Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology,
Inc.
The software described in this document is furnished under a license agreement. You can obtain a copy of that license by
visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as
the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the
license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license
agreement.
No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including
photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.
The Avid DS and Avid DS Nitris application uses JScript and Visual Basic Scripting Edition from Microsoft Corporation.
Attn. Government User(s). Restricted Rights Legend
U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or
“commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf
of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms
of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.
Trademarks
888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, Avid DNA,
Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid Mojo, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption,
AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent
Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR, D-Verb, Equinox, ExpertRender, FieldPak,
Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence,
Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress,
Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder,
MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, OMF,
OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi,
RetroLoop, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE, SPACEShift, Symphony, the Avid|DS logo, Trilligent,
UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid
Technology, Inc. in the United States and/or other countries.
iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.
Adaptec is a trademark which may be registered in some jurisdictions. ATTO is a trademark of ATTO Technology, Inc. FireGL
is a trademark of ATI Technologies, Inc. HP is a registered trademark of Hewlett-Packard Company. Mac OS is a trademark of
Apple Computer, Inc., registered in the U.S. and other countries. OpenGL is a registered trademark of Silicon Graphics, Inc., in
the United States and/or other countries worldwide. UNIX is a registered trademark of The Open Group in the U.S. and other
countries. Wacom is a registered trademark of Wacom Company, Ltd. in the United States and/or 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.
GOT FOOTAGE?
Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content
creators of every genre — Just finished an incredible project and want to share it with the world?
Send us your reels and we may use your footage in our show reel or demo!*
For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.
*Note: Avid cannot guarantee the use of materials submitted.
You can get comprehensive task-oriented, background, and reference
information through your Avid DS Nitris Help system.
The following topics provide information that will help you to use Help:
•Accessing the Help System
•Understanding the Help System
•Finding Information Within Help
Page 30
2
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Avid DS Help
The following topics provide general information about the help system:
•Accessing the Help System
•Understanding the Help System
•Finding Information Within Help
Accessing the Help System
Avid DS Nitris comes with a comprehensive help system that contains
information on all the interface elements, as well as task information. If you’re
looking for information on a particular interface element or property page
parameter, or need help performing a task, the online help is the place to look.
The following topics explain how to use the Help system:
•“Accessing the Help System” on page 3
•“Understanding the Help System” on page 4
•“Finding Information Within Help” on page 6
There are two ways to access the Help system:
•From the Help menu
•From windows and dialog boxes—see “Getting Context-Sensitive Help”
on page 4.
To open the Help system:
tSelect Help > Contents and Index or press F1.
The Help window opens, and the Help splash screen displays.
Related Topics
Getting Context-Sensitive Help
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Avid DS Help
Help icon or button
Every view, property page,
dialog box, and pop-up menu
contains a Help icon or button
which displays context-sensitive information when
clicked.
Too ltip s
Avid DS Nitris uses small pop-ups called tooltips
to display the name of desktop elements when
they have no text label.
Position the pointer over an interface
element, such as an icon, and pause
for a second. A tooltip with the name of
the element appears.
Getting Context-Sensitive Help
Avid DS Nitris provides you with a quick way to get Help for many views,
dialog boxes, and property pages. Within these context-sensitive topics, you
can view specific information about items, such as options and individual
buttons, and link to related topics.
To get help for a view, dialog box, or property page with a Help button:
tClick the Help button (either a question mark or a button labeled Help, or
How To...).
The context-sensitive Help topic is displayed.
Related Topics
Understanding the Help System
Understanding the Help System
4
The Help system uses the following main display areas:
•Help topics open in the right area of the Help window—see “Help Topics”
on page 5.
•Buttons for controlling the Help display and for printing Help topics
appear in the top area of the Help window—see “Top Area Buttons” on
page 6.
Page 33
Help Topics
Previous Topic
Hierarchy links
Current topic
Next Topic
Understanding the Help System
•Navigation tools (Contents, Index, Search, and Favorites) open in the left
area of the Help window—see “Finding Information Within Help” on
page 6.
Once the Help window is open, it behaves in much the same way as most other
windows. You can resize it and reposition it to suit your screen layout and
workflow.
The information in the Help is displayed in the right area of the Help window.
All topics have the following items above the main heading:
•Hierarchy links
These links display the location of the currently displayed topic within its
book and chapter, and let you jump to relevant higher-level topics,
including the Main Topics page.
•Previous Topic and Next Topic buttons
Use these buttons to browse through the topics in the order in which they
appear in the Contents.
The Help system includes task-oriented procedures as well as background and
reference information. At the bottom of many topics are links to related topics.
Showing and Hiding Additional Information
Some Help topics include a link labeled “More Information.” Click this link or
the turn-down arrow to see conceptual or background information related to
the procedure. This information is displayed with a colored border on top and
bottom.
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Avid DS Help
To return to the original display, click the link or arrow again.
Related Topics
Top Area Buttons
Top Area Buttons
The top area of the Help window contains four buttons that allow you to
change the Help display and print Help topics. The following table describes
these buttons.
ButtonIllustrationDescription
Hide/ShowClick the Hide button to hide the navigation area on the left and reduce the
width of the Help window. The button changes to the Show button.
Click the Show button to reveal the navigation area on the left and expand
the width of the Help window. The button changes to the Hide button.
Back and
Forward
PrintClick this button to print one or more topics.
Related Topics
These buttons work like the Back and Forward buttons in an Internet
browser, such as Microsoft Internet Explorer. Use the buttons to move
among recently visited topics.
Help Topics
Finding Information Within Help
The left area of the Help window displays the Help system’s main navigation
tools within a tabbed interface.
For more information, see the following topics:
•Using the Contents Tab
•Using the Index Tab
6
Page 35
•Using the Search Tab
•Advanced Search Options
Using the Contents Tab
The Contents tab displays a complete hierarchical list of all topics in the Help
system. You can expand and collapse the contents to view the logical
organization of the Help system. Click on a topic to display the entry to the
right.
Related Topics
Using the Index Tab
Using the Search Tab
Advanced Search Options
Using the Index Tab
The Index tab provides an alphabetized list of entries similar to the index of a
printed book.
Finding Information Within Help
To find an index entry, type the first few letters of a keyword in the text box at
the top of the tab. As you type, the index jumps to the range of entries that
correspond to the letters you have typed.
To view the topic associated with an index entry, either click the index entry
and then click Display, or double-click the entry.
Related Topics
Using the Contents Tab
Using the Search Tab
Advanced Search Options
Using the Search Tab
The Search tab lets you search the entire text of the Help system for one or
more words and then lists the topics that include those words. The list of
results is ranked, placing the topics that the Search feature considers most
likely to be relevant at the top of the list.
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Page 36
Avid DS Help
Advanced Search Options
Advanced search options let you control how the Search feature operates. If
the Search feature does not produce useful results for a particular topic, you
can often find the specific information you need by modifying the search.
Search Syntax
The following syntax rules control search queries:
•Searches are not case-sensitive, so you can type your search in uppercase
or lowercase characters.
•You can search for any combination of letters (a-z) and numbers (0-9).
•Punctuation marks, such as period, colon, semicolon, comma, and hyphen
are ignored.
•Search for a literal phrase by using quotation marks.
•If you are searching for a filename with an extension, you should group
the entire string in double quotes (“filename.ext"). Otherwise, the search
will treat the period as an OR operator.
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New in this Release...
This section describes enhancements in Avid DS Nitris v8.4 and v8.0.
New in Avid DS Nitris v8.4
New in Avid DS Nitris v8.0
Page 38
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New in Avid DS Nitris v8.4
The following new features are available in Avid DS Nitris v8.4.
Hardware/Platform Enhancements
Dual-Link Implementations
Dual-Boot Systems with Avid Symphony Nitris
Avid DS Assist Station
Avid MediaNet 5.0 Compatibility
Licensing
New HP xw8400 Workstation
Avid has qualified the HP xw8400 workstation with the NVIDIA® Quadro®
FX 3500 graphics board to be used with the Avid Nitris.
Featuring quad-core Intel Core2 processors, the xw8400 workstation has
doubled its processing power since the last-released Avid Nitris hardware
platform.
®
Your Avid
Microsoft Windows XP Professional x64 Edition operating system, Service
Pack 2, approved Windows Security Updates and all required Avid DS drivers.
DS NitrisTM DNATM workstation comes pre-installed with the
Dual-Link Implementations
•In addition to offering native 64-bit capability, the Avid DS Nitris v8.4
comes with an integrated dual-link HD SDI I/O card for capturing HD
material from HD RGB sources (e.g., HDCAM-SR).
