This chapter introduces edit decision lists (EDLs) and provides
instructions for basic EDL Manager procedures. It includes the
following sections:
•EDLs and the EDL Manager
•Starting EDL Manager
•Using Help
•Creating or Reading an EDL
•Saving an EDL
•Formatting an RT-11 Disk
•Printing an EDL
•Copying an EDL Between Storage Locations
•Using EDL Manager with Your Avid Editing System
•Viewing a List of Tapes in the Source Table
8
EDLs and the EDL Manager
An edit decision list (EDL) is a list of instructions for all the edits you
make for creating a program on videotape. This list might include cuts, wipes, dissolves, fades, and black edits. The EDL Manager application
organizes the instructions as a series of chronological edits called
events. Each event specifies a timecode for the source and master tapes.
Online and Offline Editing
In most cases, you generate an EDL to take a project from the offline
editing environment, where rough editing and experimentation are less
expensive, into the online editing environment, where an editor using
an edit controller can produce a finished master in less time. The EDL
Manager saves EDLs in a format an editing system can use, such as
GVG or CMX. You might also need to import an EDL from the online
environment back into the offline suite to make further changes before
completing the master tape.
Traditionally, the offline environment consisted of a simplified
videotape suite with less expensive machines and fewer effects
capabilities. More recently, offline environments are likely to include
nonlinearediting systems such as Avid’s Media Composer
environment might also include a high-end nonlinear editing system
such as Avid’s Symphony™, or an online model of Media Composer.
®
. The online
In all cases, the EDL, in the form of a file generated in a readable
format, is the link back and forth between the two environments.
What the EDL Manager Does
You can use EDL Manager to generate an EDL from a sequence in a bin
or from an OMFI file. OMFI is a file format for importing and
exporting media; it allows you to share information with other
platforms. You can also read a previously saved EDL into EDL
9
Manager. After creating an EDL, you can save it as a text file that can
be read by different edit controllers, such as Sony
you can save the EDL as an OMFI composition.
You can use EDL Manager to create an EDL that displays additional
types of information, such as comments or patches. You can specify the
different audio and video tracks in the sequence. You can also specify
the assembly modes that the online edit controller uses when creating
your program.
Because EDL Manager is a standalone application, your other Avid
applications do not have to be running when you create EDLs from
sequences. When you run EDL Manager with your Avid editing
system (for example, Symphony), you can bring the sequence that is
currently in the editing system into the EDL Manager window. After
working with the EDL in EDL Manager, you can create a sequence in
the Avid editing system from the EDL.
Starting EDL Manager
You can start EDL Manager as a standalone application, or you can
start it from within your Avid editing system application.
®
, GVG, or CMX, or
To start EDL Manager as a standalone application:
1. Click the Start button.
2. Point to Programs.
3. Point to Avid.
4. Point to EDL Manager.
EDL Manager opens.
To start EDL Manager from within your Avid editing system
application, choose EDL from the Output menu.
10
EDL Manager opens as the active window, showing the Editing
System icon connected to the Update button by a Right Arrow button.
Using Help
The Help system provides procedures and reference information for
all features of EDL Manager. You can access complete information by
opening the Help system, or you can get specific information for
windows, dialog boxes, and screen objects by using context-sensitive
Help. For information on using the Help system, see Appendix D.
Creating or Reading an EDL
The EDL Manager window displays the EDL you create or the existing
EDL you open or read. You can view an EDL by doing any of the
following procedures:
•Create an EDL from a sequence in a bin.
•Open an existing EDL.
•Create an EDL from an OMFI file.
•Create an EDL from an active sequence in your Avid editing
system monitor.
•Read an existing EDL from an RT-11 disk.
11
Creating an EDL from a Sequence in a Bin,
Existing EDL, or OMFI File
To create an EDL from a sequence in a bin, from an existing EDL, or
from an OMFI file:
1. Choose Open from the File menu.
The Choose file to open dialog box appears.
2. Choose Common files (*.avb, *.edl, *.omf) from the Files of Type
pop-up menu.
3. Navigate to the disk or folder that contains the file you want.
4. Select a file — either a sequence in a bin (.avb), another EDL (.edl),
or an OMFI (.omf) file — and click Open.
If you select a bin or an OMFI file, one of the following happens:
•If the file contains only one sequence, EDL Manager creates
the EDL for that sequence.
•If the file contains more than one sequence, the Make Selection
dialog box appears.
12
Select a sequence and click OK. EDL Manager creates the EDL.
The created EDL appears in the EDL Manager window.
n
The Source and Output pop-up menus appear only for 24p bins and for
OMFI files.
For information on changing the settings in the EDL, see Chapter 2.
13
Creating an EDL from an Active Sequence
You can create an EDL directly from the sequence that is loaded in
your Avid editing system. For more information, see “Using EDL
Manager with Your Avid Editing System” on page 20.
Reading an Existing EDL from an RT-11 Disk
To read an EDL that is saved on an RT-11 disk in a CMX, GVG, or
highdensity GVG (HDGVG) edit controller format:
1. Insert the RT-11 disk that contains the EDL you want to read into
the disk drive.
2. Choose Read From RT11 Disk from the File menu.
The Make Selection dialog box appears.
3. Select the EDL you want and click OK.
The EDL opens in the EDL Manager window.
14
Saving an EDL
You can save an EDL as a text file with the .EDL file name extension, or
as an OMFI composition. The location where you save the EDL can be a
DOS-formatted disk, a hard drive or other storage device, or an RT-11
disk that can be read by CMX or GVG edit controllers. For information
on formatting an RT-11 disk, see “Formatting an RT-11 Disk” on
page 17.
Saving an EDL as a Text File or an OMFI Composition
To save an EDL as a text file or an OMFI composition:
1. Choose one of the following from the File menu:
•Save As, to save the EDL as a text file
•Save As OMFI, to save the EDL as an OMFI composition
A dialog box appears.
2. Accept the default file name, or enter a new name.
If you are saving to a DOS-formatted disk for transfer to an edit
controller, use a file name that the edit controller can read. The
name must be eight alphanumeric characters or less in uppercase
letters, followed by the file name extension (either .EDL or .OMF).
For example:
ANNA23.EDL
3. Navigate to the disk or folder where you want to save the EDL.
4. Click Save.
EDL Manager saves the EDL to the location you specified.
15
Saving an EDL to an RT-11 Disk
To save an EDL to an RT-11 disk:
1. Insert a CMX or GVG disk into the disk drive.
2. Choose Write To RT11 Disk from the File menu.
A dialog box appears, showing the name of your EDL.
3. Accept the EDL file name, or type a new name.
The name must be six or fewer alphanumeric characters, in
uppercase letters, followed by the .EDL file name extension.
For example:
LEO3A.EDL
n
4. Click OK.
EDL Manager saves the EDL to the CMX or GVG disk.
Some edit systems cannot read high-density disks (marked with the HD
symbol), so you might have to use a double-density disk. If you are in doubt,
check with the online suite or have the suite provide you with a formatted
disk.
16
Verifying an RT-11 Save
Because an RT-11 disk is not initialized for the Windows NT or
Windows 98 format, you cannot see its contents by using the standard
operating system tools (for example, My Computer). To verify that the
EDL has saved successfully to the disk, you can follow the first few
steps of “Reading an Existing EDL from an RT-11 Disk” on page 14.
If the EDL appears in the Make Selection dialog box, then you know it
was saved to the disk.
To verify that the EDL was saved to the disk:
1. Choose Read From RT11 from the File menu.
A message box appears, which states that the currently displayed
EDL will be cleared.
2. Click OK.
The list of files for the RT-11 disk appears, allowing you to verify
that your EDL was saved to the disk.
3. Click Cancel to return to the EDL Manager.
Formatting an RT-11 Disk
An RT-11 disk in EDL Manager can be in any of the following formats:
•CMX
•GVG
•HDGVG (high-density GVG)
c
When you take a DOS-formatted disk and format it as an RT-11 disk,
data on the disk will be erased.
17
To format an RT-11 disk:
1. Choose Format RT11 Disk from the File menu.
A dialog box appears.
2. Insert a DOS-formatted disk into the drive and click OK.
A message box appears.
3. Click OK.
The Format Options dialog box appears.
4. Click one of the option buttons to choose an EDL disk type format.
EDL Manager formats the disk.
18
Printing an EDL
To print the open EDL:
1. Choose Print EDL from the File menu.
A dialog box appears.
