site settings.
You can use the Project window to:
• Create and open bins.
• View and modify settings.
• View information about the format of the project and system memory
usage.
• View information about the work session usage.
• Add folders to organize project components.
Opening and Closing the Project Window
The Project window opens automatically when you select a project in the
Select User and Project dialog box.
Opening and Closing the Project Window
45
To close the Project window and return to the Select User and Project
dialog box, do one of the following:
tClick the Close button in the Project window.
tWith the Project window active, select File > Close Project.
The Project window remains open the entire time you are working in a
project; however, it might be hidden from view by several open bins or
tools.
To locate and redisplay the Project window, do one of the following:
tSelect Tools > Project.
tClick in an unobstructed area of the Project window to bring it
forward.
Chapter 3 Working with the Project Window
46
Using the Bins Display
Bins contain the master clips that are created when you log source
material. From the Project window, you can view a list of bins associated
with the project, and open, close, and create bins. You can also open bins
created for another project.
To view a list of bins associated with the project:
tClick the Bins tab in the Project window.
From the Bins list you can examine the number, names, sizes, and location
of the bins.
Displaying Folders of Bins in the Bins List
You can add folders to the Bins list in the Project window to help organize
your project. You can click bins and drag them into folders, or click folders
and drag them into other folders. See “Managing Folders and Bins” on
page 52.
Bins tab
Bin icon
Fast Menu button
Bins list
Using the Bins Display
47
To display the folder’s contents in the Bins list of the Project window:
tClick the triangular opener next to a folder icon.
To close the display:
tClick the triangular opener again.
To view a list of only the folder contents and not the folders:
tSelect Fast > Flat View.
The Trash icon and its contents disappear until Flat View is deselected.
nThe Trash icon doesn’t appear until you select and delete a bin.
Creating a Folder in a Project
To create a folder in a project:
1. Click the Bins tab in the Project window.
2. Select Fast > New Folder.
A new untitled folder opens.
3. Click the untitled folder name in the Bins list and rename it.
New folders
Trash icon
Fast Menu button
Chapter 3 Working with the Project Window
48
Creating a New Bin
To create a new bin from the Project window, do one of the following:
tSelect File > New Bin.
tClick the New Bin button in the Project window.
A new (empty) bin opens and is given the name of the project as displayed
in the title bar of the Project window. The new bin opens in the Bins list of
the Project window with the default name highlighted. A corresponding
file is placed in the project folder in the Avid Projects folder, and a backup
copy is placed in the Avid Attic folder.
You can keep the default name of the bin or rename the bin immediately.
For more information, see “Renaming a Bin” on page 48.
Renaming a Bin
Each new bin you create takes the name of the project that appears in the
title bar of the Project window, and is numbered incrementally.
To change the name of a bin:
1. Click the bin name in the Bins list of the Project window.
2. Type a new name.
Project name
Default bin name
Using the Bins Display
49
Opening and Closing a Bin
To open a bin:
1. Click the Bins tab in the Project window.
2. Double-click the Bin icon next to the bin name.
The bin opens in a separate window. The Bin icon in the Project window
becomes dimmed, indicating the bin is open.
Opening Selected Bins
To open several bins at once from the Project window:
1. Click a Bin icon in the Bins list.
2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional bin
you want to open.
3. Select File > Open Selected Bins.
Opening Bins from Other Projects
To open a bin from another project:
1. Select File > Open Bin.
(Make sure that no bins are selected in your current project view.)
The Open dialog box opens.
2. Find and select the bin you want.
(Windows only) Bins have the file name extension .avb.
cNever open a bin that is stored on a floppy disk or equivalent device,
since the system cannot save your work. Always copy the bin to a
project folder on the system drive before you open it. For more
information, see the input and output guide or user’s guide for your
Avid editing system.
3. Click Open.
Chapter 3 Working with the Project Window
50
The bin appears in the Bins list of the Project window in a folder called
Other Bins. The name Other Bins appears in italic. You can rename this
folder. This option is useful when you want to open a bin not currently
displayed in the Project window.
nThe Other Bins folder disappears from the Bins list when you delete all the
bins in the Other Bins folder. Deleting bins from the Other Bins folder does
not remove the bins from the drive; only the pointers to the bins are
removed.
Closing a Bin
To close a bin, do one of the following:
tClick the Close button.
tSelect File > Close Bin.
Deleting a Bin or Folder
You can delete bins and folders along with their contents from the Bins list
in the Project window. Deleted bins and folders are moved to a Trash
folder in the Bins list until you empty the Trash. If you need a deleted bin
or folder, you can retrieve it from the Trash. For more information, see
“Viewing Contents in the Trash” on page 51.
cOnly bins and folders appear in the Trash. If you select any other item
within a bin and press Delete, the item is permanently deleted and
does not appear in the Trash.
To delete a bin or folder from the Project window:
1. Select the bin or folder you want to delete in the Bins list.
2. Press the Delete key.
A Trash icon appears in the Bins list in the Project window. The Trash
contains the deleted item (bin or folder). The deleted item is stored in
the Trash until you empty it.
Using the Bins Display
51
Viewing Contents in the Trash
If you need to view the contents in the Trash or decide you do not want to
delete those items in the Trash, you must first move the bins or folders
from the Trash.
To view items in the Trash:
1. Click the triangular opener next to the Trash icon in the Bins list to list
the contents of the Trash.
2. Click the bins or folders you want to keep (or view) and drag them
from the Trash to the Bins list in the Project window.
3. Double-click the bin or folder to view it.
Emptying the Trash in the Bins List
You can empty the contents of the Trash that is located in the Bins list.
cEmptying the Trash permanently removes the bins or folders from the
drive.
nIf you change the name of the Trash icon, you cannot empty the Trash.
To empty the Trash in the Bins list:
1. Select Fast > Empty Trash.
A message box opens.
Chapter 3 Working with the Project Window
52
2. Click Empty Trash to delete the bins or folders from the Trash and
from your system drive.
Managing Folders and Bins
You can use the Project window to create hierarchies of folders and bins
that reflect the specific workflow of the current project. This structure
provides both simplicity and backup security.
Creating a hierarchy allows you to have one set of bins available in the
Project window during the digitizing and organizing phase, and another set
of bins available during editing to reduce clutter. For more information,
see the editing guide or user’s guide for your Avid editing system.
Saving Bins Automatically
MediaLog automatically saves changes to your work on a regular basis
during each session. You can modify the frequency of the automatic
backups using the Bin settings in the Settings scroll list in the Project
window.
When you are working with bins, an asterisk (Windows) or a diamond
(Macintosh) appears before the bin name in the bin’s title bar. The asterisk
(Windows) or diamond (Macintosh) indicates that the changes to the bin
have not been saved. Once you save the bin, the asterisk (Windows) or
diamond (Macintosh) is removed.
When auto-save occurs:
• Any open bins are updated with changes made since the last auto-save.
• Copies of these bins are placed in the following folders as backup:
(Windows) drive:\Program Files\Avid\MediaLog\Avid Attic folder
(Macintosh) Macintosh HD:\Users\Shared\Avid Attic folder
The system automatically places copies of all bins into the Avid Attic
folder at regular intervals for backup. The procedure for recovering bin
files from the Avid Attic folder is described in the editing guide or user’s
guide for your Avid editing system.
Using the Bins Display
53
To adjust the frequency of automatic saves:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Bin in the Settings scroll list.
The Bin Settings dialog box opens.
3. Type a number in the minutes text box for the Auto-save interval
option.
4. Click OK.
You can manually save bins for added security — for example,
immediately after an important edit. When your work is lost, or when you
want to recover an earlier version of a bin, you can retrieve files from the
Avid Attic folder.
Saving Bins Manually
You can manually save a specific bin, selected bins, or all bins.
To save a specific bin:
1. Click the bin window to activate it.
2. Select File > Save Bin.
nThe Save Bin command appears dimmed if there have been no changes
since the last time the active bin was saved.
To save all the bins:
1. Click the Project window to activate it but do not select any bins in the
Bins list.
2. Select File > Save All.
The system saves all the bins for the project.
Chapter 3 Working with the Project Window
54
Using the Settings Scroll List
From the Settings scroll list in the Project window, you can view, select,
open, and alter various User, Project, and Site settings.
To view the Settings scroll list:
tClick the Settings tab in the Project window.
Understanding Settings
The three types of settings appear in the Settings scroll list as User, Project,
and Site.
nFor information about the location of the settings files, see the editing
guide or user’s guide for your Avid editing system.
Settings scroll list
Settings type
Settings tab
Using the Settings Scroll List
55
The function of these settings is as follows:
•User settings are specific to a particular editor. User settings reflect
individual preferences for adjusting the user interface in the MediaLog
application. Individual 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.
Specific Project settings are stored in each project folder.
•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 (for example, specification and node
settings for an external switcher). 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.
Table 1 briefly describes each item in the Settings scroll list. The table also
lists where you can find additional information on a particular item, and
indicates whether the item has an associated dialog box (or window) that
you can access from the Settings scroll list.
nFor information about navigating in the settings dialog boxes, see the
editing guide or user’s guide for your Avid editing system.
Table 1 Settings Scroll List
Setting Name Description
For More
Information
Audio Project Sets the rate for audio input. See the input and
output guide or user’s
guide for your Avid
editing system.
Bin Sets the auto-save interval; double-
click preferences for bins and other
bin-related parameters.
See “Bin Settings” on
page 58.
Bin View Selects and formats the information
displayed in bins.
See “Bin Views” on
page 110.
Chapter 3 Working with the Project Window
56
Communication
(Serial) Ports
Configures the serial ports on your
system for deck control.
See “Using the
Communications
(Serial) Ports Tool” on
page 68.
Deck Configuration Configures channels and decks into
the system.
See “Configuring
Decks” on page 72.
Deck Preferences Sets preferences that affect all decks
configured into the system.
See “Setting Deck
Preferences” on
page 81.
Film Sets parameters for edit play rate, ink
number format, and transfer rate.
See “Film Settings” on
page 167.
Import Sets parameters for file import. See “Importing Logs”
on page 99.
Keyboard Maps commands from the Command
palette to the keyboard.
See “Viewing
Keyboard Settings” on
page 66.
Logging Allows you to enable the Pause Deck
While Logging feature.
See “Pausing a Deck
While Logging” on
page 95.
Workspace Enables you to associate settings and
windows with a workspace.
See “Customizing
Your Workspace” on
page 65.
Table 1 Settings Scroll List (Continued)
Setting Name Description
For More
Information
Using the Settings Scroll List
57
Defining Settings
You can use the Settings scroll list to establish a hierarchy of settings that
address the specific needs of each production phase.
For example, you can establish:
•User settings for the assistant editor — Facilitate logging, digitizing,
and organizing projects
•Project settings — Reflect the specific needs of the project
•Bin View settings — Display useful columns of information for each
bin
cNever use a User settings file that was opened in an Avid editing
application such as Avid Symphony, Avid Media Composer, Avid
Film Composer, Avid Xpress, or Avid NewsCutter.
By establishing these settings once, and selecting the appropriate setting or
bin view in context, you can save time and effort that would be spent
searching for information or adjusting bin headings on-the-fly. You can
also save these settings along with your template for use on similar
projects.
Reviewing Basic Settings
The following are basic system settings to review at the start of your
project:
•Film Settings
•Bin Settings
•Logging Settings
To view the settings:
tDouble-click each setting in the Settings scroll list of the Project
window.
Chapter 3 Working with the Project Window
58
Film Settings
Film settings determine essential parameters for accurately capturing,
tracking, and editing source material for 23p, 24p and 25p projects. For a
description of film settings, see “Film Settings” on page 167.
Bin Settings
The Bin Settings dialog box controls the MediaLog’s automatic save
features, including the number of backups saved in the Avid Attic folder.
Table 2 describes the Automatic Save and Backup options, and the results
of double-clicking an object in a bin.
Table 2 Bin Settings Dialog Box Options
Option Description
Auto-Save interval Specifies the length of time between attempts to auto-save
project files. The default is 15 minutes.
To avoid interrupting a logging operation, the Avid system waits
until the system is inactive before auto-saving. Use the “Force
auto-save at” option to specify an interval at which the system
will interrupt an operation to auto-save.
Inactivity period Specifies the length of time the Avid system waits while the
system is inactive before automatically saving the project files.
The default is 0 seconds.
Force Auto-Save at Specifies the maximum length of time between auto-saves.
When the system reaches this time, it will auto-save the project
files even if it must interrupt an operation to do so. The default is
15 minutes.
Using the Settings Scroll List
59
Logging Settings
The logging settings define whether the deck will pause during a logging
operation. See “Pausing a Deck While Logging” on page 95.
Displaying Project Settings
You can display the Settings scroll list of the Project window in different
groups, depending on what you need to view.
To view the possible display groups:
tClick the Fast Menu button and select a settings display group from the
Settings menu.
Table 3 describes the different settings display groups.
Maximum files in a project’s attic Specifies the total number of files stored in the Avid Attic folder.
When a bin is saved, the Avid system copies the previous version
of the bin to a special folder called the Avid Attic. The default is
30 files.
Keep more files if there are many users working on the system.
This ensures that all the bins are backed up.
When there are multiple users working on one system, store Bin
settings as Site or Project settings. This will ensure that another
user does not override your settings and delete your backups.
Max versions of a file in the attic Specifies the total number of single-bin copies stored in the Avid
Attic folder. This setting prevents filling the Avid Attic with too
many copies of one bin, at the risk of losing the others. The
default is 5 copies.
Table 2 Bin Settings Dialog Box Options (Continued)
Option Description
Chapter 3 Working with the Project Window
60
Changing the Settings Scroll List Display
To change the Settings scroll list display of the Project window:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click the Fast Menu button and select a settings display group from the
Settings menu.
The Settings menu displays the selected settings group and the Settings
scroll list displays only the settings in that group.
Working with Settings
You can view and modify most of your current settings by double-clicking
them in the Settings scroll list of the Project window and by selecting new
options. You can duplicate, rename, copy, and move settings among files
or systems.
Table 3 Settings Display Groups
Option Description
Active Settings Displays currently active settings in your Avid system.
All Settings Displays all settings available in the Avid system.
Base Settings Displays Project, User, and Site settings only; no views are displayed.
Bin Views Displays all the Bin View settings you created.
Import Settings Displays all the Import settings.
Workspaces Displays all the Workspace settings you created.
Workspace Linked Displays only the linked workspaces.
Using the Settings Scroll List
61
Selecting Another User
Because User settings are not project or site specific, 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 scroll list appears.
2. Select another name from the User pop-up menu.
The previous user’s settings are saved, and the new user’s settings are
loaded into the Avid system and the Project window.
Modifying Settings
You can alter the default options for various settings to reflect the specific
needs of a project or to customize the system based on personal
preferences. For details, see the editing guide or user’s guide for your Avid
editing system.
Restoring Default Settings
To restore settings to their default values:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click a setting to select it. Ctrl+click (Windows) or Shift+click
(Macintosh) each additional setting you want to select.
User pop-up menu
Chapter 3 Working with the Project Window
62
3. Select Special > Restore to Default.
A message box opens and asks whether you want to save the settings.
4. Click the Copy & Restore button to copy the current settings before
restoring the default settings, or click the Restore button to discard the
current settings.
The system restores the default values for the selected settings.
Using Site Settings
When the system opens a new project, it searches the Site_Settings file:
•(Windows) drive:\Program Files\Avid\MediaLog\Settings folder
• (Macintosh) Macintosh HD:\users\Shared\Settings folder
and loads Site settings and any settings placed in the file. The system then
loads 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 deck settings, a
specific start timecode for all clips, 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.
The Site_Settings window opens.
Using the Settings Scroll List
63
3. Click a Project or User setting in the Settings scroll list of the Project
window, or Ctrl+click (Windows) or Shift+click (Macintosh) multiple
settings and drag them into the Site_Settings window.
Copies appear in the Site_Settings window.
4. Close the Site_Settings window.
All new users and projects opened from the Select User and Project dialog
box use these settings as the default settings.
Chapter 3 Working with the Project Window
64
Using the Info and Usage Displays
The following types of information are also available on the Project
window:
•The Info display allows you to view basic project information, such as
the video format (NTSC, for example). The displayed information lists
the options you selected in the New Project dialog box when you
created the project. You can also view system memory information
from the Info display.
•The Usage display shows information on system usage. You can use
this information to support business functions such as resource
management. For more information, see the editing guide or user’s
guide for your Avid editing system.
To open the Info or Usage display:
tClick the Info or Usage tab in the Project window.
The items listed in this view are for information only and cannot be
changed.
Changing Font and Point Size
You can change the default font and point sizes of the Project and Bin
windows. You can vary the fonts and point sizes across these windows.
For example, you can set the Project window to Helvetica, 13 pt; set one
Bin window to Times Roman, 11 pt; and set another Bin window to Arial,
12 pt.
Table 4 describes the windows you can change, and where these changes
are saved.
Customizing Your Workspace
65
To change the font displayed in the Project or Bin window:
1. Click the Project or Bin window to make it active.
2. Select Edit > Set Font.
The Set Font dialog box opens.
3. Select a font from the Font pop-up menu.
nAny font installed on the Avid system appears in the list. For information
on adding fonts to your system, see your Windows or Macintosh
documentation.
4. Type another point size for the font in the Size text box.
5. Click OK.
The new font and point size appear in the active window.
When you close the window, the last font and point size applied is saved
with the window.
Customizing Your Workspace
A workspace is the arrangement and size of tool windows displayed on
your Avid system. If you are accustomed to working with a particular
group of windows arranged and sized in a particular setup, you can assign
Table 4 Window Changes
Window Location of Changes
Project Changes the font and point size of the text in the Bins and
Settings tabs; saved as a Project setting.
Bin Changes the font and point size of the text in the Bin
window; saved as a Bin setting (not the Bin View setting).
Chapter 3 Working with the Project Window
66
them to a workspace setting that you can then recall with a Workspace
button. For example, during logging you might want to display the
Logging tool and bins in specific locations.
While in a workspace, you can move tool windows or open and close tool
windows. The next time you select that workspace, the tool windows
appear with either:
• The arrangement from the last time you left the workspace
• The arrangement you set for the workspace, regardless of any changes
you made
For information on setting up workspaces, see the editing guide or user’s
guide for your Avid editing system.
