Avid 9935-65136-02, 9935-65135-02 User manual

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Avid® NewsCutter

Editing Guide

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Legal Notices

Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc.

This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.

This product may be protected by one or more U.S. and non-U.S patents. Details are available at www.avid.com/patents.

This document is protected under copyright law. An authorized licensee of NewsCutter may reproduce this publication for the licensee’s own use in learning how to use the software. This document may not be reproduced or distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or educational services to others. This document is supplied as a guide for NewsCutter and NewsCutter XP. Reasonable care has been taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of this document. Product specifications are subject to change without notice.

The following disclaimer is required by Apple Computer, Inc.:

APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:

Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.

THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:

This software is based in part on the work of the Independent JPEG Group.

This Software may contain components licensed under the following conditions:

Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.

Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.

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Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "as is" without express or implied warranty.

Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.

THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE.

This product includes software developed by the University of California, Berkeley and its contributors.

The following disclaimer is required by Nexidia Inc.:

© 2010 Nexidia Inc. All rights reserved, worldwide. Nexidia and the Nexidia logo are trademarks of Nexidia Inc. All other trademarks are the property of their respective owners. All Nexidia materials regardless of form, including without limitation, software applications, documentation and any other information relating to Nexidia Inc., and its products and services are the exclusive property of Nexidia Inc. or its licensors. The Nexidia products and services described in these materials may be covered by Nexidia's United States patents: 7,231,351; 7,263,484; 7,313,521; 7,324,939; 7,406,415, 7,475,065; 7,487,086 and/or other patents pending and may be manufactured under license from the Georgia Tech Research Corporation USA.

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Ray Sauers Associates, Inc.:

“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.

The following disclaimer is required by Videomedia, Inc.:

“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.”

“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”

The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code:

The following disclaimer is required by Ultimatte Corporation:

Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection.

The following disclaimer is required by 3Prong.com Inc.:

Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.

The following disclaimer is required by Interplay Entertainment Corp.:

The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products.

This product includes portions of the Alloy Look & Feel software from Incors GmbH.

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This product includes software developed by the Apache Software Foundation (http://www.apache.org/).

This product may include the JCifs library, for which the following notice applies:

Avid Interplay contains components licensed from LavanTech. These components may only be used as part of and in connection with Avid Interplay.

Attn. Government User(s). Restricted Rights Legend

U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.

Trademarks

003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, Archive II, Assistant Station, AudioPages, AudioStation, AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine, Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24, CaptureManager, ChromaCurve, ChromaWheel, Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|24, Command|8, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE, D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Development Partners, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fader Pack, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDpack, Home-to-Hollywood, HYBRID, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Image Independence, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood, make manage move | media, Marquee, MassivePack, Massive Pack Pro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Painterly Effects, Palladium, Personal Q, PET, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync, SecureProductionEnvironment, Serv|GT, Serv|LT, Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, SubCap, Sundance, Sundance Digital, SurroundScope, Symphony, SYNC HD, SYNC I/O, Synchronic, SynchroScope, Syntax, TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Transit, TransJammer, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE, VTEM, Work-N-Play, Xdeck, X-Form, Xmon and XPAND! are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.

Footage

Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines.

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Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. "The Big Swell" — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions.

Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Ice Island — Courtesy of Kurtis Productions, Ltd. Tornados + Belle Isle footage — Courtesy of KWTV News 9. WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA. Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.

Avid NewsCutter Editing Guide • 0130-07973-01-C • June 2013

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Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Chapter 2 Starting a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Turning on Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Working with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Starting Your Avid Editing Application (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Working with Color Spaces in HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Opening and Closing Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Deleting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Quitting and Turning Off Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Changing Project and User Names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Overview of the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Controlling Project Window Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Using the Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Using the Settings Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Using the Format Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Using the Info Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Managing Bins and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

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Managing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Customizing the Avid User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Using Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Working with Bins and Projects in an Avid Shared Storage Environment . . . . . . . . 87

Chapter 4 Using Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Using Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Using a Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Deck Controller Window Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

The Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Using The Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Chapter 5 Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Using Avid Log Exchange to Prepare Log Files for Import . . . . . . . . . . . . . . . . . . . 105

Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Creating an Avid Log. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Double-Checking Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Understanding the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Chapter 6 Preparing for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Logging and Shot Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Preparing the Hardware for Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Understanding Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Connecting a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Preparing to Capture Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Preparing to Capture Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

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Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Chapter 7 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Capturing Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Capturing Audio from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Recapturing and Decomposing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Alternate Source Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Using Capture Function Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Handling Errors During the Capture Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Creating Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Adding Markers On-the-Fly While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Naming a New Tape from the Keyboard While Capturing . . . . . . . . . . . . . . . . . . . 230

Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Adding Extra Text Fields in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Using Dolby E Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Delaying Audio During Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Working in Quick Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Capturing in Satellite Mode or No Device Control. . . . . . . . . . . . . . . . . . . . . . . . . . 238

Scheduling a Capture Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . . . . . . . . . . 244

Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Modifying the Pulldown Phase After Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

DV and HDV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Using the Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Chapter 8 Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Creating and Modifying Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Importing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Importing with Multichannel Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Page 9

Importing Audio Files from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Adjusting Gain Before Importing Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Sample Rate Conversion and Audio Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Setting Sample Rate Conversion Options Before Importing Audio Files . . . . . . . . 267

Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Importing Editcam Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Setting XDCAM Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Importing XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Importing XDCAM EX Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Automatically Importing Proxy Media from an XDCAM Device. . . . . . . . . . . . . . . . 280

Importing Proxy Media from an XDCAM Disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . . . . . . . . . . . . . . 283

Manually Importing XDCAM Media from the XDCAM Disk. . . . . . . . . . . . . . . . . . . 283

Importing Essence Marks as Markers in XDCAM Media . . . . . . . . . . . . . . . . . . . . 284

Editing XDCAM Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Batch Importing High-Resolution XDCAM Media from the XDCAM Disk . . . . . . . . 286

Editing and Finishing High-Resolution XDCAM Media . . . . . . . . . . . . . . . . . . . . . . 289

Importing P2 Clips and Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Importing Sequences from Pro Tools through Interplay . . . . . . . . . . . . . . . . . . . . . 290

Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Chapter 9 Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Working with Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Modifying Clip Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Working with Film Information in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Creating a Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Page 10

Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Working with Restricted Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Chapter 10 Acquisition of File-Based Media (AMA) . . . . . . . . . . . . . . . . . . . . . . . . 343

The Avid Media Access (AMA) Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Viewing Installed AMA Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Selecting the AMA Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Copying File-Based Media to a FireWire or Network Drive. . . . . . . . . . . . . . . . . . . 349

Dragging and Dropping File-based Media Directly to a Bin . . . . . . . . . . . . . . . . . . 349

Creating Dynamic Media Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Linking Media with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Relinking to AMA-Linked QuickTime Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Spanned Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

AMA Linking with Ancillary Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

AMA Linking with Multichannel Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

The AMA Plug-in Log File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Using Virtual Volumes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Virtual Volumes and AMA Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Using AMA Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Understanding the Source Settings Histogram. . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Adjusting the Source Settings Histogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Working with Export Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

AS-11 Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Chapter 11 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Working with Media Files in an Avid Interplay Environment . . . . . . . . . . . . . . . . . . 409

Using Avid Editing Systems in an Avid LANshare Workgroup . . . . . . . . . . . . . . . . 410

Viewing Media with a 100Base-T Connection to Avid ISIS. . . . . . . . . . . . . . . . . . . 411

Understanding Drive Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Mounting and Unmounting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Page 11

Using the Transcode Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Consolidate or Transcode AMA Clips Only. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Background Consolidate and Transcode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Refreshing Media Directories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Deleting Unreferenced Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Archiving and Restoring Media Files to Videotape . . . . . . . . . . . . . . . . . . . . . . . . . 445

Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Chapter 12 Viewing and Marking Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Viewing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Customizing Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Using the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Using the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Activating and Deactivating the Client Monitor Display. . . . . . . . . . . . . . . . . . . . . . 465

Selecting the Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

Playing Video to a Full-Screen Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Using the Tool Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Playing Selected Clips in a Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Playing Back to a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Video Quality Options for Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Setting the Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Using Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Finding Frames, Clips, and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515

Page 12

Chapter 13 PhraseFind. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Purchasing and Activating PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Understanding PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Using PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532

The Results Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Filtering Your Find Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Find Window Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Chapter 14 Creating and Editing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547

Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548

Mixing Frame Rates and Field Motion Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Mixing Frame Sizes and Aspect Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Refreshing Sequences to Use Current Clip Attributes . . . . . . . . . . . . . . . . . . . . . . 565

Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Adding Comments to Sequence Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568

Playing Back a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Understanding Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573

Understanding Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Working with Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Creating Video and Audio Leaders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Chapter 15 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Understanding Lined Scripts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Script Integration — Lining in the Digital Realm . . . . . . . . . . . . . . . . . . . . . . . . . . . 586

Understanding the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

Working with the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Working with Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592

Working with Page or Scene Numbers and Searching in a Script . . . . . . . . . . . . . 595

Page 13

Linking Clips to a Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Working with Slates in the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Working with Takes in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602

Indicating Off-Screen Dialog in a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604

Using Color Indicators in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606

Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Editing From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Chapter 16 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Navigating in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Working with Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650

Working with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662

In to Out Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677

Editing in Heads or Heads Tails View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677

Performing a Quick Edit Using the Top and Tail Commands . . . . . . . . . . . . . . . . . 678

Working with Add Edits (Match Frames). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679

Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680

Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

Activating and Deactivating I/O Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

Chapter 17 Working with Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687

Trimming with the Timeline Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687

Understanding Trim Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Trim Settings Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690

Timeline Trim States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691

Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Overwrite Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695

Ripple Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

Dual-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697

Refining Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698

Page 14

Reviewing Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Trimming with the J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Maintaining Sync While Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704

Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Trimming in Two Directions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Chapter 18 Working with Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Overview of Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Working with Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712

The Track Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

Audio Displays in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721

Displaying Audio Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

Working with Surround Sound Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Adjusting the Play Buffer Size for Audio (Software-only Models) . . . . . . . . . . . . . . 737

Using the Audio Mixer Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737

Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . . . . 744

Audio Volume Staging and an Audio Editing Workflow. . . . . . . . . . . . . . . . . . . . . . 744

Using Clip Volume and Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746

Using Volume and Pan Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761

Copying, Pasting and Moving Audio Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . 770

Using Live Mix Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774

Fading and Dipping Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779

Adjusting Audio Clip Gain in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781

Audio Sample Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783

Changing the Audio Sample Rate for Sequences and Audio Clips . . . . . . . . . . . . 783

Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784

Splitting Multichannel Tracks to Mono Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786

Using the Audio EQ Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787

Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800

Page 15

Using Automatic Voice-Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808

Chapter 19 Using External Audio Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810

Configuring an External Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812

Configuring External Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813

Using an External Fader Controller or Mixer to Record Volume Automation . . . . . 815

Adjusting the Volume or Pan of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . 816

Using the 002 and the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817

Using Mbox Family Audio Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Configuring USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . . . . 827

Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems 830

Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 835

Chapter 20 Using Avid Artist Series Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Installing EuControl Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Configuring Avid Artist Series Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 844

Configuring Ethernet Connections (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . 845

Setting the IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846

Configuring EuControl Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849

Artist Series Controller Button Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852

Customizing Avid Artist Series Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854

Moving Through Footage with Artist Series Controllers . . . . . . . . . . . . . . . . . . . . . 857

Volume Automation and Pan on Artist Series Controllers. . . . . . . . . . . . . . . . . . . . 858

Recording Volume Automation and Pan with Artist Series Controllers. . . . . . . . . . 859

Using the Latch Mode Feature on Artist Series Controllers . . . . . . . . . . . . . . . . . . 861

Using the Artist Series Controller for Editing Media . . . . . . . . . . . . . . . . . . . . . . . . 861

Controller Application Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 862

Chapter 21 Using Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 870

Real-Time AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 870

Avid AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 877

Working with Dolby E Surround Sound Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . 888

Core Avid Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889

Chapter 22 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 957

Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 957

Preparing to Export a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 959

Page 16

Exporting With the Send To Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 960

Send To Templates Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 963

Creating a Custom Send To Template for Exporting to Third-Party Applications . . 964

Exporting With the Export Command or the Drag-and-Drop Method . . . . . . . . . . . 966

Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 969

Guidelines for Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 970

Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . . 973

Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975

Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . . 978

Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . . 979

Exporting as Windows Media (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 980

Creating a Custom Profile for Windows Media Export (Windows Only) . . . . . . . . . 980

Exporting Media to XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 982

Exporting to XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 982

Exporting XDCAM OP1a Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 984

Exporting Your Clip or Sequence to a P2 Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . 985

Exporting as Windows Media Using a VC1 Resolution. . . . . . . . . . . . . . . . . . . . . . 986

Using Avid Interplay Media Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 987

Chapter 23 Generating Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 989

Preparing for Output: Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 989

Selecting the Device for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 990

Selecting the Sync Source for Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 990

Selecting a Video Output Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 993

Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 993

Preparing for Converting HD Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1000

Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1003

Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1009

Enabling Assemble-Edit Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010

Using ExpertRender to Prepare Effects for a Digital Cut . . . . . . . . . . . . . . . . . . . 1011

Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1012

Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021

Outputting DV 50 and DVCPRO HD Media Directly to a DV Device . . . . . . . . . . 1023