2. Select the print options you want.
3. Click OK.
Copying an EDL Between Storage Locations
You can copy an EDL from any drive or disk storage location to
another without having to open the EDL in the EDL Manager window
or switch to operating system tools such as My Computer. The storage
locations, including RT-11 disks, must be accessible to your computer.
To copy an EDL from one location to another:
1. If you want to copy to or from an RT-11 disk, insert the RT-11 disk
in the disk drive.
2. Choose Copy To/From Disk from the File menu.
3. If no RT-11 disk is in the drive, a dialog box appears. Navigate to
the file you want to open and click Open. Another dialog box
appears. Navigate to where you want to copy the EDL and click
Save.
4. If an RT-11 disk is in the drive, a dialog box appears.
19
Do one of the following:
•To copy from an RT-11 disk, click Yes.
A list of EDL files appears. Select the EDL you want and click
OK.
•To copy from any other disk or drive, click No.
A dialog box appears. Navigate to the file you want to open
and click Open.
•To copy to an RT-11 disk, click No.
A dialog box appears. Navigate to the file you want to open
and click Open. The Write to RT11 Disk dialog box appears.
Click Yes and then either accept the default file name or enter
a new name of six or fewer uppercase characters
•To copy to any other disk or drive, click No.
A dialog box appears. Navigate to the file you want to open
and click Open. The Write to RT11 Disk dialog box appears.
Click No. A dialog box appears. Navigate to where you want
to save the file and click Save.
Using EDL Manager with Your Avid Editing System
EDL Manager is a standalone application; your other Avid editing
applications (for example, Media Composer, Film Composer
Symphony, Symphony Universal, or Avid Xpress
running when you create EDLs from existing sequences.
When you start EDL Manager from your Avid editing system, or have
EDL Manager and the editing system running at the same time, you
can do the following:
•Create an EDL for the sequence loaded in the active monitor.
•Create a sequence in the Avid editing system from an EDL that is
open in EDL Manager.
20
™
) do not have to be
®
,
Creating an EDL from the Active Sequence
To create an EDL from the sequence currently loaded in the Avid
editing system, do one of the following in EDL Manager:
•Click the Right Arrow button between the Editing System icon
and the Update button in the EDL Manager window.
•Choose Get Current Sequence from the File menu.
The EDL appears in the EDL Manager window and a Left Arrow
button appears under the Right Arrow button, indicating that you
can now also create a sequence from the EDL.
Creating a Sequence from an EDL
To create a sequence in your Avid editing system from an EDL that is
open in EDL Manager:
1. With your Avid editing system running, do one of the following:
•Click the Left Arrow button between the Update button and
the Editing System icon in the EDL Manager EDL Manager
window.
•Choose Create Sequence from the EDL Manager File menu.
The editing system becomes the active window, and a dialog box
appears. The dialog box lists only those bins currently open in the
editing system.
2. Select an existing bin or create a new bin in which to place the EDL
sequence.
3. Click OK.
The sequence is created in the bin you selected, and EDL Manager
becomes the active window again.
21
Viewing a List of Tapes in the Source Table
The source table lists all source tapes in the sequence that the EDL
describes. The source table is a useful reference when you assemble
your program.
To view the source table, click the Sources button in the EDL Manager
window. A list of source tapes appears.
User-defined
name
n
Avid-defined
name
If Sources is already selected before you open an EDL, the source table appears
when you complete the opening procedure. To view the master EDL display,
click Master in the EDL Manager window.
The source table has one row for each source tape. The three columns
provide the following information:
•The user-defined name for a source tape
•The Avid-defined name for a source tape
•The Avid import ID, which is the internal identification for your
Avid source ta pe
The exact format for these columns varies depending on the format of
your EDL.
22
Avid import ID
Before your online session, you might want to print the source table on
paper. To print the source table, choose Print from the File menu. For
more information about the online session, see “Online and Offline
Editing” on page 9 and Appendix A.
23
CHAPTER 2
Customizing EDLs
This chapter describes how to customize an edit decision list by
changing a variety of settings. It also explains how to save settings as
templates for use with other EDLs.
This chapter includes the following sections:
•EDL Manager Option Settings
•Changing Settings in the EDL Manager Window
•Changing Settings in the Options Window
•Changing Serial Transfer Options in the Site Settings Dialog
Box
24
EDL Manager Option Settings
Initially, EDL Manager uses default option settings to generate the
EDL, unless you customize the EDL by changing the settings for any
of the options. You can change the settings, save them to a template,
and then use the template for other EDLs; or you can continue to
manipulate the settings until you find the most effective combination
for your sequence.
Settings that you can change are located in several places within EDL
Manager:
•The EDL Manager window
•The Options window
•The Site Settings dialog box
As you choose the settings for your EDL, remember that they might
significantly affect the online session in terms of time and money. For
example, if you finish your program in a suite with preread
capabilities, choosing the preread option in the EDL Manager
application can save time in dubbing sources, and save money in
additional deck rental.
Changing Settings in the EDL Manager Window
Use the EDL Manager window ( see Figure 2-1) to change or select the
following settings:
•Title name of your EDL
•Video tracks and audio channels
•Views of the EDL — master list, dupe list, or source table
•Templates to apply to the EDL
•Source and output frame rates (for 24p bins and OMFI files only)
25
Use the Update button to update the EDL with changes you make to
)
the video tracks, audio channels, title, and to the Source and Output
frame rates.
EDL
EDL nameThree views
Update button
Source timecodeOutput timecode
Video and Audio
Track selector panel
Timecode options
(24p and OMFI files only
Figure 2-1EDL Manager Window
Changing the Title of an EDL
You can change the title of your EDL at any time. For example, you
might want to open an EDL, modify it in some way, and then retitle
the modified version to distinguish it from the original. If you then
save the new version by using a new file name, you have two distinct
versions of the EDL with different titles and file names.
26
To change the title of an EDL:
1. Click in the Title text box.
2. Delete the old title and type a new one.
3. Click Update.
The new title appears as the first line of the EDL.
n
Changing the title of an EDL does not automatically create a new file. To
create a new file, you must save the EDL by choosing Save As from the File
menu. In the Save As dialog box that opens (for an EDL with a changed title),
the system supplies a new file name by default — the first six characters of the
new name plus the .EDL file name extension. You can accept this file name or
modify it before you save the EDL.
Defining Video Tracks and Audio Channels
EDL Manager works with a maximum of 24 video tracks and 16 audio
channels, depending on the edit controller format you select, as
described in “Changing Settings in the Options Window” on
page 36. The capabilities of the edit controller determine how many
output tracks (channels) you can use.
The Track Selector panel in the EDL Manager window controls the
selection of video and audio tracks for the EDL. Each button in the
panel represents one channel of audio or video in the EDL.
Initially, EDL Manager uses the following panel configuration:
Audio channelsVideo track
The number on each button refers to the channel from the sequence
that is assigned to that channel in the EDL.
27
If you create an EDL from a simple sequence that contains one video
track and up to four audio channels, you can use the default
arrangement of the Track Selector panel. For other situations, you can
reconfigure the Track Selector panel differently.
Including or Excluding Specific Tracks
If multiple audio channels and video tracks exist in your sequence,
you might want to include only certain tracks in the EDL. To specify
which tracks to include or exclude:
1. Click the audio or video track button in the Track Selector panel.
A pop-up menu of channels (or tracks) appears. The number of
audio channels listed depends on your edit controller.
2. Do one of the following:
•Choose a track number from the pop-up menu.
•Choose the minus sign (–), at the top of the pop-up menu, to
turn off a track.
The track appears dimmed when it is turned off.
Redefining a Track
You can assign any track from your sequence to any track in your EDL.
Keeping channel A1 in the sequence as the first audio channel in the
EDL is not necessary.
For example, suppose you decide to move audio channel 16 in your
sequence to audio channel 1 in your EDL. Choose A16 from the popup menu.
The underlined number in the list of available tracks — in this
case, A1 — is a reminder that you are moving A16 to the EDL audio
channel 1.
The audio button displays A16, indicating that you have assigned
track A16 from the sequence to the first audio channel in the EDL.
28
EDL
channels
Track selected to
include in the EDL
When you generate your list, the EDL will refer to this channel as A1
because it is the first audio channel in the EDL itself.
Track displayed
in the EDL
29
Combining or Isolating Tracks
Depending on the complexity of your sequence, you can combine or
isolate video tracks.
•For simple sequences, you can combine ideo tracks. To do so,
choose the All V (All Video) setting from the Video Track pop-up
menu. EDL Manager combines all the video tracks in a sequence
into one representative video track in the EDL.