Viewing Keyboard Settings
Common editing commands are mapped to the MediaLog keyboard. Use
the Keyboard settings to view the commands mapped to your keyboard.
You cannot change the mappings in MediaLog.
To view keyboard settings:
tDouble-click Keyboard in the Settings scroll list of the Project
window.
nThe Keyboard palette varies, depending on the type of keyboard attached
to your Avid system. If an Avid-supported European keyboard is attached
to your Avid system, then the Keyboard palette will match that keyboard.
The Keyboard settings window opens and displays command buttons that
are mapped to the keyboard. To view the name of a command button, let
the mouse pointer rest on the button for 1 or 2 seconds.
Using the Avid Calculator
67
Using the Avid Calculator
The Avid Calculator helps you calculate video and film durations, and
convert timecode and film key numbers to different formats.
For example, you can:
• Convert drop-frame to non-drop-frame timecode values.
• Convert timecode durations between 30-fps and 25-fps projects.
• Convert a duration in video to the corresponding length in footage and
frames for measuring 35mm film.
To use the Avid Calculator:
1. Select Tools > Calculator.
The Avid Calculator opens.
Chapter 3 Working with the Project Window
68
2. Select a format from the Format pop-up menu.
3. Make calculations in one of the following ways:
tClick numbers and functions in the Avid Calculator.
tEnter numbers and functions using the numeric keypad.
tEnter numbers and functions using the top row of numbers on the
keyboard.
You do not need to enter leading zeros, colons, or semicolons for
timecode.
4. To convert your totals at any time to another format, select a different
frame code or key number format from the Format pop-up menu.
Using the Communications (Serial) Ports Tool
The Communications (Serial) Ports tool allows you to view the current
configuration of the serial interface at any time during editing. You can
also use it to reconfigure the ports without quitting MediaLog or shutting
down the computer.
Format pop-up menu
Using the Console Window
69
To access the Communications (Serial) Ports tool:
1. Double-click Communications (Serial) Ports in the Settings scroll list
of the Project window.
The Communications (Serial) Ports tool opens.
nIf you have not yet configured a deck, the window might be empty.
2. View or change the port for one or more decks.
You configure the deck and port in the Deck Configuration dialog box
(see “Configuring Decks” on page 72). You can change the port in the
Communications (Serial) Ports tool, but whenever MediaLog starts it
will use the port selected in the Deck Configuration dialog box.
Using the Console Window
The Console window provides a number of features, including:
• Current system information, including your system ID number
• A log of error messages
cDo not use the programming features of the Console window without
guidance from Avid professionals. Contact your local Avid Reseller (in
North America, you can contact Avid Customer Support).
To display current system information:
1. Select Tools > Console to open the Console window.
2. Scroll to the top of the Console window to view your system
information and ID. This feature is especially useful for finding the
system ID before you contact your Avid Reseller or Avid Customer
Support.
Chapter 3 Working with the Project Window
70
Chapter 4
Logging Source Material
You use MediaLog to log your clips in preparation for digitizing later
when using Avid editing applications.
This chapter covers the following topics:
•Understanding Logging
•Configuring Decks
•Setting Deck Preferences
•Understanding Drop-Frame Timecode and Non-Drop-Frame
Timecode
•Preparing to Log Material
•Logging
•Logging Film Information
•Modifying Clip Information After Logging
•Creating Avid Logs
•Importing Logs
Understanding Logging
MediaLog requires that you name the clips that you log, the tapes they
came from, and their start and end timecodes. Many editors prefer to log
all their clips (shots) first and then batch digitize their material later in the
Avid editing application.
Chapter 4 Logging Source Material
72
The three basic methods for producing a bin or log that can be used later
for batch digitizing are:
• Logging directly to a bin
• Importing standard log files to a bin
• Creating Avid logs
The MediaLog tools automate the process of recording each clip’s start
and end timecodes, track selection, and other important data. You do not
need to enter information manually. However, if a source deck is
unavailable, or if you have already logged the data on paper, you can
manually record clip data in a bin.
The logging tools provided in MediaLog are also available in the Avid
editing system products. Bins that you create with MediaLog are
completely compatible with your Avid editing system product — you can
copy MediaLog bins to the Avid editing system to begin working with the
logged footage.
Configuring Decks
The MediaLog application provides a feature that will automatically
configure your attached deck. Each time you quit the MediaLog
application, the deck configuration settings are saved. If you reconnect the
deck to a different port, or attach a new deck, you must run the automatic
deck configuration feature again.
If MediaLog does not automatically sense your attached deck, you must
manually configure the deck.
nMediaLog will not override the configurations that were manually
specified.
Configuring Decks
73
Automatic Deck Configuration
Use the automatic configuration feature before manually trying to
configure any attached deck. If the automatic feature does not sense your
attached deck, see “Manual Deck Configuration” on page 73.
To automatically sense the attached deck:
tSelect Special > Autoconfigure All Ports.
MediaLog searches the system ports and configures the attached decks.
Manual Deck Configuration
MediaLog offers an alternative method of configuring your deck if it
cannot be automatically configured. You can manually configure single or
multiple decks even if the decks are not currently attached to the system.
Stored deck configurations can also be deleted.
The Deck Configuration and Deck Preferences settings appear as separate
items in the Settings scroll list of the Project window.
Deck settings
Chapter 4 Logging Source Material
74
Deck Configuration settings allow you to establish deck control
parameters for a single deck or for multiple decks. As with all settings, you
can create multiple versions, allowing you to select among them for
frequent changes in hardware configurations.
Deck Configuration settings and global deck control preferences appear as
separate items in the Settings scroll list of the Project window.
For information on setting Deck Preferences, see “Setting Deck
Preferences” on page 81.
cYou must manually configure the appropriate hardware connections
before Deck Configuration settings can take effect. For more
information, see the setup guide for your Avid editing system.
To configure a deck or multiple decks:
1. Double-click Deck Configuration in the Settings scroll list of the
Project window.
The Deck Configuration dialog box opens.
Configuring Decks
75
2. If you are configuring your system for the first time, click the Add
Channel button to add a new channel box on the left side of the Deck
Configuration dialog box and to automatically open a Channel dialog
box.
nChannel refers to the signal path for deck control, whether directly
through a serial port or through a V-LAN VLXi system connected to a
serial port. Direct serial port connection allows one deck for each
channel, while a
V-LAN VLXi system provides multiple decks.
3. Select one of the following from the Channel Type pop-up menu,
depending upon your system configuration.
For more information
on V-LAN equipment,
contact your Avid sales
representative.
tDirect if you are controlling a deck through an RS-422 connection
to the serial port.
tVLAN VLX if you are controlling a deck through a V-LAN/VLXi
connection.
4. Select the port to which you are connecting the deck from the Port
pop-up menu.
nIf you are not sure which port to choose, check the 9-pin serial port
connectors on the back of the system. If the ports are not labeled, see the
hardware documentation supplied with your system.
5. Click OK to close the Channel dialog box.
A message box opens and asks if you want to automatically configure
the channel now.
6. Click Yes if you want to automatically configure the channel.
Chapter 4 Logging Source Material
76
A new channel appears in the display area of the Deck Configuration
dialog box, along with the autoconfigured deck.
nYou can reopen the Channel dialog box to change the options at any time
by double-clicking the channel box in the Deck Configuration dialog box.
7. If you did not autoconfigure the deck, click the channel box to select it.
8. Click the Add Deck button to open the Deck Settings dialog box.
nWith a deck already connected to the system, you can click the Auto-
configure button to bypass the Deck Settings dialog box and automatically
configure a deck with the default settings.
Decks appear on the right side
Channel
boxes appear
on the left
side.
Configuring Decks
77
9. Select settings based on your deck. For information on Deck settings,
see “Deck Settings Options” on page 78.
10. Click OK to close the Deck Settings dialog box and return to the Deck
Configuration dialog box.
nYou can reopen the Deck Settings dialog box to change the options at any
time by double-clicking the deck box in the Deck Configuration dialog box.
11. Repeat steps 2 to 10 for each additional channel or deck you want to
configure.
12. (Option) Select the “Verify configuration against actual decks” option
(at the bottom of the Deck Configuration dialog box) if you want the
system to check the deck configuration against the decks physically
connected to the system.
The system checks the deck configuration after you click Apply in the
Deck Configuration dialog box and when you start MediaLog. A
message box warns you if the configuration does not match the deck.
13. Type a name in the Configuration name text box to name the deck
configuration. The new deck configuration appears in the Settings
scroll list of the Project window.
Chapter 4 Logging Source Material
78
14. Click Apply to complete the configurations and close the Deck
Configuration dialog box.
15. If necessary, double-click Deck Preferences in the Settings scroll list
of the Project window to adjust global deck control options. For more
information, see “Setting Deck Preferences” on page 81.
Deck Settings Options
To access the Deck Settings dialog box, do one of the following:
tClick the Add Deck button in the Deck Configuration dialog box.
tSelect Deck Selection > Adjust Deck in the deck controller section of
the Digitize tool.
tDouble-click the deck name in the Deck Settings dialog box.
Configuring Decks
79
Table 5 describes the Deck Settings options.
Table 5 Deck Settings Options
Option Suboption Description
Name Type your custom name for the tape deck. The default name
matches the deck type.
Description Enter notes about the deck.
Notes Displays configuration information, supplied by Avid, about
the deck you have selected. Not all decks include this
information.
Chapter 4 Logging Source Material
80
Deleting Deck Configuration Elements
You can delete deck configuration elements to remove or replace them.
Device Select your manufacturer and model from the menus. These
decks have been qualified to work with your Avid system.
Address For V-LAN VLXi use only (see your V-LAN VLXi
documentation). If you are using direct serial port deck
control, this option is unavailable.
Preroll Specifies how many seconds the tape rolls before a digitize or
digital cut starts. The default is based on the type of deck.
nThe Preroll option has no effect in MediaLog.
FAST CUE Speeds up long searches; if your decks can read timecode in
Fast Forward or Rewind mode. Otherwise, this option is not
useful.
Switch to ff/rew
(seconds)
When this option is selected, the system 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 the system uses fast cue only for long searches.
Switch to Search
(seconds)
When this option is selected, the system switches out of fast
forward or rewind when it is within the specified number of
seconds of the target timecode. By default, the system switches
to Search mode when it is 25 seconds from the target timecode.
Table 5 Deck Settings Options (Continued)
Option Suboption Description
Setting Deck Preferences
81
To delete deck configuration elements in the Avid system:
1. Double-click Deck Configuration in the Settings scroll list of the
Project window.
The Deck Configuration dialog box opens.
2. Click a channel box, a deck box, or the entire configuration to select it.
3. Click the Delete button.
4. Click Apply to complete the changes and close the dialog box.
Setting Deck Preferences
Deck preferences are global settings for basic deck control. These settings
apply to all decks connected to your system, regardless of your deck
configuration. You can open the Deck Preferences dialog box from the
Settings scroll list of the Project window.
Table 6 describes the Deck Preferences options.
Chapter 4 Logging Source Material
82
Understanding Drop-Frame Timecode and
Non-Drop-Frame Timecode
Timecode is an electronic indexing method that denotes hours, minutes,
seconds, and frames that have elapsed on a videotape. For example, a
timecode of 01:03:30:10 denotes a frame that is marked at 1 hour,
3 minutes, 30 seconds, and 10 frames.
Table 6 Deck Preferences Options
Option Description
When the deck contains no
tape, Log As
You select the timecode format (Drop Frame or Non-drop Frame) for
logging clips when no tape is in the deck. When a tape is in the deck, the
system automatically uses the existing timecode format on the tape. See
“Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode”
on page 82).
Allow assemble edit for
digital cut
Not Applicable.
Stop key pauses deck This option defines the function of the Stop key (space bar) on the
keyboard. Select this option to map the space bar to the Pause button on
the deck. Deselect this option to map the space bar to the Stop button.
If the videotape heads are down in “Stop key pauses deck” mode, pressing
the space bar brings up the heads and pauses the deck.
The Stop button in the Digitize tool and Deck Controller tool always stops
the decks. (Select Tools > New Deck Controller to access the Deck
Controller tool.)
Shuttle holds speed The Shuttle button continues shuttling at a constant speed instead of
stopping when you release it.
Stop any paused decks
when quitting
Any paused decks are stopped when you quit the Avid application.
Selecting this option saves wear on the deck heads.
Poll deck during digital cut Not Applicable.
Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode
83
NTSC video (the video format used mainly in the United States) uses one
of two formats: drop-frame timecode and non-drop-frame timecode. Drop-
frame (DF) timecode is designed to match the NTSC scan rate of 29.97
frames per second (fps). Two frames of timecode are dropped every
minute except for the tenth minute. No video frames are actually dropped.
Drop-frame timecode is indicated by semicolons between the digits; for
example, 01;00;00;00.
Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps
and is indicated by colons between the digits; for example, 01:00:00:00.
Non-drop-frame timecode can be easier to work with, but does not provide
accurate timing for NTSC broadcast.
For example, a typical 1-hour show uses 52 minutes of video. If your
program ends at 01:52:00:00 (non-drop-frame), and it is broadcast at
29.97 fps, it will last 94 frames too long (approximately 3 seconds). The
final credits could be cut off.
The following illustration compares the two types of timecode at the
1-minute mark. No frames are actually dropped.
PAL video (the video format used in many countries other than the United
States) uses a scan rate of 25 fps. Timecode is indicated by colons. There is
no need for drop-frame timecode in PAL video.
You set the default timecode format for logging clips in the Deck
Preferences dialog box (see “Setting Deck Preferences” on page 81). You
can select Drop Frame or Non-drop Frame.
Non-drop-
frame
timecode
Drop-frame
timecode
01:00:59:28 01:00:59:29 01:01:00:00 01:01:00:01 01:01:00:02
01:00:59:28 01:00:59:29 01:01:00:02 01;01;00;0401:01:00:03
Chapter 4 Logging Source Material
84
You can change the starting timecode of a clip or, for NTSC projects, the
type of timecode. See the editing guide or user’s guide for your Avid
editing system.
Preparing to Log Material
MediaLog provides two special tools for logging source material:
• The Logging tool, which contains:
- Source deck controls
- Marking and logging controls
- Active track controls
- Timecode information
- Deck, bin, and tape name information
- Comment section
- Message area
• The Audio Project settings, which enables you to set the audio rate
Accessing and Setting Up the Logging Tool
Once you have opened or created a bin, use the Logging tool to enter the
name of the tape you are logging and to access deck and logging controls.
Use the Logging tool to plan a naming scheme; to work with source tapes;
and to select tracks, bins, and sources.
Accessing the Logging Tool
To access the Logging tool, do one of the following:
tClick in a Bin window to activate it, and then select Bin > Go To
Logging Mode.
tSelect Tools > Logging.
Accessing and Setting Up the Logging Tool
85
Setting Up the Logging Tool
To select the appropriate source deck, source tape, and active track
settings for your logged material:
1. Open or create your project and the bin in which you want to store
your master clips. For information about opening projects and bins, see
Chapter 2.
2. Select Bin > Go To Logging Mode.
The Logging tool opens.
Guidelines for Naming Tapes
Consider the following naming guidelines when you provide a name for
your tape:
• Devise a naming scheme. Although tapes of similar names are easy to
sort and view together in a bin, distinguishing among them might be
difficult when you try to quickly locate a specific tape. Name the tapes
based on the amount and complexity of your source material.
• Use unique names. The system cannot distinguish between two tapes
with the same name and between two bins or clips with the same
name. For example, if two tapes are named 001, you might encounter
problems correctly associating their clips with the correct physical
tapes.
Channel Selection
area
Mark IN button
Enable timecode
button
Triangular opener
Deck controller
Chapter 4 Logging Source Material
86
• Use alphanumeric characters (A–Z, 0–9), with no spaces before the
name. Characters can be uppercase and lowercase. The maximum
length of a name is 31 characters.
nAlthough the maximum length of a name is 31 characters, most online
houses accept tape names of no more than 6 characters.
• Select a case convention and maintain it throughout a project. A single
tape can be listed as several different tapes if you alter the case of the
letters. For example, if you type a single name as SUNSET, Sunset,
and sunset on three different occasions, all three names appear. This
can cause problems when keeping track of clips during the logging
process.
• Be cautious when changing a tape’s name. After you provide a name
for a tape source, any change to the tape’s name automatically changes
that tape name everywhere it occurs. If you decide later to change the
name of one of the tapes from 001 to 999, every reference to tape 001
changes to a reference to tape 999.
Inserting Source Tapes
To insert a source tape in a deck to prepare for logging source
material with MediaLog:
1. Set the REMOTE/LOCAL switch on the deck to REMOTE.
2. Insert a tape into the deck.
3. Select Bin > Go To Logging Mode.
The Deck Controller tool opens as part of the Logging tool.
Deck Name
pop-up menu
Pause button
Source Tape Display button
Stop button
Rewind button
Fast Forward button
Source tape timecode Shuttle button
Valid timecode indicator
Single-Frame Backward button
Single-Frame Forward button
Eject button
Play button
Accessing and Setting Up the Logging Tool
87
Selecting Active Tracks
The Logging tool captures information about the active tracks. MediaLog
automatically activates the tracks that were active in the previous session.
To change these settings:
tClick tracks in the Channel Selection area of the Logging tool to
activate or deactivate them.
Selecting the Target Bin
You select a target bin in which you want to organize your logged material.
To select a target bin:
tClick the Bin pop-up menu in the Logging tool and make a selection.
nOnly opened bins appear in the Bin pop-up menu.
To open a bin, do one of the following:
For more information
on working with bins,
see the editing guide or
user’s guide for your
Avid editing system.
tFor a bin created in the current project, double-click the bin in the
Project window.
tFor a bin created in a different project, select File > Open Bin, and then
locate and open the bin in the Open dialog box (Windows) or Open a
Bin dialog box (Macintosh).
tCreate a new bin by clicking the New Bin button in the Project
window.
Selecting the Source Deck
In some cases, your source material might not reside on a video deck. You
can also select other source devices, such as a digital audiotape (DAT). Be
sure the source material has readable timecode.