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New in Avid DS Nitris v8.4
•The Dual-Link card is offered as an option for current users of the HP
xw8200 who upgrade to the 64-bit version. It supports 8 channels of AES,
or embedded audio.
•The Dual-Link card is also supported on the Avid DS Assist Station for
realtime viewing of media—see Avid DS Assist Station.
Dual-Boot Systems with Avid Symphony Nitris
Avid DS Nitris v8.4 comes bundled with Avid Symphony Nitris dual-boot
software, so you can easily configure your system to run Avid DS Nitris or
Avid Symphony Nitris based on the project at hand. Refer to the
documentation on the Avid DS Support Center web site, for instructions on
configuring a dual-boot system.
Avid DS Assist Station
The Avid DS Assist Station now has the option to add HD-SDI and analog
RGB monitoring output which allows you to connect a broadcast monitor to
your station. This allows you to preview your media in realtime, from full
resolution up to dual-link 10bit RGB (if using a Xena 2Ke card from AJA
Video Systems).
The Xena 2Ke or LHe card can be purchased directly from your AJA reseller.
Please refer to the Avid DS Assist Station system specifications on the Avid
DS Support Center web site.
If you already have an Avid DS Assist Station license and you want to add this
monitoring capability, please contact technical support to get an updated
license.
Avid MediaNet 5.0 Compatibility
Avid DS Nitris v8.0 and v8.4 (32-bit only) are now supported on Avid
MediaNet 5.0.
The number of streams and clients supported depends on your MediaNet 5.0
configuration. Refer to the storage table on the Avid DS Support Center web
site.
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Software Performance Enhancements
Licensing
If you are upgrading from a version prior to Avid DS v8.0, then you should
note that a new licensing scheme has been implemented for version 8.0 and
above. Dongles are no longer required, but you will be required to obtain a
new license key before installing the application.
You need a separate license for each of your Avid DS and Avid DS RP
workstations. Refer to http://www.softimage.com/avidds to obtain your
license.
Software Performance Enhancements
The following enhancements have been made to this version of Avid DS:
•Reliability of capture on shared storage has improved.
•There has been a data alias name change in the software that may
invalidate some of your media caches. Simply reprocess any media that
has a red highlight on your timeline ribbon.
•Customer Support tools—Version Info Extractor and DS Project
Manager—have been updated. These updates are automatically installed
with the Avid DS software.
•For a list of other software fixes, go to http://www.softimage.com/avidds.
13
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New in Avid DS Nitris v8.4
14
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New in Avid DS Nitris v8.0
The following new features are available in Avid DS Nitris v8 and subsequent
QFEs.
Hardware/Platform Enhancements
New HP xw9300 Workstation
Avid has qualified the HP® xw9300 dual-core Opteron workstation with the
NVIDIA
DNA.
Featuring two dual-core AMD Opteron processors, the xw9300 workstation
provides twice the CPU power for the fastest processing of HD-RGB and filebased 2K and 4K material.
®
Quadro® FX 3450 graphics board to be used with the Avid Nitris
64-bit Support
Avid DS Nitris now has a 64-bit version available for the xw8200 and xw9300
workstations. This gives you significantly more memory to facilitate HD-RGB
and high-resolutions file-based 2K and 4K workflows; or make more complex
and larger sequences on SD projects.
Dual-Link Implementations
•In addition to offering native 64-bit capability, the new Avid DS Nitris
v8.0 comes with an integrated dual-link HD SDI I/O card for capturing
HD material from HD RGB sources (e.g., HDCAM-SR).
Page 44
New in Avid DS Nitris v8.0
The Dual-Link card is offered in all new Avid DS v8.0 systems (HP
xw9300 or HP xw8200, 64-bits), or as an option for current users of the
HP xw8200 who upgrade to the 64-bit version. It supports 8 channels of
AES, or embedded audio.
•Alpha archive implementation for HD RGB hardware.
•Conversion from 10-bit 4:4:4 HD to 10-bit 4:2:2 HD.
•The HD-RGB workflow has been optimized for an ITU-709 (gamma 2.2)
colorspace.
•Enable 10/16-bit depth for 4K sequences in 64-bit.
•Processing 4:4:4 material in 4:2:2 DNxHD 220 for proxy preview.
•Dual-Link driver detection and installation in the Avid Nitris DNA
installer.
•Added support for HD RGB 10:10:10 in MXF.
•Added support for Dual-Link audio.
•Added support for Big/Little Endian DPX file.
Dual-Boot Systems with Avid Symphony Nitris
The new Avid DS Nitris v8.0 comes bundled with Avid Symphony Nitris dual
boot software, so you can easily configure your system to run Avid DS Nitris
or Avid Symphony Nitris based on the project at hand.
Avid VideoRAID Line Launched
Avid DS Nitris now supports the 10-drive RTR320X Avid VideoRAID disk
arrays. The Avid VideoRAID line provides redundancy for media asset
protection as well as performance for high-bandwidth workflows.
The Avid VideoRAID arrays provide guaranteed real-time access for multistream SD and HD workflows, supporting up to dual stream 1:1 10-bit HD.
They support hardware parity RAID operation and provide continuous data
protection and full performance, even in the event of a drive failure or during a
drive rebuild. The arrays are available with 250GB or 500GB drives.
For Avid DS, you need a minimum of 20 drives.
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For more information, check out the Avid VideoRAID product pages on
Avid.com. Go to www.avid.com/products/videoRAID.
Avid DS Assist Station
Meet the latest addition to the Avid DS Nitris family! The Avid DS Assist
Station is a new software application that can run on any standard system with
a minimal specification of:
•Dual Intel Xeon or Opteron single core CPU or single dual core Intel or
AMD CPUs
•1 GB of memory
•A supported OGL card such as the Nvidia QuadroFX 3400 or FX3450
(sRefer to the Avid web site for a list of additional supported cards).
The new Avid DS Assist Station delivers the complete effect, editing and
compositing toolsets that are found in the Avid DS Nitris configuration. The
Avid DS Assist station is designed to work in a shared workgroup environment
with Avid DS Nitris and, therefore, doesn’t have any I/O capabilities of its
own for signal-based video and audio.
Hardware/Platform Enhancements
You can, however, capture and output from file. Since it is also capable of full
realtime playback and processing, you can use it offline for all your graphics
and effects work. This is an extremely economical way to grade and finish
features that are captured onto your central storage.
n
Processing of effects is done by the software whose capabilities are only
limited by the underlying hardware and an adequate disk subsystem on the
workstation where it is installed.
Avid DS (automatic SD to HD upgrade)
All Avid DS Equinox SD systems will automatically be upgraded to the full
HD version.
New Licensing Scheme
A new licensing scheme has been implemented for this version of Avid DS.
Dongles are no longer required, but you will be required to obtain a new
license key before installing the application.
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New in Avid DS Nitris v8.0
You need a separate license for each of your Avid DS and Avid DS RP
workstations.
Support for Avid DMS Broker v5.0
If you are in an Avid workgroup, you MUST upgrade to version 5.0 of the
Avid DMS Broker. Note that this option is not automatically selected. To
install the broker, you need to run the DS Setup program. Under Main
Workgroups Components, select Avid DMS Broker.
Avid Unity ISIS Support
Avid DS Nitris now supports Avid Unity ISIS 1.1, the latest advanced media
network from Avid which delivers enterprise-level reliability, availability, and
scalability.
Avid strongly recommends that you use the 64-bit version of Avid DS Nitris
for best performance with ISIS.
Refer to the Avid DS Support Center web site for a list of supported
configurations.
AVX Plug-in Effects
The AVX1.0 host has been enhanced to support optional inputs—input
naming and 64-bit AVX 1.0 effects when run in 64-bit.
See http://www.avid.com/thirdparty/viewdeveloper.aspx?Type=1 for a list of
supported third-party effects.
Panasonic AJ-HD1200A Deck Template Added
Panasonic AJ-HD1200A deck template added to the supported Machine
Templates.
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Software Performance Enhancements
Software Performance Enhancements
Over 350 fixes have been made to this version of Avid DS! Here are some of
the highlights.
Sub-Titling Tool
The Sub-titling tool is now a real-time effect.
Timeline Enhancements
Improvements in v8.0 include improved sequence loading and timeline
performance for long form editing.
Timeline to MC
Provides the ability to quickly generate an AAF and MXF file of a timeline
selection that can be later imported directly into Media Composer.