When you combine video tracks and the list is too complex, EDL
Manager simplifies the list. To see error messages, choose Console
from the Windows menu. For more information on the Console
window, see “Removing Problems Caused by Complex
Sequences” on page 56.
•For sequences too complex to be represented in one EDL, you can
isolate a video track.
As an example, you might have multiple layers of keys, or a key
over a superimposition (super) with color correction, and so on.
Track isolation creates successive EDLs for the same sequence,
each with a different video track.
To isolate a video track:
c
1. Assign a single video track from the sequence, such as V1, to the
EDL Manager video track.
2. Save this EDL with a unique name.
Repeat the steps for each video track you want to isolate.
When you save successive EDLs for the same sequence, be sure to
devise a system for giving each file a unique name, such as
SOURCE1.EDL, SOURCE2.EDL, and so on.
30
Creating Stereo Channels
By assigning the same audio channel from your sequence to two
different EDL Track Selector panels, you can create stereo channels.
For example, to create stereo channels using A16 from your sequence,
assign A16 to both audio tracks 1 and 2 in EDL Manager:
To create stereo channels:
1. Click an audio button in the Track Selector panel.
2. Choose the audio channel in the sequence from which you want to
create a stereo channel.
3. Click another audio button.
4. Choose the same audio channel from the sequence to assign to this
EDL channel.
Choosing a Format for the Audio Channels
Your EDL can include a maximum of 16 audio channels at any one
time in the EDL, depending on the edit controller format you chose.
For information on choosing an edit controller format, see “Selecting
an Edit Controller Format” on page 37.
Displaying Different Views of an EDL
Your EDL Manager window can display the EDL in one of three ways:
•Master list
•Dupe list (if options are set for creating a dupe list)
•A table of your source tapes
31
To display one of the views in the EDL Manager window, click the
button of the view you want to see.
For more information, see “Setting Up a Master List” on page 41,
“Setting Up a Dupe List” on page 43, and “Viewing a List of Tapes in
the Source Table” on page 22.
Selecting a Template for the EDL
A template file is where you can save a customized set of options. This
feature allows you to organize and recall the customized settings in
whatever way is useful for your work. For example, you might want
to create a template for each editor who works on your system, or
perhaps create a template for each type of edit controller you regularly
work with.
File Names in the Template Pop-up Menu
The Template pop-up menu lists the name of the current template
your EDL is using and any other templates you have saved.
It also lists any temporary template, shown as an italicized file name.
EDL Manager automatically creates the temporary file as you make
and apply changes in the Options window (see Figure 2-2). To save
your customized options to a template, see “Saving Options to a
Template File” on page 51.
32
Opening a Template
To open an existing template or a temporary template:
1. Click the Template pop-up menu.
A list of templates appears.
2. Choose the template you want to open.
EDL Manager loads the option settings associated with the
template. To see the options that are set for this template, open the
Options window by choosing Options from the Windows menu.
The name of the template appears in the Template Name text box
in the Options window.
Adjusting the Source and Output Timecodes
You can deliver various output formats in 24p projects by adjusting the
timecodes in your EDL. The Source and Output pop-up menus, in the
EDL Manager window, each list timecode options that you can set for
the EDL. The Source and Output options you choose affect the source
and output timecode columns of the EDL (see Figure 2-1).
n
n
The Source and Output pop-up menus appear in the EDL Manager window
only when you read in a sequence from a 24p project or from an OMFI file.
If you are not working with a 24p project, you set the timecodes in the
Timecode Type pop-up menu in the Master List pane of the Options
window. For information on the Timecode Type pop-up menu, see
Table 2-4 on page 41.
Setting the timecodes in the Master List pane for 24p projects has no effect on
your EDL; you must use the Source and Output pop-up menus to set
timecodes for 24p projects.
33
To adjust source and output timecodes for 24p projects and OMFI files:
1. Choose Open from the File menu.
2. Select a 24p project sequence from a bin or select an OMFI file.
The EDL automatically loads into the EDL Manager window and
the Source and Output pop-up menus appear.
Source
pop-up menu
Source timecodesOutput timecodes
Output
pop-up menu
3. Choose a frame rate option from either or both the Source and
Output pop-up menus. Ta b l e 2 -1 explains the options.
EDL Manager adjusts the frame rates and displays the new
timecodes in the source and output timecode columns of the EDL.
4. Click the Update button. EDL Manager displays the new
timecodes in the EDL.
34
Table 2-1Source and Output Timecodes
Source Timecodes Output TimecodesDescription
Start (LTC)—The longitudinal timecode.
VITC—The vertical interval timecode.
Sound TC—The sound timecode, such as
DAT or Nagra.
Film TC—The film timecode from the film
source in your bin.
Aux 1–5 TC—The timecode from the timecode
column in the bin.
24 TC24 TC24 fps
25p TC25p TC25 fps with pulldown
25 TC25 TC25 fps
30 TC30 TC30 fps
Updating an EDL with EDL Manager Window Changes
Changes you make to the Track Selector panel or to the Source and
Output pop-up menus do not take effect until you update the EDL. To
update the EDL with these changes, click the Update button.
The Update button flashes to indicate when you should update.
35
Changing Settings in the Options Window
You can further customize your EDL by defining options in the
Options window. You can set the following options:
•Format of the edit controller
•Sort mode
•Master list characteristics
•Dupe list/preread characteristics
•Show or hide options
•Optimization types
•Standards settings
•Record start time settings
n
EDL Manager initially uses default settings to generate your EDL, if you do
not customize the EDL. For any subsequent EDL, EDL Manager uses
settings from the previously generated EDL, unless you specify a template of
settings to use.
To change the option settings, choose Options from the Windows
menu. The Options window opens in EDL Manager. The name of the
template you are using appears in the Template Name text box. For
information on changing the template name, see “Saving Options to a
Template File” on page 51.
36
Figure 2-2Options Window
Selecting an Edit Controller Format
For information on
going to the online
suite, see Appendix A.
n
EDL Manager needs to know the format and version number of your
edit controller. If you do not select a format, EDL Manager uses format
CMX_3600, which is the most common format. Ta b l e 2 - 2 lists the
available edit controller formats and the number of audio channels
that each format supports.
Check with your online house before you make an edit decision list. As a
backup, always create a list based on the CMX_3600 format — it is the most
common format. Otherwise, create several lists in different formats with
distinct titles and file names. You will be prepared in case your list will not
load or you are moved to another editing room at the last minute.
37
To choose a format:
1. Click the Format pop-up menu to open it.
2. Choose a format.
n
A format might be available in several versions. For example, Avid supports
GVG 4.1 and GVG 7.0 formats.
Table 2-2Formats and Audio Channels
FormatNumber of Audio Channels
Abekas Solo (ASCII)2
Ace 252
Ace_25_4.1_4.12
AmpexACE 200_9.10.034
a
Av id
CMX_3402
CMX_36004
Cuedos_116
GVG_4.1_6.04
16
GVG_7.0_7.04
Paltex2
Sony_50002
Sony_9000 1.0_2.214
Sony_9000 2.22_2.324
38
Table 2-2Formats and Audio Channels (Continued)
FormatNumber of Audio Channels
Sony_9100 1.02_1.044
Sony_9100 1.1_2.114
a. Avid is not available as a selection from the Format menu.
However, you might want to generate an EDL for further use with
an Avid editing system. In this case, you can preserve up to 16
channels of audio information by choosing 16 from the Audio
Channels pop-up menu in the Standards option pane (see
“Setting Up Standards” on page 49).
n
If you mix down audio channels, EDL Manager does not represent them
properly in an EDL. Once audio channels are mixed down, EDL Manager
does not have a source to associate them with, and therefore cannot find the
timecode values it needs to create a list.
Sorting the Order of Events
To minimize the amount of time the edit controller spends shuttling
linear tapes, you can choose the appropriate sort mode. Sort mode
affects only the order of the events and not their content. Table 2-3
describes the different ways you can use each mode.
c
Do not select a sort mode and then expect to change it again in the
online session unless you have EDL Manager installed at the site.
Some edit controllers cannot re-sort an EDL.
To choose a sort mode for your EDL:
1. Click the Sort Mode pop-up menu to open it.
2. Choose a sort mode.
Choose mode A if you are unsure about which sort mode to use.
n
39
Table 2-3EDL Sort Modes
ModeSorts byResults inUse when
A
(Record In)
B
(Source, Record In)
C
(Source, Source In)
D
(Source, Record In,
Effects at End)
E
(Source, Source In,
Effects at End)
Record In timecode.Sequential editing from one
IN point on the record tape
to the next.