Selecting Output and Timecode Formats for 23.976p and 25p Projects . . . . . . . 1024

Page 17

Selecting Output Formats for 23.976p and 25p Projects . . . . . . . . . . . . . . . . . . . 1024

Output Format Reference for 23.976p and 25p Projects . . . . . . . . . . . . . . . . . . . 1025

Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1027

Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream

Encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1028

Indicating the Destination Timecode Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1028

Selecting the Video Pulldown Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1029

Digital Cuts and Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1029

Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . . . . . . . . . . 1030

Understanding DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1031

Delaying the Sequence for a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1032

Understanding Passthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1032

Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1033

Preserving HD Closed Captioning and Ancillary Data . . . . . . . . . . . . . . . . . . . . . 1038

Chapter 24 Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1054

Transferring Project and Media Files Between Avid Editing Systems . . . . . . . . . 1054

Chapter 25 Using the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1059

Configuring the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1060

Starting the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065

NRCS Tool Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1066

Using the Directory Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1070

Changing the Text Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1072

Editing Story Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1073

Finding the Read Time of a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1078

Sequences and Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1079

Associating a Sequence with a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1083

Adjusting the Story Timing (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1084

Using Associated Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1086

Saving Changes to a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1086

Using the Post to Web Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1087

Sending and Receiving NRCS Mail (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . 1099

Disconnecting from Your NRCS Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101

Page 18

Chapter 26 Working with Avid Interplay from an Avid Editing System . . . . . . . . 1102

Dos and Don’ts for Editors Working with Avid Interplay . . . . . . . . . . . . . . . . . . . . 1103

Checklist for Editors Working with Interplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1105

Working with Interplay and Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108

Administrator Settings for Avid Editing Clients . . . . . . . . . . . . . . . . . . . . . . . . . . . 1110

Using the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1111

Connecting to the Avid Interplay Database. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1111

Creating Avid Editing Projects in an Interplay Environment . . . . . . . . . . . . . . . . . 1118

Interplay Settings in the Editing Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1120

Defining the Interplay Folder Setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1121

Defining the Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1123

Connecting to Avid Shared Storage and Mounting Workspaces . . . . . . . . . . . . . 1124

Editing with Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1127

Managing Remote Assets with the Interplay Window. . . . . . . . . . . . . . . . . . . . . . 1139

Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1158

Capturing Media to Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1161

Using the Interplay Central Messages Window . . . . . . . . . . . . . . . . . . . . . . . . . . 1162

Performing a Send-to-Playback as a Background Process from an Avid Editing Application

1169

Chapter 27 Interplay Synced Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1171

Synced Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1171

Enabling Interplay Synced Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1173

Working with Synced Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1174

Creating a New Synced Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1175

Opening an Existing Synced Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1177

Deleting Synced Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1179

Updating a Synced Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1180

Chapter 28 Using Your Avid Editing Application with Interplay Sphere . . . . . . . 1182

Working with Remote Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1183

Using the Disk Cache to Manage Cached Media . . . . . . . . . . . . . . . . . . . . . . . . . 1188

Uploading Media Using the Remote Upload Service . . . . . . . . . . . . . . . . . . . . . . 1189

Interplay Sphere and Dynamic Relink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1195

Upload Queue Window Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1196

Page 19

Supported Project Types and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1198

Chapter 29 Using Interplay Transfer to Export Media . . . . . . . . . . . . . . . . . . . . . . 1199

Installing the Interplay Transfer Client Software . . . . . . . . . . . . . . . . . . . . . . . . . . 1199

Setting Transfer Settings in the Avid Editing Application . . . . . . . . . . . . . . . . . . . 1200

Transferring Avid Assets from an Avid Editing Application . . . . . . . . . . . . . . . . . . 1208

Transferring Avid Assets to a Playback Device . . . . . . . . . . . . . . . . . . . . . . . . . . 1208

Monitoring Transfers from Within the Avid Editing Application . . . . . . . . . . . . . . . 1212

Chapter 30 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . 1215

Understanding MultiRez and Proxy Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1215

Acquiring Media at Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1217

Understanding How Clips are Associated with Multiple Resolutions . . . . . . . . . . 1221

Options for Clip and Media Association . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1223

Understanding Dynamic Relink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1226

Workflow: Editing a Film or HD Project using MultiRez . . . . . . . . . . . . . . . . . . . . 1230

Considerations When Working with Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . 1236

Using the Dynamic Relink Settings Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . 1236

Relinking in Frame Chase Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1243

Using the Relink Dialog Box in an Avid Interplay Environment. . . . . . . . . . . . . . . 1244

Displaying Whether Media Is Available for Dynamic Relinking. . . . . . . . . . . . . . . 1244

MultiRez Button Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1249

MultiRez Bin Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1251

Understanding Options for Deleting MultiRez Clips and Media . . . . . . . . . . . . . . 1252

Deleting MultiRez Clips and Media from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . 1253

Working with Partially Online Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1254

Quality Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1257

Chapter 31 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1262

Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . 1262

Creating Group Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1263

Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1264

MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1265

MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1271

Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1275

Page 20

Chapter 32 The Avid Marketplace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1277

Avid Marketplace Media Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1277

Avid Marketplace Media Libraries Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . 1278

Creating a User Sign In and Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1280

Licensing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1281

About the Stock Footage Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1282

Searching through Stock Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1282

Downloading Stock Footage Clips to Your Avid Bin . . . . . . . . . . . . . . . . . . . . . . . 1290

Purchasing Your Stock Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1297

Downloading your High Resolution Stock Footage . . . . . . . . . . . . . . . . . . . . . . . 1298

Relinking High Resolution Media to Your Sequence . . . . . . . . . . . . . . . . . . . . . . 1301

Avid Marketplace Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1302

Purchasing and Downloading a Plug-in from the Avid Marketplace . . . . . . . . . . . 1302

Chapter 33 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1304

Understanding Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1306

Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1308

Options for Moving User Settings Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314

Summary of Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314

AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1317

Audio Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1319

Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1320

Bin Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1326

Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1326

Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1331

Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1332

Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1332

Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1334

Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1335

Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1336

Desktop Play Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1338

Dynamic Relink Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1338

Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1341

E-mail Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1343

Page 21

Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1344

Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1368

General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1371

Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1372

Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1374

Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1380

Interplay Folder, Interplay Server, and Interplay User Settings . . . . . . . . . . . . . . 1381

Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1382

Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1383

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1384

Media Services Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1387

Mouse Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1387

NRCS Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1388

Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1390

PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1390

Remote Play and Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1390

Sphere Playback Settings (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1391

Sphere Upload Settings (Window Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1392

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1393

S3D Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1395

Safe Colors Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1396

Script Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1397

Sound Card Configuration Settings

(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1398

Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1398

Transfer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1400

Trim Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1402

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1403

Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1404

Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1405

Video Satellite Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1410

Workspace Linking Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1411

Chapter 34 File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1412

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Specifications for Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1412

Specifications for Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1417

Specifications for Importing OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1419

Working with BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1420

Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . . . . . . . . . 1426

Chapter 35 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . 1429

Compression and Avid Editing Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1429

Monitor Display Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1430

Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1431

Support for Uncompressed HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1443

Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1444

Resolution Groups and Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1444

Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1445

Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1446

Considerations for Managing Storage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1457

Chapter 36 Working in HD and High-Resolution Projects . . . . . . . . . . . . . . . . . . 1459

Delivery Methods for Cinema and Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1459

Transferring Film to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1460

HD Workflow: Video-Based Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1469

Producing Graphics for Broadcast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1471

Creating a Film-Based Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1471

Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1475

Changing the Sequence Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1476

Converting a 23.976p NTSC Sequence to 720p/23.976. . . . . . . . . . . . . . . . . . . . 1477

Editing at 60 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1478

Displaying 24p and 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1478

Outputting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1479

Working with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1480

Understanding HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1480

HDV Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1481

Capturing and Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1482

Playing Back HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1483

Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1483

Page 23

Raster Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1487

Raster Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1489

Chapter 37 International Character Support (ICS) in Avid Editing Applications 1490

Choosing a Locale on an English Language Operating System. . . . . . . . . . . . . . 1490

Using a Local Language Operating System

(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1491

Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1491

Non-English Character Support (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1494

Using Foreign Keyboard Mapping (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . 1498

Considerations for International Character Support . . . . . . . . . . . . . . . . . . . . . . . 1498

Chapter 38 Open I/O Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1502

Page 24

Using This Guide

This guide contains the task-oriented instructions, conceptual information, and reference information you need to use the features of your Avid editing application. The contents of this guide is also available in the Help.

This guide is intended for all users, from beginning to advanced.

Unless noted otherwise, the material in this document applies to the Windows operating systems. The majority of screen shots in this document were captured on a Windows system, but the information applies to both Windows and Mac OS X systems. Where differences exist, both Windows and Mac OS X screen shots are shown.

The documentation describes the features and hardware of all models. Therefore, your system

might not contain certain features and hardware that are covered in the documentation.

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

and Mac OS® X

> This symbol indicates menu commands (and subcommands) in the

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

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

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

order you select them. For example, File > Import means to open the File menu and then select the Import command.

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

Page 25

Symbol or Convention Meaning or Action

If You Need Help

(Windows), (Windows only), (Macintosh), or (Macintosh only)

Bold font Bold font is primarily used in task instructions to identify user interface

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

Courier Bold font

Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the

If You Need Help

If you are having trouble using your Avid product:

1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow.

2. Check the latest information that might have become available after the documentation was published:

- If the latest information for your Avid product is provided as printed release notes, they

are shipped with your application and are also available online.

This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X.

items and keyboard sequences.

Courier Bold font identifies text that you type.

mouse action. For example, Command+Option+C or Ctrl+drag.

- If the latest information for your Avid product is provided as a ReadMe file, it is

supplied on your Avid installation CD or DVD as a PDF document (README_product.pdf) and is also available online.

You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available. To

view these online versions, select ReadMe from the Help menu, or visit the Knowledge Base at www.avid.com/readme.

3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues.

4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.

Page 26

Avid Training Services

Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment.

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

Avid Training Services

Page 27

2 Starting a Project

Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project. The following topics describe procedures for starting your work, as well as several techniques to safeguard and restore your work if necessary:

• Turning on Your Equipment

• Working with the Desktop

• Starting Your Avid Editing Application (Windows)

• Working with Projects

• Quitting and Turning Off Equipment

• Avid Projects and Avid Users Folders

• Changing Project and User Names

• Backing Up Your Project Information

• Avid Attic Folder

Turning on Your Equipment

Avid recommends that you turn on your equipment in the following order:

1. Storage devices.

2. Peripheral devices (such as monitors and speakers).

3. Computer system.

4. Avid input/output hardware device.

Do not disconnect devices while you run your Avid editing application. Before you start your

Avid editing application, make sure you connect all your devices first.

Page 28

Working with the Desktop

You can use some of the desktop navigation features of your operating system to speed your work or customize for your convenience while you edit. You can:

• Control how the Windows taskbar appears on the screen (Windows only).

• Use the Macintosh Dock as a quick way to launch your Avid editing application (Macintosh only).

• Use shortcut menus (also sometimes known as context menus) to quickly access editing commands.

• Use standard keyboard shortcuts to navigate and select options in dialog boxes and menus.

• Use the mouse scroll wheel for navigation and customize mouse button functions.

You also use the desktop for backups and transferring projects, as described in “Backing Up

Your Project Information” on page 56 and “Avid Projects and Avid Users Folders” on page 38.

For information on the Windows desktop and icons, see your Microsoft® documentation. For

information on the System Folder and the desktop and icons, see your Macintosh documentation.

Using the Windows Taskbar (Windows Only)

Working with the Desktop

By default, the Windows taskbar always appears on the bottom of your screen, on top of your Avid editing application. You have two other choices:

• Keep the taskbar hidden behind your Avid editing application

• Set the taskbar to appear only when you drag the mouse pointer to it

If you keep the taskbar hidden while you run your Avid editing application and you minimize an application such as Help, you do not see the minimized icon in the taskbar.

For more information about the taskbar, see the Windows Help.

You can also drag the taskbar to the top, bottom, or either side of the monitor.

When you work in your Avid editing application, you can minimize windows (such as the Project window and bins). The icons appear in your Avid editing application window, not in the taskbar.

To see the taskbar and minimized icons:

t Minimize your Avid editing application.

Page 29

To change the taskbar settings:

1. Right-click an unused part of the taskbar, and select Properties.

The Taskbar and Start Menu Properties dialog box opens.

2. Select the options you want:

t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and

“Auto hide the task bar.”

t To set the taskbar to appear when you want, select “Keep the task bar on top of other

windows” and “Auto hide the task bar.”

3. Click OK.

Using Shortcut Menus

In addition to standard menus to find a command you need, you can use shortcut menus. Shortcut menus show the most frequently used commands for a window or a screen object.

Most shortcut menus contain a What’s This? command to access Help for the window or the object.

To use a shortcut menu:

Working with the Desktop

t Right-click a window or a screen object.

Using the Keyboard for Navigating in Dialog Boxes and Menus

To navigate in dialog boxes and menus and to select and deselect options:

Option Command

To move from tabbed page to tabbed page within a dialog box.

To move from check box to check box or from option to option in a dialog box.

To select or deselect a check box or an option in a dialog box.

To move up or down in a menu, or increment a numeric value.