3:2 Contract and Expand Time Effects
A new option has been added in both the 3:2 Expand and 3:2 Contract time
effects:
•New Mode dropdown list option
•Allow you to select the pull-down phase
•Standard: 5 options
•Advanced: 5 options
3:2 Expand
The phase selected represents the 3:2 pull-down cadence generated by the
effect, with respect to the origin of the created container.
Available choices are:
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New in Avid DS Nitris v8.0
Standard: AA BB BC CD DD
Standard: BB BC CD DD AA
Standard: BC CD DD AA BB
Standard: CD DD AA BB BC
Standard: DD AA BB BC CD
Advanced: AA BB BC CC DD
Advanced: BB BC CC DD AA
Advanced: BC CC DD AA BB
Advanced: CC DD AA BB BC
Advanced: DD AA BB BC CC
3:2 Contract
The phase selected represents the 3:2 pull-down cadence of the source
material, on which the 3:2 pull-down is removed. The phase is specified with
respect to the origin of the source material.
Note that the phase is automatically determined by positioning the play cursor
on the frame (or first frame of two) containing 3:2 pull-down artifacts prior to
apply the 3:2 Contract. In case of an incorrect play cursor position, this new
option can be used to select the proper phase after the 3:2 Contract effect is
applied.
Available choices are:
Standard: AA BB BC CD DD
Standard: BB BC CD DD AA
Standard: BC CD DD AA BB
Standard: CD DD AA BB BC
Standard: DD AA BB BC CD
Advanced: AA BB BC CC DD
Advanced: BB BC CC DD AA
Advanced: BC CC DD AA BB
Advanced: CC DD AA BB BC
Advanced: DD AA BB BC CC
Tiling of YUV Effects
YUV processing has been enhanced to take advantage of the hardware
capabilities of your workstation. On the new xw9300 workstation, processing
speed is doubled.
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Optimizing File Sources
The Data Management menu has a new command called Optimize File
Sources, which updates the size of the source model file. When you reload the
project, the source model file will be much smaller.
DVE Translation
When translating an image (in either X or Y), the limit has been raised to
100,000 pixels so that the image no longer gets clipped.
Also, the DS world space in 64-bit has been extended to 12K x 12K.
Importing Subtitles
The Import Subtitles tool now generates Graphics On Black clips on a new
track instead of creating Graphics timeline effects.
Expressions & Source Side Effects
Software Performance Enhancements
Source Viewer
Viewing Locators
Support for the Expressions feature has been enhanced and is now more robust
and easier to use.
Several fixes and enhancements to Source Side effects have also been done.
You can now successfully load a clip in the Source viewer and recapture it.
This was a known problem in v7.5.
When viewing locators in the meta curve region of the animation editor, you
can switch the display between the selected function curve and all function
curves by pressing the button beside the meta curve region. When displaying
the locators of selected function curves, the button appears pressed.
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New in Avid DS Nitris v8.0
Other Features
Optimization and Performance Improvements
•Performance improvement when saving and exiting a sequence.
•Optimization when using DPX linked files.
•Performance optimization when stepping in or out of containers.
•Performance optimization when copy/pasting objects in the timeline.
The following is a list of new formats supported in this version of Avid DS
Nitris.
If there is no HW support, then you will see a dot in the front of the format
name in the New Sequence and New Project dialog boxes—see a format is not
A dot is seen in from of the format name in the tilte bar and UI control(in new
seq dlg and seq pref dlg) to indicate that there is no HW support
FormatDescription
720p50HD format.
DNxHD 36Very low bit rate DNX-HD resolutions for HD offline editing are
DNX-TR (thin raster)Support for MXF media (link, import, conform from MC).
22
There is also support of additional cross-conversion to 1080i50.
available in 1080psf projects
720P 24/25/30 is not supported.
n
.
Page 51
Other Features
FormatDescription
DNxHD-TR for Avid DSThis light-weight Avid compression codec is now available for Avid DS
when outputting material to file. Once outputted, you can post it online
or burn it on a DVD.
An advantage is that its size does not compromise the HD quality of the
material.
DVCPRO HDDVCPro-HD/P2 format media in MXF format captured on Adrenaline
and Avid Xpress Pro systems may be relinked via the AFE conform
process in Avid DS Nitris.
DV 100 When working 720p or 1080i formats, you can now output material to
MXF and Gen files using the DV 100 compression codec. The file may
be relinked and played back in real-time.
It cannot be captured or used to create sequences.
n
DCI 2K
DCI 4K
Film formats.
DCI 2K is hardware supported at 24fps.
If the format you select is not hardware supported, it will have a dot in front of
the name—see “New Project Dialog Box”
DigiDesign ProTools Import/Export
•OMF audio export to Avid ProTools has been rewritten and now only
exports the media effectively used in the timeline.
in the Help.
23
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New in Avid DS Nitris v8.0
•AAF/MXF import: Avid DS Nitris can now conform AAF/MXF
sequences from Avid ProTools v7.2.
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Documentation & Support
Services
The following topics provide general information about documentation and
support services:
•Using the Product Documentation
•Contacting Avid Customer Support
•Avid Training Services
n
The Avid DS Nitris documentation describes the features and hardware of all
models within the Avid DS family. Therefore, your system might not contain
certain features and hardware that are covered in the documentation.
Page 54
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Chapter 1
Using Avid Support and Services
The following topics provide general information about documentation and support
services:
•Using the Product Documentation
•Contacting Avid Customer Support
•Avid Training Services
Using the Product Documentation
The Avid DS Nitris documentation describes the features and hardware of all models within
the Avid DS family. Therefore, your system might not contain certain features and hardware
that are covered in the documentation.
Unless noted otherwise, the material in this document applies to the Windows XP operating
system.
Follow these conventions for mouse or pen usage:
This Term Means This with a MouseMeans This with a Pen
ClickQuickly click and release the
left mouse button. Always use
the left mouse button unless
otherwise stated.
Double-clickClick the left mouse button
twice rapidly.
Right-clickQuickly click and release the
right mouse button.
DragClick and hold the left mouse
button or the wheel while you
move the mouse.
Tap the tablet once with the tip of
the pen, or touch the pen to the
tablet with enough pressure to click.
Quickly tap the tablet twice in the
same screen pixel or press the F5
key to go from single to doubleclick.
Press the top portion of the switch
on the side of the pen or press the
F6 key to go from left to right-click.
Press the pen to the tablet while
moving the pen.
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1 Using Avid Support and Services
This Term Means This with a MouseMeans This with a Pen
Alt+key,
Ctrl+key,
Shift+key, etc.
Avid DS Online Library
The Online Library contains the Avid DS Nitris documentation in a single PDF file. This
allows you to easily search through the file and print sections that you require.
If the online library was installed on your system, you can access it from the Help menu in
Avid DS Nitris. You can also access it directly from the Avid DS Software and Drivers
DVD, or download the most up-to-date PDF from the Avid DS Support Center web site at
http://www.softimage.com/avidds.
Press and hold the first key while you press the second key. For
example, “Press Alt+F1” means to press and hold the Alt key while you
press the F1 key.
n
The PDF versions of Avid DS documentation require Adobe Reader 4.0 or later. If you need
to install Adobe Reader, you can download a free installer from Adobe's web page at
www.adobe.com.
To access the Online Library:
tIn Avid DS Nitris, select Help > Online Library,
or
tInsert the Avid DS Software and Drivers DVD into your drive, and select Online
Library from the main menu.
How to Order Documentation
To order additional copies of the printed documentation from within the United States, call
Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the
United States, contact your local Avid representative.
You can also download printable PDF versions of the documentation from the Avid DS
Support Center web site at http://www.softimage.com/avidds.
Contacting Avid Customer Support
Avid DS Customer Support offers assistance by phone, email, and the web. You are invited
to send your support requests to any of these channels. For urgent issues taht require
immediate assistance, use your local phone support channel.
28
If you are having trouble using your system:
Page 57
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.
Check the Avid DS Support Center at http://www.softimage.com/avidds for the latest
information that might have become available.
E-mail Support
The e-mail address for Avid DS Customer Support is: dssupport@avid.com. You can use it
for sending bug reports, usability questions, and avidds.cab audit reports for system analysis.
All e-mails are logged in the support database and assigned a case number. Send one support
request per e-mail.
Contacting Avid Customer Support
n
It is mandatory that you include your SID number in the body of your e-mail message for
verification of your maintenance contract and case logging. Otherwise, response will be
delayed.
Web Support
The Avid DS Support Center at http://www.softimage.com/avidds provides quick access to a
wide range of resources from the Avid DS team—online documentation, tutorials, known
limitiations and other late-breaking information.