Individual source
reel, then by the
Record In timecode.
Individual source
reel, then by the
Source In timecode.
Individual source
reel, then by the
Record In timecode.
Sorts effects at the
end.
Individual source
reel, then by the
Source In timecode.
Sorts effects at the
end.
Checkerboard editing on
the record reel, one source
reel to the next.
Checkerboard editing on
the record reel, with
sequential playback of
material from each source.
Same as B, but with all
effects saved for the end.
Same as C, but with all
effects saved for the end.
You have a short show, want
to generate a simple, flexible
EDL, or need to make many
last-minute decisions.
The length of source material
is roughly equivalent to the
length of the finished show.
The length of source material
is much greater than the
length of the finished show.
The length of source material
is roughly equivalent to the
length of the finished show,
and there are many special
effects.
The length of source material
is much greater than the
length of the finished show,
and there are many special
effects.
S
(Source Start)
Source In timecode
only.
Direct sequential transfer of
source material, in
matching order on the
record reel.
40
Completing one-light
transfers.
Setting Up a Master List
In the Master List area of the Options window (see Figure 2-2), you can
specify the master start event, reel ID type, timecode type, whether to
convert reel IDs to numbers, and whether to include a source table.
Ta bl e 2 -4 explains the master list options.
Table 2-4Master List Options
OptionProcedureSuboptionNotes
Master Start
Event
Reel ID typeClick to open the pop-up
Change the master start
event number by typing
in the text box.
menu, then select the reel
ID type.
The highest number accepted by
most edit controllers is 999. You
should not need to change this
number.
If you change the reel ID, you
n
must reload the sequence from the
bin, OMFI file, or Record monitor.
TapeUses the reel ID from the tape
source from which you digitized
your video.
Sound rollUses the reel ID from the sound
roll source, such as digital
audiotape (DAT) (if you entered
this information in the bin). Used
for film projects.
Camera rollUses the reel ID from the camera
source (if you entered this
information in the bin). Used for
film projects.
AUX Sources 1–4Uses the reel ID from various
auxiliary sources (if you entered
this information in the bin).
41
Table 2-4Master List Options (Continued)
OptionProcedureSuboptionNotes
Timecode typeClick to open the pop-up
menu, then select the
timecode type.
Convert to
Numbers
Click to select or deselect.If you select Convert to Numbers,
EDL Manager can access only
n
those types of timecode that are
present in your bin.
Address (LTC)Uses the longitudinal timecode of
the source from which you
digitized.
VITCUses the vertical interval timecode
of the source in your bin from
which you digitized.
Sound TCUses the timecode from the sound
source, such as DAT or Nagra,
from which you digitized. Used for
film projects.
Film TCUses the timecode from the film
source in your bin.
Aux 1–5 TCUses the timecode specified in the
timecode column in your bin.
the EDL you generate always uses
numbers for reel IDs, even if your
edit controller uses alphanumeric
tape names.
Incl. source table
w/ saved EDL
Click to select or deselect.Includes the source table
information whenever you save an
EDL.
42
Setting Up a Dupe List
A dupe reel is a compilation of the duplicate clips that you need to
conform a sequence, or make the final show from your editing. If you
have clips that a transition effect joins from a single tape, you need to
dupe a clip so that another source tape exists to transition to and from,
as one tape cannot be in two places at once. The second source tape is
called a B-roll.
The following figure illustrates the use of dupe clips and a B-roll:
Shot 2, Source A
Shot 2, Source A
Sequence
B-roll
Shot 1, Source A
(Handle)
Dissolve
A dupe list is a list of dupe clips. The editor conforms the dupe list onto
a separate tape, which is then used as a source when editing the final
show from the master list.
In the Dupe List/Preread area of the Options window (see Figure 2-2),
you can set the dupe list options. Ta b l e 2 - 5 explains the options.
Table 2-5Dup e Lis t Options
Option ProcedureSuboptionNotes
TypeClick to open the pop-up
menu, then select the
dupe reel type.
NoneCreates no dupe reel.
(Handle)
One, New
Timecodes
43
Creates one dupe reel with a
timecode you select.
Table 2-5Dupe List Options (Continued)
Option ProcedureSuboptionNotes
One, Jam SyncCreates one dupe reel with
timecodes from the original
sources.
Multiple (B-rolls)Appends a “B” to the incoming
source when transitions are made
from a single source.
PrereadCreates no dupe list. Adapts the
EDL master list to accommodate
duplicate frames as preread frames
when editing with digital decks.
For more information on preread,
see “Using the Preread Option”
on page 45.
Dupe reel name Type a name or number in
the text box.
Preread nameType a new name in the
text box to override the
default name.
Starting EventType in the text box to
change the dupe reel’s
starting event number.
Start TimecodeType in the text box to
specify the starting record
timecode of the dupe reel.
HandleType in the text box to
specify the length of extra
material you include
before and after cuts on
the dupe reel.
Used to specify the source name of
the “to” side in a preread transition
(see “Using the Preread Option”
on page 45). The new name is an
override only for the duration of
the session.
To avoid handles, set this number to
00:00:00:00.
44
Table 2-5Dupe List Options (Continued)
Option ProcedureSuboptionNotes
Dupe all
transitions
Click to select or deselect.Forces a B-roll for every transition.
Using the Preread Option
Preread (see Tab l e 2 - 5) is an increasingly popular choice for online
editing because more suites now have digital decks. Preread allows an
editor to make a transition between two segments of a single source.
The online session requires fewer source decks, and preread virtually
eliminates the need for dupe reels, allowing online editing to move
more quickly. This saves both time and resources.
Without preread, a dissolve between two shots from a single source
requires three decks: two source decks and a record deck. One of the
shots must be dubbed out and played from a second source deck. With
preread, the third deck and the dubbing out are unnecessary.
n
With preread edits, the cut before the transition (sometimes called the A-side,
or outgoing footage) is overrecorded. The overrecord area must be equal to or
greater than the duration of the transition. You specify the source name of the
“to” side of a preread transition in the Preread name text box (see Ta b le 2- 5 )
of the Dupe List/Preread area in the Options window.
Showing or Hiding Comments and Other Information
The Show area of the Options window (see Figure 2-2) is where you
select the types of comments and other information, generated during
the editing of a sequence, to display in the EDL. Displaying this
information can be helpful when conforming the program in an online
suite.
45
Click an option in the Show area to select or deselect it. The selected
options that appear in the EDL are prefixed by * (asterisks). Ta b le 2- 6
explains the options.
Table 2-6Show Options
OptionDescription
CommentsIncludes comments about events in the EDL that were
added during editing.
Clip NamesIncludes names associated with the source clips in Avid
editing system bins.
Patch InfoRefers to audio patching information. Can aid during the
manual setup of cross-channel patching.
Audio EQ InfoRefers to audio equalization (EQ) information. EDL
Manager generates comments containing EQ values
specified for clips with audio EQ.
Pan/Volume InfoDisplays pan and volume levels in each event: pan levels are
measured in percentages left and right of center, and
volume is measured in +/– decibels.
Effects InfoRefers to information about special effects; for more
information, see explanation in “The Effects Info
Comment” on page 47.
Repair NotesIndicates modifications made to the EDL by EDL Manager;
for more information, see “The Repair Notes Comment” on
page 47.
Some edit controllers might not be able to load comments
c
successfully. Check with the online editor to make sure the edit
controller can support these types of comments. If necessary, you
can create two separate versions of the list — one without comments
for the edit controller, and one with comments — that you can print
for your own reference.
46
The Effects Info Comment
If you select Effects Info, EDL Manager generates a comment in the
EDL that indicates the type of effect and its parameters. Effect types
available in EDL Manager are:
•Picture-in-Pictures
•Superimpositions
•Masks
•Resize and Blowup
•Flip, Flop, and Flip-Flop
•Color Effects
•Film Dissolves
•Film Fades
•Fades to Color
•Fades from Color
•Keys
•Wipes
•Rolling and crawling titles
For more information on effects, see your Avid editing system
documentation.
The Repair Notes Comment
Repair notes indicate changes EDL Manager makes to handle a
complex EDL or discrepancies EDL Manager finds in the sequence. If
you select the Repair Notes option, EDL Manager displays changes
that it makes, such as limiting the number of frames in a dissolve or
invalid Source In times.