Chapter 4 Logging Source Material
88
To select the deck where the source material is found:
1. Click the Deck Name pop-up menu to display the available online
decks.
2. Select the name of your source deck from the pop-up menu.
Identifying the Source Tape
To select a source tape:
1. Insert a tape into the deck.
The Select Tape dialog box opens.
nIf a tape is already inserted into the deck, click the Source Tape Display
button in the Digitize tool.
For information about
deck preferences, see
“Setting Deck
Preferences” on
page 81.
2. In an NTSC project, play the tape for a few seconds so the system can
detect the timecode format of the tape (drop-frame or non-drop-
frame). Otherwise, the system maintains the timecode format set in the
Deck Preferences dialog box, regardless of the format on the tape, and
you might receive a message indicating a wrong tape.
Accessing and Setting Up the Logging Tool
89
nDrop-frame timecode appears in the Timecode indicator with semicolons
between hours, minutes, seconds, and frames. Non-drop-frame timecode
appears with colons. For more information, see “Understanding Drop-
Frame Timecode and Non-Drop-Frame Timecode” on page 82.
For information on tape
naming conventions,
see “Guidelines for
Naming Tapes” on
page 85.
3. Provide the system with a tape name in one of the following ways:
tSelect the name of the tape from the list in the Select Tape dialog
box and click OK.
tClick the New button in the Select Tape dialog box if the tape is
not in the list. A new tape name line appears in the dialog box.
Type the new name and click OK.
Setting the Audio Sample Rate
Before you begin logging, you must select an audio sample rate.
To set the audio sample rate:
1. Double-click Audio Project in the Settings scroll list of the Project
window.
The Audio Project Settings dialog box opens.
2. Click the Sample Rate pop-up menu, and select either 44.1 kHz or 48
kHz.
3. Close the dialog box.
If you select Batch Digitize in your Avid editing system, and then select
the “Use the audio compression rate logged for each clip” option, you must
digitize at the same rate as the audio rate at which you logged the clips.
Chapter 4 Logging Source Material
90
Logging
The following methods are available for logging:
•Logging from a Source Tape
•Logging On-the-Fly
•Logging with the Deck Offline
Logging from a Source Tape
One method of logging is to use MediaLog tools to control a source deck,
to select shots from your source tapes, and to record clip data directly to a
bin.
Make sure you have set up all the required information for logging, as
described in “Configuring Decks” on page 72 and “Preparing to Log
Material” on page 84. After you establish your settings and specify your
bin, deck, and tape, the Logging tool is the only tool you need to log from a
tape to a bin.
The Logging tool provides flexibility in the way you mark your clips for
logging, as the following illustration shows.
Logging
91
Marking and Logging
The basic logging procedure involves marking IN and OUT points. You
mark IN and OUT points using the Mark buttons or by typing IN and OUT
timecodes.
The button in the top left corner of the Logging tool changes according to
the stage of logging you are in. When the button appears as a pencil,
MediaLog is ready to log the clip.
To log clips directly from a source tape to a bin:
1. Insert your tape into the deck.
The Logging Messages bar displays the message “Mark IN,”
indicating the system is waiting for you to mark an IN point. The Mark
IN button is displayed in the top left corner of the Logging tool.
2. Set either an IN point or an OUT point for the clip you want to log,
using one of the following methods:
Mark IN
button
Timecode entry
text boxes
Logging Messages
bar
Channel Selection
area
Clip name and
Comment heading
Source tape
display button
Bin name
Go To IN button
Clear IN button
Go To OUT button
Clear OUT button
Clear Memory button
Go To Memory button
Mark Memory button
Duration Mark button
Mark IN button
Mark OUT button
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tUse the deck controls in the Logging tool to cue your source tape
to the start or end point, and click the Mark IN or the Mark OUT
button.
tClick the Mark IN button in the upper left corner of the Logging
tool or press the F4 key.
tIf the footage starts at a known IN point or ends at a known OUT
point, type the timecode in the text box next to the Mark IN or the
Mark OUT button, press the Go To IN or the Go To OUT button to
scan the tape forward to the mark, or press Enter (Windows) or
Return (Macintosh) to enter the mark.
After you set the mark, the Mark IN button changes to the Mark OUT
and Log button or the Mark IN and Log button.
nThe Mark OUT and Log and Mark IN and Log buttons only appear when
the Pause Deck While Logging feature is not in effect. If you want to pause
the deck while you enter a clip name and comments, see “Pausing a Deck
While Logging” on page 95.
cFor an NTSC film-to-tape transfer or footage downconverted from
1080p/24, you must log the correct pulldown phase. See “Setting the
Pulldown Phase” on page 171 and “Entering Pulldown Information”
on page 175.
3. To finish logging the clip, do one of the following:
tSet the remaining IN or OUT point on-the-fly using the Mark IN
or Mark OUT buttons or by pressing the F4 key.
tClick the Mark OUT and Log or Mark IN and Log button.
tType a timecode for the clip’s IN point, OUT point, or duration in
the timecode text boxes next to the corresponding icon and press
Enter (Windows) or Return (Macintosh).
The system automatically calculates the appropriate timecode for the
remaining IN point, OUT point, or duration, and enters the clip into the
bin. The clip name, which is automatically numbered by the system, is
highlighted and ready to be changed.
Mark IN
Mark OUT
Mark IN
Go To IN
Go To OUT
Mark IN
and Log
Mark OUT
and Log
Logging
93
cYou must enter two of the three timecode marks (IN point, OUT point,
or duration) to complete the log entry.
4. Name the clip by typing a new name before clicking any of the buttons
in the Digitize tool.
nConsider changing the clip name immediately, because it is easy to forget
the contents of each clip if you are logging many clips. You can, if
necessary, accept the clip name and proceed with the logging process and
change the clip names in the bin at a later time.
5. Repeat these steps until you have logged all your clips.
nWhile viewing the footage, you can continuously update your marks on-
the-fly by clicking the Mark IN or the Mark OUT button repeatedly before
entering the second mark. See “Logging On-the-Fly” on page 94.
Adding a Memory Mark
You can add a memory mark to a particular location on a tape.
To mark the location:
tClick the Mark Memory button.
To move through the tape to the marked location:
tClick the Go To Memory button.
To clear the memory mark:
tClick the Clear Memory button.
Clear Memory button
Go To Memory button
Mark Memory button
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94
You can add one mark per tape. The memory mark is not stored on the
tape. When you remove the tape from the deck and insert another tape into
the decks, the mark is cleared.
Logging On-the-Fly
You can log clips while the tape is playing. This is called logging on-the-
fly. Logging on-the-fly requires the preparation described in the following
sections:
•“Selecting the Source Deck” on page 87
•“Identifying the Source Tape” on page 88
•“Setting the Audio Sample Rate” on page 89
You can log on-the-fly whether or not you already know where you want
to mark the IN and OUT points in your clips.
To log on-the-fly:
1. Insert your tape into the deck.
2. Open the bin where you want to store the clips, or create a new bin.
3. Select Bin > Go To Capture Mode.
4. Select the audio and video tracks you want to log and their tape name.
5. Play the tape.
6. Mark an IN point by pressing the E key or I key.
The timecode appears and the Logging Messages bar displays the
following message: “Mark OUT and Log.”
7. Mark the OUT point by pressing the R key or O key.
8. Log the clip by pressing the F4 key.
The clip is logged into the bin.
The clip name, which the system selects and numbers, is highlighted in
the bin and is ready to be changed. The default clip name is the bin
name plus a number.
9. (Option) Type a new name for the logged clip in the bin, and press
Enter (Windows) or Return (Macintosh).
Logging
95
10. Repeat these steps until you have logged all your clips.
Pausing a Deck While Logging
If the deck is playing while you log clips, you can direct MediaLog to
automatically pause the deck after you select an IN point and an OUT
point. While the deck is paused, you can enter the name and comment for
the clip you want to log.
To pause the deck while logging:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click the Logging setting and select the Pause Deck While
Logging option in the Logging Settings dialog box.
3. Start the deck playing.
4. When you reach the point where you want to start the clip, click the
Mark IN button (or press the F4 key). The Mark IN button changes to
the Mark OUT button, and the deck continues to play.
5. When you reach the point where you want to end the clip, click the
Mark OUT button (or press the F4 key again). The Mark OUT button
changes to the Log Clip button, and the deck pauses.
6. (Option) Enter a clip name and comment.
7. Click the Log Clip button (or press the F4 key again).
The system logs the clip in a bin, and the deck starts playing again.
Logging with the Deck Offline
You can also log material without controlling a source tape deck. If the
deck is not connected or not working, or if the tape is not available, you
can still log material as long as you know the timecodes.
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96
To log without a deck or tape:
1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Deck Preferences.
The Deck Preferences dialog box opens.
3. For NTSC projects, select either Non-drop Frame or Drop Frame from
the pop-up menu. This selects the timecode format for logging.
4. Click OK to close the Deck Preferences dialog box.
5. Make sure a bin is selected.
6. Select Bin > Go To Logging Mode.
The Logging tool opens.
7. Click the Source Tape Display button.
A message box opens and asks if you want to associate a tape with the
deck.
Logging
97
8. Click Yes to open the Select Tape dialog box.
9. Do one of the following:
tDouble-click the name of the tape.
tClick the New button, type the name of the tape you want to log,
and then click OK.
tSelect the name from the list, and then click OK.
10. In the Channel Selection area in the Logging tool, click the tracks you
want to log. For example, click V, A1, and A2.
11. Select the destination bin from the Bin pop-up menu.
12. Type the start timecode in the timecode entry text box for mark IN,
and press Enter (Windows) or Return (Macintosh).
13. Type the end timecode in the timecode entry text box for mark OUT,
and press Enter (Windows) or Return (Macintosh).
List of tapes
Chapter 4 Logging Source Material
98
14. Click the Log Clip button.
15. (Option) Rename the clip that appears in the destination bin.
Logging Film Information
Once you have entered or imported the basic log information into a bin,
you might want to add film-related log information before digitizing. For
information, see Appendix B.
Modifying Clip Information After Logging
You can change or modify the information logged into the bin. This is
especially useful if you find that some of the data is incorrect, or if you
need to update the information based on technical needs such as varying
timecode formats or film specifications.
There are two ways to modify clip information prior to digitizing:
• You can modify the information directly by clicking in a column and
by entering the new information one field at a time.
• You can use the Modify command to change selected groups of clips
all at once.
For information on modifying the pulldown phase, see “Setting the
Pulldown Phase” on page 171.
cModifying tape names and timecodes will affect any key numbers
entered for the selected clips.
Creating Avid Logs
You can use a text editor to log your source footage manually. An Avid log
lists video clips you want to capture for editing. You can create the logs in
Avid format, entering data about your source tapes and clips according to
Avid specifications.
Importing Logs
99
You can also modify an incompatible log to make it conform to Avid
specifications. To prepare an Avid log on any type of computer, use any
text editor. After you create logs, you can import them directly into
MediaLog bins.
Appendix A describes the format specifications for an Avid log and
includes a sample Avid log.
Make a separate log for each videotape, or log clips from several different
videotapes into one log. After you manually create an Avid log, you can
import it into MediaLog as described in “Importing Log Files into
MediaLog Bins” on page 101.
Importing Logs
Many logging programs and film-to-tape transfer systems create logs you
can import into your MediaLog project. You can open some logs directly
in MediaLog bins; others must be converted to Avid format first.
Importing Standard Log Files
If you are transferring film to video for logging in MediaLog, ask the
transfer house to log the source footage during the film-to-tape transfer.
You can import some standard film-to-tape logs directly into MediaLog
bins. Many other film-to-tape logs can be converted to Avid format using
Avid Log Exchange and then imported into MediaLog. A number of video
logging systems also produce files you can import into a MediaLog bin.
Compatible Logs
Use the File > Import command to import these files to a MediaLog bin:
• Avid Log Exchange (ALE)
• Log Right (file names that have the .ale file name extension)
• Excalibur (file names that have the .ale file name extension)
• Shotlister
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• Avid logs you create yourself, using a text editor (see “Creating Avid
Logs” on page 98)
• Logs converted into Avid format using Avid Log Exchange (file
names that have the .ale file name extension)
nAvid recommends that you convert any files not created on an Avid system
into Avid format using Avid Log Exchange. Avid Log Exchange is included
with most Avid video editing applications.
Table 7 lists the log formats that can be imported directly or converted for
import using Avid Log Exchange (ALE).
For information about using Avid Log Exchange, see the input and output
guide or user’s guide for your Avid editing system.
Table 7 Compatible Log Formats
Log Format Requirements File Name Extension
AatonBase Conversion required .atn or .atl
Avid Log Import directly .ale
CMX EDL Conversion required .cmx
Evertz Conversion required .ftl
Excalibur Conversion required .ale or .flx
FLEx Conversion required .flx
Keyscope Conversion required .ksl
Log Producer Conversion required .llp
Log right Import directly .ale
OSC/R (Macintosh®
only)
Conversion required .asc
OLE (Windows only) Conversion required .odb
Importing Logs
101
Importing Log Files into MediaLog Bins
To import log files into a MediaLog bin:
1. Open a bin and click its window to select it.
2. Select File > Import.
The Select files to Import dialog box opens. For Windows, select Files
of type > Shot Log Files (*.ale). For Macintosh, Shot Log Documents
is already selected as the file type.
3. Navigate to the drive and then to the folder that contains the log file
you want to import.
If the log is on a floppy disk, insert the floppy disk into the floppy
drive.
4. (Option) If you want to adjust import parameters for the shot log, click
the Options button.
The Import Settings dialog box opens.
5. Select one of the options from Table 8 and click OK.
Chapter 4 Logging Source Material
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Table 8 Import Settings Options
Option Description
Maintain events as logged. Select this option to maintain all events as
originally logged.
Combine events based on scene and automatically
create subclips.
Select this option to combine all the events for a
scene into a single master clip, and then link the
master clip to subclips that represent the original
events for that scene. To use this option, you must
have scene numbers logged into a scene column in
the bin.
Combine events based on camera roll and
automatically create subclips.
Select this option to combine all the events from a
camera roll into a single master clip, and then link
the master clip to subclips that represent the
original events for that camera roll. To use this
option, you must have camera roll numbers
logged into a camera roll column in the bin for a
film project.
Merge events with known sources and
automatically create subclips.
Select this option to create subclips for events that
are merged or relinked to their source clips upon
import. Use this option if you have already
entered master clips in a bin for each camera roll
or master scene, and have subsequently logged all
the events related to those clips for import.
nYou must select the clips that you want to
merge before selecting this option.
Merge events with known master clips. Select this option to merge information in the shot
log onto selected master clips based on the
matching tape name. Use this option if you have
already logged (or digitized) master clips in a bin
for each take.
nYou must select the clips that you want to
merge before selecting this option.
Importing Logs
103
6. Select files or deselect files from the source file list by doing one of the
following:
t(Windows only) To add a group of files, click the first file in a
group, and then Shift+click the last file in a group.
tTo deselect a single file from the file browser section (Windows)
or import section, Ctrl+click a highlighted file name (Windows) or
select a file name and click Remove (Macintosh).
7. Click Open (Windows) or Done (Macintosh) to import the selected
logs to the bin, or click Cancel to cancel the operation.
The bin fills with master clips derived from the information in the
imported shot log. Any additional information logged with each clip is
also imported.
8. To save the new master clips that came from importing the log, save
the bin.
Transferring Bins from Another MediaLog System
MediaLog bins are interchangeable with those of other releases. In general,
later releases of the MediaLog application accept bins from earlier
releases.
To transfer a bin from one MediaLog system to another MediaLog
system:
1. Save MediaLog project bins from the first MediaLog system on a
floppy disk.
2. Go to your second MediaLog system, and quit or minimize the
MediaLog application.
3. Double-click the Avid Projects folder in the Select User and Project
dialog box. Double-click the project folder where you want to store
MediaLog bins.
4. Insert the transfer floppy disk into the floppy drive on the second
MediaLog system.
5. Navigate to the floppy drive.
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6. Position the floppy drive window and your MediaLog project folder
window so you can see both.
7. Select (click) the MediaLog bins in the floppy drive window, and drag
them to your MediaLog project folder.
8. When you start your MediaLog program, open the imported bins in the
same way you open standard MediaLog bins.
Chapter 5
Organizing with Bins
The Avid system provides powerful database tools for organizing and
managing your digitized material. You can view bins in two different
display views. You can rename, print, sort, sift, duplicate, and delete clips.
This chapter covers the following topics:
•Preparing to Work with Bins
•Understanding Bin Display Views
•Basic Bin Procedures
•Using Text View
Preparing to Work with Bins
There are several procedures you might want to perform before organizing
your project because they affect the display of information in bins or the
way the clips play back during screening:
• When working with film projects, organize digitized clips according to
scene. This practice keeps crowded bins to a minimum. See “Film
Scene Workflow” on page 106.
• If you want to customize the types of objects displayed in a bin, see
“Setting the Bin Display” on page 106.
• If you need to group or multigroup material, see the editing guide or
user’s guide for your Avid editing system.
Chapter 5 Organizing with Bins
106
Film Scene Workflow
During the organizing phase, common practice on film productions is to
organize the digitized clips according to scene. This helps to simplify the
work environment for the editor, and keeps crowded bins to a minimum.
Use the various procedures described in this chapter to organize scene bins
according to the following basic workflow:
1. Create one bin for each scene using the procedures described in
“Creating a New Bin” on page 48.
2. Gather clips according to scene using one of the following optional
procedures:
tCopy clips for each scene from the digitize bins into the
appropriate scene bin, using procedures described in “Copying
Clips” on page 115.
tDuplicate the clips and then move the duplicates into the
appropriate scene bin, using procedures described in “Duplicating
Clips” on page 114.
3. Proceed to sort, sift, and organize the clips within each scene bin,
according to the editor’s preferences.
It is good practice to copy or duplicate clips as you reorganize them in
bins. As a result, the original source clips will remain in the appropriate
dailies bin if you ever need to redigitize according to source tape.
Setting the Bin Display
By default, your bins display all existing media objects except source clips.
To reduce crowding in the bin and to display only those objects that you
need to organize your project, you can display selected media objects.