All software and driver updates can be downloaded from the Avid Download Center
For troubleshooting purposes, you can upload your files for Avid Customer Support
personnel to examine. You can upload a project's archive, media files, or other necessary
data. Simply zip the files that you need to upload and use a short name (for easy retrieval),
such as archive.zip or Case274877.zip.
To upload your files:
1. Go to the Avid web site at http://www.softimage.com/avidds.
2. Select Support and Upload Tool from the left menu.
Avid Community Forum
Although the Avid DS community forum is frequently monitored by Avid employees, it is
not part of the official support channels.
The forum has proven to be quite useful for users, and there is a constant stream of new
subscribers.
To subscribe, join the Avid community forums on the Avid web site at http://www.avid.com.
Select Support > Forums.
29
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1 Using Avid Support and Services
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.
To learn about Avid's new online learning environment, Avid Learning Excellerator
(ALEX), visit http://learn.avid.com.
For information on courses/schedules, training centers, certifications, courseware, and
books, visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
30
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Best Practices
This section provides information about capturing media, conforming
sequences created on other systems, and outputting material.
•Assistant Editing
•Conforming HD Sequences
•Using Digital Intermediates for Film-based Projects
•Conforming HDV Media
•Conforming in an Avid Interplay Environment
Page 60
32
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Chapter 1
Assistant Editing
This chapter describes how to set up the Avid DS Assist station in a shared
workgroup environment:
•Using the Avid DS Assist Station
Page 62
Chapter 1 Assistant Editing
Using the Avid DS Assist Station
Avid DS Assist Station offers the full software feature set of Avid DS Nitris in
a software-only application that can be used to off-load tasks from the heavyduty editing stations—tasks such as conform checks, rotoscoping, graphics,
effects, and compositing.
The Avid DS Assist Station is designed to work in a shared workgroup
environment with Avid DS Nitris, so it doesn’t have any I/O capabilities of its
own for signal-based video and audio. You can, however, capture and output
from file.
The Avid DS Assist Station is capable of full realtime playback and
processing, so you can use it offline for all your graphics and effects work.
This is an extremely economical way to grade and finish features that are
captured onto your central storage.
n
Processing of effects is all done by the software. These capabilities are only
limited by the underlying hardware and an adequate disk subsystem on the
workstation where it is installed.
System Requirements
The Avid DS Assist Station can be run on any standard desktop system with
minimal specifications of:
•Dual Intel Xeon or Opteron single core CPU or single dual core Intel or
AMD CPUs
•1 GB of memory
•A supported OGL card such as the Nvidia QuadroFX 3400 or FX3450
(Refer to the Avid web site for a list of other supported cards).
The Avid DS Assist Station is available in both 32-bit and 64-bit. The only
difference is that the 64-bit version offers better overall performance. Projects
and media from both versions can be used on either Avid DS Nitris 32-bit or
64-bit workstations.
For storage, the Avid DS Assist Station can connect to Avid Unity ISIS or
Avid Unity MediaNetwork. However, if you plan on using DNxHD media on
Avid Unity ISIS, you must use the Avid DS Assist Station 64-bit version.
34
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Using the Avid DS Assist Station
The Avid DS Assist Station can also use a local storage drive for work that
does not require large amounts of storage. e.g. creating graphics or titles.
Subtopics
tScenario: Sharing Projects and Media with an Avid DS Assist Station
35
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Chapter 1 Assistant Editing
Scenario: Sharing Projects and Media with an
Avid DS Assist Station
The Avid DS Assist Station is designed to work in a shared workgroup
environment with Avid DS Nitris.
Since it doesn’t have any I/O capabilities of its own for signal-based video and
audio, the media needs to be captured by a Nitris workstation and stored in a
shared folder that can be accessed by the Avid DS Assist Station.
You can, however, capture and output from file which is useful for importing
graphics and images for compositing and effects work.
n
;
Projects cannot be opened simultaneously. As with all Avid DS projects, you
must first close the project on one workstation before being able to open it on
another.
To work with projects on an Avid DS Assist Station, follow this basic
workflow:
StepRefer to
Install the Avid DS Assist station on a workstation
that will be used by an assistant editor.
Start Avid DS Assist Station, and open a project from
the workgroup where it was created.
Check the storage configuration.
You will need to add a storage area to your
configuration that is also used by other workstations
in the workgroup.
If you’re conforming a sequence from Avid
n
Media Composer, and will be using media
created by Media Composer, then you need to
configure your storage to point to the folder
where that media is located.
“Installing Avid DS Software
Components” in the Help.
“Opening an Existing Project”
in the Help.
“Configuring the Media
Indexing Service on your
Workstation” in the Help.
“Configuring Storages for
MXF Files” in the Help.
36
Open a sequence that you need to edit.“Opening Sequences” in the
Do the necessary edits to the sequence.
Help
Page 65
Scenario: Sharing Projects and Media with an Avid DS Assist Station
;
StepRefer to
Process effects that require processing.
The processed media caches are saved to the
n
common storage where any other workstations
in the workgroup can also see them.
Save the sequence and close the project.
“Processing Effects” see the
Help.
37
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Chapter 1 Assistant Editing
38
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Chapter 2
Conforming HD Sequences
This chapter describes typical scenarios for conforming HD projects.
•Conforming HD
•Scenario: Conforming HD Sequences from SD Downconvert Sources
•Scenario: Conforming HD Projects with DNxHD Media
•Scenario: Transferring MXF Media from Avid DS Nitris to an Avid
Editing System
Page 68
Chapter 2 Conforming HD Sequences
Conforming HD
Conforming is the process of bringing a project from an offline environment
into Avid DS Nitris, so that you can continue and finish the editing process.
This section describes how to work specifically with HD sequences. It will
explain how to load an Avid File Exchange (AFE) file into Avid DS Nitris and
recreate a sequence on which you can apply further edits and effects.
n
In this information, the general term “Avid editing system” refers to Avid
applications other than Avid DS Nitris, such as Symphony
Media Composer
Subtopics
Converting HD Formats
Converting HD Formats
When down-converting HD sequences, you must make sure that the aspect
ratio is respected. Maintaining the proper aspect ratio ensures that all effects,
especially those that rely on X,Y locations are preserved during the downconversion and eventually, the conforming process.
HD uses the aspect ratio of 16:9. Avid editing systems such as Media
Composer or Symphony work with 4:3 or 16:9 aspect ratios. Avid DS Nitris
also supports both these ratios. There are three ways 16:9 HD material can be
down-converted for offline editing sessions.
•16:9 Anamorphic
•16:9 Letterbox
•4:3 Centre Extraction
™
®
, Film Composer®, Avid Xpress®, and NewsCutter®.
,
16:9 Anamorphic
40
The entire NTSC frame is used to store the 16:9 HD image that will appear to
be stretched vertically when viewed in an Avid editing system. In your
settings, select the Composer window to 16:9 Video to view the image in its
correct ratio. You will need to select the 16:9 setting on your client monitor.
Also, you will have to convert the 16:9 anamorphic images to a 4:3 aspect
ratio on output to tape for client screening copies. You can use the Pan & Scan
tool, an external device or order conversion as part of the dub process.
Page 69
16:9 Letterbox
Conforming HD
16:9 Anamorphic is the preferred format if you will be creating complex
effects and composites in offline, because effects and repositions will translate
correctly in the Avid DS Nitris online.
Related Topics
16:9 Letterbox
4:3 Centre Extraction
The 16:9 HD image is placed in the center of the 4:3 NTSC frame and black
bars are added top & bottom of the image.
16:9 Letterbox is a common method for delivering HD material on an NTSC
tape to offline. The black matte can be used to contain timecode and other
“burnt in” information. This format is fine if the program contains cuts and
occasional transition effects, but effects such as repositions and composites
will not translate correctly in the HD conform. These problems may result in
added expensive because the effects will have to be adjusted in the HD online.
4:3 Centre Extraction
Related Topics
16:9 Anamorphic
4:3 Centre Extraction
The center of the 16:9 HD image is extracted and recorded on the NTSC tape
for offline.
4:3 Center Extraction is the least preferred option for offline because the editor
does not see the entire frame that will be visible in the HD master. As a result,
edit timings may not be correct when the sequence is conformed in HD
because entrances and exits will not be the same in the 16:9 master. Also, the
editor may not see undesirable action cut off in the 4:3 frame that will still be
visible in the 16:9 HD online master. Effects such as repositions and
composites will not translate correctly in the HD conform.
Related Topics
16:9 Anamorphic
16:9 Letterbox
41
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Chapter 2 Conforming HD Sequences
Scenario: Conforming HD Sequences from SD
Downconvert Sources
Postproduction house are often faced with this scenario. An editor has
completed an HD project on an Avid editing system such as Media Composer
and has passed it on to a colorist, for example, who must now complete and
finish the project at high quality HD standards on Avid DS Nitris.