47
The following example shows two repair notes:
Example
of repair
notes
For more information on the use of repair notes, see “Removing
Problems Caused by Complex Sequences” on page 56.
Optimizing the EDL
Optimization is a process that simplifies your EDL. An optimized EDL
contains simplified text, and events that are combined or condensed to
speed up the online assembly process.
For example, if two tracks of video and one channel of audio share the
same Record In and Record Out timecodes, and they come from the
same source tape, optimization expresses them as one edit instead of
three.
In the Optimization area of the Options window (see Figure 2-2), click
an option to select or deselect it. Ta bl e 2- 7 explains the options.
Table 2-7Optimization Options
OptionDescription
Optimize EDLAllows optimization to occur.
Dissolves as CutsChanges all dissolves to cuts.
48
Table 2-7Optimization Options (Continued)
OptionDescription
Wipes as CutsChanges all wipes to cuts.
Include Black EditsIncludes filler as black edits (video only). Choose this
Audio Diss. as CutsChanges all audio dissolves to cuts.
Optimization Considerations
If you choose both Optimize EDL and Dissolves as Cuts, EDL
Manager will display an alert message.
This does not affect the sequence in your bin, OMFI file, or Record
monitor. You can always reset the dissolves by reloading your bin.
Setting Up Standards
option to have Cuts to Black appear in your EDL.
The Standards area of the Options window (see Figure 2-2) includes
the broadcast standards, number of supported audio channels, and
switcher settings.
To set Standards options, click an item in the Standards area to open
the pop-up menu, and then select the option you want. Ta b le 2 -8
explains the options.
49
Table 2-8Standards Options
OptionSuboptionDescription
StandardNTSCUse for video projects or for film projects in
which video and audio were transferred and
digitized at 30 frames per second (fps) using
pulldown.
PA L VideoUse exclusively for video projects.
PAL Film 1Use for film projects in which video and
audio were transferred and digitized
together at 25 fps.
PAL Film 2Use for film projects in which video and
audio were transferred and digitized
separately at different speeds.
SwitcherEDL Manager supports the SMPTE switcher,
and a number of GVG and Sony switchers.
Audio Channels 4Use for selecting the number of channels.
For a full list of edit controllers and the
number of supported audio channels, see
Table 2 -2 o n pag e 38.
n
16Use this setting for Cuedos controllers and
Avid systems. If you choose 16 channels, the
tracks display changes to reflect your choice.
For a list of edit controllers and the number
of supported audio channels, see Ta bl e 2 - 2
on page 38.
If you open an OMF file or a file from a bin, EDL Manager automatically
determines whether the EDL you are generating should be NTSC, PAL Video,
or PAL Film 1 or 2. However, if you open an EDL other than from an OMF
file or file from a bin, you must select a standard suboption.
50
Setting the Record Start Time
The Record Start Time area of the Options window (see Figure 2-2)
allows you to base the record start time on either of the following
options:
•The sequence currently active in your Avid video-based editing
system.
•The time that you specify. To specify a time, enter it in the Other
text box.
Saving Options to a Template File
To save your customized options as a template:
1. Make changes to any of the option settings as described in this
chapter.
2. Click one of the following buttons:
•Apply — saves your settings to a temporary template and
brings the EDL Manager window to the front. The italicized
name of the temporary template appears in the Template popup menu of the EDL Manager window. The template remains
temporary until you click the Save As button and
provide a file name.
•Save As — saves the options to a new template. A dialog box
opens in which you can provide a file name for the template.
The new name appears in two places:
– In the Template pop-up menu in the EDL Manager window
– In the Template Name text box of the Options window
Click the Revert button to discard your changes and reinstate the
options of the current template file.
51
Changing Serial Transfer Options in the
Site Settings Dialog Box
Set up serial transmission options only if you will be transferring an EDL
to an online editor by means of serial transmission. For information on
using the Site Settings dialog box to define the serial transmission and
options, see Appendix C.
52
CHAPTER 3
Editing and Troubleshooting
EDLs
You can edit an EDL with a text editor to clean up the EDL for a
successful reading. You can also troubleshoot EDLs by using
techniques described in this chapter.
This chapter includes the following sections:
•Using a Text Editor to Edit an EDL
•Removing Problems Caused by Complex Sequences
•Locating Trouble Spots
•Avoiding Problems in EDLs
53
Using a Text Editor to Edit an EDL
You can use a text editor to delete or change information in the EDL
that might not read correctly into EDL Manager.
c
c
Before you edit, create a copy of the EDL. Edit the copied EDL rather
than the original. You can then revert to the original if you make
errors.
When you edit the EDL, be careful to delete only the information
you want to delete; do not delete any extra characters. If you delete
extra characters, you might see further errors when you try to read
the EDL again.
The following sections describe possible edits you can make to clean
up the EDL for successful reading. To make sure EDL Manager can
read your EDL, complete the following procedures. If the first
procedure does not solve the problem, proceed to the next.
Fitting the Format to the EDL Manager
If you are having trouble reading a list in EDL Manager, the list might
not meet EDL Manager formatting requirements. The following is a
check list of the most common formatting problems:
•Check the format layout.
Make sure the columns are in the correct place and the characters
are correct for your edit controller. If you use an editor that can
display hidden characters, turn on that feature to view spacing,
tabs, and carriage returns more easily. If you are unsure about the
layout, see the edit controller documentation from the online suite.
•Check reel names and numbers.
Make sure they are the appropriate length for your edit controller.
If you are unsure about the layout, see the edit controller
documentation from the online suite.
54
•Delete all general-purpose interface triggers.
These triggers, labeled GPI, cause problems reading into
EDL Manager.
•Delete any Master/Slave comments.
These comments, preceded by the MS symbol, cause problems
reading into EDL Manager.
•Change the source names in the EDL from Aux and Black to an
unused reel number.
When you create a new EDL, this new number will represent Aux
and Black. You need to do this because EDL Manager reads only
numbers, not letters.
Changing the Header Format
Sometimes the EDL does not read properly because the EDL Manager
does not recognize the header format. This might happen if you use an
EDL not generated by an Avid video-based editing system. If this is
the case, you can replace the unreadable header with an EDL header
generated by the Avid editing system.
To make sure the header format matches the EDL:
1. Delete the current header from the EDL you are trying to read.
2. Generate a list in EDL Manager that is the same format as the EDL
you are trying to read.
3. Open an EDL generated by an Avid video-based editing system
and copy the EDL headers.
4. Paste the EDL headers into the EDL you are trying to read.
55
Removing Problems Caused by Complex
Sequences
When a sequence is too complex for the EDL Manager to describe, it
generates error messages and tries to simplify the sequence. This
happens most frequently when you try to generate a list for a sequence
that has multiple video tracks.
EDL Manager’s attempts at simplifying complex sequences are
pointed out in the repair notes and appear as comments within the list.
You can avoid having EDL Manager simplify your composition by
requesting a separate list for each video track. This is known as track isolation. Or you can delete comments and motion effects that might be
causing problems.
Using the Console Window to Display Messages
To display EDL Manager messages, choose Console from the
Windows menu. The Console window opens.
Message area
Command text box
Repeat button
Recall button
56
To get help about console commands, type the Help command in the
Command text box. A description of how to use the Help command
appears in the message area.
Click the Recall button (F3) to display a previous command in the
Command text box. Click the Repeat button (F2) to perform a previous
command. Click the Clear button to clear the display.
Always check the Console window after making a list. Error messages
appear in the Console window if certain comments or events cause
problems.
EDL Manager generally identifies motion effects by M1, M2, and so
on.
c
Do not use the programming functions of the Console window
without the guidance of an Avid professional. If you need help
interpreting information in the Console window, contact your local
Avid Reseller; in North America, you may call Avid Customer
Support at 1-800-800-AVID (2843).
57
Fixing Difficult Transitions
Specific transitions can cause difficulties for the EDL Manager. For
example, a color effect on a resized motion-controlled clip that
dissolves to an imported graphic file will overwhelm the EDL
Manager’s descriptive capacities, forcing a repair note. Less obvious
complexities can also affect list generation.
You can best resolve these problems by isolating the offending
transitions and simplifying or removing them.
Locating Trouble Spots
You can isolate trouble spots in several ways. They include slicing and
dicing, and trying one track at a time.
Slicing and Dicing
The most effective method for finding trouble spots is slicing and
dicing the sequence. Slicing and dicing isolates trouble spots by
dividing sequences in half and testing for successful generation. If you
have an Avid video-based editing system, you can:
1. Load the sequence into the Source monitor.
2. Mark an IN point at the head frame and an OUT point halfway
through.