Press Page Up or Page Down.

Press Tab.

Press Right Arrow, Left Arrow, or the space bar.

Press Up Arrow or Down Arrow.

Page 30

Using the Mouse Scroll Wheel for Navigating

You can use the mouse scroll wheel to navigate in your Avid editing application, as described in the following table. You can also set the speed to scroll with the mouse wheel, and assign functions to three additional mouse buttons, as described in “Customizing Mouse Functions” on

page 30.

Working with the Desktop

To scroll through items in a window or function area with a vertical scroll bar (such as a bin).

To move the position bar one frame at a time in the Timeline.

To move the slider one unit at a time in a tool or window containing a slider (such as the Effect Editor).

To move the slider 10 units at a time in a tool or window containing a slider (such as the Effect Editor).

Customizing Mouse Functions

Your Avid editing application lets you set the speed of scrolling with the mouse wheel, and lets you assign functions to three additional mouse buttons.

When you map mouse buttons, make sure that the modifier key that you assign to the button and

command does not already have an alternate function.

You cannot assign functions to the standard left and right mouse buttons.

To set the mouse scroll speed:

1. In the Project window, click the Settings tab, and then double-click Mouse.

The Mouse Settings dialog box opens.

Use the scroll wheel.

Ctrl (Windows) or Control (Macintosh) + use the scroll wheel.

Use the scroll wheel.

Press Shift + use the scroll wheel.

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2. Select a speed from the Vertical Scroll Speed menu.

Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time.

To assign functions to additional mouse buttons:

1. In the Project window, click the Settings tab, and then double-click Mouse.

The Mouse Settings dialog box opens.

2. Select Tools > Command Palette.

The Command palette opens.

3. Select Button to Button Reassignment at the bottom of the Command palette.

4. Click the tab from which you want to select a user-selectable button.

5. Click the mouse, and drag the button from the Command palette to a button location on the Mouse Settings dialog box.

Optimum Performance (Windows 7)

The following list contains suggestions for ensuring optimum performance when working with your Avid editing application on a Windows 7 system:

Working with the Desktop

• It is required to turn off File Sharing. If you do not do this, you might receive Access Denied errors after you move files.

In Control Panel > Network and Sharing Center > File Sharing, select Turn off File Sharing.

• Disable CPU throttling.

In Control Panel > Hardware and Sound > Power Options, select High Performance.

• Do not enable the Windows Display setting “Show window contents while dragging.” This setting hinders redraw performance on your Avid editing system.

In Control Panel > Appearance and Personalization > Personalization > Window Color and Appearance > Effects, deselect Show window contents while dragging.

• Enable setting to adjust for best performance.

In Control Panel > System and Maintenance > System > Advanced System Settings > Performance Settings, select Adjust for best performance.

• Disable Desktop compositing.

In Control Panel > System and Maintenance > System > System Protection > Advanced tab > Performance Setting, deselect Enable desktop composition.

• Disable Windows Defender.

In Control Panel > Security > Windows Defender > Tools > Options > Administrator Options, deselect Use Windows Defender > Save.

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Working with the Desktop

• Disable Sidebar.

Right-click the Sidebar or Sidebar icon on your desktop > Properties > Deselect Start Sidebar when Windows starts > Right click icon and select Exit.

• Disable Hibernation in the Power options.

In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Put the computer to sleep, select Never.

• Change Advanced Power Settings.

In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Change advanced power settings > High Performance (instead of Balanced) Hard disk > Turn off hard disk after Setting: Never.

In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Change advanced power settings > High Performance (instead of Balanced) Sleep > Sleep after Setting: Never.

• Set automatic updates to Notify you but don’t automatically download.

In Control Panel > System and Maintenance > Windows Updates > Change settings, select “Notify me but don’t automatically download them or install them.”

• Turn off the firewall for Avid Interplay.

In Control Panel > Security > Windows Firewall, select Turn Windows Firewall on or off.

• Do not leave the Console window open when you edit. The performance of your Avid editing system slows considerably when the Console window is open.

• Do not leave a Windows Explorer window open. Windows Explorer attempts to update file information.

• Do not leave an e-mail application open if it is set to do periodic checks for mail.

• Do not run any application that periodically “wakes up” and performs an action.

• Disable screen savers.

• Do not keep media on the same partition where you install your Avid editing application. Avid recommends external media drives.

• Always use small fonts with the display driver to avoid missing characters in the dialog boxes in your Avid editing application.

• After you move a drive from one system to another, restart your system. Windows does not recognize the drive until you restart.

• Ensure you do not accidentally delete locked items from your desktop.

Right-click the Recycle Bin icon on your desktop > Properties > General tab > Display delete confirmation dialog.

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• When you advance by single frames through the Timeline, deselect Render On-the Fly to enable faster response time.

In your Avid editing application, deselect Clip > Render On-the-Fly

• Do not name files with special characters (/ \ : ? ” < > | *). Windows does not recognize special characters in file names. Bin names are limited to 27 characters (not including the four characters reserved for the file name extension).

• Do not schedule automatic backups at times when your Avid editing system might be in use.

• Do not run any application that includes prescheduled or automatically scheduled activities, such as a calendar program.

• Do not leave other applications running. Some applications, such as Microsoft Office, run background processes.

• Do not allow the Find Fast background process (find.exe) to run. The process tries to update its cache of file and folder locations. Check your Startup folder, and delete the file if it is there. To locate the find.exe, select Start > Search > find.exe.

Optimum Performance (Macintosh)

The following list contains suggestions for ensuring optimum performance when working with your Avid editing application on a Macintosh system:

Working with the Desktop

• Do not select the option that puts the hard disk to sleep when possible.

In System Preferences > Hardware Energy Saver, deselect Put the hard disk(s) to sleep when possible.

• Set sleep options to Never in Energy Saver preference.

In System Preferences > Hardware Energy Saver, select Never.

• Disable screensavers.

In System Preferences > Personal Desktop & Screen Saver > Screen Saver, select Never.

Antivirus Applications

Antivirus programs that contain autoscanning features can interfere with the operation of your Avid editing application. Since virus scanning is a processor-and disk-intensive activity, it can interfere with capturing and playing real-time effects in your Avid editing application.

Avid recommends you do not scan files or schedule any background tasks such as virus scanning when you use your Avid editing application.

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Starting Your Avid Editing Application (Windows)

File deletion protection utilities also consume system resources and could interfere with the proper operation of your Avid editing application. These utilities automatically back up any files that you delete, even temporary files that you create and delete with your Avid editing application. This consumes a large amount of disk space.

Starting Your Avid Editing Application (Windows)

By default, your Avid editing application is located in the following folder:

drive:\Program Files\Avid\Avid editing application

The installation process adds a desktop icon and a pointer to your Avid editing application in the Start menu.

Your Avid editing application does not start properly if you move the application file from the Avid editing application folder.

If you install your Avid editing application on a laptop computer, a dialog box might open with a

message about incompatible power management schemes. Avid recommends you use the “Always On” power scheme for Windows XP and the “High Performance” power option for Windows 7 when you work with Avid editing applications. Other power schemes might affect performance of editing functions (for example, capture and digital cuts).

To start your Avid editing application, do one of the following:

t Click Start > All Programs > Avid > Avid editing application.

t Double-click the Avid editing application desktop icon.

After your Avid editing application starts, the Select Project dialog box opens. For more information on the Select Project dialog box, see “Working with Projects” on page 34.

Working with Projects

When you start the editing application, the system displays the project log in window. Amongst other settings, you can determine the location of the project. Media Composer allows you work with projects in a private location or one that can be shared with other users.

The best choices for a shared structure are either Shared or External. These types of projects are created in a common location, making it easier for the Administrator to locate and delete old projects.

If you work in an Interplay environment, you can also share a synced project. For more information, see “Interplay Synced Projects” on page 1171.

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Working with Projects

If you will be working in a shared project environment, you should carefully consider the

location of your projects and media. This will make for a much more efficient working environment in terms of time and disk storage space.

If you are working with projects created on local drives, then note the following:

• A local project resides on the C: drive of the Avid editing system.

• If the connection between the Avid editing system and shared storage is lost, the project and its contents are unlikely to become corrupt as a by-product.

• You cannot login to the project from another workstation. The exception is if you are in an Interplay environment. In this case, you (or other users) must go to the Interplay Projects folder to locate the contents created in this project.

• From an administration standpoint, you must clean these projects up or archive them from each editing system. At a large site this can become time consuming and needs to become part of the Administrator’s workflow.

For information on the files and folders that your Avid editing application creates as part of a project, see “Avid Projects and Avid Users Folders” on page 38.

You should also back up your project information regularly to a separate storage device, as described in “Backing Up Your Project Information” on page 56.

Private

A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine. On a Windows system, a Private Project is always stored under the user’s Documents directory. An administrator may be able to access this project if they have read/write permission to the user’s directory.

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Working with Projects

Shared

A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine. On a Windows system, a Shared Project is always stored in the machine’s Shared Documents directory.

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Working with Projects

External

An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project. The external option is particularly useful when you want to save the project on shared network drive to make project maintenance easier.

Avid does not support sharing bins in an Interplay environment. If you create projects on shared

storage, do not allow editors to work in the same bin at the same time. This can result in data loss or media corruption. Instead of sharing bins, editors should use the Interplay Window to collaborate and share material.

Synced

A Synced Project is stored locally and in your Interplay database. It can be accessed by any user who has permissions for the project. On a Windows system, a Synced Project is always stored in the machine’s Shared Documents directory and in a corresponding project folder on Interplay.

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Working with Projects

Avid Projects and Avid Users Folders

When you create a new project or user profile, your Avid editing application creates files and folders in the Avid Projects and the Avid Users folders.

For more information about moving projects, see “Transferring Project and Media Files Between

Avid Editing Systems” on page 1054.

Locations of Avid Project Folders

By default, the system installs two Avid Projects folders:

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Private Shared

Working with Projects

Windows drive:\Documents and

Settings\Windows login name\Documents\Avid Projects

Macintosh Macintosh HD/Users/Mac login

name/Documents/Avid Projects

Locations of Avid Users Folders

drive:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects

Macintosh HD/Users/Shared/Avid editing application/Shared Avid Projects

The Avid Users folder is located in the application folder:

Windows 7 drive:\Documents and Settings\All Users\Shared Documents\Avid editing

application\Avid Users

Macintosh Macintosh HD/Users/Shared/Avid editing application/Avid Users

(Windows only) The location of the Avid Users folder depends on the installation path for your

Avid editing application.

Files and Folders Created For Projects

When you create a new project, your Avid editing application creates a folder with the name that you entered when you created the project. The following three files are stored within the project folder:

• A project file (.avp)

• A project settings file (.xml)

• A bin file (.avb)

The project folder and the three files all use the project name you provide. The project folder is stored in the Avid Projects folder.

Your project settings are initially set to the default values. As you create additional bins for the project (see “Creating a New Bin” on page 64), additional bin (.avb) files are added to the project folder.

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Files and Folders Created For User Profiles

When you create a new user profile, your Avid editing application creates a folder for the user and two files that are stored within the user folder:

• A user profile file (.ave)

• A user settings file (.xml)

The user folder and the two files all use the user profile name you provide. The new folder is stored in the Avid Users folder.

Select Project Dialog Box

The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles.

Working with Projects

Element Description

1 User Displays the login name of the user currently logged into the system. To change to a

different user, log out and log in as that user.

2 Folder Displays the path of the current folder. This path determines which projects appear in

the project list and where a new project is created.

You cannot type into the User or Folder text boxes.

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Working with Projects

Element Description (Continued)

3 User Profile Displays the name associated with the current settings. By default your Avid editing

application uses the login name. The list button changes profiles or creates a new one. For more information, see “Understanding User Profiles” on page 73.

4 Project list Displays a list of the Avid projects in the currently selected folder. Double-click a

project to open it.

5 Browse button Lets you navigate to a different folder. The projects in this folder appear in the project

list. See “Opening and Closing Projects” on page 50.

6 Folder buttons The button you select will set the location where you can browse or create projects.

Private: Local folder for the user currently logged in.

Shared: Local folder that is visible to all users that have accounts on this system.

External: Local or remote folder that any other users may have access to depending on the file permissions set on this folder.

Synced: (Interplay only) Local and Interplay folder that other users may have access to depending on permissions.

For more information, see “Working with Projects” on page 34.

7 New Project button Opens the New Project dialog box to create a new project.

Project Types

The following table lists the format options available for your project. Depending on the model of your Avid editing application, your format options might not include all items listed here.

Project Type Source Footage Transfer Color Space

23.976p NTSC For film-originated or video-originated footage that has been shot at

23.976 fps or film-originated footage transferred on digital videotape (such as Digital Betacam

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

25p PAL For 25-fps film footage transferred to PAL videotape YCbCr

30i NTSC For NTSC video-originated or other 30-fps footage transferred to NTSC

videotape

720p/23.976 For film-originated material transferred to videotape. YCbCr

720p/25 For video-originated material that can be captured, edited and output for

HD broadcast. It can also be captured in DVCProHD format.