Downconverting the HD sequence to SD avoids high production costs and also
allows you to work more efficiently with a light-weight project.
To conform an HD project that was offlined on an Avid editing system, the
offline sequence must be edited at the proper frame rate. The following table
lists the required Avid editing project types for different HD formats and
frame rates.
HD format
Avid DS Nitris project typeAvid editing project type
1080i 50 fields/sec (25 fps)25i PAL
42
1080i 60 fields/sec (30 fps) or 59.94
fields/sec (29.97 fps)
1080PsF 23.97 fps24p NTSC
1080PsF 24 fps24p NTSC or 24p PAL
1080PsF 25 fps25i PAL
1080PsF 30 fps or 29.97 fps30i NTSC
720p 60 fps or 59.94 fps30i NTSC
a. Requires Symphony 4.5 or later, Media Composer or Film Composer 11.5 or
later, Media Composer Adrenaline 1.0 or later, Avid Xpress 5.5 or later, or Avid
Xpress Pro 4.0 or later.
30i NTSC
23.976p NTSC
a
Page 71
Scenario: Conforming HD Sequences from SD Downconvert Sources
To conform an HD project from SD downconvert sources,
follow this basic workflow:
;
StepRefer to
Downconvert the HD source tapes to SD
(standard-definition) tapes, using the 16:9
anamorphic aspect ratio.
For 24p sources, make sure the conversion
uses non-drop-frame timecode and 2:3 pulldown, with the A frame at :00 or any frame
that ends in 0 or 5 (:05, :10, :15, and so on).
If you need to convert the timecode of a
n
sequence (for example, from 30 fps to
24 fps, you can use the EDL Processor.
On an Avid editing system:
Create an offline project with the proper frame
rate.
Capture the SD source tapes using an offline
resolution
Build the sequence.
Duplicate the finished sequence, copy the
duplicate into a new bin, and decompose the
duplicate.
The Avid editing system creates new master
clips that use only the media in the sequence,
plus any handles you specify. These new clips
are not linked to media, but are intended for
recapture.
Except for grouped clips, you can delete
n
the decomposed clips from the bin,
because Avid DS Nitris recreates the
clips during the conform process.
“Conforming and Transferring
Projects” in the Avid Media
Composer Help.
“Conforming Workflow” in the Avid
Media Composer Help.
“Using Decompose when
Recapturing” in the Avid Media
Composer Help.
Export as an AFE file so that you can recreate
the sequence or project on Avid DS Nitris.
Depending on the version of your Avid editing
system, you can also export through
MediaLog
™
.
“Exporting Frames, Clips, and
Sequences” in the Avid Media
Composer Help.
43
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Chapter 2 Conforming HD Sequences
;
StepRefer to
On the Avid DS Nitris system:
Create a sequence with a frame rate that
matches that of the source tapes.
Import the AFE file.“Importing AFE Files” in the Help.
Open the AFE file from DS Explorer and drag
the sequence or master clips to the timeline.
If you are sharing media, then Avid DS will
relink to the SD media. (This is the case
ONLY for MXF files.)
If you are not sharing media, then recapture
the HD media from the source tapes into
Avid DS Nitris.
Depending on the number and types of effects,
you may need to process or recreate effects.
Refer to the AAF/AFE Conform Log as you
review the sequence.
Finish and output the project. “Outputting Media” in the Help.
“Create a Sequence and Master Clips
from an Imported AFE File” in the
Help.
“Create a Sequence and Master Clips
from an Imported AFE File” in the
Help.
“Sharing Media” in the Help.
“AFE Effects Support Table” for a
list of supported effects in the Help.
44
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Scenario: Conforming HD Projects with DNxHD Media
Scenario: Conforming HD Projects with DNxHD
Media
To conform an HDTV project that was offlined on an Avid HD editing system
with HD media, make sure the offline sequence is edited at the proper format
and frame rate. Media Composer Adrenaline HD and Avid Xpress Pro HD
support the HD project formats described in the following table. This table
also lists their equivalents in Avid DS Nitris.
HD format
Avid editing project type
720p/59.94720p 59.94 fps
1080p/251080PsF 25 fps
1080p/23.9761080PsF 23.97 fps
1080i/501080i 50 fields/sec
1080i/59.941080i 59.94 fields/sec
HD format
Avid DS Nitris project type
For a list of shared DNxHD resolutions, see Avid DNxHD Compressions.
To conform an HD project from HD sources, follow this basic
workflow:
;
StepRefer to
On an Avid editing system, create an offline
project with the proper frame rate.
“Conforming Workflow” in
the Avid Media Composer
Help.
“Working with HD Media
Capture the HD source tapes into the Avid
editing system using an uncompressed
DNxHD resolution.
Build the sequence.“Editing in HD” in the Avid
“Video-based Television
Workflow” in the Avid Media
Composer Help.
Media Composer Help.
45
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Chapter 2 Conforming HD Sequences
;
StepRefer to
(Optional if sharing media) On the Avid
editing system, duplicate the finished
sequence, copy the duplicate into a new bin,
and decompose the duplicate.
The Avid editing system creates new master
clips that use only the media in the
sequence, plus any handles you specify.
These new clips are not linked to media, but
are intended for recapture. You can delete
the decomposed clips from the bin, because
Avid DS Nitris recreates the clips during the
conform process.
Export as an AFE file so that you can
recreate the sequence or project on the
Avid DS Nitris system.
Depending on the version of your Avid
editing system, you can also export through
MediaLog.
On the Avid DS Nitris system:
Import the AFE file.“Importing AFE Files” in the
“Conforming Workflow” in
the Avid Media Composer
Help.
“Exporting an AFE File from
an Avid Editing System” in the
Help.
“Exporting AFE Files Using
MediaLog” in the Help.
Help.
46
Build your sequence from the imported
clips.
If sharing media, make sure the HD media
is placed in the appropriate folders on your
storage device.
Configure the storage areas so that Avid DS
can index the media.
If you are not sharing media, then recapture
the HD material from source.
“Create a Sequence and
Master Clips from an Imported
AFE File” in the Help.
“Sharing Media” and “Sharing
MXF Media” in the Help.
in the Help.
“Configuring Storages for
MXF Files”
in the Help.
Page 75
Scenario: Conforming HD Projects with DNxHD Media
;
StepRefer to
Depending on the number and types of
effects, you may need to process or recreate
effects. Refer to the AAF/AFE Conform
Log as you review the sequence.
Finish and output the project. “Outputting Media” in the
“AFE Effects Support Table”
for a list of supported effects in
the Help.
Help.
47
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Chapter 2 Conforming HD Sequences
Scenario: Transferring MXF Media from
Avid DS Nitris to an Avid Editing System
You can share MXF master clips captured on Avid DS Nitris with other Avid
editing systems. You can share MXF HD (DNxHD) media only with other
systems that support MXF HD media.
To share MXF master clips created on Avid DS Nitris, follow this basic
workflow:
1. Make sure any storage devices or Avid Unity workspaces are configured
correctly—see “Configuring Storages for MXF Files” in the Help.
2. On the Avid DS Nitris system:
a.Create a project. In the New Sequence dialog box, select the proper
capture settings: MXF storages (one for audio and one for video),
desired compression, and so on. MXF storage can be shared (in an
Avid Unity environment) or local (and later transferred).
n
If you are going to capture audio from a multi-stream file, make sure to select
the option “Import audio into separate audio tracks” in the New Sequence
dialog box.
b.Capture and edit the media.
c.Export an AAF file—see “Exporting AAF Files from Avid DS Nitris”
in the Help.
3. If you are transferring media to the Avid editing system, rather than
sharing in an Avid Unity environment, do one of the following:
-If you are transferring media over a network, copy the MXF audio
storage and the MXF video storage to the local drive.
-If you are transferring media on a removable drive, connect the drive.
4. On the Avid editing system, open a project with a matching frame rate.
5. Import one or more AAF files.
The Avid editing system creates a master clip for each AAF file.
6. Select the new master clips and select Clip > Relink.
The Relink dialog box opens.
48
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Scenario: Transferring MXF Media from Avid DS Nitris to an Avid Editing System
n
n
7. Deselect the option “Relink only to media from the current project,”
accept the other defaults, and click OK.
The master clips are relinked with the MXF media.
You can use the Media Tool to create master clips, but this method does not
always work, for example, when a clip from Avid DS Nitris includes alpha.