You can use the Set Bin Display option to display clips referenced by a
sequence, even if the clips were not previously in the bin. Place a sequence
in a new bin and follow this procedure.
Preparing to Work with Bins
107
To set the bin display:
1. Click the window of the bin that you want to display.
2. Select Bin > Set Bin Display.
The Set Bin Display dialog box opens.
Table 9 describes the object icons listed in the Set Bin Display dialog
box.
3. Select the object types that you want to see: usually master clips and
subclips.
4. The option “Show clips created by user” is selected by default.
Deselect this option only if you want to hide all objects except those
created by the system.
Chapter 5 Organizing with Bins
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5. Select the option “Show reference clips” to automatically display
objects that are referenced by sequences in the bin, whether those clips
were previously in the bin or not.
6. Click OK.
The bin displays objects according to your specifications.
Table 9 describes the object icons.
Understanding Bin Display Views
There are two display views for viewing and working with clips in a bin:
Brief view and Text view. This section briefly describes each view.
Table 9 Object Icon Descriptions
Object Icon Object Description
Master Clips Clips that reference audio and video media files formed from digitized
footage or imported files
Subclips Clips that reference selected portions of master clips
Sequences Clips that represent edited programs, partial or complete, that you created
from other clips
Sources Clips that reference the original videotape source footage for master clips
Effects Clips that reference unrendered effects that you created
Motion Effects Files in the bin that reference effect media files generated when you
create motion effects
Rendered Effects Clips that reference effect media files generated when you render an
effect
Groups (For MultiCamera editing) Clips containing two or more grouped clips,
strung together sequentially according to common timecodes
Understanding Bin Display Views
109
nYou can resize each display view by clickingthe lower right corner of the
Bin window and and dragging it. The size of the display view is saved as a
user setting for that bin. The bin view retains its set size every time you
open that view of that bin, even in separate editing sessions. Each bin view
can have a different size.
Brief View
In Brief view, the system displays five standard columns of information
about the clips. You cannot customize the column headings in Brief view.
This view helps you manage your screen real estate.
To enter Brief view:
tClick the Brief tab in the bin.
nA different set of column headings appears for film projects.
Text View
For information on
Text view features, see
“Using Text View” on
page 124.
In Text view, clips are displayed in a database text format, using columns
and rows, with icons representing the various objects. You can save
various arrangements of columns, text, and objects as customized views.
See “Customizing Bin Views in Text View” on page 111.
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110
To enter Text view:
tClick the Text tab in the bin.
Bin Views
To the right of the Fast Menu button is the Bin View pop-up menu (Text
view only) for selecting different bin views. Bins have three default views
that are automatically installed:
For more information
on film and statistical
column headings, see
“Bin Column
Headings” on
page 141.
•Custom view: Allows you to create and save customized views. The
only required column heading is the Name heading, which is displayed
by default. You can customize the view by adding, hiding, or
rearranging column headings.
•Film view: Has film-related column headings, including key number,
ink number, pullin, and so on. If you are working on a non-film-related
project and select the Film view, a dialog box informs you that only
the non-film-related columns will be displayed.
•Statistics view: Uses the standard statistical column headings derived
from information established during capture, such as start and end
timecodes, duration, resolution, and so on.
Bin View pop-up menu
Text tab
Column
headings
Object icon
Bin Fast Menu
button
Understanding Bin Display Views
111
If you import a log file from your telecine transfer, most of this
information will be placed in the bin when you import the log. If you do
not have a film log, then you can enter this information manually by
highlighting the field in the bin and typing the information.
Customizing Bin Views in Text View
You can create and save customized bin views that you can easily access
from the Bin View pop-up menu. You can customize the bin view by
resizing the Bin window and adding, hiding, or rearranging bin columns.
The only required column heading is Name, which is displayed by default.
There are several ways to customize views of the bin:
• Alter the arrangement of existing columns in the standard Statistics
view or Film view to suit your needs, without adding or hiding
columns. These arrangements will be recalled each time you select
Statistics view or Film view.
• Add or hide columns of information to create customized Statistics or
Film views. They will be saved as additional view settings in
numerical order: for example, Statistics.1, Statistics.2, and so on,
unless you select another name.
• Add, hide, copy, or rearrange standard or customized columns in any
combination to create your own custom views. You can name and save
these views to suit your needs.
When you create a new bin view, the system saves the settings for this
view so that you can later access and alter, copy, or delete these settings.
New bin view settings appear in the Settings scroll list of the Project
window.
Saving a Custom Bin View
Any time you add, hide, or delete a column, the bin view name changes to
an italicized name with the file name extension .n to indicate that it no
longer matches the original view. If you select a new bin view setting
while the current setting is untitled or italicized, the system discards the
current setting.
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112
nIf you do not save the view after adding or deleting headings, it is
discarded.
To save a bin view:
1. Open a bin and click the Text tab.
For procedures on
adding, hiding, and
deleting bin columns,
see “Arranging Bin
Columns” on page 124.
2. Add or hide columns according to preference. The bin view name
becomes italicized.
3. Select Bin Fast > Save As.
The View Name dialog box opens.
4. Type a name for the custom view, and click OK.
Bin Fast Menu
All Bin menu commands are also available in the Bin Fast menu located in
the lower left corner of every bin. The Bin Fast menu is especially
convenient when you are working with several open bins and need to
access Bin menu commands quickly.
To open the Bin Fast menu:
tClick the Fast Menu button in the appropriate bin display view.
Basic Bin Procedures
113
Basic Bin Procedures
There are some basic procedures that you can use in either bin display
view for manipulating clips in the bin. They include selecting, deleting,
duplicating, moving, copying, and sifting clips.
You can also change the font and point size of the text in a bin. See
“Changing Font and Point Size” on page 64.
When you are working with bins, an asterisk (Windows) or a diamond
(Macintosh) appears before the bin name in the bin’s title bar. The asterisk
(Windows) or diamond (Macintosh) indicates that the changes to the bin
have not been saved. Once you save the bin, the asterisk (Windows) or
diamond (Macintosh) is removed.
nTo view a complete list of the bins in your project, see “Using the Bins
Display” on page 46.
Selecting Clips
To select a clip in a bin:
tClick the clip icon.
To select multiple clips in a bin, do one of the following:
t(Windows) Ctrl+click additional items.
t(Windows) Shift+click the first and last items.
t(Macintosh) Shift+click additional items.
tLasso several clips.
To reverse your selection:
tSelect Bin > Reverse Selection.
The items that you previously selected are deselected, and those items that
were previously deselected are selected.
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114
Duplicating Clips
When you duplicate a clip, the system creates a separate clip linked to the
same media files. You can move, rename, and manipulate this clip without
affecting the original clip.
To duplicate clips:
1. Select the clip that you want to duplicate, or select multiple clips.
2. Select Edit > Duplicate.
A copy of the clip appears in the bin, with the original clip name
followed by the file name extension .Copy.n, where n is the number of
duplicates created from the original clip.
Moving Clips
You can move clips to other bins in order to group and organize various
types of material based on project needs.
To move clips from one bin into another:
1. Create or open another bin. Give the bin a name that represents its
purpose or contents.
2. Position or resize the bins so you can see both of them at the same
time.
3. Select the clip that you want to move, or select multiple clips.
4. Click the clips and drag them to the new bin.
nIf the destination bin’s display has been set to show reference clips, the
referenced object types do not appear until you save the bin. For more
information on setting the bin display, see “Setting the Bin Display” on
page 106.
Basic Bin Procedures
115
Copying Clips
When you copy clips, you are essentially cloning the same clip in another
bin. Any change you make to the copy will affect the original as well. The
system does not add the .Copy.n file name extension to the clip as it does
when duplicating. You cannot copy clips to the same bin, and you cannot
return a clip copy to the same bin where the original resides.
When you copy clips from one bin to another, the custom columns that you
created in the first bin are also copied to the second bin. The custom
columns appear in the order in which you created them.
To copy clips from one bin to another bin:
1. Position or resize the bins so that you can see both of them at the same
time.
2. In the original bin, click the clip that you want to copy, or select
multiple clips.
3. While pressing the Alt key (Windows) or Option key (Macintosh),
drag the clips to the destination bin, and release the mouse button.
The copies appear in the destination bin and the originals remain in the
source bin. If the destination bin’s display has been set to show reference
clips, the referenced object types do not appear until you have saved the
bin.
Deleting Clips and Subclips
To delete clips and subclips from a bin:
1. Select the clips and subclips you want to delete.
2. Select Edit > Delete, or press the Delete key.
The Delete dialog box opens and shows information about the selected
items (for example, one master clip).
To protect you from accidentally deleting important information, the
master clips, by default, are not marked for deletion.
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3. To mark a master clip for deletion, select the check box next to the
item. To exempt the master clip from deletion, select the check box
again.
4. Click OK.
Assigning Colors to Bin Objects
You can assign colors to clips and subclips to help you manage and
organize the bin objects. Colors assigned to bin objects are referred to as
source colors.
Adding a Color Column to a Bin
To add a Color column to a bin:
1. With a bin in Text view, select Bin > Headings.
The Bin Column Selection dialog box opens.
2. Ctrl+click (Windows) or click (Macintosh) Color from the scroll list to
select it.
3. Click OK.
The Color column appears in the bin.
nBy default, a new column appears as the last column in the bin. To move
the Color column, click the Color column heading and drag it to the left.
Assigning a Source Color
To assign a color to a clip or subclip in a bin:
1. With a bin in Text view, select the bin objects to which you want to
assign a color.
2. Select Edit > Set Clip Color, and select a color from the submenu.
The color appears in the Color column and on the clip icon.
nYou can also assign a color by clicking in the Color column and choosing
a color from the pop-up menu.
Basic Bin Procedures
117
Assigning a Custom Source Color
To assign a custom color to a clip or subclip in a bin:
1. With a bin in Text view, select the bin objects to which you want to
assign a color.
2. Select Edit > Set Clip Color, and select Pick from the submenu.
The Windows Color dialog box or the Macintosh Color Picker opens.
3. Select a color from the Windows Color dialog box or the Macintosh
Color Picker, and click OK.
The custom color appears in the Color column and on the clip icon.
nAfter you assign a custom color, the color appears as Other in the Set Clip
Color submenu.
Limiting Color Choices
When assigning colors to bin objects, you can limit the color choices to
only the colors currently used in the bin.
To limit the colors available when assigning colors to bin objects:
1. With a bin in Text view, select the bin objects to which you want to
assign a color.
2. Alt+click (Windows) or Option+click (Macintosh) in the Color
column in the bin.
A menu of all the colors you are using in the bin appears. Any custom
colors you assigned are labeled Other.
3. Select one of the colors.
The color appears in the Color column and on the clip icon.
Sifting Clips
When you sift clips, the bin displays only those clips that meet a specific
set of criteria. For example, you can do a custom sift to display only those
clips containing the word “close-up” in the heading column. The Custom
Sift dialog box provides six levels of criteria.
Chapter 5 Organizing with Bins
118
To sift clips:
1. Select Bin > Custom Sift.
The Custom Sift dialog box opens.
2. Click the Criterion pop-up menu and select one of the sifting options.
3. Click the first Text to Find text box, and type the text that you want to
use as a sift criterion. When sifting by color, type the exact name of the
color (using uppercase and lowercase letters) in the text box.
4. Click the Column or Range to Search pop-up menu, and select a
column heading to which you want to apply the criterion.
5. Type additional sift criteria, and make additional column selections as
necessary.
6. Click OK.
Only the clips that meet your criteria remain in the bin, with the word
“sifted” added to the bin name.
Column or Range to
Search pop-up menu
Text to Find text box
Criterion pop-up menu
Basic Bin Procedures
119
After you have sifted the clips in a bin, you can display the bin in a sifted
or an unsifted state.
To view the entire bin:
tSelect Bin > Show Unsifted.
To view the sifted bin:
tSelect Bin > Show Sifted.
The word “sifted” appears in parentheses after the bin name when you
view the bin in its sifted state.
Sifting Timecodes or Keycode Ranges
You can sift on a timecode (or keycode) number within a specific range.
For example, you can sift for all the clips that start before and end after a
particular timecode.
Type 01:08:32:00 in the Text to Find text box in the Custom Sift
dialog box, and select Start to End Range from the Column or Range to
Search pop-up menu.
Before custom sift
Chapter 5 Organizing with Bins
120
Some column pairs explicitly define a range; for example, Start and End or
Mark IN and Mark OUT. Other columns define the beginning of a range,
and the end of the range is determined by the Duration column. For
example, Auxiliary TC1 implies a range that begins at the value in the
Auxiliary TC1 column, and ends at that value plus the value in the
Duration column.
If you display any column in the bin that is associated with ranges, either
explicit or implicit, the corresponding range menu item appears in the
Column or Range to Search pop-up menu of the Custom Sift dialog box.
For example, if you select to display the Start column and the Auxiliary
TC1 column in the bin, the Start to End Range and Auxiliary TC1 Range
menu choices will appear in the Column or Range to Search pop-up menu.
When specifying a timecode or keycode number, you do not need to enter
colons or semicolons, and the leading zero can be omitted. For example,
you can enter 3172000 as a timecode number.
Keycodes contain letters, numbers, and a dash before the feet and frames;
for example, KJ236892 -0345+13. When sifting on a keycode number, you
only have to enter the numbers after the dash (the actual counter portion).
After custom sift
The clips that
encompass the
timecode number
01:08:32:00
Basic Bin Procedures
121
Any information before the dash is ignored. If you do enter characters
before the dash, they must match the corresponding characters in the bin
column exactly.
Table 10 lists all columns associated with explicit ranges and their
corresponding menu choices:
Table 11 lists all columns associated with implicit ranges and their
corresponding menu choices.
Table 10 Range Menu Items for Explicit Ranges
Bin Column (Explicit Ranges)
Column or Range to Search
Pop-up Menu Item
Start, End Start to End Range
Mark In, Mark Out Mark In to Out Range
KN Start, KN End KN Start to End Range
KN Mark In, KN Mark Out KN Mark In to Out Range
Table 11 Range Menu Items for Implicit Ranges
Bin Column (Implicit Ranges)
Column or Range to Search
Pop-up Menu Item
Duration Determines the end of an implicit
range
Film TC Film TC Range
Sound TC Sound TC Range
Auxiliary TC1 Auxiliary TC1 Range
Auxiliary TC2 Auxiliary TC2 Range
Auxiliary TC3 Auxiliary TC3 Range
Chapter 5 Organizing with Bins
122
Sifting Within a Range
To sift for a timecode or keycode number within a specific range:
1. Select Bin > Custom Sift.
The Custom Sift dialog box opens.
Auxiliary TC4 Auxiliary TC4 Range
Auxiliary TC5 Auxiliary TC5 Range
Ink Number Ink Number Range
Auxiliary Ink Auxiliary Ink Range
Table 11 Range Menu Items for Implicit Ranges (Continued)
Bin Column (Implicit Ranges)
Column or Range to Search
Pop-up Menu Item
Criterion pop-up menu Column or Range to Search pop-up menu
Basic Bin Procedures
123
2. Type the timecode (or keycode) number for which you want to sift in a
range.
3. Select a range from the Column or Range to Search pop-up menu; for
example, Start to End Range or Mark In to Out Range.
The criterion “contain” is displayed in the Criterion pop-up menu. If
you try to change this criterion, a blank will be displayed in the
Column or Range to Search pop-up menu.
4. Click OK.
The bin will display those clips that encompass the timecode (or
keycode) number that you entered.
Locking and Unlocking Items in a Bin
You can lock items in a bin to prevent deletion. When you lock clips in a
bin, you lock their associated media files on your desktop as well.
To lock items:
1. Click a clip or subclip to select it. Ctrl+click (Windows) or Shift+click
(Macintosh) additional clips, if necessary.
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) and select
Lock Bin Selection.
For more information
on displaying columns,
see “Showing and
Hiding Columns” on
page 125.
A Lock icon appears for each locked clip in the Lock column of the bin
in Text view.
Chapter 5 Organizing with Bins
124
To unlock previously locked items:
1. Select the items in the bin.
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) and select
UnLock Bin Selection.
Using Text View
Text view provides the most complete view of clip information. It uses
database columns you can rearrange and customize to suit your needs. For
information about saving a custom bin view, see “Saving a Custom Bin
View” on page 111.
To enter Text view:
tClick the Text tab in the bin.
Arranging Bin Columns
This section provides procedures for moving, aligning, showing and
hiding, deleting, duplicating, adding, and changing columns in a bin.
Lock icon
Using Text View
125
Moving and Rearranging Columns
To move a text column in a bin:
1. Click the heading of the column you want to move.
The entire column is selected.
2. Click the column and drag it to the position you want, and release the
mouse button.
The column appears in the new position, and columns to the right are
moved to make room.
Aligning Bin Columns
When you align bin columns, the system maintains the same order of
columns from left to right, but spaces them according to the length of
contents. This is especially useful for removing spaces left after moving or
rearranging columns.
To align bin columns:
tSelect Bin > Align Columns.
Showing and Hiding Columns
You can select individual or multiple headings to be displayed or hidden in
the bin. For a complete description of each column heading, see Table 16.
To select column headings:
1. With a bin in Text view, select Bin > Headings.
The Bin Column Selection dialog box opens.
Chapter 5 Organizing with Bins
126
2. Select the headings you want to add to the bin:
tClick the name of a heading to select it.
tClick a selected heading to deselect it.
tClick All/None to select or deselect all the headings.
3. Click OK.
Only the headings selected in the Bin Column Selection dialog box
appear in the bin or bin view.
Deleting a Column
Deleting a statistical column is the same as hiding the column; you can
restore the column at any time using the Bin Column Selection dialog
box, as described in “Showing and Hiding Columns” on page 125.
When you delete a custom column, however, you must re-create the
column.
Using Text View
127
To delete a column:
1. Click the column heading in a bin.
2. Select Edit > Delete or press the Delete key.
The column disappears from the view, and surrounding columns fill
the empty space.
Duplicating a Column
You can duplicate existing columns containing timecode information into
other compatible columns that you target in a dialog box.
To duplicate a timecode column:
1. Select the column you want to duplicate by clicking its heading.
2. Select Edit > Duplicate.
The Select dialog box opens.