™

)

YCbCr

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Creating a New Project

Project Type Source Footage Transfer (Continued) Color Space

720p/29.97 For video-originated material. Can be directly captured, edited, and output

for HD broadcast.

720p/50 For HDV broadcast (European broadcast). YCbCr

720p/59.94 For video-originated material. Can be directly captured, edited, and output

for HD broadcast.

1080p/23.976 For film footage transferred to videotape, or high-resolution files from

digital film cameras.

1080p/24 For film footage transferred to videotape, or high-resolution files from

digital film cameras. True 24-fps editing.

1080p/25 For film footage transferred to videotape, or high-resolution files from

digital film cameras.

1080p/29.97 For film footage transferred to videotape, or high-resolution files from

digital film cameras.

1080i/50 For video-originated material, or high-resolution files from digital film

cameras. Can be directly captured, edited, and output for HD broadcast.

1080i/59.94 For video-originated material, or high-resolution files from digital film

cameras. Can be directly captured, edited, and output for HD broadcast.

Some older versions of Avid editing applications provided HD project types based on HDV

requirements. In current versions of Avid editing applications, these are replaced by standard

YCbCr

YCbCr RGB

HD projects that let you specify the raster dimensions for editing and playback.

Creating a New Project

You can create a project in any format. The settings you choose for your project will dictate the way in which your material is handled for the various editing functions within the Avid application.

The project format describes the frame size, aspect ratio, frame rate, and the color space for all sequences created within the project. You should set your project format according to the quality required for the final delivery.

Read the following topics before setting your project format:

• Setting the Project Format to Accommodate Variable Resolutions

• Setting the Project Color Space

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Creating a New Project

To create a new project:

1. In the Select Project dialog box, select the folder in which you want to create the project: Private, Shared, External, or Synced — see Working with Projects.

You must be logged in to Interplay to create a Synced Project. For more information on synced

projects, see “Interplay Synced Projects” on page 1171.

2. Type the name of your new project in the text box.

3. Click the Format menu and select a project format that matches your media and delivery requirements.

The rest of the options might change depending on the project format you choose.

Example of the New Project dialog box

4. Set the following option(s), where applicable:

Option SD HD

Project Format

A combination of the video format (e.g. NTSC, PAL, HD), the video mode (e.g. 1080p, 720p) and the frame rate (e.g. 23.97, 24, 25 fps). Choose the most appropriate combination for your output format.

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Option SD HD

Creating a New Project

Aspect Ratio The numerical ratio of the picture width to height. Set

the aspect ratio for standard (SD) video and television at 4:3, and at 16:9 for HD.

The project uses the aspect ratio setting to determine the display setting in the monitors, and as a factor in determining whether material requires resizing or repositioning in sequences. For more information,

“Mixing Frame Sizes and Aspect Ratios” on page 560.

Raster Dimension

Color Space Set the color coordinate system to be used for

Set the spatial resolution at which your clips will be processed on the timeline. The resolution is the number of pixel columns (width) by the number of pixel rows (height), for example 1920 by 1080. Some devices create media in non-standard resolutions--for example, HDV (1440 x 1080).

Note: These non-standard dimensions are only available if there is an Avid codec to support it.

The Raster Dimension menu appears only for HD projects on a supported system. For more information,

interpreting color values in your media and transforming them to the selected color space for the editing application.

Select either 4:3 or 16:9

Always uses YCC

Always uses the 16:9 aspect ratio.

YCC 709 or RGB 709

When using source material

that is full frame, the frame compatible format is generated on the fly which may result in a performance slowdown.

Film Available for 23.976p, 24p, 25p, 720p, and 1080p film

projects. Click the Film button and select a format for film gauge tracking from the Default Film Type menu.

Audio Transfer Rate

Available for 24p PAL projects. N/A

N/A

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Option SD HD

Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i

Matchback projects only. Select Matchback, then click the Film button and select a format for film gauge tracking from the Default Film Type menu.

The Matchback item appears only if your Avid

editing application includes the Matchback option.

Creating a New Project

SearchData Folder

5. Click OK.

6. Double-click the project name to open the project.

Specifies the location for the folder to be used by PhraseFind. By default, this is set in the Projects folder.

This folder keeps an index of text or phonetic searches.

Your Avid editing application creates the new project files and folder, and then returns to the Select Project dialog box. The project name is highlighted in the Projects list.

The Project window, the Source/Record monitor, and the Timeline open with the User settings loaded.

Project name and user name in the title bar (left) and Close button (right) in the Project window

Setting the Project Format to Accommodate Variable Resolutions

Regardless of the project output format, you can still work with media of different frame sizes, aspect ratios, and pixel aspect ratios in the same sequence. For example, you can mix SD 4:3, HD 16:9, and 2K+ media formats. Your Avid editing application automatically resizes and repositions these clips to match the project's format settings.

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Working with Color Spaces in HD Projects

The original media size, resolution and color properties are preserved in the metadata of the clip

in case the sequence needs to be conformed in other applications.

If you intend to output in multiple formats, e.g. broadcast in NTSC, PAL, and HD, then you can edit your project format in the highest format which in this case would be HD. After outputting to HD, you can then switch the project format to NTSC, and reformat and re-render any necessary titles/effects before output. (See Mixing Frame Sizes and Aspect Ratios; Mixing Frame Rates and Field Motion Types in the online help.)

Working with Color Spaces in HD Projects

In full HD projects, some Avid editing applications and Avid input/output hardware devices let you work in either the YCbCr or the RGB color space. Your Avid editing application uses a project’s color space setting to control how it displays video, processes most effects, and outputs sequences.

RGB and YCbCr both separate colors into three channels, but they store color information differently. When you choose which color space to work in, you need to take several factors into consideration, including the color space of your media, your output needs, and your performance expectations for your Avid editing application while editing.

The RGB color space is not available for 720p or NTSC/PAL SD projects.

Understanding the YCbCr Color Space

YCbCr performs better, but is of lesser quality.

YCbCr stores brightness (Y) separately from colors (Cb and Cr). Since humans are more susceptible to changes in light than in color, YCbCr discards half the chrominance data (one-third of the overall data) with little discernible difference to image quality. Media that uses YCbCr takes up less disk space than media that uses RGB, and less bandwidth is required to play it.

YCbCr is the only color space available for SD media, because SD requires lower bandwidths and might need to maintain backwards compatibility with black-and-white displays. When you only need SD output, you only need to work in the YCbCr color space.

Newer HD technologies can display detailed images with sharp changes in color. Because some color data is missing, YCbCr media does not take full advantage of HD display hardware. The limited color information available in YCbCr also means that the results of effects processing are not as good as they could be with RGB media.

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Working with Color Spaces in HD Projects

Understanding the RGB Color Space

RGB produces higher quality images and effects, but takes up more space.

RGB separates images into their constituting colors: red (R), green (G), and blue (B) and does not discard any of the chrominance data. As a result, video images look sharper, particularly those with fast motion or abrupt changes in color. Newer HD formats support RGB only.

Because no color data is lost, your Avid editing application can make more precise calculations when processing effects using RGB media. The quality improvement over YCbCr processing is most noticeable in effects that perform color analysis, such as chroma keyers. Even if the original video data is in YCbCr, your should consider converting to RGB to process effects as precisely as possible.

The disadvantage of RGB is file size. Media that uses RGB takes up more disk space than media that uses YCbCr, and more bandwidth is required to play it. Some systems might not be able to handle playback of RGB material smoothly, particularly when you use the J-K-L keys to play at greater than normal speed or to play in reverse.

RGB media requires high bandwidth. For effective playback of multiple streams of video at

higher resolutions, you should distribute the video tracks as evenly as possible among available drives, and target separate drives for audio and video.

Choosing a Color Space for Your Project

Your choice of a color space depends on both your input/output hardware and your desired output. For information on how to define the color space for a project, see “Changing the Project

Color Space for an HD Project” on page 49.

If your hardware supports both RGB and YCbCr, choose the color space that corresponds to your output needs.

If your hardware supports only YCbCr, you can choose RGB for your project color space to maintain maximum quality throughout your workflow. Your Avid editing application converts your material to YCbCr right before sending it to the hardware for monitoring or output.

The project color space specifies how your Avid editing application processes effects in real time. Your Avid editing application supports native processing of effects in either the RGB or YCbCr color spaces. For example, this means that RGB media does not need to be converted to YCbCr for processing, maintaining maximum video quality until the final output.

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Mixing Media of Different Color Spaces

You can work with media of different color spaces in the same sequence. For example, you can mix SD YCbCr and HD RGB. When you mix media in this way, your video editing application converts media to the project’s color space when necessary. This conversion takes place internally during the processing of real-time effects and prior to output.

The color space of your media depends on its format. Tape-based SD and HD media uses the YCbCr color space. Newer HD digital formats, such as R3D, use RGB. See “Resolution

Specifications” on page 1431 for information about supported formats.

You can check the color space of the media for any clip in your project by viewing the Color Space bin heading in the bin that contains the clip. For more information, see “Moving,

Aligning, and Deleting Bin Columns” on page 318.

Setting the Project Color Space

When assembling a project, it is very common to have media originating from different sources. These can include SD or HD tapes, file-based cameras, film frames scanned to files, and even computer-generated graphics. Each of these media sources can have arbitrary color encoding (i.e. color model, gamma, bit depth, etc.). The editor needs to see each of these media sources with their true colors from the beginning to the end of the editing process.

Working with Color Spaces in HD Projects

When a project is created, a common color space needs to be selected for the processing of all media within a sequence. This color space maintains a consistent color appearance when color values from different media sources are sent to a particular device (either a monitor, storage, or output).

The working color space should be set according to the delivery requirements. As an example, for broadcast HD TV, set it to Rec. 709. For a sequence that will be delivered in multiple formats, the working color space should be set to the highest overall precision and range.

Color Space is the predefined limit for the range of colors that can be represented in a given file, application or device. When images are processed, the color that they were encoded with by the camera is transformed to the color space of the Media Composer application. This is known as color mapping.

When these same images need to be viewed on a monitor, the colors need to be mapped to the color space of the monitor. (The color space of the monitor is not set within Media Composer. It needs to be calibrated separately as per the vendor’s instructions).

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Changing the Project Color Space for an HD Project

The Color Space setting determines the color coordinate system to be used for interpreting color values in your media and transforming them to the selected color space for the editing application.The RGB color space is only available in full HD projects. 720p and NTSC/PAL projects can only use the YCbCr color space.

The project color space can be changed at any time. All color transformations are applied on the media during playback.

Changing the project color space does not affect the rendering of titles and effects or change the color space of imported media. Your Avid editing application controls these according to their Media Creation Settings. For more information, see “Media Creation Settings” on page 1384.

To change the project color space:

1. Click the Format tab in the Project window.

2. Click the Color Space menu, and select either RGB 709 or YCbCr 709, depending on the color space you want to use.

Working with Color Spaces in HD Projects

Color Space menu in the Format tab of the Project window

Your Avid editing application now displays video and processes real-time effects in the new color space. The final output is also in the new space.

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Setting Project-Naming Conventions

The system limits bins and project names to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name. If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user.

(Macintosh only) If you use your Avid editing application as a standalone editor (and don’t plan to move your bins or projects to another platform), you can extend bin and project names to 31 characters. You can also choose to accept or not accept the Windows compatible file naming convention of special characters and spacing.

To use Windows compatible file names

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click General Settings.

3. Select Use Windows compatible file names.

This prevents your Avid editing application from accepting the restricted characters in a bin, project, or user name.

Opening and Closing Projects

To extend project and bin names to 31 characters (Macintosh only)

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click General Settings.

3. Select Allow files names to extend 27 characters.

This extends the names of projects and bins to 31 characters.

Opening and Closing Projects

You can open a project from the Select Project dialog box, and navigate from the Select Project dialog box to find any project on your system.

If you have already created a project, when you enter your Avid editing application you can bypass the Select Project dialog box and have your last project open automatically.

If you choose to install the sample startup project and media when you install your Avid editing application, you can open this project from the Select Project dialog box. The startup project, called Avid Boston Project DV25, contains a complete sequence with rendered effects and titles, as well as all the video and audio clips used in the sequence.

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Opening and Closing Projects

Use the startup project to learn how to edit with your Avid editing application, before you capture any media of your own. You can explore the sequence in the Timeline to learn how it is assembled, and use the clips to practice viewing and editing techniques described in this guide.

If a sequence that was created in an older version of an Avid editing application contains effects

or color corrections, you might need to update the sequence. If a sequence requires updating, the Update Sequence dialog box might open when you load the sequence. For more information, see “Updating and Reverting Existing Effects in Sequences” in the Help.

To open an existing project:

1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External.

For more information, see “Select Project Dialog Box” on page 40.

2. Do one of the following:

t Select a project in the Select Project dialog box, and then click OK.

t Double-click a project name in the Projects list.

The Project window, the Source/Record monitor, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

To browse for a project in a location other than the default Shared and Private folders:

1. Start your Avid editing application.

The Select Project dialog box opens.

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Browse button in the Select Project dialog box

2. Click the Browse button.

Opening and Closing Projects

The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.