Media Composer Macintosh systems, and other Macintosh-based Avid editors,
cannot use MXF media created by Avid DS Nitris, due to a 31-character file
name limit. This situation occurs when an Avid DS Nitris system creates a
storage on a Unity volume to share with other Avid editing systems. This
problem does not affect Windows systems.
49
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Chapter 2 Conforming HD Sequences
50
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Chapter 3
Using Digital Intermediates for
Film-based Projects
This chapter describes how to work with film:
•The Digital Intermediate Process
•Setting up Storage and Media for Film Projects
•Opening a Film-based Project
•Conforming the Film Sequence from EDL and ALE
•Capturing DPX Files
•Editing in Film Proxy Mode
•Outputting Film Sequences
Checklists
•Scenario: Using HDCAM-SR Tape for Film-Originated Projects
•Scenario: Using DPX Scans for Film-Originated Projects
Page 80
Chapter 3 Using Digital Intermediates for Film-based Projects
The Digital Intermediate Process
The main stages of film production are image capture, offline editing,
finishing, and image output and distribution.
Traditionally, the intermediate stage was done manually by the film lab. This
involved the cutting and splicing of the film negatives, adding special optical
effects, and then printing of the final copy for distribution.
Advances in technology now allow the intermediate stage to be handled
digitally. It is a cleaner and more flexible alternative to the traditional
approach. It provides an easy and cost-effective way to create masters at
different resolutions and formats, and also allows more flexibility for
screening at various stages.
1342
OFFLINE EDITING
(optional)
FILM
Film
Pull
List
Film
Pull
List
Avid Film Composer
or Media Composer
Workstation
Rough edit produces
final ALE, EDL and
film pull list
Source material is normally shot on Super 35mm or Super 16mm 3-perf film.
The film can either be scanned to 2K or 4K DPX files, or transferred through
Telecine onto tape in a recommended digital HD format. (Note that, with the
latest digital film cameras, material can also be shot directly in HD RGB
4:4:4.)
When the source material is in digitized form it is referred to as the digital master. This digital master in either 2K, 4K, or HD-RGB 4:4:4 format is of
superior image quality that is preserved for a much longer term than the
traditional tape format. This master can be offlined in an Avid Media
Composer system or edited directly in Avid DS Nitris.
FILM CAPTUREINTERMEDIATE EDITINGIMAGE OUTPUT
HD 4:4:4
TELECINE
SCANNER
EDL/ALE
EDL/ALE
TAP E
EDL
EDL
DPX
(2K, 4K)
FILE
EDL/ALE
DPX/
EDL/ALE
Avid DS Workstation
& DISTRIBUTION
HD 4:4:4
HD 4:2:2
NTSC
PAL
QuickTime
TAP E
EDL
EDL
FILE
DPX
CINEON
(2K, 4K)
52
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The Digital Intermediate Process
The digital intermediate workflow in Avid DS Nitris allows you to either
capture the digital master into the Avid DS Nitris system, or in the case of
DPX format, simply link to the files. The process is started by building a
sequence directly in Avid DS Nitris; or by conforming a sequence via an
EDL/ALE into Avid DS Nitris.
There is no need to worry about matching source timecode or tape names
TM
during the transfer since the common denominator is the KeyKode
information on the original camera negative. Each frame of picture and sound
carries with it one or more pieces of frame-based metadata (timecode,
KeyKode, etc.), as well as overall metadata such as shoot date, camera roll,
scene, take, etc.
In Avid DS Nitris, the film sequence can be digitally enhanced through the
process of editing, visual effects, and color correction. Avid DS Nitris has
comprehensive HD and SD finishing capabilities, with a range of film and
video editing tools. The system’s special effects and compositing engine
handle special effects and last minute fixes easily and cost-efficiently. Here are
some of the ways in which Avid DS Nitris expedites the workflow:
•An external video monitor can be used to view (in real-time) your
sequence in the format and resolution closely matching your final
distribution format.
•Your Nitris workstation will instantly let you play back (in real-time) any
edits and effects applied to your sequence.
•Look-up tables (LUTs) can be applied to simulate the look of projected
film.
•You can perform color correction on file-based media the same way as
with traditional video.
•You can read timecode from, and output timecode to, media files. The
timecode tracking display is based on the conventional time-oriented
techniques of video postproduction.
•You can add a timecode view if you want to view the timecode of your
sequence at a different frame rate. The timecode view can display multiple
frame rates at a time.
Avid DS Nitris supports output mastering to tape for any of the original
transfer formats; and in the case of a film out, it is possible to output a final
series of DPX or Cineon images for a film recorder.
53
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Chapter 3 Using Digital Intermediates for Film-based Projects
Important Considerations when Working on Film-based Projects
Before starting your project, here are some points to consider when working
on a film-quality production.
•Know your original film format (e.g. Full Aperture, Cineon, Academy,
Super 16mm/35mm).
•Know the quality at which your film master was scanned or transferred.
The most popular is the 10-bit format and the most frequently used
resolution is 2K.
•Know the frame rate (fps) at which your film master was scanned or
transferred.
•Use a limit of 8 characters for your tape/reel names as some 3rd-party
EDL converters truncate reel names over 8 characters long, and as a result
will not create the proper associations between key numbers and
timecodes.
•Ensure that you have storage that is large and fast enough for high
throughput. (Typically, 2K data takes up over 1 TB per hour of footage.)
Also, to get realtime playback of your media, the digitized media must
reside on your local storage that is connected directly to your
Avid DS Nitris workstation.
54
•If you are offlining your sequences on Avid Film Composer, set up your
storage so that you can share the media footage with Avid DS Nitris. This
is explained later in this section.
In Avid DS Nitris there are two ways to import film-originated media—by
capturing from HDCAM-SR tape, or by linking to DPX files.
Topi cs
•Scenario: Using HDCAM-SR Tape for Film-Originated Projects
•Scenario: Using DPX Scans for Film-Originated Projects
Page 83
The Digital Intermediate Process
Scenario: Using HDCAM-SR Tape for Film-Originated Projects
HD resolutions are now used more and more for film work, especially in 4:4:4
RGB color space. Although this method does not support resolutions as high
as film-scanned DPX files (2K, 4K), HDCAM-SR does allow for fairly high
quality resolution (upto 1920 x 1080 HD). Also, Telecines now perform highquality transfer directly to HD in real-time, which is much faster and
economical than a typical film scanner.
There are two possible workflows when using HDCAM tape. You can create
your rough cut offline with an Avid Media Composer or Film Composer
system and then finish online with Avid DS Nitris or—you can do all the
editing from start to finish directly in Avid DS Nitris.
For either workflow, the film is first scanned through a telecine (one-light
pass) to generate one or more dub tapes in HD, DVCAM, or SD format.
Topi cs
•Offline Film Workflow with Avid Media Composer or Film Composer
•Online Editing and Finishing in Avid DS Nitris
Offline Film Workflow with Avid Media Composer or Film Composer
In the workflow shown here, film is run through a Telecine to create work
tapes that will be used for the offline edit on an Avid Media Composer
Adrenaline HD or Film Composer.
n
If you have a Media Composer Adrenaline HD system, you can do your offline
editing with an HD work tape. If you don’t have an HD offline system, then
you need to convert your master tape to a lower-quality SD work tape.
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Chapter 3 Using Digital Intermediates for Film-based Projects
OFFLINE EDITING
1
(OPTIONAL)
FILM
TELECINE
Transfer all material
to dub tape
2
ONLINE EDITING
Film Pull list used
to transfer only
necessary material
to HDCAM tape
TAP E
HDCAM SR 4:4:4
Produce final
ALE, EDL and
film pull list
TAP E
Batch capture
via ALE file
Rough-edit on
Avid Film Composer
or Media Composer
Workstation
Media captured/
conformed via ALE
Avid DS Nitris
Workstation
HD 4:4:4
Avid Film Composer/Media Composer uses an ALE (also produced during the
Telecine transfer) to capture source video from the dub tape. After the rough
edit is done, the process ends with the production of an EDL of the sequence,
an ALE, and a film pull list.
The film transfer facility uses the film pull list to do a final, high-quality pass
through the telecine. This transfers only the necessary material to tape. This
minimizes costs in the telecine room and also makes for a more efficient final
online edit and finish in Avid DS Nitris.
To offline your sequence on Avid Media Composer or Avid Film
Composer, follow this basic workflow:
56
You should follow these steps in the order that they are listed. Each time you
link to a topic within a Step, make sure you return to the checklist after you
have completed that procedure. (When viewing this document online, use the
Previous View button in your Help browser or Adobe Reader to return to the
previous link).