Columns that
may appear
Chapter 5 Organizing with Bins
128
In the example, “Copy ‘Start’ column to:” appears at the top of the
dialog box because the user selected the Start column for duplication.
3. Select a column name from the list.
The column must contain the same type of data for the copy to occur.
For example, you can copy start timecodes to the Auxiliary TC
column, but you cannot copy timecodes to the Pullin column.
4. Click OK.
The column of information appears in the column you designated.
When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P, or
TC 30), the values for master clips and subclips are converted to the
appropriate timecode. For more information, see “Displaying Timecodes
in a 23p, 24p or 25p Project” on page 138.
Adding Customized Columns to a Bin
In addition to the standard statistical or film column headings, you can add
your own column headings to describe information about clips. For
example, you might want to add a column heading to describe what kind of
shot (close-up, wide shot, master shot, extreme close-up, and so on) is used
in a clip.
To add a new custom column:
1. Click an empty area to the right of the current headings in the headings
box.
2. Move any existing column to the right or left in order to create an
empty area.
3. Type the column heading you want, and press Enter (Windows) or
Return (Macintosh). Column headings must contain fewer than 14
characters, including spaces.
This places the pointer in the data box, beside the first clip in the bin.
4. Select Bin > Align to Grid after you have entered the new column
heading.
5. Type the information, and press Enter (Windows) or Return
(Macintosh) to move to the next line.
Using Text View
129
Changing a Custom Column Heading
You can change the heading name of custom columns only. You cannot
change any of the standard column headings.
To change the name of a custom column:
1. Press and hold the Alt key (Windows) or Option key (Macintosh), and
click the heading to highlight it.
2. Type the new text for the heading, and press Enter (Windows) or
Return (Macintosh).
Managing Clip Information in Text View
For additional bin
shortcuts, see the quick
reference guide for
your Avid editing
system.
There are several ways to manage clip information in bin columns. These
methods include copying information between cells, moving information
between whole columns, sorting clip information, and modifying clip data,
as described in this section.
Moving Within Column Cells
Use the keyboard shortcuts to move from cell to cell in bin columns:
•Tab: Moves the pointer to the parallel cell in the next column. You
can continue to press the Tab key to scroll through the cells to the right
until the cell in the last column is highlighted. The next time you press
the Tab key, the cell in the first column is highlighted.
•Shift+Tab: Moves the pointer left to the cell in the previous column.
You can continue to press the Shift+Tab keys to scroll through cells to
the left until the cell in the first column is highlighted. The next time
you press Shift+Tab, the cell in the last column is highlighted.
•(Windows) Enter key on the main keyboard: Enters any new
information typed into the cell and moves the pointer down to the cell
in the next row. You can continue to press Enter to scroll down the
column until the last cell in the column is highlighted. The next time
you press the Enter key, the first cell in the column is highlighted.
Chapter 5 Organizing with Bins
130
•(Windows) Shift+Enter keys on the main keyboard: Move the
pointer up to the cell in the previous row. You can continue to press
the Shift+Enter keys until the cell in the top row is highlighted. The
next time you press the Shift+Enter keys, the cell in the last row is
highlighted.
•(Macintosh) Return: Enters any new information typed into the cell
and moves the pointer down to the cell in the next row. You can
continue to press Return to scroll down the column until the last cell in
the column is highlighted. The next time you press the Return key, the
first cell in the column is highlighted.
•(Macintosh) Shift+Return: Move the pointer up to the cell in the
previous row. You can continue to press the Shift+Return keys until
the cell in the top row is highlighted. The next time you press the
Shift+Return keys, the cell in the last row is highlighted.
Modifying Clip Information
You can change or modify the information in certain columns for your
master clips, subclips, tapes, and other objects stored in the bin. This is
especially useful if some of the data is incorrect, or if you need to conform
information for organizational purposes.
The following conditions apply to modifying clip information:
• When you modify a clip’s information, related objects are
automatically updated to reflect the new data. For example, if you
change the name of a clip, the updated name appears in the sequences
that use the clip.
• Some data cannot be modified after digitizing because changes would
prevent you from playing back and editing the material successfully.
• Sequence data cannot be changed, even though it appears in your bin.
The only way to modify sequence data is to edit the sequence itself.
You can, however, change the name and start time for the master
timecode track. For more information, see the editing guide or user’s
guide for your Avid editing system.
Using Text View
131
There are two ways to modify data:
• You can modify some data directly for master clips, subclips, and
other objects stored in a bin.
• You can use the Modify command to change specific information for
master clips only.
Modifying Data Directly
When you modify information in a bin directly, you click a cell and type
the new information. For example, you can type a new name for a clip, or
correct the start and end timecodes.
You can directly modify any data in the bin while logging and prior to
digitizing. After the footage is digitized, however, you can directly modify
information only in selected headings, with restrictions, as shown in
Table 12.
nFor more information on these headings, see “Bin Column Headings” on
page 141.
Table 12 Modifiable Bin Headings
Heading Restrictions
(Clip) Name No restrictions.
Mark IN Altering the mark IN also alters the IN to OUT duration. This replaces
any previous mark.
Mark OUT Altering the mark OUT also alters the IN to OUT duration. This
replaces any previous mark.
Color No restrictions.
Color Framing Must be according to tape specifications.
Auxiliary timecodes, 1–5 No restrictions.
Chapter 5 Organizing with Bins
132
cModifying tape names and timecodes will affect any key numbers
entered for the selected clips.
To modify the clip data directly in a bin:
1. Click the Text tab in the bin to enter Text view.
2. Click the cell you want to modify. Select only one item at a time. In
this example, the timecode data is highlighted.
3. Click the cell again to enter text.
KN (Key Number) Start Only for 24p projects, 25p projects, and matchback projects. Altering
the starting key number also alters the KN End to maintain the
duration. This can cause discrepancies with any auxiliary timecode
information you entered manually.
KN (Key Number) End Only for 24p projects, 25p projects, and matchback projects. Altering
the KN End also alters the KN Start to maintain the duration.
Pullin Only for 24p projects and matchback projects. Pullin data imported
from a telecine-generated list can be altered directly only before
digitizing or after unlinking. See “Setting the Pulldown Phase” on
page 171 (NTSC only).
Pullout Automatically calculated. This field cannot be modified.
Table 12 Modifiable Bin Headings (Continued)
Heading Restrictions
Using Text View
133
If the pointer does not change to an I-beam, you might be attempting to
modify a column that cannot be directly modified.
4. Type the new information, and press Enter (Windows) or Return
(Macintosh).
Using the Modify Command to Modify Data
The Modify command gives you specialized control over groups of clip
information. For example, you can use the Modify command to change the
name of source tapes, or to increment or decrement the start and end
timecodes by a specified length of time for one or several clips at once.
For a complete
description of the
Modify dialog box
options, see the input
and output guide or
user’s guide for your
Avid editing system.
You can apply changes with the Modify command to master clips only;
subclips cannot be altered in this way. In addition, you can only perform
modifications that alter the end timecodes or the tracks before digitizing, as
described in Table 13.
Table 13 Modify Command Options
Type of Modification Options Description
Set Timecode Drop/
Nondrop
Drop, Nondrop Changes the timecode format between drop-
frame and non-drop-frame. Setting must match
the timecode format of the tape.
Set Timecode By Field Start or End Changes either the start or end timecode. Only
start timecode can be altered after digitizing.
Hour, Minutes, Seconds,
Frames
Allows you to enter custom timecode.
Increment Timecode Start or End Changes either the start or end timecode.
Incrementing the start timecode automatically
modifies the end timecode by the same
amount. Only start timecode can be
incremented after digitizing.
Timecode text box Allows you to enter custom incremental
timecode.
Chapter 5 Organizing with Bins
134
To modify selected data, using the Modify command:
1. Open the bin and click the Text tab.
2. Click the icon to the left of the clip or other object you want to modify.
Ctrl+click (Windows) or Shift+click (Macintosh) each additional
object you want to modify.
3. Select Special > Modify.
The Modify dialog box opens.
Decrement Timecode Start or End Changes either the start or end timecode.
Decrementing the start timecode automatically
modifies the end timecode by the same
amount. Only start timecode can be
decremented after digitizing.
Timecode text box Allows you to enter new decremental
timecode.
Set Key Number
Generic (Prefix)
Key Number text box Allows you to enter a custom generic key
number. Only for 23p, and matchback projects.
See “Entering Key Numbers” on page 180.
Set Pullin A, B, C, or D Selects the pulldown phase to match to the
timecode entry (23p and matchback projects
only). For more information, see “Entering
Pulldown Information” on page 175.
Set Tracks V, A1, A2, A3, A4, A5,
A6, A7, and A8 track
selector buttons
Changes the clip’s configuration of tracks (film
projects only). The clip must be unlinked. For
information on unlinking clips, see the editing
guide or user’s guide for your Avid editing
system.
Set Source None Opens the Select Tape dialog box. Selects
another source tape name for the clips that
should match the original source tape name.
Table 13 Modify Command Options (Continued)
Type of Modification Options Description
Using Text View
135
4. Select an option, such as Modify Options > Set Timecode By Field.
5. Select an option or type information into the text boxes (timecode
values, for example) when they appear.
6. Click OK.
The modification takes effect.
Copying Information Between Columns
The following procedure describes how to copy all the information in one
column to another column, or just to copy information from a cell to a
column. The procedure uses an example of copying timecode information
in one column to a new column.
Modify Options
pop-up menu
Chapter 5 Organizing with Bins
136
To copy column information to another column:
1. Select the timecode column you want to copy.
2. Select Edit > Duplicate.
The Select dialog box opens, prompting you to target a timecode
column for the data.
3. Select the target column for the data, and click OK.
To copy information from another cell in a custom column:
1. Press and hold the Alt key (Windows) or Option key (Macintosh)
while you click in the destination cell to reveal a pop-up menu of all
items entered in that column.
2. Select the text from the menu.
The text appears in the cell.
Sorting Clips in Text View
Sorting clips arranges them in either numerical order, alphabetical order,
or by color, based on the data in the column you select as the sorting
criteria. You can sort clips in several different ways, including an
ascending sort, a descending sort, or a multilevel sort.
Sorting Clips in Ascending Order
To sort clips in ascending order:
1. With a bin in Text view, click the heading of the column you want to
use as the criterion.
The column is highlighted.
2. Select Bin > Sort.
The objects in the bin are sorted in ascending order.
nIf the Sort command appears dimmed in the menu, you have not selected a
column.
Using Text View
137
To reapply the last sort:
tSelect Bin > Sort Again with no column selected.
This step is especially useful after you have added new clips to a sorted
bin.
Sorting Clips in Descending Order
To sort clips in descending order:
1. With a bin in Text view, click the heading of the column you want to
use as the criterion.
The column is highlighted.
2. Press and hold the Alt key (Windows) or Option key (Macintosh)
while you select Bin > Sort Reversed.
The objects in the bin are sorted in descending order.
Multilevel Sorting with Columns
You can select multiple columns in a bin and perform a multilevel sort
using the information in the columns.
To perform a multilevel sort using the information in the bins:
1. With a bin in Text view, arrange the columns in the bin to establish the
primary column.
The column that appears farthest to the left in Text view becomes the
primary criterion for the sorting operation.
2. Select the columns you want to sort.
The columns are highlighted.
3. Select Bin > Sort.
The objects in the bin are sorted.
Sorting Clips by Color
You can sort the clips by color if you assigned colors to the clips. See
“Assigning Colors to Bin Objects” on page 116.
Chapter 5 Organizing with Bins
138
To sort clips by color:
1. Click the Color column heading in the bin.
2. Select Bin > Sort.
The objects in the bin are sorted by color.
nColors are sorted by hue, saturation, and value.
Displaying Timecodes in a 23p, 24p or 25p Project
When you are working with 23p, 24p and 25p projects, you can add
timecode columns to bins to enter and display starting timecodes in several
timecode formats for master clips and subclips.
After you add a timecode column (TC 24, TC 25, TC 25P, or TC 30) to a
bin, you can use the Duplicate command to convert the values for master
clips and subclips to the appropriate timecode for that column.
For example, when working with a 24p NTSC project, if you duplicate the
Start column values to one of the timecode columns and the Start column
contains a master clip with the timecode 01:00:00:15, the timecode is
converted to the timecode of that column.
Table 14 shows the converted timecode for each timecode column. All of
the values are equivalent.
Table 14 Timecode Columns
Bin Column Timecode
TC 24 01:00:00:15
TC 25 01:00:00:15
TC 25P 01:00:00:16
TC 30 01:00:00:19
Using Text View
139
nThe TC1 track in the Timeline represents the timecode of the project in
which you are working. For example, when you are working in a 24p
NTSC project, the TC1 track displays the same timecode as the TC 30
track.
Frame Counting for Timecodes
Table 15 shows the frame count for each of the timecodes. The timecodes
are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 (PAL with pulldown),
and 30 for 30 fps (the count skips 6 frames to fit 30 frames into 24 fps).
Adding Timecode Columns to a Bin
To add timecode columns to a bin:
1. Select Bin > Headings.
The Bin Column Selection dialog box opens.
2. Ctrl+click (Windows) or click (Macintosh) the timecode columns you
want to display.
3. Click OK.
The timecode columns appear in the bin.
Table 15 Timecode Frame Counts for Record
Timecode Frames
24 00 0
1
0
2
0
3
0
4
05 06 0
7
08 0
9
1
0
1
1
1
2
13 1
4
1
5
16 17 18 1
9
2
0
2
1
22 23 0
0
25 00 0
1
0
2
0
3
0
4
05 06 0
7
08 0
9
1
0
1
1
1
2
13 1
4
1
5
16 17 18 1
9
2
0
2
1
22 23 2
4
25P 00 0
1
0
2
0
3
0
4
05 06 0
7
08 0
9
1
0
1
1
1
3
14 1
5
1
6
17 18 19 2
0
2
1
2
2
23 24 0
0
30 00 0
1
0
3
0
4
0
5
06 08 0
9
10 1
1
1
3
1
4
1
5
16 1
8
1
9
20 21 23 2
4
2
5
2
6
28 29 0
0
Chapter 5 Organizing with Bins
140
Adding Timecode Values to the Timecode Columns
To add timecode values to the timecode columns:
1. Open a bin.
2. Add the Start column and the timecode column with the format you
want to use.
3. Select the Start column.
4. Select Edit > Duplicate.
The Select dialog box opens.
5. Select the timecode heading from the list.
6. Click OK.
The values for master clips and subclips in the Start column are
converted to the appropriate timecode format and are entered into the
column you selected.
Using Text View
141
Bin Column Headings
You can select individual or multiple headings to be displayed or hidden in
a bin. Table 16 describes the Bin Column Selection headings. For a
procedure on how to select column headings, see “Showing and Hiding
Columns” on page 125.
Table 16 Bin Column Selection
Heading Description
Name This heading does not appear as a column selection, but it always appears in
the bin. The column contains the name of the clip (you can rename a clip after
it has been digitized).
Audio The audio resolution (sample rate).
Audio Format The audio format of master clips (AIFF-C, SDII, or WAVE).
Auxiliary Ink Auxiliary ink format settings allow you to display two types of ink numbers at
the same time. This lets you track additional types of film information for
different film gauges. Used for 24p projects, 25p projects, and matchback
projects only.
Auxiliary TC1
through TC5
You can enter an auxiliary timecode, such as Aaton® or Arri®, or another
timecode for editing film or audio timecode for film. (Not restricted to film
projects.)
CFPS The captured frames per second.
Camera The camera used to film this clip. This feature is used in multicamera shoots.
Camroll The camera roll containing this clip. Used for 24p projects, 25p projects, and
matchback projects only.
Color The color of the bin objects for organizing the objects.
Color Framing The color framing for the tape. For NTSC, the choice is Even or Odd. For
PAL, the choices are A Standard, A Non-Standard, B Standard, or B Non-
Standard.
nAfter you add the column to the bin, click in the column and choose a
color framing option from the pop-up menu.
Chapter 5 Organizing with Bins
142
Creation Date The date and time the clip was logged or digitized.
Drive The last known drive on which the media for that master clip existed.
Duration The length of the clip.
End The timecode of the clip’s tail frame.
FPS The play rate: the number of frames to be displayed each second. The default
is 29.97 for NTSC and 25 for PAL for video. The play rate can also be 24 or
23.98.
Film TC The timecode used on film. Used for 23p, 24p and 25p projects only.
Frame Displays the same frame that is displayed when you select Frame view for the
bin. The frame will only appear in the bin after the media is digitized in the
Avid editing application.
IN-OUT The length of the marked segment, if any.
Ink Number The ink number for the clip. Used for 23p, 24p projects, 25p projects, and
matchback projects only.
KN Duration The length of the clip, expressed in feet and frames. Used for 23p, 24p
projects, 25p projects, and matchback projects only.
KN End The ending key number for the clip. Used for 23p, 24p projects, 25p projects,
and matchback projects only.
KN IN-OUT The Mark IN and Mark OUT key number for the clip. Used for 23p, 24p
projects, 25p projects, and matchback projects only.
KN Mark IN The key number for the IN point, if you set one for the clip. Used for 23p, 24p
projects, 25p projects, and matchback projects only.
KN Mark OUT The key number for the OUT point, if you set one for the clip. Used for 23p,
24p projects, 25p projects, and matchback projects only.
KN Start The starting key number for the clip. Used for 23p, 24p projects, 25p projects,
and matchback projects only.
Labroll The labroll containing the clip.
Table 16 Bin Column Selection (Continued)
Heading Description
Using Text View
143
Lock Specifies whether the clip is locked against deletion.
Mark IN The timecode for the IN point, if you set one for the clip.
Mark OUT The timecode for the OUT point, if you set one for the clip.
Modified Date The date and time a sequence was last edited or changed.
Offline The track names for any media files that are offline.
Perf The film edge perforations format used for 3-perf projects. Used for
24p projects, 25p projects, and matchback projects only.
Project The project under which the media was originally digitized.
Pullin The telecine pulldown of the first frame of the clip (pulldown phase). Pullin
can have the values A, B, C, or D. Used for 24p projects and matchback
projects only (NTSC only).