3. Cut this portion over to the Record side.
4. Test this portion of the sequence by creating an EDL.
If the EDL generates successfully, you know that the problem is in the
second half of the sequence. If not, subdivide the sequence elsewhere
to further isolate the source of the problem.
58
To subdivide the sequence:
1. Press Ctrl+Z to clear the sequence from the Record monitor (so
you will not accumulate “Untitled Sequence.01...02...03” in your
bin).
2. Load the unsuccessful half into the Source monitor, and repeat
steps 2 through 4 in the preceding procedure.
Trying One Track at a Time
Another way to isolate trouble spots is to generate an EDL by using
one track at a time. The problem might be on a particular track. For
information on isolating tracks, see “Combining or Isolating Tracks”
on page 30.
Avoiding Problems in EDLs
You can help resolve problems by trying the following:
•Simplifying Effects
•Looking for Missing Information
•Dealing with Corruptions
Simplifying Effects
You can simplify effects in your sequence that are overly complex. For
example, you can remove a color effect from a resized segment. Use
comments to help re-create the original sequence in the online suite.
59
Looking for Missing Information
Occasionally, EDL Manager fails to generate a list because clips in the
sequence are missing information essential to the EDL. For example,
you try to create an audio list by using clips lacking audio timecode.
Try the following suggestions if you suspect a problem caused by
missing information:
•Scan your bins for any obvious omissions of files you need for
your sequence.
•Use the slice and dice technique to isolate difficulties.
•In your Avid video-based editing system, find the overlap frame
of troublesome clips, then use the Find Bin command to check
their statistics.
•Add information to the bin as needed.
Dealing with Corruptions
List generation can be hampered by corruptions. These are areas where
information relating to a clip or transition has become damaged or
lost, preventing the system from describing it in an EDL. In extreme
cases, corruption prevents the clip from playing. The most effective
way of dealing with corruptions is to cut them out and replace them.
Scrupulously backing up a project can reward you if you encounter
corruptions. Using an earlier, uncorrupted version of a sequence that
does not exhibit the corruption can save you considerable time.
60
APPENDIX A
Check List for Online
Editing
When you move from nonlinear to linear editing systems and generate
EDLs to help re-create your sequence online, you might encounter
some obstacles. For example, an EDL generated in one format might
be incompatible with the edit controller at the online suite. Or, you
might be unaware of the dupe reel characteristics your EDL should
contain. Problems like these might result in an unproductive and
costly online session.
This appendix contains a list of suggestions to help you avoid or
minimize problems.
•Calling Ahead to the Online Suite
•Deciding What to Take to the Online Suite
•Double-Checking the EDL File Names
If you have questions, contact your local Avid Reseller;
in North America, you may call Avid Customer Support at
800-800-AVID (2843).
61
Calling Ahead to the Online Suite
Before you finish working offline, call the online suite to find out:
•What types of edit controllers the suite has. Find out all the
different types in case you are assigned to one edit controller but
end up using another when you get there. If possible, go to the
suite, look at the equipment, and determine the appropriate EDL
format.
•Whether the edit controller reads high-density or low-density
(double-density) disks.
•What EDL format the controller reads. CMX_3600 format is read
by most edit controllers. If you are unsure what type of edit
controller the suite uses, save the EDL in several different formats.
If you have trouble with one format, you will have other formats
from which to choose.
•If the computer system at the online suite reads 3.5-inch disks.
Some older computers use only 5.25-inch or 8-inch disks, and very
few newer computers can read or write to these types of disks.
•If you need to generate a dupe reel list with new timecodes or a
multiple B-roll list in EDL Manager. Also, find out if any other
information is required for your project and that you should
include as a comment in the EDL.
•If the online suite can create all the effects you specified in the
EDL. If not, consider regenerating the EDL and adjusting the
options.
•If you can send a preliminary version of the EDL ahead of time to
make sure it loads properly on the edit controller. If it does not,
you can make the necessary adjustments.
•The name of the switcher in the online suite. If you are not sure
which switcher is being used, adjust the Switcher setting in
EDL Manager to SMPTE. (The switcher setting is in the Options
window.)
•If the suite has a computer you can use.
62
Deciding What to Take to the Online Suite
Consider taking EDL Manager, several forms of your EDL, and
reference information to the online suite.
Take EDL Manager
If possible, take EDL Manager with you, along with the bins on a disk.
You can use EDL Manager on a computer running the Windows NT or
Windows 98 operating systems. If you do not have a portable
computer, call ahead to find out if you can load EDL Manager from a
disk onto a computer at the suite.
Take the EDL in Several Forms
Having your EDL in several forms allows greater editing flexibility.
If difficulties arise, you can refer to a paper copy. Take the EDL in the
following forms:
•Saved on 3.5-inch disk
•Printed on paper (in A-mode sort for easy reference)
For more information on saving and printing, see “Saving an EDL” on
page 15 and “Printing an EDL” on page 19.
Take Reference Information
You might also want to take as a reference one of the following:
•A digital cut. For more information, see the user’s guide for your
Avid video-based editing system.
63
•An audio layback (AudioVision® only). For more information, see
the Avid AudioVision User’s Guide.
•A printout of the source table.
Double-Checking the EDL File Names
Make sure the EDL file names are the correct length and type for the
disk format in which you saved them. Follow these guidelines:
•If you save your EDL to a disk formatted for CMX or GVG, the file
name must have six or fewer uppercase alphanumeric characters
followed by the file name extension .EDL. There can be no spaces
in the file name, and no characters except letters and numbers.
For example, TEST1.EDL is a valid file name for GVG and CMX
systems.
•If you save your EDL to a DOS-formatted disk, make sure the file
names are no more than eight uppercase alphanumeric characters
followed by the .EDL file name extension. Again, the file name
must not contain spaces or other special characters; only letters
and numbers are acceptable.
For example, WINSTON3.EDL is a valid file name for
DOS-formatted disks.
64
APPENDIX B
Creating EDLs for Film
Projects
This appendix explains several things to consider when you create
EDLs for film projects. It includes the following sections:
•Matchback Conversion in Film-to-Video EDLs
•Creating EDLs for a Matchbacked Sequence
•Creating Audio-Only EDLs
Matchback Conversion in Film-to-Video EDLs
If you are editing a film project with an Avid video-based editing
system, you might intend to finish the project in video. The matchback conversion process requires the editing system to perform special
calculations to match the film to video. Because the ratio of
film-to-video frames is uneven, the film and corresponding video edit
points do not line up evenly.
For example, with a ratio of 24 film frames to 30 video frames, a
6-frame film edit corresponds exactly to a 7 1/2-frame video edit.
However, video edits cannot include partial frames, so the video edit
must be 7 or 8 frames long.
65
Edit
Film
NTSC
The corresponding video edit point does not fall
exactly on the boundary between two video frames.
Because video edits might be longer or shorter than the original film
edits, the system makes sure the film and video sequences match as
closely as possible by checking the durations at the end of each edit. If
the total video-sequence duration is a frame longer than the film, the
system will subtract a frame from the last video edit. If the video is a
frame too short, the system adds a frame to the last video edit.
Creating EDLs for a Matchbacked Sequence
When you create an EDL for a sequence that converts from film to
video, an edit listed in the EDL might be slightly longer or shorter than
the corresponding film edit. The EDL might not be an exact
representation of the sequence — it can be plus or minus one frame, in
accordance with the 30 to 24 frames per second (fps) matchback
conversion. In this case, be aware of the discrepancy when you go to
the online suite so that you can adjust for the difference.
66
Creating Audio-Only EDLs
If you create an audio-only EDL for a film project, set the following
options in the EDL Manager Options window before you generate the
list:
•Dissolves as Cuts (Optimization area)
•Sound Roll as the Reel ID type (Master List area)
•Sound TC as the Timecode type (Master List area)
These options simplify the EDL, and ensure that the pertinent source
information is referred from the bin to the EDL.
67
APPENDIX C
Using Serial Transmission to
Transfer EDLs
If your offline and online editing suites are in the same building, or if
you are transferring the EDL to an edit controller that has no disk
drive, consider using serial connections to transmit EDLs from offline
to online.
This appendix contains the following sections:
•Connecting the Edit Controller to the Computer
•Setting Serial Transmission Options
•Transmitting the EDL
Connecting the Edit Controller to the Computer
To connect the edit controller and your computer:
1. Decide which port on the edit controller you will use for
transmission.