3. Navigate to the folder that contains the project you want.

4. Click OK (Windows) or Choose (Macintosh).

5. Select a project in the Projects list.

6. Click OK.

The next time you open the Select Project dialog box, the path you selected will be displayed when you click the External button.

To open a project automatically:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click any Interface setting.

The Interface Settings dialog box opens.

3. Click the General tab, select “Automatically Launch Last Project at Startup,” and then click OK.

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Deleting a Project

The next time you start your Avid editing application, it opens your last project.

To turn off the automatic opening of projects so that you can select another project when you start your Avid editing application:

1. Deselect “Automatically Launch Last Project at Startup,” and then click OK.

2. Quit your Avid editing application and restart it.

The Select Project dialog box opens.

3. Select a project and click OK.

The Project window, the Source/Record monitor, and the Timeline open with the User settings loaded.

To open the startup project:

1. In the Select Project dialog box, click the Shared folder button.

2. Double-click Avid Boston Project DV25 in the Project list.

The Avid Boston Project DV25 project opens.

The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio. To view the

footage correctly in monitors, click the Format tab in the Project Window and set aspect ratio to 16:9.

3. In the Format tab of the Project window, ensure that Aspect Ratio is set to 16:9.

The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio.

4. Use the Bins tab in the Project window to open one or both of the bins in the project:

- Boston Seq DV25 contains a complete sequence

- Boston Project source contains all the video and audio clips in the project

For more information on opening bins, see “Opening and Closing Bins” on page 65.

To close the current project, do one of the following:

t With the Project window active, select File > Close Project.

t Click the Close button in the Project window.

Deleting a Project

To delete a project:

1. Start your Avid editing application.

The Select Project dialog box opens.

2. Click the project you want to delete.

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Quitting and Turning Off Equipment

3. Press the Delete key.

4. If you see a message asking if you want to delete the selected project and associated bins, click OK

The deleted project no longer appears in the Select Project dialog box.

Deleting a project also deletes any bins that are in that project.

Media related to a deleted project is not deleted with the project folder. For more information on

deleting media files, see “Deleting Items from a Bin” on page 310 and “Deleting Media Files

with the Media Tool” on page 416.

Quitting and Turning Off Equipment

If you work in an Avid Unity™ environment, your Avid editing application writes a media database file (.mdb) to the workspace where you work. Before you quit your Avid editing application, make sure that the workspace has approximately 50 MB of storage space available. Ask your Avid Unity administrator to increase the space if you need more storage.

To quit your Avid editing application and leave it immediately:

t (Macintosh) Select Avid editing application > Quit Avid editing application.

t (Windows) Select File > Exit.

The project closes and your Avid editing application quits.

To quit your Avid editing application and view the Select Project dialog box:

1. Click the Close button at the far right (Windows) or at the far left (Macintosh) of the Project window’s title bar.

The Select Project dialog box opens.

2. Click Quit.

A message box opens.

3. Do one of the following:

t Click Leave to quit your Avid editing application.

t Click Cancel to return to the Select Project dialog box and select another project.

To view remaining storage on your media drives:

1. Click the Info tab in the Project window, and then click Hardware.

The Hardware tool opens.

2. Click the appropriate drive tab.

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Changing Project and User Names

For more information, see “Using the Hardware Tool” on page 103.

Quit your Avid editing application before you turn off your equipment.

To turn off your equipment:

1. Turn off the system by doing the following:

For a Windows system:

a. Click the Start button, and select Shut Down.

The Shut Down Windows dialog box opens.

b. Click the menu, and select Shut down.

c. Click OK.

For a Macintosh system:

t Select Apple menu > Shut Down.

2. If you have an Avid input/output device attached to your system, turn it off.

3. Turn off peripheral devices (such as monitors and speakers).

4. Turn off external storage devices.

Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives.

5. Turn off all other hardware.

Changing Project and User Names

You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before you start your Avid editing application. For information about the location of the Avid Projects and Avid Users folders, see “Avid Projects

and Avid Users Folders” on page 38.

When you change a user name or a project name, make sure you change the name of the folder and all the files in the folder that have the old name. Your Avid editing application does not automatically change the names of corresponding files in the folder.

To change a project name or user name:

1. Navigate to the Avid Projects or Avid Users folder, and then double-click the folder to open it.

2. Click the name of the folder you want to change.

The name highlights.

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3. Type the new name of the folder.

4. Double-click the folder with the new name to open it.

The folder contains profile, settings, and project files with the old name.

5. Change the old name of each file to the new name.

Do not change the name of the file MCState in the Avid Users folder.

6. Close the windows, and restart your Avid editing application.

The new project name or user name appears in the Select Project dialog box.

Backing Up Your Project Information

Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently. Because the storage requirements are minimal, you can back up these files to a variety of storage devices, such as:

•USB (thumb) drive

• CD-ROM or DVD-ROM

• Network storage device (such as a file server)

Backing Up Your Project Information

• Mass-storage device

To back up the larger media files created when you capture footage, use a high-capacity storage

device. For information on backing up media files, see “Backing Up Media Files” on page 435.

To save your work on a drive or on removable media:

1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM).

2. (Windows only) From the Windows desktop, double-click the My Computer icon.

3. Double-click the icon for the destination storage drive or storage media to open it. Double-click any additional folders to target the appropriate storage location.

4. Navigate to the folder that contains the project folder or the user folder you want to save.

5. Drag a project folder or a user folder to the targeted storage location.

6. When the system finishes copying the files, unmount the drive or eject the media and store it.

To restore a project or user information from a backup storage device:

1. Mount the drive or insert the removable media that contains the backup copies you want to restore.

2. From the desktop, double-click the icons for the drive or storage media and for the internal hard drive (Windows) or for the Macintosh HD (Macintosh).

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3. Drag the copies from the storage device to the appropriate folder on the internal hard drive (Windows) or

When you start your Avid editing application, the restored project and user profile appear in the Select Project dialog box.

If you restore a single bin or bins, you must relink them to the project from within the Project

window. For more information, see “Opening and Closing Bins” on page 65.

Macintosh HD/Users/Shared

Avid Attic Folder

The Avid Attic folder contains backup files of each bin in a project. You retrieve files from the Avid Attic folder in the following circumstances:

• When you want to replace current changes to a sequence or clip with a previous version

• When the current bin file becomes corrupted

For information on retrieving files from the Avid Attic folder, see “Retrieving Files from the

Avid Attic Folder (Windows)” on page 58.

For information on setting automatic save features, see “Saving Bins” on page 68.

Avid Attic Folder

(Macintosh).

(Macintosh only) If you deselected the “Allow filenames to exceed 27 characters” option in the

General Settings dialog box, you cannot retrieve a backup file with a file name larger than the 27-character limit. You must rename the file before you retrieve it.

The Avid Attic folder contains a folder for each project. Each project folder contains a Bins folder. When a bin is saved, a folder with the bin’s name is created in the Bins folder and a copy of the bin file is stored in the folder with the bin name. The system adds the file name extension .bak plus a version number to the bin’s file name. The bin file with the highest version number represents the latest copy of the bin file.

When you view a bin folder in Details view (Windows) or List view (Macintosh), you can also identify the most recent backup file based on the timestamp of creation displayed in the Modified column (Windows) or Date Modified column (Macintosh).

The oldest backup file is overwritten only if the second-oldest backup file is more than 2 hours

old.

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Retrieving Files from the Avid Attic Folder (Windows)

To retrieve a file from the Avid Attic folder:

1. Minimize your Avid editing application.

2. From the desktop, double-click the Avid Attic folder, located in:

Avid Attic Folder

(Windows XP)

Documents\Avid editing application

(Windows Vista or Windows 7)

editing application

drive:\Documents and Settings\All Users\Shared

drive:/Users/Public/Public Documents/Avid

The Avid Attic folder opens and displays a folder for each project.

3. Double-click a project folder, and then double-click the Bins folder.

The Bins folder opens and displays a folder for each bin in the project.

4. Double-click the folder for the bin you want to retrieve.

5. If the bin folder is not already in the Details view, select View > Details.

The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2.

6. Select the backup bin file or files you want to retrieve.

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7. Ctrl+drag the selected backup bin files to the desktop.

This makes a copy of the files, leaving the original files in the Avid Attic folder.

To copy backup files to a new bin:

1. Click the taskbar item for your Avid editing application to restore it.

If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 28.

2. Click the Project window to activate it, and click the Bins tab to display the Bins list.

3. Select File > Open Bin.

4. From the Files of Type list, select All Files (*.*).

5. Navigate to the desktop, select one of the backup bin files you copied, and click Open.

The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop is created in the Other Bins folder.

Your Avid editing application does not allow a bin and a copy of a bin to be open at the same

time. You must keep all other bins closed and open the backup bins one at a time.

6. Create a new bin.

Avid Attic Folder

For example, if you are retrieving clips from a backup bin called Audio.2, you can call the new bin Audio New.

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Avid Attic Folder

7. Select the material you want to keep from the backup bin, and drag the files to the new bin.

8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop.

9. Select and delete the backup bins in the Other Bins folder.

10. Drag the backup bin files on the desktop to the Recycle Bin.

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3 Working with the Project Window

The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.

The following topics describe features of the Project window:

• Overview of the Project Window

• Controlling Project Window Display

• Using the Bins Tab

• Using the Settings Tab

• Using the Format Tab

• Using the Info Tab

• Managing Bins and Memory

• Understanding User Profiles

• Managing User Profiles

• Customizing the Avid User Interface

• Using Workspaces

• Working with Bins and Projects in an Avid Shared Storage Environment

• Working with Export Volumes

Overview of the Project Window

The Project window is a central location for important information and tools that you need as you work on your project.

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Controlling Project Window Display

Project window information is organized in tabs.

Tab Function

Bins Lets you create and open bins. See “Using the Bins Tab” on page 63.

Volume Lets you create an Export Volume. See “Working with Export Volumes” on

page 399.

Settings Lets you view and modify settings. See “Using the Settings Tab” on page 69.

Effects Lets you access a library of effects. See “Applying Effects” in the Help.

Format Lets you view information about the format of the project. See “Using the Format

Tab” on page 70.

Info Lets you view information about system memory usage and system hardware

configuration.

Controlling Project Window Display

The Project window opens automatically when you select a project. You can use the Project window’s tab to change the display of information in the window.

The Project window is always open when you are working in a project. However, it might become hidden behind open bins or tools.

To change the information display in the Project window:

t Click one of the tabs.

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To locate and redisplay the Project window, do one of the following:

t Select Tools > Project.

t Click in an area of the Project window to bring it forward.

To close the Project window, do one of the following:

t With the Project window active, select File > Close Project.

t Click the Close button in the Project window.

The Select Project dialog box opens.

Using the Bins Tab

When you create a project, your Avid editing application automatically creates a bin with the name of the new project, which displays in the Bins tab. You can rename this bin and create additional bins as you work in your project.

The word bin is a movie industry term that refers to a container that holds pieces of film. In your Avid editing application, bins contain master clips that are created when you capture source material. Bins also contain the sequences, subclips, group clips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins that you create for other projects.

Using the Bins Tab

Viewing a List of Bins

You can view a list of bins in the Project window. The Bins list displays the number, names, sizes, and location of the bins. Bins from other projects appear in the Project window in italic.

To view a list of bins associated with the project:

t Click the Bins tab in the Project window.

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Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window.

Creating a New Bin

To create a new bin from the Project window:

1. Do one of the following:

t Select File > New Bin.

t Click the New Bin button in the Project window.

Using the Bins Tab

A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list in the Project window with a default name highlighted and a number appended to it.

2. In the Project window, click the new bin name and type in a new name.

3. Press Enter (Windows) or Return (Macintosh).

A corresponding bin file is placed in the Avid Projects folder, and a backup copy is placed in the Avid Attic folder. For more information, see “Avid Projects and Avid Users Folders” on

page 38 and “Avid Attic Folder” on page 57.

To place a bin in a folder:

t Drag the bin to the folder icon.

Renaming a Bin

Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally.

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If you plan to move bins and projects from one platform to another, do not use the characters / \ :

* ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user. 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 your Avid

editing application’s General Settings dialog box to prevent your Avid editing application from accepting these restricted characters in a bin, project, or user name. If you use your Avid editing application as a standalone editing application (and don’t plan to move your bins or projects to another platform), you have the option to extend bin and project names to 31 characters.

To change the name of a bin:

1. Click the bin name in the Bins list.

2. Type a new name.

Opening and Closing Bins

You can open a single bin or open multiple bins at once. You can also open a bin from another project.

Using the Bins Tab

Never open a bin that is stored on a removable disk or equivalent device; otherwise, your Avid editing application cannot save your work. Always copy the bin to a project folder on the system drive before you open it.

To open a bin directly:

1. Click the Bins tab.

2. Double-click the Bin icon next to the bin name.

The bin opens in a separate window. The Bin icon appears dimmed in the Bins list, indicating the bin is open.

You can also open a bin by dragging it from the Bins tab in the Project window to an open bin. The bin opens as a tab in the existing bin.