Pullout The telecine pulldown of the last frame of the clip (pulldown phase). Pullout
can have the values A, B, C, or D. Used for 24p projects and matchback
projects only (NTSC only).
Reel # The source reel number. Used for 23p, 24p and 25p projects only.
Scene The scene number of the clip.
Shoot date The date the footage was shot.
Slip The number and direction of perfs for subclips (audio clips only). Used for
24p and 25p projects only.
Sound TC The timecode for audio.
Soundroll The sound roll this clip came from. Used for 23p, 24p projects, 25p projects,
and matchback projects only.
Start The timecode of the clip’s head frame.
TC 24 The 24-fps timecode. Used for 24p and 25p projects only.
TC 25 The 25-fps timecode, no pulldown. Used for 24p and 25p projects only.
Table 16 Bin Column Selection (Continued)
Heading Description
Chapter 5 Organizing with Bins
144
TC 25P The 25-fps timecode with PAL pulldown. Used for 24p and 25p projects only.
TC 30 The 30-fps timecode with 2:3 pulldown. Used for 24p and 25p projects only.
Take The take number of the scene.
Tape The source tape name.
Tracks All tracks used by this media object.
VITC The vertical interval timecode.
Video The resolution under which the media for that clip was digitized.
Table 16 Bin Column Selection (Continued)
Heading Description
Chapter 6
Creating MediaLog Output
Once you have finished logging your tapes, you can print the bins to create
a paper record of your log, export the bin files for use in a different
application, or transfer the bins to an Avid editing system for digitizing and
editing the footage.
This chapter covers the following topics:
•Printing Bins
•Exporting Bins
•Transferring Bins to an Avid Editing System
•Transferring Projects and Bins Using AFE Files
Printing Bins
Before you print MediaLog bins, make sure a printer driver has been
installed and your computer recognizes the driver. If the driver is installed
properly, simply restarting your computer will cause the system to
recognize the driver.
nDirections for installing the printer driver and selecting the
printer should be included in the documentation for your printer and for
your computer system.
The Avid application allows you to print entire bins or individual frames in
hardcopy form.
Chapter 6 Creating MediaLog Output
146
To print entire bins in Brief or Text view:
1. Make sure your printer is correctly set up. See the Help or your system
administrator.
2. Click the Brief tab (Brief view) or Text tab (Text view) of the bin to
select the view you want to print.
3. Select File > Page Setup.
The Page Setup dialog box opens, reflecting the specific options for
your printer.
4. Select the Page Setup options.
5. Click OK.
6. Select File > Print Bin.
The Print dialog box opens, reflecting the specific options for your
printer.
7. Select the Print options.
8. Click OK (Windows) or click Print (Macintosh).
The system prints the active bin.
Exporting Bins
You can save the bin information in a text file for use with other
applications. The information is saved in an ASCII file (TAB Delimited)
and is organized in the following way:
• Line 1 is a list of the headings in the current Bin view. This line is
optional.
• Each remaining line is data for an individual clip, with tabs delimiting
each category of information. These lines are separated by carriage
returns.
The file can be opened in any word processing or text editing package, or it
can be imported into a database file created by applications like Microsoft
Excel and Claris® FileMaker®.
Exporting Bins
147
The information can also be saved as a shot log in Avid format (ALE) for
importing to an Avid editing system bin.
You can export a shot log file from the Avid system in one of two formats
for making adjustments in a text processor or for importing into another
system.
To export a shot log based on clip information in a bin:
1. Open the bin containing the clips you want to export. If necessary,
click the Text tab to display all clip information.
2. Click a Clip icon to select it. Ctrl+click (Windows) or Shift+click
(Macintosh) each additional clip you want to export.
3. Select File > Export.
The Export As dialog box (Windows) or Destination dialog box
(Macintosh) opens with a default file name in the File name text box
(Windows) or Export As text box (Macintosh), based on the file type.
4. Select the Export setting by doing one of the following:
tIf you have previously created an Export setting for exporting shot
log files, click the Export pop-up menu, and select the setting.
Then, go to step 9.
tIf you want to review or edit Export settings, go to step 5.
5. Click Options.
The Export Settings dialog box opens.
6. Click the Export As pop-up menu, and select one of the following:
tSelect Avid Log Exchange to export the selected bin as a shot log
file that complies with ALE specifications. For information about
Avid Log Exchange, see Table 7 on page 100.
tSelect Tab Delimited to export the selected bin as a tab-delimited
ASCII text file.
nALE 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.
Chapter 6 Creating MediaLog Output
148
7. To modify an existing setting, select Save.
8. To save the setting with a new name, select Save As and type a name
in the dialog box that opens.
The Export Setting name is added to the list of formats available from
the Export dialog box.
9. Click Save to close the Export As dialog box (Windows) or the
Destination dialog box (Macintosh).
10. (Option) Change the file name. In most cases, keep the default file
name extension.
Select the destination folder for the file and click Save.The file is
exported and appears at the selected destination.
Transferring Bins to an Avid Editing System
Bins you have created on a MediaLog system can be transferred to an Avid
editing system and then opened directly from within an Avid editing
project.
The clips logged in the transferred bins are ready for batch digitizing; no
additional preparation is required.
It is best to transfer only bins, without projects, to the Avid editing system.
Then if you want, you can digitize the bins using a different video
resolution.
You can transfer bins in the same way you transfer any files: on a floppy
disk, removable disk, or over a network.
To transfer MediaLog bins to an Avid editing system:
1. On your computer desktop, locate and double-click the Avid Projects
folder in the Select User and Project dialog box (see “Setting Up
Project Files and Folders” on page 31).
The default locations for project folders are as follows:
2. Double-click the project from which you want to transfer bins.
3. Select the bins you want to transfer.
Transferring Projects and Bins Using AFE Files
149
4. Copy the MediaLog bins to a formatted floppy disk, removable disk,
or network drive.
5. At the Avid editing system, quit the Avid editing application, if it is
open.
6. Double-click the Avid Projects folder. Then double-click the project
folder where you want to store MediaLog bins.
7. If using a floppy disk for transfer, insert the floppy disk into the Avid
editing system floppy drive.
8. Double-click drive icon.
9. Select the MediaLog bins, and copy them into the appropriate project
folder.
10. Start the Avid editing system and open the project.
The MediaLog bins appear in the list of bins.
Transferring Projects and Bins Using AFE Files
AFE (Avid File Exchange) files are an efficient way to transfer project
information between Avid applications. For example, you can use AFE
files to transfer projects and bins from an offline Media Composer to an
Avid|DS finishing system.
nCurrently you can import an AFE file into Avid|DS v6.0 or later only.
AFE files are based on AAF (Advanced Authoring Format) technology.
AFE files, however, are especially designed for sharing project
information among Avid applications. AFE files let you transfer one or
more bins, their contents, and information about the contents, including
master clips, subclips, titles, and sequences.
nSpecific information for transferring projects to Avid|DS is contained in
the Avid|DS Conform Guide, which is available from the Avid Customer
Support Knowledge Center or the Avid|DS Web site. For information on
accessing the Knowledge Center, see the release notes for your Avid
system.
Chapter 6 Creating MediaLog Output
150
To create an AFE file:
1. Do one of the following:
tTo create a file that includes all bins in a project, click the project
window and select File > Export. The Export Project As dialog
box opens. Select a location, name the file, and click Save.
tTo create a file that includes the contents of a single bin, open the
bin, click the bin, and select File > Export. The Export Bin As
dialog box opens. Select Avid File Exchange (*.afe) from the
Export Bin As list. Select a location, name the file, and click Save.
Transferring Projects and Bins Using AFE Files
151
2. Transfer the AFE file to a location you can access from the other Avid
application.
You can use removable media, a network connection, or an
Avid UnityTM shared storage system.
Chapter 6 Creating MediaLog Output
152
Appendix A
Avid Log Specifications
This section explains the Avid log file format. The Avid editing system can
import logs that meet Avid log specifications. These logs must follow the
formatting requirements described in this appendix.
Understanding Avid Log Specifications
You can prepare an Avid log on any type of IBM®-compatible or
Macintosh computer by using a word processing application or a text
editor. You can use the file name extension .txt, but it is not required.
To ensure accuracy, you must follow the Avid log specifications described
in this appendix.
An Avid log is composed of three sections, in this order:
• Global headings
• Standard and custom column headings
• Data headings
When you create an Avid log, you must follow the order precisely. The
tables in this section follow this order.
For an example of a simple log file, see “Sample Avid Log” on page 162.
Appendix A Avid Log Specifications
154
Avid Log Specifications
This section contains tables that show how to enter headings and data to
create an Avid log. The tables use the following conventions:
• A heading appears in the first column, without angle brackets or
standard brackets. For example, FIELD_DELIM is the first global
heading.
• A <supported value> is surrounded by angle brackets. <Alternative
supported values> appear underneath, also in angle brackets. You must
enter exactly one of these values. For example, <29.97> is one of the
supported values for the FPS heading; to specify that value, type
29.97
.
•<A variable data value> is also surrounded by angle brackets, but it is
italicized. For example, <timecode> is the data entry for the Start
heading; type the correct timecode, in the format
08:19:10:00
(or
08;19;10;00
, for drop-frame timecode).
• [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are
surrounded by standard brackets.
• A column contains the word “Required” if the heading must be
included in the log.
• The final column contains notes about the heading or values.
You can decide not to display a defined heading (including a required
heading), except for Name. Name must always be displayed.
The maximum number of combined global, standard, and custom headings
in a log file is 64.
Global Headings
The global headings must come first in an Avid log file, and you must
enter one value for each heading.
Table 17 shows the format for the global headings and the supported
values for each heading.
Avid Log Specifications
155
Table 17 Avid Log Global Headings
GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include
all required headings. Other headings are optional but might be necessary for your project. The maximum
number of combined global, standard, and custom headings in a log file is 64.
Heading [Enter]
or
[Return]
Required This marks the start of the
global headings.
FIELD_DELIM [Tab] <TABS> [Enter]
or
[Return]
Required Enter TABS to show that the
file is Tab delimited.
VIDEO_FORMAT [Tab] <NTSC>
<PAL>
[Enter]
or
[Return]
Required
FILM_FORMAT [Tab] <16mm>
<35mm,3perf>
<35mm,4perf>
[Enter]
or
[Return]
AUDIO_FORMAT [Tab] <22kHz>
<24kHz>
<44kHz>
<48kHz>
[Enter]
or
[Return]
Audio sampling rate for
digitizing. You can override
this for individual clips.
TAPE [Tab] <tape name>[Enter]
or
[Return]
Required Name of the videotape reel
you are logging. If you omit
this heading, the file name
becomes the global tape
name. You can override this
for individual clips.
FPS [Tab] <23.98>
<24>
<25>
<29.97>
[Enter]
or
[Return]
Required Capture rate is 23.98 fps
(23.978 fps) for NTSC,
24 fps for NTSC or PAL,
25 fps for PAL, or 29.97 fps
for NTSC.
Appendix A Avid Log Specifications
156
Column Headings
The standard column headings appear after the global headings in the Avid
log file.
You do not enter the data for a column heading along with the heading.
You enter the data later, in a separate data section.
You must include the five required standard column headings; they are
listed first in Table 18.
You can create your own custom column headings. Enter them after the
standard headings (see the last heading in Table 18). To create a custom
heading, substitute the custom heading name for <Your_heading>. You
can create several custom headings, as long as the total of global, standard,
and custom headings does not exceed 64.
[Enter]
or
[Return]
Press Enter (Windows) or
Return (Macintosh) a second
time after entering the FPS
value. This marks the end of
the global headings.
Table 17 Avid Log Global Headings (Continued)
Table 18 Avid Log Column Headings
COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown.
Note that the first five headings are required. Other headings are optional but might be necessary for
your project. This table lists only the column headings that are relevant to shot log files. Some data,
such as Creation Date, is gathered by the system. The following table does not include headings for
such data. The maximum number of combined global, standard, and custom headings in a log file is
64.
Column [Enter]
or
[Return]
Required Indicates the start of the column headings.
Name [Tab] Required Heading for clip name.
Tracks [Tab] Required Heading for tracks you select for digitizing.
Avid Log Specifications
157
Start [Tab] Required Heading for video timecode of sync point — the
timecode IN for clip. From address track of video.
End [Tab] Required Heading for timecode OUT for clip. From address
track of video.
Audio [Tab] Heading for the audio resolution (sample rate). If
omitted, the global entry for AUDIO_FORMAT
applies.
Auxiliary Ink [Tab] Heading for a second ink number used for the clip.
Auxiliary TC1 [Tab] Heading for auxiliary timecode.
Auxiliary TC2 [Tab] Heading for auxiliary timecode.
Auxiliary TC3 [Tab] Heading for auxiliary timecode.
Auxiliary TC4 [Tab] Heading for auxiliary timecode.
Auxiliary TC5 [Tab] Heading for auxiliary timecode.
Camera [Tab] Heading for the camera used to film this clip. This
feature is used in multicamera shoots.
Camroll [Tab] Heading for the camera roll ID containing this clip.
Duration [Tab] Heading for timecode Start to timecode End, the
length of the video clip.
FPS [Tab] Heading for video frames per second rate for
digitizing the individual clip. If omitted, the global
entry applies.
Film TC [Tab] Heading for the timecode used on the film.
Ink Number [Tab] Heading for the ink number used for the clip.
KN Duration [Tab] Heading for the length of the clip, expressed in feet
and frames.
KN End [Tab] Heading for the ending key number for the clip.
KN Start [Tab] Heading for the starting key number for the clip.
Labroll [Tab] Heading for the lab roll ID for the clip. Lab rolls are a
combination of several camera rolls.
Table 18 Avid Log Column Headings (Continued)
Appendix A Avid Log Specifications
158
Perf [Tab] Heading for the film-edge perforations format used
for 3-perf projects.
Pullin [Tab] Heading for the telecine pulldown of the first frame of
the clip (pulldown phase). Pullin can have the values
A, B, C, or D.
Pullout [Tab] Heading for the telecine pulldown of the last frame of
the clip (pulldown phase). Pullout can have the values
A, B, C, or D.
Reel # [Tab] Heading for the source reel number.
Scene [Tab] Heading for the scene number of the clip.
Shoot date [Tab] Heading for the date the footage was shot.
Sound TC [Tab] Heading for Nagra timecode, Aaton code, Arri code,
and so on, at the sync point. Syncs with the Start
timecode. Required if tracking the sync sound.
Capture rate can be 25 or 30 fps.
Soundroll [Tab] Heading for sound roll ID for clip.
TC 24 [Tab] Heading for 24-fps timecode.
TC 25P [Tab] Heading for 25-fps timecode with pulldown.
TC 25 [Tab] Heading for 25-fps timecode.
TC 30 [Tab] Heading for 30-fps timecode.
Take [Tab] Heading for take ID for clip.
Tape [Tab] Heading for source tape ID for the individual clip. If
omitted, the global entry applies.
DESCRIPT [Tab] Heading for description of clip.
COMMENTS [Tab] Heading for comments about clip.
<Your_heading> [Tab] Add any category of information you want. Add as
many headings as you want, but do not use more than
a total of 64 global and column headings in the file.
Press the Tab key between each heading. Do not press
the Tab key after the last heading.
Table 18 Avid Log Column Headings (Continued)
Avid Log Specifications
159
Data Entries
The data entries come after the Custom column headings. Table 19 shows
the format for entering data. Enter a line of data in this format for every
clip. Be sure to start the data section for each clip with the word
Data
[Enter] (Windows) or
Data
[Return] (Macintosh).
[Enter]
or
[Return]
[Enter]
or
[Return]
Press [Enter] (Windows) or [Return] (Macintosh)
twice (do not press Tab) after the last heading.
Table 18 Avid Log Column Headings (Continued)
Table 19 Avid Log Data Headings
DATA HEADINGS: The word Data marks the start of the data for each clip.
Data [Enter]
or
[Return]
Required Enter the word Data to mark the start of the logged clip
entries.
DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so it aligns with its column
heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to
enter data for all the required values. To leave a data position unfilled, press the Tab key instead of
typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line. Your Avid system
supports up to four audio tracks in imported and exported logs.
<clip name> [Tab] Required Under Name heading. Enter a clip identifier
(32 characters maximum).
<V>
<VA1>
<VA2>
<VA1A2>
<A1A2>
<A1>
<A2>
[Tab] Required Under Tracks heading. Enter the tracks you want
digitized for the clip. Enter V for MOS takes. Enter A1,
A2, or A1A2 for wild sound.
<timecode> [Tab] Required Under Start heading. Enter the video timecode for the
sync point, the first frame of the clip. Use colons for non-
drop-frame (for example, 01:00:12:20). Use one or more
semicolons for drop-frame (for example, 01;18;00;02).
Appendix A Avid Log Specifications
160
<timecode> [Tab] Required Under End heading. Enter the video timecode for the last
frame of the clip.
<22kHz>
<24kHz>
<44kHz>
<48kHz>
[Tab] Under Audio heading. Enter the audio sampling rate for
this clip only. If omitted, global entry applies.
<inknumber> [Tab] Under Auxiliary Ink Number heading. Identify a
second ink number for the start of the clip.
<timecode> [Tab] Under Auxiliary TC heading. Enter a Nagra timecode,
Aaton code, Arri code, and so on, for the sync point.
Syncs with the Start timecode.
<camera ID> [Tab] Under Camera heading. Identify the camera, using
letters or numbers. For multicamera shoots.
<camera roll ID> [Tab] Under Camroll heading. Identify the camera roll, using
letters and numbers.
<timecode> [Tab] Under Duration heading. Enter the length of the video
clip, Start to End.
<23.98>
<24>
<25>
<29.97>
[Tab] Under FPS heading. Enter the video capture rate for this
clip only. If omitted, the global entry applies. Use
23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or
PAL, 25 fps for PAL, or 29.97 fps for NTSC.
<timecode> [Tab] Under Film TC heading. Identify the timecode used for
the film, usually at 24 fps.
<inknumber> [Tab] Under Ink Number heading. Identify the ink number for
the start of the clip.
<keynumber> [Tab] Under KN Start heading. Identify the complete key
number for the start of the clip, for example, KU 31
2636-8903&12.