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The Digital Intermediate Process
;
StepRefer to this section
Using Avid Film or Media Composer,
import the film transfer files (FLEx, Evertz,
Aaton, ALE) into the project bins, and log
the necessary clips from the dub tape using
the ALE file.
Batch capture the footage from the dub
tapes.
Capture the audio directly in Avid Media
Composer/Film Composer via file-based
audio recorders using BWF.
Create your sequence on the timeline, and
synchronize the audio with video.
Once the rough edit is complete, generate a
film pull list (cut list) of the final cut.
Avid FilmScribe generates many
n
types of lists; Scan is the list type to
facilitate a file-based or tape-based
workflow.
Export your sequence to an EDL file.
“Importing Shot Log Files” in
the Media Composer Help.
See also “Working in a Film
Project” in the Media
Composer Help.
“Batch Capturing from
Logged Clips” in the Media
Composer Help.
“BWF Files” in the Media
Composer Help.
“Preparing to Edit” in the
Media Composer Help.
“Creating a Cut List with
Previsualization Marker
Information” in the Media
Composer Help.
Export your sequence to an ALE file if you
need to associate your film information
(metadata) with the tape information in the
EDL
Rescan or retransfer the source material
using the film pull list. Media footage will
only be pulled once, regardless of how
many times it was used in the final
sequence.
You can now take the EDL and/or ALE into
Avid DS Nitris to do your online editing
.
“Online Editing and Finishing
in Avid DS Nitris”
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Chapter 3 Using Digital Intermediates for Film-based Projects
Online Editing and Finishing in Avid DS Nitris
Once you have transferred your film media onto the final HDCAM-SR tape,
you can use the ALE to edit or conform the project into Avid DS Nitris.
OFFLINE EDITING
1
(OPTIONAL)
FILM
TELECINE
Transfer all material
to dub tape
2
ONLINE EDITING
Film Pull list used
to transfer only
necessary material
to HDCAM tape
TAP E
HDCAM SR 4:4:4
Produce final
ALE, EDL and
film pull list
TAP E
Batch capture
via ALE file
Rough-edit on
Avid Film Composer
or Media Composer
Workstation
Media captured/
conformed via ALE
Avid DS Nitris
Workstation
HD 4:4:4
For the final finishing, you will require:
•Your film transferred to tape.
To ensure the highest quality of the master tape, transfer to HD format in
4:4:4, which offers the best uncompressed color quality currently
available on video. The 4:4:4 refers to an encoding technique that holds
onto all of the image’s red, green, and blue color data for superior color
fidelity, unlike the traditional 4:2:2 YUV mode, which discards half of the
color data.
It is recommended that the film be transferred as 16:9 anamorphic so that
the conform process will not only be frame-accurate, but also pixelaccurate in the sense that the effects will match the same aspect ratio
(titles, shapes, etc.).
58
•Audio tapes/data
•ALE file containing the tape-film source correspondences. An ALE file is
provided along with the tapes to match the original Key Numbers on the
film with the timecode on tape.
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The Digital Intermediate Process
To edit and finish your film project in Avid DS Nitris, follow these steps:
You should follow these steps in the order that they are listed. Each time you
link to a topic within a Step, make sure you return to the checklist after you
have completed that procedure. (When viewing this document online, use the
Previous View button in your Help browser or Adobe Reader to return to the
previous link).
;
StepRefer to this section
Determine where your media will be stored.“Setting up Storage and Media
for Film Projects”
Ensure that your workgroup storage areas have been
configured accordingly.
In Avid DS Nitris, open a project and set the
appropriate project preferences.
If you are conforming an offline project, use the
EDL/ALE to import your sequence.
Edit your sequence.“Editing in Film Proxy Mode”
Recapture the media in full resolution HD format
with full 4:4:4 RGB color depth. (Avid DS Nitris can
capture an HDCAM tape in either HD 4:4:4 RGB or
HD 4:2:2 YCrCB.)
To capture HDCAM RGB 4:4:4, you require
n
an Avid DS Nitris workstation equipped with
the dual-link card.
Add special effects and do the necessary color
correction.
“Configuring your Storage
Locations”
“Opening a Film-based
Project”
“Conforming the Film
Sequence from EDL and
ALE”
“Batch Capturing”
Refer to the Compositing & Graphics section for relevant
topics.
Output your final sequence.“Outputting Film Sequences”
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Chapter 3 Using Digital Intermediates for Film-based Projects
Scenario: Using DPX Scans for Film-Originated Projects
To preserve your 2K or 4K film resolution, it is best to have your film scanned
to DPX files. DPX (Digital Picture eXchange) is a bitmap file format used to
store a single motion picture frame to a file.
During the scanning process, metadata is inserted into the DPX file such as
KeyKode and timecode, as well as Tape Name if desired. DPX files played in
a sequential manner can be viewed in real time in Avid DS Nitris under certain
circumstances.
DPX files are unique in many ways. Their color space is RGB, they have more
bit-depth, and they also have the possibility of using log space for representing
a wider dynamic range on the negative. This allows for the use of Look-Up
Tables in the import process. The film house where your film master was
scanned will provide you with an LUT file to use when importing your DPX.
2
ONLINE EDITING
1
OFFLINE EDITING
Pull list/
EDL/ALE
FILM
SCANNER
TELECINE
Transfer all material
to low-quality
Film Pull list used to scan only
necessary material to DPX
dub tape
DPX
(2K, 4K)
Copy DPX files
to storage device
Avid DS Nitris
Workstation
Conform of ALE and EDL
automatically links DPX files
into project sequences
60
Produce final
ALE, EDL and
film pull list
TAPE
Batch capture
via ALE file
Rough-edit on
Avid Film Composer
or Media Composer
Workstation
During the conform, the workstations need to know where to find the DPX
frames, and whether there was a LUT applied to any set of frames. Once this
has been done, the KeyKode to DPX file relationships allow the conform
process.
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The Digital Intermediate Process
From the Avid DS timeline, simply select “link to file” and the sequence will
look to the DPX files. You can playback a single stream of 2K or 4K in real
time in the viewer. Using the proxy mode, you can add effects in real time for
multiple streams, and process and view the results in HD 4:2:2.
The optimal workflow when using DPX files is to create your rough cut offline
with an Avid Media Composer or Film Composer system, and then finish
online with Avid DS Nitris.
To scan your source material to DPX files, follow these steps:
Follow these steps in the order that they are listed. Each time you link to a
topic within a Step, come back to the checklist after completing the procedure.
(Use the Previous View button in your Adobe Reader to return to the previous
link).
;
StepRefer to this section
Offline your project in Avid Media Composer or
Film Composer.
You can also start your project directly in
n
Avid DS Nitris if you already have all the final
DPX files.
Determine where your media will be stored.“Setting up Storage and Media
Copy your DPX files to your high-capacity storage.“Placing your DPX Files on
Ensure that your workgroup storage areas have been
configured accordingly.
In Avid DS Nitris, open a project and set the
appropriate project preferences.
If you are conforming an offline project, use the
EDL/ALE to import your sequence.
Link to your DPX files. “Conforming Sequences that
“Offline Film Workflow with
Avid Media Composer or Film
Composer”
for Film Projects”
the Storage Device”
“Configuring your Storage
Locations”
“Opening a Film-based
Project”
“Conforming the Film
Sequence from EDL and
ALE”
use DPX Files”
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Chapter 3 Using Digital Intermediates for Film-based Projects
;
StepRefer to this section
If you are using a shared storage, or if you cannot
playback your media in realtime, then capture your
DPX files into Avid DS Nitris.
Edit your sequence.“Editing in Film Proxy Mode”
Add special effects and do the necessary color
correction.
Output your final sequence.“Outputting Film Sequences”
“Capturing DPX Files”
“Linearizing Film-Based
Material”, and also the
Compositing & Graphic
section for relevant topics.
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Setting up Storage and Media for Film Projects
Setting up Storage and Media for Film Projects
Since film-based media is large and requires high bandwidth and fast disk
access, you should place your digital master on a storage drive that is
connected directly to your workstation. This allows you to view your sequence
in realtime.
Before you begin, plan out your storage solutions carefully:
•For a complete list of storages supported for film-based media, refer to the
Avid DS Support Center web site.
•“Planning your Storage Locations”, provides different scenarios
depending on whether you are building your project on a single system, or
if you plan on using multiple systems where you may want to share
media.
n
You can share and store file-based media for offline-to-online production
between Avid systems. Sequences offlined in Avid Media Composer Adrenaline
HD can be previewed directly in Avid DS Nitris using the real-time proxy
resolution (film proxy mode).