To open several bins at once from the Project window:

1. Click a Bin icon in the Bins list.

2. Ctrl+click (Windows) or Command+click (Macintosh) each additional bin you want to open.

3. Do one of the following:

t To open each bin in a separate window, select File > Open Selected Bins.

t To open all bins as tabs in a single bin, select File > Open Selected Bins In One Window.

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Using the Bins Tab

The selected bins open either in separate windows or in a single window with tabs indicating the bins.

You can also open multiple bins by dragging them from the Bins tab in the Project window to an

open bin. The bins open as tabs in the existing bin.

To open a bin from another project:

1. Select File > Open Bin.

The Open a Bin dialog box opens.

2. Find and select the bin you want.

Bins have the file name extension .avb.

3. Click Open.

The bin appears in the Bins list in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window.

The Other Bins folder disappears from the Bins list when you delete all the bins in the Other Bins

folder. Deleting bins from the Other Bins folder does not remove the bins from your system; only the pointers to the bins are removed.

To close a bin, do one of the following:

t Click the Close button.

t Select File > Close Bin.

Displaying Folders of Bins in the Bins List

You can add folders to the Bins list to help organize your project. You can drag bins into folders or drag folders into folders.

To create a folder in a project:

1. Click the Fast menu button, and select New Folder.

A new untitled folder appears.

2. Click the untitled folder name in the Bins list and rename it.

To show or hide the folder’s contents in the Bins list in the Project window:

t Click the arrow next to a folder icon.

To view a list of only the folder contents and not the folders:

t Click the Fast Menu button, and select Flat View.

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The Trash icon and its contents disappear until Flat View is deselected.

Creating a Folder

To create a folder in a project:

1. Click the Bins tab in the Project window.

2. Click the Fast Menu button, and select New Folder.

A new untitled folder appears.

3. Click the untitled folder name in the Bins list and rename it.

Deleting a Bin or Folder

You can delete bins and folders along with their contents from the Bins list. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash. For more information, see “Viewing and

Emptying the Trash” on page 67.

Using the Bins Tab

Only bins and folders appear in the Trash. If you select a clip, subclip, or effect directly in a bin and press the Delete key, the item is permanently deleted and does not appear in the Tras h.

To delete a bin or folder from the Project window, do the following:

t Select the bin or the folder you want to delete in the Bins list, and press the Delete key.

A Trash icon appears in the Bins list in the Project window. The Trash contains the deleted item.

The Trash is not visible in the Project window until you delete your first item.

Viewing and Emptying the Trash

If you need to view the contents in the Trash or decide you do not want to delete those items, you must first move the bins and folders from the Trash.

Emptying the trash permanently removes the bins or folders from the drive.

If you change the name of the Trash icon, you cannot empty the Trash.

To view items in the Trash:

1. Click the arrow next to the Trash icon in the Bins list.

2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window.

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3. Double-click the bin or folder to view it.

To empty the Trash in the Bins list:

1. Click the Fast Menu button, and select Empty Trash.

A message box opens.

2. Click Empty Trash to delete the bins or folders from the Trash and from your hard drive.

Saving Bins

Your Avid editing application automatically saves changes to your work on a regular basis. You can modify the frequency of the automatic backups.

You can also manually save a specific bin, selected bins, or all bins. You might want to do this immediately after performing an important edit.

When you work with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. After you save the bin, your Avid editing application removes the asterisk.

When an autosave occurs, any open bins update with changes made since the last autosave, and copies of these bins are placed in the project’s backup bin folder:

Using the Bins Tab

Windows 7 drive:\Users\Public\Public Documents\Avid editing application\Avid Attic

folder

Macintosh /Users/Shared/Avid editing application/Avid Attic folder

Your Avid editing application automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder.

To adjust the frequency of automatic saves:

1. In the Project window, click the Settings tab, and then double-click Bin.

The Bin Settings dialog box opens.

2. Type a number in the Auto-Save interval text box.

3. Click OK.

Setting to zero the maximum number of files stored in the Avid Attic folder as well as the

maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved. For more information about backup options, see “Bin Settings” on page 1326.

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Saving Bins Manually

To save a specific bin:

1. Click the bin to activate it.

2. Select File > Save Bin.

To save selected bins:

1. In the Bins tab, click a Bin icon to select it, and then Ctrl+click any additional bins.

2. Select File > Save All.

The system saves all the selected bins.

The Save Bin command appears dimmed if there were no changes since the last time the active

bin was saved.

To save all the bins:

1. Click the Bins tab in the Project window.

2. Select File > Save All.

The system saves all the bins for the project.

Using the Settings Tab

From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting either displays information about that specific tool or window or lets you select options or preferences associated with that tool or window. For more information, see “Viewing and Modifying Settings” on page 1308.

To view the Settings list:

t Click the Settings tab in the Project window.

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Using the Format Tab

To open a setting:

t Double-click the setting in the Settings list.

To view Help for a setting:

t Open a setting and press the F1 key (Windows) or the Help key (Macintosh).

Using the Format Tab

The Format tab in the Project window lets you view basic project information, such as the video format (NTSC, for example). The information lists the options you selected in the New Project dialog box when you created the project.

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Using the Info Tab

For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.94 HD project, you can change the project format to 30i NTSC.

If you switch from one project type, aspect ratio, color space, or raster dimension to another

during the course of your workflow, you might create precomputed clips that have not rendered with the quality that you need for your final output. You might need to manually purge the precomputed clips and re-render effects. For more information, see “Ensuring the Quality Level of Precomputed Clips” in the Help.

For 24p PAL projects, the Format tab shows the audio transfer rate you selected when you

created the project. The actual audio transfer rate might be different from the display if you used the 24P Settings dialog box to change the audio transfer rate.

To open the Format tab:

t Click the Format tab.

Using the Info Tab

The Info display in the Project window lets you view system memory information and access the Hardware tool. The items listed in this display are for information only and cannot be changed. The Hardware tool gives a visual representation of usage for each drive and provides operating system information.

To open the Info display:

t In the Project window, click the Info tab.

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Managing Bins and Memory

To display system memory information:

t In the Project window, click the Info tab, and then click the Memory button.

The Memory window opens with the following information:

Item Description

Objects The total number of memory handles currently used by your Avid

editing application. Objects include memory requirements of your Avid editing application, such as windows, clips, sequences, and other items associated with a project.

You can improve the performance of large projects when you reduce the number of objects. To do this,

close unused bins, unmount unused media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then quit and restart your Avid editing application. If performance is still slow, restart your system.

Total physical memory (Windows) or Total Mem (Macintosh)

Available physical memory (Windows) or Free Mem (Macintosh)

Total page file The total number of bytes stored in the paging file. The paging file is

Available page file The total number of bytes available in the paging files.

Working set (minimum and maximum) The set of memory pages currently available to your Avid editing

To open the Hardware tool, do one of the following:

t In the Project window, click the Info tab, and then click the Hardware button.

t Select Tools > Hardware.

The Hardware tool opens.

For more information about the Hardware tool, see “Using the Hardware Tool” on page 103.

The total number of bytes of RAM (random-access memory).

The amount of RAM available for allocation by the Windows or Macintosh system.

used as virtual memory by the Windows system.

application in RAM.

Managing Bins and Memory

System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance.

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Understanding User Profiles

In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%. If you exceed the recommended usage, a dialog box opens informing you that your memory usage is high and recommends that you close some bins and save your project.

If your system is running low on memory and you need to free up memory, you can either close your bins or use the Clear Memory button. If you close your bins, some of your memory remains unavailable until you exit your Avid editing application because the online master clips remain in memory. The Clear Memory button, however, closes and saves all of your open bins and clears out any cached data of the online master clips.

Bins containing sequences use more memory than bins containing master clips. For bins that contain a large number of sequences, you can free up memory and still keep your old sequences. Create an archive bin and move older sequences that you do not use anymore to the archive bin. Keep the archive bin closed.

To free up memory:

1. Click the Info tab of the Project window.

2. Click the Clear Memory button.

A dialog box opens asking if you want to close and save all opened bins.

3. Click OK.

This operation deletes cached data for the online master clips only. Memory might also be used by other parts of your Avid editing application and will not be reduced by using the Clear Memory button.

Understanding User Profiles

User profiles let you switch between settings without having to log out of your system and log back in under a different user name.

User profiles let you establish separate settings for different editing functions. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on.

User profile folders are kept in the following folder:

Windows XP drive:\Documents and Settings\All Users\Shared Documents\Avid editing

application\Avid Users\UserName

Windows Vista and Windows 7

drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName

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Understanding User Profiles

Macintosh /Users/Shared/Avid editing application/Avid Users/UserName

You can do the following with user profiles:

• Create new user profiles

• Switch between user profiles

• Return to the original user profile

• Import settings from another user or user profile

• Create a user profile on one system, export it to a server, and then import the same user profile from another system to the new system.

When you export a user profile, you can select either a Personal or Group profile.

- When you select Personal, the user profile performs an auto-load and an auto-save every

time you open a project. Every time the user profile is updated, it saves the new profile information. For example, you can create the user profile Jennie on one system, export it to another location (a server), and then import it to a different system. Any time you change the Jennie user profile, it updates to the server and when you open the Jennie user profile on either system, it uses the most updated Jennie user profile.

- When you select Group, the user profile auto-loads but it does not auto-save. Changes

made to the user profile only affect the system where you made the change. The changes do not update to the server.

When you export User Profiles in an Avid shared storage environment, make sure the workspace

containing the user profile has the same drive letter on all systems.

You can not share user profiles across platforms (Macintosh to Windows or Windows to

Macintosh).

• Update a user profile to add user settings to an existing Settings list.

For example, if you upgrade to a version of your Avid editing application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list.

For step-by-step procedures, see “Managing User Profiles” on page 75.

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Managing User Profiles

To create a user profile:

1. Click the Settings tab in the Project window.

Managing User Profiles

The User Profile Selection menu in the Settings tab of the Project window

2. Click the User Profile Selection menu, and select Create User Profile.

The Create User Profile dialog box opens.

3. Type a name in the Profile Name text box, and then click OK.

The new user profile appears selected in the menu, and the user profile name appears in the Project window title bar.

To import user settings from another user or user profile:

1. Click the Settings tab.

2. Click the User Profile Selection menu, and select another user profile.

3. The new user profile name appears in the Project window title bar.

To return to the original user profile:

1. Click the Settings tab.

2. Click the User Profile Selection menu, and select the default user profile.

If you use a user profile other than the default and you change to another project, the default

user settings load, even though the Project window displays your non-default user profile name. You must reselect the user profile.

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Customizing the Avid User Interface

To import user settings from another user or user profile:

1. Click the Settings tab.

2. Click the User Profile Selection menu, and select Import User or User Profile.

3. Navigate to the user or user profile you want to import.

To export user settings to another user or user profile:

1. Click the Settings tab.

2. Click the User Profile Selection menu, and select Export User or User Profile.

3. Select Personal or Group.

4. Navigate to the location where you want to place the user or user profile.

5. Click OK.

To update user profiles:

1. Click the Settings tab.

2. Click the User Profile Selection menu, and select Update User Profiles.

Any new settings added to the upgraded version of your Avid editing application appear in the Settings list.

To delete a user profile from your desktop:

1. Navigate to the Avid Users folder, and then select the user folder you want to delete.

For information about the location of the Avid folders, see “Avid Projects and Avid Users

Folders” on page 38.

2. Do one of the following:

t (Windows) Press the Delete key, then click OK in the dialog box.

t (Macintosh) Drag the folder to the Trash.

3. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system.

4. Close the windows, and restart your Avid editing application.

The deleted user no longer appears in the Select Project dialog box.

Customizing the Avid User Interface

The Interface Settings dialog box provides you with controls for customizing the brightness and the colors of the Avid user interface. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 1380.

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The Interface Settings dialog box allows you to set the highlight color for buttons. You can also control the brightness of the user interface, which includes the following components:

• Application, tool, toolbar, and dialog box backgrounds

• Buttons and button contents

• Project background

The Avid editing application lets you modify the colors of some interface components using controls not included in the Interface Settings dialog box:

• Bin media object color — see “Assigning Colors to Objects in a Bin” on page 314.

• Timeline clip color — see “Displaying Clip Colors in the Timeline” on page 630.

• Timeline track colors — see “Changing the Track Color” on page 634.

• Bin background color — see “Changing the Bin Background Color” on page 313.

Changing Interface Component Colors

You can use a brightness selection slider and selection buttons to change the appearance of some interface components.

Customizing the Avid User Interface

When you use the selection slider to modify interface settings, it overwrites any previous user settings. Avid recommends you save a copy of your user settings before you use the selection slider.

To set the brightness and color of interface components:

1. In the Project window, click the Settings tab, and then double-click Interface.

The Interface dialog box opens.

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Customizing the Avid User Interface

2. Click a highlight color to change button highlight colors.

3. Click the Interface Brightness slider to adjust the brightness of the user interface. The Avid editing application provides several presets on the slider.

4. (Option) If you want to set the color of the video, audio, or timecode tracks to the default, select the appropriate option.

5. (Option) If you want to be able to set custom background colors for bins, select Allow Custom Bin Backgrounds.