<keynumber> [Tab] Under KN End heading. Identify the key number for the
end of the clip. You need to identify only feet and frames,
for example, 0342&07.
<keynumber> [Tab] Under KN Duration heading. Identify the length of the
clip, in feet and frames.
Table 19 Avid Log Data Headings (Continued)
Avid Log Specifications
161
<lab roll ID> [Tab] Under Labroll heading. Identify the lab roll, using letters
and numbers.
<1>
<2>
<3>
[Tab] Under Perf heading. Edit the perf for this clip only.
<A>
<B>
<X> (matchback only)
<C>
<D>
[Tab] Under Pullin heading. Identify the telecine pulldown of
the first frame of the clip (pulldown phase). NTSC only.
<A>
<B>
<X> (matchback only)
<C>
<D>
[Tab] Under Pullout heading. Identify the telecine pulldown of
the last frame of the clip. NTSC only.
<reel ID>[Tab] Under Reel # heading. Identify the reel, using numbers.
<scene ID> [Tab] Under Scene heading. Identify the scene, using letters
and numbers.
<shoot date>[Tab] Under Shoot Date heading. Identify the date the footage
was shot, in numbers or in letters and numbers.
<timecode>[Tab] Under Sound TC heading. Identify the sound timecode
at the sync point. Syncs with the Start timecode.
<sound roll ID> [Tab] Under Soundroll heading. Identify the sound roll, using
letters and numbers.
<timecode>[Tab] Under TC 24 heading. Identify the start of the clip for
24p timecode.
<timecode>[Tab] Under TC 25p heading. Identify the start of the clip for
25p timecode (PAL pulldown).
<timecode>[Tab] Under TC 25 heading. Identify the start of the clip for
25-fps timecode (PAL).
<timecode>[Tab] Under TC 30 heading. Identify the start of the clip for
30-fps timecode.
Table 19 Avid Log Data Headings (Continued)
Appendix A Avid Log Specifications
162
Sample Avid Log
This section contains a sample Avid log for an NTSC video project, in
Windows and Macintosh formats.
Formatting keys (such as [Tab] and [Enter] (Windows) or [Return]
(Macintosh)) are shown in brackets.
<take ID> [Tab] Under Take heading. Identify the take, using letters and
numbers.
<source tape ID> [Tab] Under Tape heading. Enter the source videotape ID for
this clip only.
<clip description> [Tab] Under DESCRIPT heading. Describe the clip.
<clip comments> [Tab] Under COMMENTS heading. Comment on the clip.
<information>[Tab] Under the headings you created yourself, type the
appropriate information.
[Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the
last entry for the clip.
Do not press Tab after the last entry for the clip.
Enter an additional line of data for each remaining clip.
Table 19 Avid Log Data Headings (Continued)
Sample Avid Log
163
Heading [Enter]
FIELD_DELIM [Tab] TABS [Enter]
VIDEO_FORMAT [Tab] NTSC [Enter]
AUDIO_FORMAT [Tab] 44kHz [Enter]
TAPE [Tab] 001 [Enter]
FPS [Tab] 29.97 [Enter]
[Enter]
Column [Enter]
Name [Tab] Tracks [Tab] Start [Tab] End [Enter]
[Enter]
Data [Enter]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter]
Windows
Heading [Return]
FIELD_DELIM [Tab] TABS [Return]
VIDEO_FORMAT [Tab] NTSC [Return]
AUDIO_FORMAT [Tab] 44kHz [Return]
TAPE [Tab] 001 [Return]
FPS [Tab] 29.97 [Return]
[Return]
Column [Return]
Name [Tab] Tracks [Tab] Start [Tab] End [Return]
[Return]
Data [Return]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Return]
Macintosh
Appendix A Avid Log Specifications
164
Appendix B
Working with a Film Project
This appendix covers the following topics:
•Creating a Film Project
•Film Settings
•Logging Film Information
nThe information in this appendix also applies to matchback projects.
Matchback is available in Symphony, Media Composer, Film Composer,
Avid Xpress, and Avid Xpress DV systems.
nFilm projects that use 24p and 25p media are only available in Symphony,
Media Composer, and Film Composer systems. For information on film
projects, see the appropriate editing guide and input and output guide.
Creating a Film Project
To create a new project:
1. Click New Project in the Select User and Project dialog box.
The New Project dialog box opens.
Appendix B Working with a Film Project
166
2. Type a name for your new project in the text box and click OK.
nIf you plan to move bins and projects from one platform to another, do not
use the characters / \ : * ? “ < > | when naming projects, bins, and users.
3. Select a project type from the Format pop-up menu, based on your
source footage (NTSC or PAL) and your Avid system model:
- If your Avid system does not include support for 23p, 24p projects
or 25p projects, make a selection based on the source footage:
NTSC or PAL.
- If your Avid system includes support for 23p, 24p projects or 25p
projects, make a selection based on the source footage or the type
of film-to-tape transfer you are working with.
Table 20 lists the format options available with Avid systems that
include support for 23p, 24p projects and 25p projects.
Table 20 Project Types for Systems That Support 23p, 24p and
25p Projects
Project Type Source Footage Transfer
23.976p NTSC For film-originate or video-originated footage that
has been shot at 23.976 or film-originated footage
transferred on digital videotape (such as Digital
Betacam)
24p NTSC For film-originated or other 24-fps footage
transferred to NTSC videotape
Film Settings
167
4. Select a tracking format or audio transfer rate:
- For 23p, 24p projects and 25p projects, choose a film gauge
tracking format from the Film Type pop-up menu.
- For 24p PAL projects, choose an audio transfer rate. For
information on audio transfer rates, see the input and output guide
for your Avid editing system.
5. (Option) Click Matchback and choose a film tracking format from the
Film Type pop-up menu. The Matchback item appears only if your
Avid system includes the Matchback option.
6. Click OK.
The system creates the new project files and folders, and then returns
you to the Select User and Project dialog box. The project name is
highlighted in the Projects scroll list.
Film Settings
Set film preferences in the Film Setting dialog box immediately after you
create a project to provide the system with important information about the
type of film and audio transfer you used for your job. You can access the
Film Settings from the Settings scroll list in the Project window. The
30i NTSC For NTSC video-originated or other 30-fps footage
transferred to NTSC videotape
24p PAL For film-originated or other 24-fps footage
transferred to PAL videotape at 25 fps
25p PAL For 25-fps film footage transferred to PAL
videotape
25i PAL For PAL video-originated footage (25 fps)
Table 20 Project Types for Systems That Support 23p, 24p and
25p Projects (Continued)
Project Type Source Footage Transfer
Appendix B Working with a Film Project
168
following illustration shows the dialog box for an NTSC film project. A
PAL project replaces the Picture Transfer Rate menu with an Audio
Transfer Rate menu.
Film settings determine essential parameters for accurately capturing,
tracking, and editing source material for 24p and 25p projects including:
• Format and display of ink numbers
• Audio transfer rate (PAL only) and pulldown parameters for film-to-
tape transfers
• Pulldown phase.
Film Settings
169
Setting the Format and Display of Ink Numbers
Table 21 describes the Film Settings options for setting the format and
display of ink numbers.
For more information, see “Entering the Ink Number (Optional)” on
page 182.
Transfer Settings for Film Projects
The following settings are important for transferring media in a film
project. You should set the transfer settings for film projects immediately
after you create a new project and before digitizing.
•(NTSC only) Picture Transfer Rate allows you to specify the type of
film-to-tape transfer that you digitize:
-Without pulldown: Select this option when working with 24-fps
footage that has been transferred MOS (roughly translated as
“without sound”) to 30 fps by speeding up the film, and the audio
has been brought into the Avid system separately at 100% of the
actual speed.
Table 21 Film Setting Dialog Box Options
Option Description
Ink Number Format Selects one of these industry-standard ink number formats to meet
your production lab standards and your film format.
Ink Number displayed as Selects the format for the ink number display in bins and cut lists.
Auxiliary Ink Format Selects the format for a second ink number (this is useful for tracking
additional information for different film gauges). The choices are the
same as for Ink Number Format.
Auxiliary Ink displayed as Selects the format for the auxiliary ink number display. The choices
are the same as for Ink Number displayed as.
Appendix B Working with a Film Project
170
-With 2:3 pulldown: Select this option when working with 24-fps
footage that has been transferred to 30 fps by duplicating frames
(pulldown), and the audio has been synchronized to the picture.
If you are digitizing sound that has been created during an NTSC film-
to-tape transfer, you need to set the pulldown switch before you begin
digitizing.
For NTSC projects, you can mix footage transferred with pulldown
and footage transferred without pulldown (video rate). You can also
mix sound transferred at 0.99 (with pulldown) and 1.00 (without
pulldown).
•(PAL only) You define the Audio Transfer Rate in the New Project
dialog box when you create a 24p PAL film project. (It is not needed
for a 25p PAL project because there is no film speedup during the
transfer.) It is important to keep the audio transfer rate constant for the
project. However, if there is a specific element you need to digitize at a
different rate, you can use the Film Setting dialog box to change the
rate. The following options are available:
-Film Rate (100%): Select this option when your 24-fps film
footage has been transferred MOS to 25 fps by speeding up the
film, and the audio comes in separately at 100% 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 the
audio speed is increased by 4.1 percent (PAL Method 1).
For PAL 24p projects, you can mix audio that has been transferred at
4.1 percent speedup (video rate, PAL Method 1) with audio that has
not been transferred (film rate, PAL Method 2). However, Avid does
not recommend this. For more information, see the editing guide for
your Avid editing system.
nThe Info tab in the Project window allows you to view the audio transfer
rate you selected when you created the project. The actual audio transfer
rate might be different from the display if you used the Film Setting dialog
box to change the audio transfer rate.
Film Settings
171
•Set Pulldown-to-Timecode Relationship allows you to set a default
pulldown phase for a 23p or 24p NTSC project. See “Determining the
Pulldown Phase” on page 177.
Setting the Pulldown Phase
If you are logging or digitizing 24-fps sources (film-to-tape transfers,
media downconverted from 1080p/24 footage, or both), you can set the
pulldown-to-timecode relationship for a transferred tape in the Film
Setting dialog box.
nThe information in this section only applies to NTSC projects.
You set this relationship by selecting the pulldown phase (sometimes
called the pulldown frame or pullin frame), which is the video frame at
which the master clip starts. The pulldown phase is designated A, B, X, C,
or D. Film labs and transfer houses typically use the A frame to start the
transfer.
The following illustration shows the relationship between film frames and
video frames.
Set Pulldown
Phase option
Appendix B Working with a Film Project
172
nThis setting is not available in matchback projects. However, you can
modify the pulldown phase after you log it. See “Entering Pulldown
Information” on page 175.
The Set Pulldown Phase option lets you log, digitize, and digitize-on-the-
fly more easily, because the correct pulldown phase of any IN point for a
particular tape is automatically determined. Setting the correct pulldown
phase prevents inaccuracies in cut lists and matchback EDLs. It also
prevents incorrectly digitized clips that appear to stutter when played in
23p or 24p NTSC projects.
For example, if you set the pulldown phase of 00:00:00:00 as A (indicating
that the A frame is located at timecodes ending in 0 or 5), any timecode
you log will calculate its pulldown phase based on the same sync point,
regardless of where you set the IN point. If you use the Digitize tool to log
a clip that starts at 01:00:10:01, the Avid system automatically enters B in
the Pullin column of the bin. If you digitize with an IN point at
01:00:10:01, the system begins to digitize at the next A frame, in this case,
01:00:10:05.
The pulldown-to-timecode relationship might vary from tape to tape, or
within the same tape, depending on how the footage was transferred. If you
find a tape requires a different pulldown phase, you can change the setting
Five NTSC video frames (10 fields)
Four film frames
A1
A2
B1
B2
C1
C2
D1
D2
D3
B3
A
B
C
D
X
odd
even
odd
even
odd
even
odd
even
odd
even
A
B
C
D
Logging Film Information
173
in the Film Setting dialog box, or use the Modify Pulldown Phase dialog
box before digitizing (see “Modifying the Pulldown Phase Before
Digitizing” on page 178.
To set the pulldown phase:
1. Determine the correct pulldown phase for 00:00:00:00 in one of the
following ways:
tIf you are digitizing film-to-tape transfers, check the transfer log.
tIf you are digitizing tapes that have been downconverted from
1080p/24, check what pulldown frame was set for 00:00:00:00 on
the deck that performed the conversion.
If you still cannot determine the pulldown phase, see “Determining the
Pulldown Phase” on page 177.
2. Double-click Film in the Settings scroll list of the Project window.
3. Select the option Set Pulldown Phase of Timecode 00:00:00:00 and
then select the correct pulldown phase (A, B, X, C, D) from the pop-up
menu.
4. Click OK.
Logging Film Information
Once you have entered or imported the basic log information into a bin,
you might want to add film-related log information before digitizing. This
section describes procedures and formats for adding various film headings.
The following are some important requirements for film-based projects:
• The minimum information required for digitizing is the data recorded
in the Start and End video timecode columns, and the pulldown phase
for NTSC transfers, which is noted in the Pullin column (23 or 24-fps
capture only).
• Each reel of film can be logged as a separate clip, and will correspond
to a single master clip, only if the video transfer of the film reel has
continuous pulldown (NTSC format) and continuous timecode (NTSC
Appendix B Working with a Film Project
174
and PAL). If the film reels for your project do not meet this condition,
then you must log each take on a reel of film as a separate clip, which
will correspond to a single master clip.
• If you want to produce a cut list, or use film-tape-film-tape for
redigitizing, you must log key numbers. You can add key numbers
after digitizing, before you create the cut list.
• All film and video reference numbers must be in ascending order. For
example, you cannot have key numbers in descending order.
Displaying Film Columns
To display film columns in the bin:
1. Select Bin View > Film, which is located at the bottom of the Bin
window, to display all the required film column headings.
2. To log data under optional headings (for example; Ink Number,
Auxiliary TC1 through Auxiliary TC5, or Film TC), select Bin >
Headings and Ctrl+click (Windows) or click (Macintosh) the specific
headings you want to add from the Bin Column Selection dialog box.
Logging Film Information
175
3. You can also track custom information for the job by creating a custom
heading. To create a new heading, type a name that describes the
information in the headings bar at the top of the bin. For more
information on customizing bin views, see “Customizing Bin Views in
Text View” on page 111.
Entering Pulldown Information
For information about
importing a log file, see
“Importing Logs” on
page 99.
To accurately digitize NTSC transfer tapes in 23p or 24p projects, you
need to enter pulldown information into the bin. (This information is not
required for PAL transfer tapes.) Setting the correct pulldown phase
prevents inaccuracies in cut lists and matchback EDLs. If you are
importing a log generated during the telecine transfer, the pulldown
information is automatically included in the bin.
You specify the pulldown phase in the Pullin column. The following
illustration shows a bin with a Pullin column.
Appendix B Working with a Film Project
176
If you do not have a transfer log, or if the transfer log is incorrect, you need
to add the information manually. If you log clips using the Logging tool,
the Avid system uses the A frame as the default pulldown phase. You
might need to edit this value.
nYou can set a default pulldown phase in the Film Setting dialog box. See
“Setting the Pulldown Phase” on page 171 (24p projects only).
nFor matchback projects, you need to log key number information before
you can log pulldown information.
By specifying the pulldown phase in the Pullin column, you accomplish
the following:
• You ensure the clips will start with the correct frame for the pulldown.
Otherwise, you might experience inaccuracies in key-number tracking
and in the cut lists.
• You indicate where the pulldown fields are located so the Avid system
can accurately eliminate the pulldown fields during the digitizing
process, leaving you with a frame-to-frame correspondence between
your digital media and the original 23/24-fps footage (23p or 24p
projects only).
To do this, you must indicate whether the sync point at the start of each
film clip transferred to tape is an A, B, C, or D frame, as described in the
following section. In most cases, the sync point is the A frame.
Start timecode Pullin collumn (information
required for NTSC)
Logging Film Information
177
Determining the Pulldown Phase
It is easiest to determine the pulldown of a sync point (or pulldown phase)
if you ask your film lab to keypunch (cut a small hole in) the sync frame at
the zero frame in the original film footage before transferring the film to
video. Many film labs or transfer houses can also provide a pulldown
frame indicator displayed at the far right of the burn-in key numbers,
depending on the equipment available. Ideally, the A-frame pulldown
coincides with timecode ending in 0 and 5 (:00, :05, :10, and so on).
If the footage has not been keypunched, you can determine pulldown
according to clapsticks or any other distinctive frame at the beginning of
the clip. Determining the pulldown is easier if the frames depict motion.
To determine the pulldown phase:
1. While viewing the video transfer on a monitor, go to the keypunched
(or clapsticks) sync point for the beginning frame of the clip you’re
logging.
2. Use the Step wheel on the tape deck to Step (jog) past the sync point
frame field-by-field. You will see either two or three keypunched
fields. If the footage is not keypunched, look for two or three fields
with little or no motion.
3. If there are two keypunched fields, the pulldown is either A or C. Step
through the fields again and note where the timecode changes:
- If the timecode does not change from the first to the second fields,
the fields came from an A frame.
- If the timecode changes from the first to the second fields, the
fields came from a C frame.
The following illustration shows a keypunch on the A frame. Notice
where the timecode changes.
Appendix B Working with a Film Project
178
4. If there are three keypunched fields, or fields without motion, the
pulldown is either B or D. Step through the fields again and note where
the timecode changes:
- If the timecode changes from the second to the third fields, the
fields came from a B frame.
- If the timecode changes from the first to the second fields, the
fields came from a D frame.
5. Enter or edit the information in the Pullin column in the appropriate
bin, as described in the next section.
Modifying the Pulldown Phase Before Digitizing
After you determine the correct pulldown phase (as described in the
previous section) you can modify the pulldown phase before digitizing in
one of the following ways.
To modify the pulldown phase directly in the Pullin column:
1. Enter Text view.
2. Click the cell you want to modify.
3. Click the cell again. The pointer changes to an I-beam.
A
B
C
D
A1
Five NTSC video frames (10 fields)
Four film frames
A2
B1
B2
B3
C1
C2
D1
D2
D3
Timecode change
Timecode change
Timecode change
Timecode change
odd
even
odd
even
odd
even
odd
even
odd
even
A1 A
B
C
D
X
Logging Film Information
179
4. Type the pulldown phase and press Enter (Windows) or Return
(Macintosh).