2. Connect the serial port on the computer to the port on the edit
controller that you have chosen to use for transmission.
68
Setting Serial Transmission Options
Before the edit controller and computer can communicate, you must
specify various options in EDL Manager. To set the serial transfer
options:
1. Choose Site Settings from the Edit menu.
The Site Settings dialog box appears.
2. Select an option from the pop-up menus. Ta bl e C - 1 explains the
options.
3. Click OK to apply your changes to your EDL.
4. Click OK to implement the options you have selected.
69
Table C-1Serial Transfer Options
OptionDescription
PortIndicates the system port. The items on this pop-up
menu vary depending on your system’s ports.
Data WidthIndicates if 7-bit words or 8-bit words are being
transferred — the default is 7 bits.
ParityIndicates error detection, found through counting the
number of bits in a transmitted word. Even indicates
the number of bits in a word is even. Odd indicates the
number of bits is odd. The default is zero.
Baud RateSets the data transmission rate for the computer on
which EDL Manager is running — the default is 9600.
Stop BitsIndicates how many bits are needed to make a break in
transmission — the default is 0 stop bits.
HandshakingAllows communication between two systems — the
default is none. Options include DTR and XON/XOFF.
Transmitting the EDL
When you are ready to transmit the EDL, another person should be
ready at the edit controller to help you.
To transmit the EDL, do the following at the same time:
•Have the other person press Receive at the edit controller.
•Choose Transmit EDL from the EDL Manager File menu.
When you see events scrolling one by one onto the edit controller
screen, the transmission was successful.
70
If you see either an error or strings of indistinguishable text, the serial
parameters were set incorrectly in EDL Manager. Check the
parameters for the serial port and reset them in the Site Settings dialog
box.
71
APPENDIX D
Using Help
Help is available for tasks, windows, and dialog boxes through the
Avid EDL Manager Help system.
Opening and Closing the Help System
To open the Help system, choose EDL Manager Help from the Help
menu. The Help Topics dialog box appears.
Use the Contents,
Index, and Find
tabs to access the
information you
need.
Close button
72
To close the Help system, click the Close button in each Help window.
The Help system closes when you close the last open Help window.
How Help Windows Work
The Help system consists of the Help Topics dialog box and three
types of windows:
•The Help Topics dialog box opens on the center of your screen by
default. The Contents tab contains a list of overview topics
covered in the Help system. Double-click any Book icon to see
additional topics. Double-click a topic or select a topic and click
the Display button to open a window containing the information
you seek.
•The EDL Manager How To window opens on the right side of
your screen. It displays procedures for completing tasks. You can
close this window, or leave it open as you work. Each time you
click a new How To topic, the window displays the new
information. You can cycle back through the topics by clicking the
Back button.
•The EDL Manager Reference window opens on the left side of
your screen. It contains background information, tables of options,
or other information that helps you understand system features
and tools. Each time you click a new Reference topic, the window
displays the new information. You can cycle back through topics
by clicking the Back button.
•Pop-up windows open from screen objects and from glossary
items. You cannot move or resize pop-up windows.
73
Finding Information with the Help Topics
Dialog Box
A topic is a single page of the Help system. The Help Topics dialog box
includes three different methods for finding topics.
•Using the Contents Tab
•Using the Index Tab
•Using the Find Tab
Using the Contents Tab
The Contents tab provides a list of categorized topics that covers the
entire Help system. The list is organized by book. Each book opens to
display a list of topics.
To view the Contents, do one of the following:
•From the Help menu, choose Avid EDL Manager Help, then click
the Contents tab, if it is not already displaying the Contents.
•From a Help topic, click the Contents button.
To open a book and display a list of topics, select the book title and
click Open, or double-click the book title.
To open a Help window, select the topic and click Display, or
double-click the topic title.
74
Using the Index Tab
The Index tab has an alphabetized list of entries.
To find topics by using the Index tab:
1. Choose Avid EDL Manager Help from the Help menu and click
the Index tab, or click the Index button in a Help topic.
2. In the text box at the top, type a keyword for the topic that you
want to find (for example, type “tracks” to jump to index entries
listed under tracks).
3. Open the topic in the list:
•If your typing brings you to the topic you are seeking, click the
•If you do not immediately arrive at the topic, scroll through
Display button, or double-click the index entry.
the list and double-click an entry that makes sense, or try an
alternative keyword in the text box. When you find the subject
you are looking for, click the Display button or double-click
the entry to view the topic.
Using the Find Tab
The Find tab lets you search the entire Help system for words or
phrases and then lists topics that include those words or phrases.
To search for topics by using the Find tab:
1. From the Help menu, choose Avid EDL Manager Help and click
2. In the text box, type the word or phrase you want to find.
Do not type quotation marks or asterisks in the text box.
n
the Find tab.
A list shows topics that contain the words you searched for. As
you type additional words, the list updates.
75
3. To change how you search for a word or words, click the Options
button and choose your preferences.
4. Select a topic in the list and then click the Display button or
double-click the topic.
The topic is displayed, and the words you searched for are
highlighted.
Using Buttons in a Help Topic
Each Help topic contains buttons to help you navigate through the
system and perform basic functions. Ta bl e D - 1 describes the Help
topic buttons.
Table D-1Help Topic Buttons
ButtonDescription
ContentsOpens the Contents tab.
IndexOpens the Index tab.
FindOpens the Find tab.
BackReturns to the previously displayed topic.
PrintPrints the current topic.
OptionsProvides the following features:
Annotate
Copy
Print Topic
Font
76
Table D-1Help Topic Buttons (Continued)
ButtonDescription
Keep Help on Top
Use System Colors
GlossaryOpens a glossary of terms.
Accessing Information from the Help Menu
In addition to the Help system, the Help menu provides other types of
online information. Ta bl e D -2 describes the Help menu choices.
Table D-2H elp Menu Choices
Menu ItemDescription
ShortcutsDisplays a list of topics that describe keyboard
shortcuts for EDL Manager operations.
Online BooksDisplays the opening screen of the Avid online
publications CD, if you have loaded the CD into
your CD-ROM drive. The CD includes all
software documentation in Adobe
Reader format. Use the opening screen to access
any manual. For information on getting the best
performance, click “How to Use this Collection.”
®
Acrobat®
Do not access a CD-ROM while you are
c
running a time-critical operation, such as
digitize, render, or play.
Show Tool TipsSwitches the display of pop-up descriptions for
buttons and tools.
77
Table D-2Help Menu Choices (Continued)
Menu ItemDescription
Avid Web SiteStarts the default Internet browser and brings you
to the Avid home page. From this page, you can
access all kinds of information about Avid,
including technical support.
About EDL ManagerDisplays the name and version of the product,
along with license information.
Using Context-Sensitive Help
Context-sensitive Help allows you to get information about a
particular window or dialog box within EDL Manager without having
to open and search the Help system.
Help for Windows and Dialog Boxes
Context-sensitive Help for windows and dialog boxes opens a
window from the Help system that provides access to appropriate
information for that window or dialog box. Once the window is open,
you can use its controls to move around the Help system.
To get help for windows and dialog boxes:
1. Position the mouse pointer anywhere in a window or dialog box.
2. Press the F1 key.
To close the Help window, click the Close button.
78
Help for Screen Objects
Context-sensitive Help (What’s This? Help) for screen objects, such as
buttons and other controls, opens a pop-up window that provides
brief information about the object. Some pop-up windows have links
to other parts of the Help system.
To get help for screen objects:
1. Using the right mouse button, click the screen object (for example,
a button).
A pop-up menu appears.
2. Choose What’s This? from the menu.
The system displays a pop-up window with an explanation of
how you use the item. Many pop-up windows include a hypertext
link (marked by underlined text) to more information.
n
For some dialog boxes, use the Question Mark button to access What’s This?
Help.
To close a pop-up Help window, click anywhere on the screen.
Printing Help Topics
You can print a single Help topic or a group of topics listed in the
Contents.
To print a Help topic:
1. Open or click the topic to make it active.
2. Click the Print button in the topic window.
3. Select the print options.
4. Click OK.
79
To print a Help topic, or a book of related topics, from the
Contents tab:
1. Select the topic, or book of topics, you want to print.
n
If you select a book, all topics within that book will be printed.
2. Click the Print button.
3. Select the print options
4. Click OK.
Copying Information from a Help Topic
To copy information from a Help topic into another document:
1. In the topic window, select the text that you want to copy.
2. Click Options and choose Copy.
3. Choose Paste from the Edit menu to paste copied text into a
document in another open application, such as a word processor.