For more information, see “Changing the Bin Background Color” on page 313.

6. Do one of the following:

t Click Apply to apply the changes you selected.

If you click Cancel after you click Apply, interface components retain the colors you applied.

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t Click OK to close the dialog box and put the new setting into effect.

t Click Cancel to close the dialog box.

The changes you select do not take effect.

Changing Font and Point Size

You can change the default font and point sizes of the Project, Bin, Source/Record monitor, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt.

The table describes the windows you can change, and where these changes are saved.

Window Location of Changes

Project Changes the font and point size of the text in the Project window; saves as a Project

setting.

Bin Changes the font and point size of the text in the Bin window; saves as a Bin setting

(not a Bin View setting).

Customizing the Avid User Interface

Source/Record monitor

Script Changes the font and point size of the text in the Script window; saves as a Script

Timeline Changes the font and point size of clip text; saves as a Timeline View setting.

To change the font in the Project, Bin, Source/Record monitor, Script, or Timeline window:

Changes the font and point size of the sequence or source clip name text; saves as a Composer setting.

setting.

1. Click the Project, Bin, Source/Record monitor, Script, or Timeline window to make it active.

2. Select Edit > Set Font.

The Set Font dialog box opens.

3. Click the Font menu, and select a font.

Any font installed on the Avid system appears in the list. For information on adding fonts to your

system, see the documentation for your operating system.

4. Type another point size for the font in the Size text box.

5. Click OK.

The new font and point size appear in the active window.

When you close the window, the last font and point size applied are saved with the window.

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Using Workspaces

Your Avid editing application provides default layouts of windows and tools designed to utilize the application interface efficiently. These layouts are organized as workspaces, and the default workspaces include the following:

• Audio Editing

• NRCS

• Color Correction

•Edit

• Full Screen Playback

• Effects Editing

•Capture

If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button.

For example, during capture you might want to display the Capture tool and Video Input tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in particular locations and sizes.

Using Workspaces

While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with the arrangement you set for the workspace.

You can assign up to 12 buttons that let you switch between workspaces. Workspace settings are user settings, so different users can have separate workspace arrangements. This is useful if there is more than one user accessing the same Avid system. Each user can assign up to 12 workspaces. You can also link the mode buttons in the Timeline palette to specific workspaces. And you can map the Workspace buttons in the Command palette to toolbars in the Timeline; in the Tool palette, or to a keyboard setting.

You cannot assign certain tool windows to a workspace, such as the Hardware tool, the

Communication (Serial) Ports tool, and the Media tool.

To select a workspace, do the following:

t Select Windows > Workspaces > workspacename.

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Using Workspaces

To customize the workspace:

1. For the workspace you want to customize, select Windows > Workspaces > workspacename.

2. Open other tools with which you want to work, and position them where you want them.

3. Select Windows > Workspaces > New Workspace.

4. Type a name for the new workspace in the Workspace Name text box.

5. (Option) Select Based on Workspace, and then select a different workspace from the active one.

6. Click OK.

The new workspace appears in the Workspaces menu.

To remove your customizations:

1. Select Windows > Workspaces > Restore Current to Default.

A message box warns you that the action deletes your custom workspace settings.

2. Click OK.

The workspace settings revert to the default settings on which you based the customizations.

To link a mode button in the Timeline palette to a workspace:

1. In the Settings list of the Project window, double-click Workspace Linking.

The Workspace Linking Settings dialog box opens.

2. Click one of the following, and then select a workspace to which you want to link a mode button:

t Source/Record mode

t Effects mode

t Color Correction mode

The mode button is linked to the workspace.

3. Click OK.

When you click the mode button in the Timeline palette, the assigned workspace opens.

To delete a custom workspace:

1. Select Windows > Workspaces > Delete Workspace.

The Delete Workspace dialog box opens.

2. Click OK.

The active workspace is deleted.

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Linking User Settings and Workspaces

You can link User settings to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name.

For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays).

To link a workspace to another setting:

1. Select Windows > Workspaces > workspacename for the workspace you want to link.

2. In the Settings list of the Project window, create a new setting for any setting you want to link to your workspace. For information on creating custom settings, see “Duplicating

Settings” on page 1310.

3. Double-click a setting that you want to link to your workspace, and change the settings you want to customize — for example, click Timeline and then select the Timeline settings you want.

4. Name this setting with the same name of your workspace. For more information, see

“Naming Settings” on page 1310.

5. Double-click another setting. Select the options you want, close the dialog box.

Using Workspaces

6. Name this setting with the same name of your workspace.

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Using Workspaces

Examples of linked settings (top and center) and a linked workspace view (bottom)

7. In the Settings list of the Project window, double-click the workspace you want to link.

The Workspace View Setting dialog box opens.

8. Select Link to Named settings.

9. Type the name of the custom settings to which you want to link the workspace.

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Using Workspaces

For more information about creating and naming custom settings, see “Working with

Settings” on page 1308.

You can link workspaces only to User settings.

10. (Option) Click the Bin Layout menu and select a layout you want to link to the workspace. For more information, see “Using Bin Layouts” on page 85.

11. Click OK.

The workspace is linked to the custom setting you specified.

To link a workspace to an unnamed setting:

1. Do one of the following:

t For the workspace you want to link, select Windows > Workspaces > workspace.

t In the Settings list of the Project window, double-click the workspace you want to link.

The Workspace View Setting dialog box opens.

2. Select Link to Named settings and make sure there is nothing entered in the text box below it.

3. Click OK.

The workspace is linked to all the unnamed settings in the Settings list.

Assigning a Workspace or Bin Layout Button

When you assign a workspace or bin layout to a button, the button displays the first two characters of the workspace or layout name. If the assigned workspace or layout is not available — for example, if you deleted the workspace or the bin layout — the button remains visible but the label displays italicized characters.

To assign a workspace button:

1. Select Tools > Command Palette.

Workspace buttons in the Workspaces tab of the Command Palette

2. Click the Workspaces tab.

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Using Workspaces

3. Select Button to Button Reassignment.

4. Click a workspace button and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting.

The workspace button appears in the new location.

To assign a bin layout button:

1. Select Tools > Command Palette.

2. Click the Workspaces tab.

3. Click the workspace menu next to the button you want to assign.

Bin layouts appear in the menu below the divider line.

Bin Layout menu in the Workspaces tab of the Command Palette

4. Select Button to Button Reassignment.

5. Click a bin layout button and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting.

The bin layout button appears in the new location.

Using Bin Layouts

You can arrange and save bin window configurations independently of workspaces, including the contents of bin windows containing tabbed bins. You can also link a specific bin layout to a workspace. This allows you to open bin layouts at any time to customize the interface of your Avid editing application.

When you open a bin layout, the Avid editing application opens all bins saved in the bin layout and places them in the position configured in the layout. If you close the application, the position of bins in your current configuration is saved but not the bin layout setting. To save a custom bin layout, you must use the Bin Layout menu.

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Using Workspaces

Keyboard settings and toolbar button mappings for workspaces are user settings. Bin layouts are project settings. When you link bin layouts to workspaces, to keyboard settings, or to toolbar buttons, you can access these layout assignments only when you work in a project containing a bin layout with the same name as when you created the link. For this reason, you should be careful to maintain a consistent bin layout naming convention for your projects.

If you delete a bin layout, the layout is deleted from your project. If you have an identical bin layout in another project, the layout is deleted only from the open project.

If you assign a bin layout button to a toolbar or a keyboard setting, deleting the bin layout does

not remove the bin layout button. To remove the bin layout button, you must either assign a different button or a blank button to the toolbar or keyboard setting.

To open a bin layout, do the following:

t Select Windows > Bin Layout > bin layout.

To save a custom bin layout:

1. Select Windows > Bin Layout > New Bin Layout.

The New Bin Layout dialog box opens.

2. Type a name for the bin layout, and then click OK.

The application saves the bin layout, and the layout appears in the Bin Layout menu and in the Settings tab of the Project window.

To link a bin layout to a workspace view:

1. Do one of the following:

t Select Windows > Workspaces > Properties.

t In the Settings tab of the Project window, double-click the Workspace View you want to

link.

The Workspace View Setting dialog box opens.

2. Click the Bin Layout menu and select a bin.

3. Click OK.

To modify a bin layout:

1. Arrange and size your bins.

2. Select Windows > Bin Layout > Save Current.

To delete a bin layout:

1. Select Windows > Bin Layout > Delete Bin Layout.

The Delete Bin Layout dialog box opens.

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Working with Bins and Projects in an Avid Shared Storage Environment

2. Click OK.

Working with Bins and Projects in an Avid Shared Storage Environment

Avid ISIS let you share bins and projects across the network. When you place your bins and projects on Avid Workspaces (drive volumes), several users can work on the same project at the same time.

For example, an editor creates sequences in one bin while an assistant recaptures media in another bin. At the same time, other users add audio effects or titles to other bins in the project.

Each user performs tasks from their own computer. Your Avid editing application provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin.

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you do not overwrite changes to the bin.

In an Avid shared storage environment, your Avid editing application creates and stores projects and bins on the client’s internal drive. If you move or save these projects and bins to the workspace, only one client can work on the project at a time. If two or more users work simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them.

For information on managing workspaces, see the clients’ Quick Start cards.

You can also use an asset manager such as Avid Interplay to collaborate on projects. For more

details, refer to “Working with Avid Interplay from an Avid Editing System” on page 1153.

Sharing Bins and Projects in Avid Shared Storage

Sharing Only Bins

If you share only bins, you store the project on your local system and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows:

• Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.

• Displays a second column of information for the bin that identifies the computer that currently has the bin locked.

• Uses bold text to identify bins that are locked by another user.

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Working with Bins and Projects in an Avid Shared Storage Environment

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Sharing Both Bins and Projects

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). Your Avid editing application identifies information from each computer using the shared workspace as follows:

• Creates a project folder for each computer that accesses the project. Your Avid editing application adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This prevents users from overwriting the project-specific data for other users.

• Displays an extra column in the Project window that identifies the computer that has the bin locked.

• Uses bold text to identify bins that are locked by other users.

• Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.

Depending on the number of users sharing a workspace, you might want to increase the number

of files that your Avid editing application stores in the Unity Attic folder.

The following illustration shows the Project window for a shared project.

Bins tab in the Project window, showing a bin that is locked for editing (bold text, top left), the name of the computer that currently has the bin locked (top right), and folders for each computer that accesses the project (bottom)

Opening a Shared Project

To open an existing project on the shared volume:

1. Start your Avid editing application.

2. In the Select Project dialog box, navigate to the project on Avid shared storage.

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Working with Bins and Projects in an Avid Shared Storage Environment

The Project window opens. For a description of the elements specific to Avid shared storage in the Project window, see “Sharing Bins and Projects in Avid Shared Storage” on page 87.

3. Double-click a Bin icon to open one of the bins.

The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications.

The Bin Lock Status button. When the button is green (top), the bin is unlocked. When the button is red (bottom) the bin is locked.

When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Considerations for Working with Shared Bins and Projects” on

page 90.

The Bin Lock Status button does not appear if the bin is not on Avid shared storage.

Working with Locks and Shared Bins

Your Avid editing application uses a locking mechanism to help you keep track of who is currently working in a shared bin. Only one user can write to the bin, but multiple users can read the files in the bin.

The user who opens the bin first controls the lock and obtains write access to the bin. Bold text in the Project window also identifies bins that are locked by another user. When the person who controls the lock closes the bin, it becomes available for another user to open and control the lock.

If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to control the lock.

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Working with Bins and Projects in an Avid Shared Storage Environment

You can instruct your Avid editing application to keep a bin locked even after you close it.

You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.

To open a bin without controlling the lock:

t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project

window.

To permanently lock a bin:

1. Select one or more bins in the Project window.

2. Right-click the Bin icon, and select Lock Project Bin.

An asterisk appears next to the user name in the Project window. In this case, the bin remains locked even after you close it.

To unlock the bin:

t Right-click the bin in the Project window, and select Unlock Project Bin.

The Lock Project Bin and Unlock Project Bin commands are also available from the Clip menu.

Considerations for Working with Shared Bins and Projects

Suggestions for Improving Performance When Working with Shared Bins

The following information is provided to improve performance when working with shared bins in an Avid shared storage environment.

• Do not use the same name for your editing system machine name and your user name. Do not use the same name for security objects such as machine names, user names, group names, and domain names. If any two security objects have the same name, Windows might become confused and sharing might not work properly.

• Do not use the same prefix for machine names in a shared environment. No full name can be a prefix of another name. If one of the systems has a machine name that is the full name, and others in the environment have the prefix as part of their machine name, problems can occur. For example, if an editing system has a machine name ABC and additional editing systems in the shared environment have machine names ABCnn, ABCxx, the following problems could occur:

- When the system with the machine name ABC is writing to a directory, the systems

whose machine names have the same prefix (ABCnn and ABCxx) might not be able to access the directory.

- When the system with the machine name ABC is rendering, systems whose machine

names have the same prefix (ABCnn and ABCxx) might be unable to launch.

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Working with Bins and Projects in an Avid Shared Storage Environment

Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.).