To modify the pulldown phase for multiple clips:
1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to
modify.
2. Select Special > Modify.
3. Select Modify Options > Pull-in.
4. Select A, B, C, or D.
5. Click OK.
The pullin for all selected clips is changed, based on the pulldown
phase you selected.
To modify the pulldown phase for multiple clips that have the same
pulldown-to-timecode relationship:
1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to
modify.
2. Select Special > Modify Pulldown Phase.
The Modify Pulldown Phase dialog box appears.
3. Select the correct pulldown phase for timecodes ending in 0 or 5 from
the pop-up menu.
4. Click OK.
The pulldown phase for each selected clip is changed, based on the
pulldown phase you selected for 00:00:00:00.
Appendix B Working with a Film Project
180
The Pulldown Phase setting also appears in the Film Setting dialog box
(23p or 24p projects only). You can override that setting with the
Modify Pulldown Phase dialog box. The selection in the Film Setting
dialog box remains the same. For more information, see “Setting the
Pulldown Phase” on page 171.
nAfter you digitize an NTSC transfer, the timecode shows a loss of every
fifth frame of video. For example, don’t be alarmed if you find that your
timecode jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t
lost a frame, just an extra pulldown field.
Entering Frames-per-Second Rates for PAL Transfers
When you log in advance for PAL film-to-tape transfers, you must log the
footage as clips that have a 25-fps play rate, as listed in the FPS column of
the bin. If you want, you can digitize the footage on-the-fly, without
logging the clips first. The minimum information required to capture the
footage is the data logged in the Start and End video timecode columns.
Entering Key Numbers
To add key numbers:
tHighlight the KN Start column, then type the key number for the sync
point at the start of the clip using one of the following formats:
tKeykode™ Format: Type a 2-character manufacturer and film-
type code, a 6-digit prefix for identifying the film roll, a 4-digit
footage count, a 2-digit frame offset, and then press Enter
(Windows) or Return (Macintosh).
The Avid system adds a space, hyphen, and either a plus sign (for
35mm projects) or an ampersand (for 16mm projects) to format
the number. For example, in a 35mm project, to enter KJ 23 6892-
1234+15, type
KJ236892123415
. In a 16mm project, typing the
same number results in the code KJ 23 6892-1234&15.
tOther Formats: Enter other key-number formats in the Ink
Number column. Type up to eight characters for the prefix, up to
five characters for the footage count, two digits as the frame count,
and then press Enter (Windows) or Return (Macintosh).
Logging Film Information
181
The Avid system automatically calculates the ending key number (KN
End), based on the timecode duration.
cMake sure the correct number appears when you press Enter
(Windows) or Return (Macintosh). For key-number formats other
than Keykode, you might need to type the space, hyphen (-), and plus
sign (+) or ampersand (&) to format the number correctly.
Entering Additional Timecodes (Optional)
Consider the following when you enter additional timecodes:
• In one of the Auxiliary TC columns (that is, Auxiliary TC1 through
Auxiliary TC5) type an auxiliary timecode that syncs with the video
timecode logged in the Start column. You can enter up to five auxiliary
timecodes. Supported timecodes depend on your project: 30-fps for
NTSC (drop-frame or non-drop-frame) and 25-fps for PAL. Use one
of the following formats:
tEnter a 2-digit format for hours, minutes, seconds, and frames.
You need not enter a leading zero. (For example, to enter
01:23:02:00, type
1230200
.)
tWhen working with drop-frame timecode in the NTSC format (not
applicable to PAL), enter a semicolon to indicate drop-frame
timecode. (For example, to enter 01;23;02;00, type
01;230200
.)
• In the Sound TC column, enter the Nagra or DAT timecode for the
original audio for the start of the clip. The timecode should sync with
the video timecode logged in the Start column in the bin. Enter the
source sound-roll identifier in the Soundroll column. Supported
timecodes depend on your project: 30-fps for NTSC (drop-frame or
non-drop-frame) and 25-fps for PAL. The clip being digitized must
contain an audio track.
nEnter the soundroll value before you enter the timecode.
Appendix B Working with a Film Project
182
• In the Film TC column, enter timecode generated by a film camera
(using Aaton or Arri timecode) for tracking the picture at the start of
the clip. The film timecode should sync with the video timecode
logged in the Start column. Only 24-fps timecode is supported. The
clip being digitized must contain a video track.
• In the TC 24 column, enter timecode for original HDTV sources
(1080p/24) or audio DATs created for PAL feature-film productions
that use in-camera timecode.
nYou can use the Duplicate command to convert timecodes from one format
to another. For more information, see “Duplicating a Column” on
page 127.
Entering the Ink Number (Optional)
To enter ink numbers:
1. Open the Film Setting dialog box by double-clicking Film in the
Settings scroll list of the Project window.
2. Make sure the correct options are selected for ink number format and
ink number display, and click OK.
nYou can log different ink number formats in the same project as long as
you change the ink number setting to the appropriate format before you
log each type. Changing the ink number setting affects only the next ink
numbers you log, not numbers already logged.
3. Return to the bin and enter numbers under the Ink Number heading.
For example, use Keykode format or use a 2-digit prefix to identify the
roll, a hyphen, a 4- or 5-digit footage count, a plus sign, and a 2-digit
frame count (for example, AA-00924+00).
Entering Additional Film Data
You can continue to log additional film data into the Labroll, Camroll,
Soundroll, Scene, and Take columns, or into your own custom columns, as
necessary. You can include the information in these columns on the cut
lists you create for your edited sequence.
Logging Film Information
183
Appendix B Working with a Film Project
184
Numerics
24p editing projects
creating 166
displaying timecodes in 138
25i PAL editing projects
creating 167
25p editing projects
creating 166
displaying timecode in 138
30i NTSC editing projects
creating 167
A
Add Channel button (Deck Configuration dialog
box) 75
Add Deck button (Deck Configuration dialog
box) 76
Adding
bin columns 128
memory mark 93
AFE files
described 149
exporting projects and bins 149
ALE (Avid Log Exchange)
converting logs with 100
logs compatible with 99
Align to Grid command (Bin menu) 125
Aligning columns in a bin 125
Audio Project settings
access and brief description of 55
dialog box 89
Audio sample rate
setting 89
Audio Transfer Rate (Film Settings) 170
Autoconfigure All Ports (Special menu) 73
Automatic deck configuration 73
Auto-save function
described 52
Auto-Save options (Bin settings) 58
Avid Attic folder
Bin settings for 59
defined 52
Avid Calculator tool
using 67
Avid Log Exchange See ALE
Avid logs
clip data in 159
creating 153
custom headings in 156
data entries in 159
formatting guidelines 154
global headings in 154
importing 100, 153
sample created with text editor 162
specifications 154
standard headings in 156
Index
A B C D E F G H I J K L M N O P Q R S T U V W
Index
186
Avid Symphony application
quitting 40
B
Backing up
media files 39
Backup options (Bin settings) 58
Bin Column Selection dialog box 125
Bin display
settings 107
Bin Fast menu
described 112
Bin settings
access and brief description of 55
Automatic-Save options 58
Backup options 58
defined 58
storing files in the Avid Attic folder 59
Bin View settings
column headings 141
described 55
Bin views
customizing 111
saving 111
types of 110
Bins
auto-save function
described 52
Bin View pop-up menu 110
changing fonts 64
changing the display font in 65
closing 50
columns in
adding 128
aligning 125
deleting 126
duplicating 127
moving 125
showing and hiding 125
creating 48
deleting 50
displaying film columns in 174
displaying in Project window 46
displaying objects in 107
exporting 146
exporting as AFE files 149
Fast menu 112
Info display 64
listing timecodes in 138
locking items in 123
managing 52
managing clip information in 129
opening 49
opening from a different project 49
printing 145
renaming 48
saving
using the Save Bin command 53
targeting for digitizing 87
transferring 148
transferring from a MediaLog system 103
using system backup to save 39
Bins display (Project window) 46
Brief tab (bin) 109
Buttons
Add Channel (Deck Configuration dialog box)
75
Add Deck (Deck Configuration dialog box) 76
New Project (Select User and Project dialog
box) 34, 165
New User (Select User and Project dialog box)
32
C
Calculator tool
using 67
Camroll data 182
Index
187
Changing
bin font 65
Changing clip information
before digitizing 98
Channel dialog box 75
Channel Selection area 87
Choosing
a user 32
bin headings 124
film format options 166
Clip colors
assigning source colors 116
viewing in bins 116
Clip data
in Avid logs 159
Clip information
managing in bins 129
modifications table 133
Clips
assigning source colors in bins 116
copying 115
defined 20
deleting from bins 115
displaying
source colors in bins 116
duplicating 114
locking in a bin 123
modifying information in 98
moving 114
removing from bins 115
selecting 113
sifting 117
Closing
a project 39
bins 50
the Project window 45
Color
assigning source color in bins 116
Color column
adding to bins 116
Column headings
displaying or hiding in a bin 141
in Avid log file 156
Columns See Bins
Commands
Autoconfigure All Ports (Special menu) 73
Delete (Edit menu) 115
Import (File menu) 101
Communications (Serial) Ports tool 68
Configuring decks 74
automatically 73
manually 73
Connecting deck to computer
Macintosh 25
Windows 24
Copying
clips 115
Creating
a folder in a project 47
Avid log files 153
bins 48
folders 37
projects 34, 165
users 32
criterion 137
Criterion pop-up menu (Custom Sift dialog box)
118
Custom headings
in Avid logs 156
Custom Sift command (Bin menu) 118
Custom Sift dialog box 118
Customizing
bin views 111
D
Data entries
in Avid log file 159
Deck
automatic configuration 73
Index
188
connecting 24, 25
manual configuration 73
not connected
logging with 95
offline 95
pausing while logging 95
Deck Configuration settings
access and brief description of 56
Add Channel options 75
adjusting 74
deleting elements in 80
Deck Preferences settings
access and brief description of 56
description 81
Deck settings
Fast Cue option 80
for configuring decks 76
Preroll option 80
Decks
configuring 74
Default settings
restoring 61
Delete command (Edit menu) 115
Deleting
bin columns 126
bins 50
clips from bins 115
columns 126, 127
deck configurations 80
Destination bins
choosing 87
Dialog boxes
Bin Column Selection 125
Custom Sift 118
Film Setting 36, 167
Modify Pulldown Phase 179
New Project 34, 165
New User 32
Open 49
Select User and Project 31
Set Font 65
View Name (bin) 112
Digitizing
film transfers
minimum information for 173
modifying clip information before 98
preparing for
tape selection 88
targeting bins 87
Displaying
bin column headings 141
film columns 174
Duplicate command (Edit menu) 127
duplicating
clips using 114
Duplicating
bin columns 127
clips 114
E
Entering
additional film data 182
ink numbers 182
key numbers 180
optional timecodes 181
pulldown of the sync point 175
Entering frames-per-second rates
for PAL transfers 180
Excalibur files
importing 99
Existing projects
selecting 36
Existing users
selecting 33
Export (File menu) 150
Exporting
bins 146
bins as AFE files 149
Index
189
projects as AFE files 149
shot log files 147
F
Fast Cue option (Deck settings) 80
Fast menus
Bin 112
Bin display in the Project window 47
Settings display in the Project window 60
Film
columns
displaying 174
data
entering 182
information
logging 173
minimum information for digitizing 173
options
matchback 35, 167
selecting 166
preferences
setting 36, 167
scene workflow 106
timecodes, entering 181
Film Composer application
quitting 40
Film settings
described 56
for transfer 169
in the Project window 168
pulldown phase 171
Folders
creating 37
managing 52
nesting projects in 37
Fonts
changing in bins 65
Frames-per-second rates for PAL 180
G
Global headings
in Avid log file 154
H
Hardware
setup (Macintosh) 25
setup (Windows) 23
turning on 27
Headings command (Bin menu) 116, 125
Help system (Contains complete reference
information for your Avid system)
overview 41
Hiding
bin column headings 141
bin columns 125
I
Import command (File menu) 101
Import settings
access and brief description of 56
Importing logs 99
Info display in the Project window
defined 64
Ink numbers
entering 182
Installing MediaLog
on a Macintosh system 29
on a Windows system 28
Interface settings
changing text font and size 64
J
Joining cables 24
Index
190
K
Key numbers
entering 180
formats for 180
Keyboard settings 66
access and brief description of 56
Keykode format 180
Kits for connecting hardware 24
L
Labroll data 182
Launching (Starting) MediaLog 30
Locking and unlocking
bin items 123
Log files
importing from film-to-tape transfer systems
111
Log Right files
importing 99
Logging
basic steps 22
defined 71
directly to bin from source tape 90
film information 173
information from active tracks 87
on-the-fly 94
pausing deck while 95
preparing for 84
without a tape 95
without deck connected 95
Logging tool 85
Logs
importing into MediaLog bins 101
M
Managing
bins 52
folders 52
Marking tape location
using Mark Memory button 93
Master clips
copying 115
duplicating 114
locking 123
moving 114
selecting 113
sifting 117
Matchback
options 35, 167
Media Composer application
quitting 40
MediaLog
importing logs into 101
overview 19
Memory marks
adding 93
Menu commands
Align to Grid (Bin menu) 125
Custom Sift (Bin menu) 118
Delete (Edit menu)
columns using 127
Duplicate (Edit menu) 114
Export (File menu) 150
Headings (Bin menu) 125
New Bin (File menu) 48
Open Bin (File menu) 49
Page Setup (File menu) 146
Print Bin (File menu) 146
Set Bin Display (Bin menu) 107
Set Font (Edit menu) 65
Modify Pulldown Phase dialog box 179
Modifying
clip information 98
Index
191
Moving
bin columns 125
clips 114
Multilevel sorting of columns 137
N
Naming tapes 85
National Television Standards Committee
(NTSC) video editing format 35, 166
Nesting
projects in folders 37
New Bin command (File menu) 48
New User button (Select User and Project dialog
box) 32
NTSC (National Television Standards
Committee) video editing format 35, 166
O
Offline logging 95
Online Help See Help system
Open Bin command (File menu) 49
Open dialog box 49
Opening
a project 38
bins 49
Help 41
the Project window 45
Output timecodes
displaying in bins 138
P
Page Setup command (File menu) 146
PAL (Phase Alternating Line) video
frames-per-second rates 180
PAL (Phase Alternating Line) video editing
format 35, 166
Phase Alternating Line (PAL) video editing
format 35, 166
Picture Transfer Rate (Film Settings) 169
Preroll option (Deck Settings dialog box) 80
Print Bin command (File menu) 146
Printing bins 145
Project settings
defined 55
displaying 59
Project window
closing 45
displaying
bins 46
settings 54
usage 64
Info display
using 64
opening 45
Projects
backing up 39
closing 39
creating new 34, 165
exporting as AFE files 149
nesting in folders 37
opening 38
saving 39
selecting 34, 36
working with 31
Pulldown
finding at the sync point 175
Pulldown phase
modifying before digitizing 179
setting for Film 171
Q
Quitting the Avid application 40
Index
192
R
Removing
clips from bins 115
deck configuration elements 80
Renaming
bins 48
Replacing deck configuration elements 80
Restoring
default settings 61
Restricted characters
in project names 35, 166
in user names 32
S
Sample rate
setting 89
Save Bin command (File menu) 52
Saving
bins
automatically 52
manually 39
custom bin views 111
projects 39
Scene data 182
Select User and Project dialog box 31
Selecting
clips 113
projects 34
settings for deck configuration 74
tapes for digitizing 88
Serial (COM) Ports settings
access and brief description of 56
Set Bin Display command (Bin menu) 107
Set Font command (Edit menu) 65
Setting up hardware
Macintosh 25
Windows 23
Settings
basic 57
bin 58
deck configuration 74
default
restoring 61
defining 57
described 54
film 58, 167
for film preferences 36, 167
keyboard 66
overview of 54
project
defined 54
displaying 59
scroll list 55
site
defined 55
using 62
tab 54
user
defined 55
Settings scroll list
Audio Project 55
Bin 55
Bin View 55
Deck Configuration 56
Deck Preferences 56
Film 56, 168
Import 56
Keyboard 56
Serial (COM) Ports 56
summary of contents 55
Workspace 56
Shot log files
Avid log file specifications 153
exporting 147
Shotlister files
importing 99
Index
193
Showing
bin columns 125
Shutting down the system
Macintosh 41
Windows 40
Sifting clips 117
Site settings
defined 55
using 62
Sorting
clips 137
columns
multilevel 137
Sound roll
entering data for 182
Source colors
assigning custom colors to 117
assigning in bins 116
limiting available colors of 117
Source tapes
selecting for digitizing 88
Specifications
Avid log 154
Standard headings
in Avid log files 156
Starting MediaLog 29
Subclips
copying 115
duplicating 114
moving 114
selecting 113
sifting 117
Symphony application
quitting 40
Sync point
finding the pulldown at 175
T
Tape
naming schemes 85
Target bin
choosing 87
Telecine
importing log file from 111
Text editors
creating Avid logs with 153
Text tab (bin) 124
Text view (bin display)
defined 109
using 124
Three-perforation film projects 35
Timecode
display options
24p and 25p projects 138
entering 181
Transferring
bins from another MediaLog system 103
bins to an Avid editing system 148
through AFE 149
Trash
emptying 51
moving bins from 51
viewing contents of 51
Turning off equipment
Macintosh 41
Windows 40
Turning on the hardware 27
U
Unique tape names 85
Unlocking and locking
bin items 123
Usage information
displaying 64
Index
194
User
identifying 32
profiles 32
selecting another 61
User settings
defined 55
opening a project with 38
selecting a user from 61
Users
creating new 32
selecting existing 33
setting up 32
V
Video decks See Decks
View
bin
customizing 111
saving 111
types of 110
View Name dialog box (bin) 112
VITC (Vertical Interval Timecode)
in a bin 144
V-LAN/VLXi 75
VTRs See Deck
VTRs See Decks
W
Word processor
creating Avid logs with 153
Workflow
film scene 106
Workspaces
assigning buttons to 65
assigning windows to 65
settings 56

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