Topi cs
•Configuring your Storage Locations
•Placing your DPX Files on the Storage Device
Placing your DPX Files on the Storage Device
Your DPX files should be placed onto a fast, high-capacity storage device
connected to your workstation. This allows you to link to the master and still
get realtime playback in Avid DS Nitris for any DPX files.
n
You can also place your master on a shared storage, such as Avid Unity,
however you will have to capture the file into Avid DS Nitris to get realtime
playback—see “Capturing DPX Files”.
tPlace your DPX files in an appropriate folder under the \VideoStorage
folder on the storage device. For example,
D:\VideoStorage\DPX\Commercial\...
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Chapter 3 Using Digital Intermediates for Film-based Projects
Opening a Film-based Project
Avid DS Nitris offers HD and 2K/4K digital intermediate capabilities,
including a large number of preset sequence types for various film resolutions
and aspect ratio.
To create a film-based project:
1. In the Open Project dialog box that displays when you start
Avid DS Nitris, click the New Project button.
2. In the New Project dialog box, give your project a name.
3. There are a number of film resolutions and apertures that you can choose
from. Select the film format at which your material was scanned or
transferred. Click the Help button to see which film formats are available.
When you select the format, the frame details are set automatically.
64
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Opening a Film-based Project
4. Set the Processing Precision to a bit-depth that will give you the best
quality for your processed effects. To preserve the quality of the bit-depth
of 10-bit material, choose 16-bit. For more information on bit depth, see
“About Video Quality” and “About Bit Depth”.
c
Although Avid DS Nitris can support higher bit depths during processing,
the caches may be stored at a lower bit depth depending on your
resolution and color space settings. Note that, using a higher precision bit
depth generates smoother effects during processing, and still produces
better quality output for lower bit depth outputs.
Optionally, you could set the Precision bit depth to the same setting as the
Storage bit-depth. Then, if you want to process a specific effect at a
higher-quality bit depth, you can change the Precision bit depth within the
Processing dialog box.
5. For the Storage Settings:
-Set the Resolution for capturing/linking video media to Full.
-Set the Color Space to RGB 4:4:4.
-Set the Bit Depth to the format at which the film was scanned
(typically 10-bit).
6. Select Use the closest media available, to allow Avid DS Nitris to
display media of mixed resolutions and frame rates in your sequence.
7. For the Audio Settings, set the Sample Rate and Bit Depth at which you
will output your audio media.
8. Leave the Downconversion settings at default.
9. Click OK to save project preferences.
Avid DS Nitris displays the timeline where you can now begin working on
a sequence.
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Chapter 3 Using Digital Intermediates for Film-based Projects
Conforming the Film Sequence from EDL and ALE
Typically, the digital intermediate is created by conforming a sequence via an
EDL into Avid DS Nitris. The EDL and/or ALE files are used to create the
necessary source associations between the original tapes and final digital
master. (The ALE file actually contains the film source to tape source
correspondence.) Hence, there is no need to worry about matching source
timecode or tape names during the transfer since the common denominator is
the KeyKode
When conforming your EDL, you have the choice of logging the events in the
Avid Explorer, recreating the list of events on the timeline, or both. As the files
are logged, the media files are automatically linked in Avid DS Nitris. You can
capture the media at any time from either the Avid Explorer or the timeline.
During the capture process, the HDCAM tape frames or the DPX frames are
transferred to the Avid DS Nitris’ local storage. When the conform is
complete, the clips point automatically point to the HD 4:4:4 media on your
local storage.
TM
information on the original camera negative.
66
Before conforming your EDL, you should check if there are any layers to be
composited. Offline editors often create multiple EDLs because the
convention is to put separate layers into separate EDLs. Any audio or video
events in the list are automatically loaded onto the appropriate tracks.
During the conform process, you can set up the appropriate heads and tails
values for each clip. This is important if you need additional material at the
beginning and end of each clip to do minor changes during the final stage of
the edit. You can also configure the audio channel patching for each tape.
If you recreate your sequence on the timeline, you may want to process a
rough cut and proof it against the original EDL. You can do this by reloading
the rough cut onto a new video track, adding a fade or crop effect to the video
track and processing it, and then playing the sequence to make sure that the
cuts and transitions on the two tracks occur in sync.
If the proofing session is successful, you can then remove the video track you
added and continue to add effects and finishing touches to the original
sequence.
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Conforming the Film Sequence from EDL and ALE
Record in-point
Conform EDL
To open an EDL:
1. In the view switcher, click the EDL button.
2. In the EDL view, click the Load EDL button to load a new EDL.
3. In the Open dialog box, select an EDL. If you know the system from
which the EDL was generated, select the appropriate file type.
4. Click the Open button.
The selected EDL is displayed in the EDL view. The EDL view lets you
import an EDL file produced on any external system, and capture material
based on the edits in that EDL. For more information about the EDL view,
click the Help button or see EDL View.
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Chapter 3 Using Digital Intermediates for Film-based Projects
If you selected the wrong file type, you are prompted to convert the file to
the appropriate type.
5. Click the Conform EDL button.
68
6. In the EDL Conform dialog box, select whether you want to create Logs
and/or Timeline Clips.
7. If your digital master is in DPX file format, select Use Alternate Video
Sources, and see “Conforming Sequences that use DPX Files”.
If your master is in HDCAM-SR tape format, then continue with this
procedure.
8. If all the necessary information is contained in your EDL, click the
Conform button. The clips are logged in the Explorer or on the timeline
for you to capture—see “Batch Capturing”. After the clips are captured,
they automatically point to the HD 4:4:4 media on your local storage.
Page 97
Conforming the Film Sequence from EDL and ALE
Conforming Sequences that use DPX Files
Once you have loaded your EDL (as described in “Conforming the Film
Sequence from EDL and ALE”), you can proceed with the following steps to
link to your DPX files.
1. In the EDL Conform dialog, click on the Configure button.
The Choose Alternate Video Sources dialog displays.
2. In the Image Files Root Folder, enter the path for your DPX files.
Once the folder is selected, it is immediately scanned.
This process scans each DPX file on the video storage, collecting the
metadata that it contains, so that Avid DS Nitris can associate each DPX
file to each “tape” frame referenced in the EDL.
In addition, the appropriate correspondence is made between the DPXtape frames so that the tape name, timecodes and/or key numbers are
retained.
n
When trying to associate the EDL tape frames to the DPX frames, the
following situations may occur:
•the DPX files contain the tape source information (i.e. tape name and
timecode). In this case a direct association can be made between the DPX
files and the EDL tapes.
•the DPX files only contain film source info (i.e. key number). In this case,
you must also specify an ALE file to allow Avid DS Nitris to create the
association between the DPX files and the EDL tapes, going through the
ALE film sources.
•the DPX files only contain timecodes. In this case, the folder in which the
DPX file is located is used as the EDL “tape name”.
After the scan is complete, the source information associated to each
image file is displayed.
If at least one file has a reference to a film source, the ALE File field is
activated.
3. If you are conforming DPX files from a filmhouse (i.e. digitized from a
Telecine), then you will need the corresponding ALE file to associate the
DPX frames to timecodes.
Under ALE File, enter the path where the ALE file is located.
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Chapter 3 Using Digital Intermediates for Film-based Projects
70
n
In the example shown above, you will notice that there is an * before the name
ROGER. This is to indicate that the folder name is being used as the tape
name.
4. Click the Match with EDL button.
The bottom view will display a mapping of DPX frames to tape and
corresponding timecode.
5. To view any missing/unmatched DPX frames, select Only View Missing Frames.
Page 99
Conforming the Film Sequence from EDL and ALE
Shows
missing
frames
If the bottom view is empty, then all frames in the EDL were found. If not,
locate the necessary DPX files, place them in the same folder, and click
Match with EDL again.
This process scans each DPX file, collecting the metadata that it contains,
so that the software can associate each DPX file to each “tape” frame
referenced in the EDL. In addition, the appropriate correspondence is
made between the DPX tape frames so that the tape name, timecodes,
and/or key numbers are retained.
6. Click OK to return to the Conform dialog.
7. Click the Conform button.
n
The log files are created with the appropriate links to the DPX files.
Audio is ignored when digitizing DPX files from HDCAM-SR.
If your DPX files are on a storage device connected to your Avid DS Nitris
workstation, you will get realtime playback simply by being linked to the files.
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Chapter 3 Using Digital Intermediates for Film-based Projects
If your files are on a shared storage, such as Avid Unity, you will have to
capture the file into Avid DS Nitris to get realtime playback—see “Capturing
DPX Files”.
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