• Do not use Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when you use those files or folders. If you do, when you attempt to access those shared bins or projects you might experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE).”

If the busy condition persists, a failure message appears. Make sure that you are not using Windows Explorer for the shared bins you are trying to access, and then try the operation again.

• When you have an environment where more than five users are sharing bins on Avid shared storage, Avid recommends using an Avid Interplay server in the workgroup environment.

• When an Avid Interplay server is available in an Avid workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Interplay Window to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid shared storage client software installed. The Media Tool might become unreliable if an editor in the Avid shared storage workgroup environment does not have the Avid shared storage client software installed.

Limitations When Working with Shared Bins and Projects

If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately. If an editor tries to play that file, a “media file not found” message might appear in a monitor window, and an access violation error might occur.

Each editing application maintains a PMR file in its machine name folder inside the OMFI MediaFiles folder or the Avid MediaFiles folder. The PMR file lists all the online media files. Every editing application consults all the PMR files in all the machine name folders to find out which media files are online. Whenever a media file is created, its name is immediately added to the creating editor application's PMR file, and whenever a media file is deleted by its creator, its name is immediately removed from the PMR file.

However, if an editing application other than the creator deletes a media file, the PMR file that contains the deleted file is NOT updated immediately. Once the creating editor encounters an event that causes its PMR to be updated, then all editing systems know that the deleted media file has gone offline.

There are several ways to force an editing application to update its PMR. The simplest is to switch to the desktop and back.

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Working with Bins and Projects in an Avid Shared Storage Environment

Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.

Restrictions and Limitations for Locked Bins

The following restrictions apply to bins that are locked by another user:

• You cannot select a locked bin for operations such as capture, title creation, and import. This helps to minimize the problems of modifying a locked bin.

• You cannot drag an item to a locked bin.

• If you drag an item from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then drag the duplicate to another bin.

• You cannot move a bin that is locked by another user.

• If you modify a locked bin, your Avid editing application does not let you save the bin to the same name, but it lets you save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. Your Avid editing application sees the duplicate contents of these bins and resolves the conflicts by newest modifications.

Avoid creating duplicate bins when you modify a locked bin. If you do create a duplicate bin, you should manually merge the changes into the original bin and delete the duplicate bin.

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Limitation When Using the Shared Bin Lock Icon

Occasionally, when two editors attempt to open a shared bin at the same time, both editors get the green lock icon. However, only one editor really has the lock, and that editor's machine name appears beside the bin name in both Project windows.

Both editors can modify their copies of the bin, but only the editor that controls the lock, as indicated in the Project window, can save that bin. The other editor is warned that the bin is locked but is allowed to save a copy of the changed bin.

Avid recommends that you use the “Save Bin Copy As...” button and continue working.

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Working with Bins and Projects in an Avid Shared Storage Environment

Drive Filtering in Networked Workflows

The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options:

• Filter by Resolution

• Filter by System Drive

• Filter by Launch Drive

Depending on the version of your Avid editing system, the drive filtering options could be on or off by default. Avid recommends that all drive filtering options should be on by default.

Any project brought into a networked workflow that was created with any of the filtering

selections off might have problems with networked media creation, such as “Audio and/or Video Mixdown” and “Send To Playback,” because their Media Creation Settings are still configured for standalone usage.

There are several ways to work around this issue. First, adjust the drive filtering settings when you switch environments. You can open the Media Creation Setting and switch the drive filtering settings or create multiple Media Creation Settings and switch the active setting whenever you shift environments. If you always work in an environment that differs from the defaults, you can create a Media Creation setting that fits your workflow and add it to your Site Settings so you create new projects with the desired defaults. For more information, see “Using Site Settings” on

page 1313.

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4 Using Tools

The Tools menu provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage. These tools are described in the following sections:

• Using the Tools Menu

• Using a Deck Controller

• Deck Controller Window Reference

• The Command Palette

• Using the Avid Calculator

• Using The Console Window

• Using the Hardware Tool

• External Controllers as Editing Control Surfaces

Using the Tools Menu

To open a tool:

t Select Tools > tool name.

Using Tabs

When you open a tool, it opens in a separate window by default. however, you can drag tools to a single tab window to conserve space within your Avid editing application, and you can move tools between tab windows.

You can move tools into tab windows that contain other tools. You cannot move tools into tab

windows used for bins. For more information on using bin tabs, see “Using Bin Tabs” on

page 307.

To move a tool into a window:

t Click the tab in the tool you want to move, and drag it to the target window.

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Using a Deck Controller

The tab bar in the target tab window displays all tool tabs.

To move a tool into separate window:

t Click the tab for the tool you want to move, and drag it to a clear region of the application

interface.

The tool displays in a separate window.

To view tool tabs that do not display in the tab bar, do one of the following:

t Click the Previous Tab button or the Next Tab button to shift the tab view to the left or the

right.

The tab display adjusts to display the next tool either on the left or the right.

t Click the Tab menu, and then select the name of the tool you want to view.

The selected tool displays in the tab window.

To organize tools by changing the order of tabs:

t Click the tab of a tool you want to move, and drag it to a new position in the tab row.

To close a tool tab:

t Click the Close button in the tab.

Using a Deck Controller

A deck controller provides direct serial or VLXi® V-LA N® control of an Avid-compatible tape deck at any time while you edit. You can cue and screen footage from source tapes in various edit modes, or when you record a digital cut, without opening the Capture tool.

To open a deck controller:

t Select Tools > New Deck Controller.

A new Deck Controller window opens.

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Deck Controller Window Reference

Element Description

1 Timecode display Provides information about the control status of the tape deck:

• If the deck is properly connected and power is on, the deck controller displays timecode when you mount a tape.

• If a deck is not properly connected to the system or power is off when you open the controller, the indicator displays the message “NO DECK.”

• If you turn the deck power off with the deck controller open, the indicator displays the message “Power Off.”

• If you switch the deck control to Local on the VTR, the indicator displays the message “Local.”

Information on connecting decks and cabling varies depending on

the Avid input/output hardware device you use. For more information, see “Connecting Cameras, Decks, and Monitors” in the Help.

Deck Controller Window Reference

2 Timecode indicator Flashes green during playback or capture to indicate that the system is

receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode.

3 Deck controls Provide a standard range of playback capabilities, including fast forward

and rewind, stop and play, step backward and step forward, pause, and eject.

4 Deck Selection menu Lets you specify a deck with deck control parameters that you can

5 Tape Name button Lets you associate a tape name with the controller and select a tape. For

customize. For more information, see “Deck Configuration Settings” on

page 1334.

more information, see “Selecting a Source Tape” on page 161.

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Element Description

6 Logging controls Let you log IN and OUT marks while you cue your tape. For more

information on logging, see “Logging Directly into a Bin” on page 123.

The Command Palette

The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons let you perform a wide range of commands with a single click of the mouse.

The Command palette organizes buttons by editing function. Tabs display each editing function and the buttons that perform those functions display in each tab. The functions include: Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam (MultiCamera), Other, More, and Smart Tool.

The Command Palette

You can use the Command palette to:

• Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable Buttons” on

page 99.

• Map menu commands to various buttons and keys. See “Mapping Menu Commands” on

page 100.

• Directly activate a command. See “Activating Commands from the Command Palette” on

page 100.

For information about each button in the Command palette, right-click a button and select

What’s This? from the menu.

Understanding Button Mapping

Mapping user-selectable buttons lets you reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs.

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The Command Palette

When you map buttons to the keyboard, the mapping might be specific to the current editing

mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.

The following are examples of buttons you might want to map:

Buttons you use to subcatalog clips. Left to right: Make Subclip, Find Bin, and Add Marker.

Buttons you use for complex layering and effects. Top, left to right: Motion Effect, Remove Effect, Transition Corner Display, and Fade Effect. Bottom, left to right: Render Effect, Cycle Picture/Sound, Quick Transition, Grid (available on some Avid editing applications).

Buttons you use for MultiCamera editing. Left to right: Quad Split, Swap Cam Bank, and Group.

When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes.

For more information on multiple settings, see “Selecting Among Multiple Settings” on

page 1311.

Your Avid editing application saves button configurations as follows:

• Changes to the Keyboard palette are saved in the Keyboard settings.

• Changes to the Tool palette are saved in the Interface settings.

To change the appearance of the buttons in the Tool palette in the Interface settings, see

“Customizing the Avid User Interface” on page 76. To identify a button’s function with only an

icon or with an icon and letters, see “Interface Settings” on page 1380.

The Blank Button

The Blank button in the Other tab of the Command palette lets you replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button.

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The Command Palette

For more information on mapping the Blank button to a new location, see “Mapping

User-Selectable Buttons” on page 99.

Modifier Keys

You can add modifier keys to functions already associated with keys and buttons. The Other tab in the Command palette contains the following modifier key buttons:

Button Description

(Windows) Add Alt Key button

(Macintosh) Add Control Key button

(Macintosh) Add Option Key button

For example, on a Windows system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.

After you modify a key or button with a modifier key button, you can use the default function of

the key or button if you press and hold the appropriate modifier key while you press the key, or press and hold the modifier key while you click the button.

Mapping User-Selectable Buttons

To map buttons or keys on the keyboard by using the Command palette:

1. Do one of the following to open a window that has a user-selectable button:

t Activate the Playback, Source, or Record monitor in the Composer window.

t Click a Fast Menu button, and drag the Tool palette to open it.

t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button,

and drag to tear off the Tool palette.

t Open a clip in a pop-up monitor.

t Open the Keyboard palette from the Settings list in the Project window.

t Open the Mouse Settings dialog box from the Settings list in the Project window.

2. Select Tools > Command Palette.

The Command palette opens.

3. Select Button to Button Reassignment at the bottom of the Command palette.

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4. Click the tab from which you want to select a user-selectable button.

5. Drag the button from the Command palette to a button location on the other palette.

Mapping Menu Commands

You can also map menu commands directly onto any mappable button location or onto the keyboard. In some cases, you can avoid using menus altogether.

Before you map some commands, you must first establish the condition that enables the

command. For example, before you map the Render In/Out command from the Clip menu, you must first mark IN and OUT points in the Timeline so that the menu command appears.

To map menu commands:

1. Do one of the following to open a window that has user-selectable buttons:

t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button,

and drag to tear off the Tool palette.

t Open the Keyboard palette from the Settings list in the Project window.

2. Select Tools > Command Palette.

The Command palette opens.

The Command Palette

3. Select Menu to Button Reassignment.

4. Click a target button on the Keyboard palette or the Tool palette.

The pointer changes to a small white menu.

5. Select the menu command you want to map to the target button.

The initials for the menu command appear on the target button.

Example of a menu command — Special > MultiCamera Mode (MM) — mapped to a button in the Tool Palette.

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor.

To activate a command from the Command palette:

1. Select Tools > Command Palette.

The Command palette opens.

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Avid 9935-65136-02, 9935-65135-02 User manual

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Avid Training Services

2 Starting a Project

Turning on Your Equipment

Working with the Desktop

Using the Windows Taskbar (Windows Only)

Using Shortcut Menus

Using the Keyboard for Navigating in Dialog Boxes and Menus

Using the Mouse Scroll Wheel for Navigating

Customizing Mouse Functions

Optimum Performance (Windows 7)

Optimum Performance (Macintosh)

Antivirus Applications

Starting Your Avid Editing Application (Windows)

Working with Projects

Avid Projects and Avid Users Folders

Select Project Dialog Box

Project Types

Creating a New Project

Setting the Project Format to Accommodate Variable Resolutions

Working with Color Spaces in HD Projects

Setting the Project Color Space

Setting Project-Naming Conventions

Opening and Closing Projects

Deleting a Project

Quitting and Turning Off Equipment

Changing Project and User Names

Backing Up Your Project Information

Avid Attic Folder

Retrieving Files from the Avid Attic Folder (Windows)

3 Working with the Project Window

Overview of the Project Window

Controlling Project Window Display

Using the Bins Tab

Viewing a List of Bins

Creating a New Bin

Renaming a Bin

Opening and Closing Bins

Displaying Folders of Bins in the Bins List

Creating a Folder

Deleting a Bin or Folder

Viewing and Emptying the Trash

Saving Bins

Saving Bins Manually

Using the Settings Tab

Using the Format Tab

Using the Info Tab

Managing Bins and Memory

Understanding User Profiles

Managing User Profiles

Customizing the Avid User Interface

Changing Interface Component Colors

Changing Font and Point Size

Using Workspaces

Linking User Settings and Workspaces

Assigning a Workspace or Bin Layout Button

Using Bin Layouts

Working with Bins and Projects in an Avid Shared Storage Environment

Sharing Bins and Projects in Avid Shared Storage

Opening a Shared Project

Working with Locks and Shared Bins

Considerations for Working with Shared Bins and Projects

Drive Filtering in Networked Workflows

4 Using Tools

Using the Tools Menu

Using Tabs

Using a Deck Controller

Deck Controller Window Reference

The Command Palette

Understanding Button Mapping

Mapping User-Selectable Buttons

Mapping Menu Commands

Activating Commands from the Command Palette