You can also paste the text into the keyword text box in the Index
tab or into the text box in the Find tab.
You cannot paste text from one topic into another.
n
Changing the Font Size of Help Topics
To change the font size of Help topics:
1. Open or click a How To or Reference window to make it active.
2. Click the Options button.
3. From the Font submenu, choose Small, Normal, or Large.
80
Glossary
24p
bin
black edits
B-roll
CMX
24-fps progressive media. Progressive media is composed of single
frames, each of which is vertically scanned as one pass. The Avid
system creates 24p media by combining (deinterlacing) two video
fields into a single full, reconstructed frame. For NTSC film-to-tape
transfers, the system creates 24p media by undoing the 2:3 pulldown
inserted by the telecine process, removing the extra fields, and creating
progressive frames.
A database in which master clips, subclips, effects, and sequences are
organized for a project in an Avid editing system. A file structure that
contains other files, including sequences, and is analogous to a folder
or a directory in other computer applications.
A video source with no image. A special source you can fade into, out
of, or use for other effects.
An exact copy of the A-roll original material, or new original material
on a separate reel, for use in A/B-roll editing.
Edit controller made by CMX Corporation (originally a joint venture
by CBS and Memorex). CMX uses its own proprietary format EDLs
(340, 3600).
81
composition
The standard term used by OMF Interchange® to refer to an edited
sequence made up of a number of clips. The OMF equivalent of a
sequence in an Avid editing system.
conform
corruptions
cut
dissolve
dupe list
dupe reel
To make the final show based on the editing. Conforming organizes
the source material for final assembly.
Information relating to a clip or transition that has been damaged or
lost, preventing EDL Manager from describing the information in an
EDL. The solution is to cut the corruptions out and replace them with
a backup version of the sequence.
An instantaneous transition from one video source to another. Also, a
section of source or record tape.
A video or audio transition in which an image from one source
gradually becomes less distinct as an image from a second source
replaces it.
A list of dupe reels. A view of this list is available only if options are
set for creating a dupe list. You can set the options in the EDL Manager
Options window.
A reel designated for the recording and playback of dupes (duplicate
shots) during videotape editing. You create dupe reels as backup
copies, to help in the creation of special effects, and for A/B-roll
editing.
edit controller
An electronic device, often computer-based, that allows an editor to
precisely control, play, and record to various videotape machines. The
edit controller keeps track of timecodes for each shot and coordinates
the machines in the suite: videotape machines, monitors, an audio
mixing board, a videotape switcher, and other peripheral devices.
See also suite.
82
edit decision list
A list of edits you have made. You generate, customize, and optimize
it in the EDL Manager, then take it with the source tapes to an online
edit controller for final assembly of your show or program.
event
fade
fps
GVG
handles
import ID
linear editing
A number assigned by the editing system to each performed edit. In
most computer editing systems, defines an action or a sequence of
actions performed by the computer in a single pass of the record tape.
A dissolve from full video to black video or from full audio to no
audio, or vice versa.
Frames per second, pronounced “fips.”A measure of the film or
video display rates. (NTSC = 30 fps; PAL = 25 fps; SECAM = 25 fps;
Film = 24 fps.)
An edit controller made by Grass Valley Group and that uses a
proprietary format for EDLs.
Additional source material before and after edit points; you use a
handle for later adjustments.
The internal identification for your Avid source tape.
Tape editing in which you assemble the program from beginning to
end. If you require changes, you must rerecord everything
downstream of the change. The physical nature of the medium (for
example, analog videotape) dictates how you must place material on
the medium.
master list
matchback
conversion
See also nonlinear editing.
A list that specifies the starting event number, reel ID options, and
timecode options.
The conversion from film to video frame rates.
83
nonlinear editing
A type of editing in which you do not need to assemble the program
from beginning to end. The physical nature of the medium and the
technical process of manipulating that medium do not enforce or
dictate how the material must be physically ordered. You can use
nonlinear editing for traditional film cutting and splicing, and
digitized video images. You can make changes at the beginning,
middle, or end of the sequence.
See also linear editing.
NTSC
offline editing
OMFI
online editing
National Television Standards Committee, the group that established
the color television transmission system used in the United States. The
standard calls for 525 lines of information scanned at a rate of
approximately 30 frames per second.
A nonlinear edit, usually done on a low-cost editing system, using
digitized work tapes. This preliminary or rough-cut editing allows
you to make edit decisions before performing the final edit.
Open Media Framework Interchange format. A standard format for
the interchange of digital media data among heterogeneous platforms.
The format is designed to encapsulate all the information required to
interchange a variety of digital media, such as audio, video, graphics,
and still images as well as the rules for combining and presenting the
media. The format includes rules for identifying the original sources of
the digital media, and it can encapsulate both compressed and
uncompressed digital media data.
The final editing using the original camera tapes and an edit decision
list (EDL) to produce a finished program ready for distribution;
usually associated with high-quality computer editing systems.
Offline editing often precedes online editing, but in some cases
programs go directly to the online editing stage.
See also edit controller.
84
optimization
The process that simplifies your edit decision list. EDL Manager
simplifies the text and combines or condenses events to speed up the
online assembly process.
overrecord
PAL
patching
preread
reel ID
RT-11
To use a long shot from one reel, then place shots from other reels over
the continuous shot.
Phase Alternating Line. A color television standard used in many
countries. PAL consists of 625 lines scanned at a rate of 25 frames per
second.
The routing of audio or video from one channel or track in the
sequence to another.
To read information from a tape passing under the play head of a
videotape machine before it passes under the record head. Information
can be read from the tape before the information is replaced. On digital
video decks, the information gathered by the play head is stored in a
digital buffer; the edit controller can use it as a virtual source, taking
the place of a second tape deck in a transition.
The reel identification (ID) EDL Manager uses to refer to the master
reel source. The reel ID can come from tape, sound roll, camera, or
auxiliary sources.
A disk format used to store EDLs read by CMX and GVG edit
controllers.
serial transmission
options
slicing and dicing
The options you set to transmit your EDL over serial connections to an
online edit controller. Options include port, data width, parity, baud
rate, stop bits, and handshaking.
Isolating trouble spots in a sequence by repeatedly dividing the
sequence in half, creating an EDL for the isolated half, and testing for
successful generation.
85
SMPTE
Society of Motion Picture and Television Engineers. One of the
principal standards organizations for the film and video industry.
See also timecode.
sort mode
source table
suite
super
template
timecode
The mode that controls the auto-assembly process, determining in
what order the edit controller reads the edit decision list, and
assembles the final tape. There are six different types of sort mode: A,
B, C, D, E, and S.
The list of the source tapes you use to create the sequence the EDL
describes. The source table includes three kinds of information: your
name for a tape, the Avid name for the same tape, and the Avid
internal identification for your Avid source tape.
Standard industry name for the site of editing. A room or rooms
containing such equipment as the edit controller computer, videotape
machines, monitors, an audio mixing board, a videotape switcher, and
other peripheral devices.
Superimposition. One shot half-dissolved over another.
A set of EDL Manager options saved under a specific name. You can
use templates to save settings you use frequently and apply them
quickly.
An electronic indexing method for editing and timing video programs.
Timecode denotes hours, minutes, seconds, and frames (00:00:00:00)
elapsed on a videotape.
Address track timecode is recorded simultaneously with the video
picture. Longitudinal timecode (LTC) is recorded on an audio track.
Vertical interval timecode (VITC) is recorded in the vertical blanking
interval of the video track. SMPTE timecode is the prevalent standard.
86
Other timecodes include film timecode and audio timecode used
during film projects. During editing, an Avid editing system can
display and track several types of timecode.
See also SMPTE.
track isolation
wipe
The process of creating a separate list for each video track to simplify
the composition.
A shaped transition between video sources in which a margin or
border moves across the screen, wiping out the image of one scene and
replacing it with another.
87
Index
A B C D E F G H I J L M N O P Q R S T U V W X Y Z
Numerics
24p projects33
A
All Video setting30
Apply options51
Audio channels
See also Tracks
choosing format for
defining27
mixing down39
options in EDLs50
selecting27
support in edit controllers37
Audio Dissolves as Cuts option49
Audio layback64
Audio-only EDLs
creating
Avid editing system
creating a sequence from an EDL on
creating an EDL from a sequence on21
using EDL Manager with20
Avid Symphony See Avid editing system
Avid Xpress See Avid editing system
67
31
21
B
Backing up projects60
Bins
creating EDLs from
Black edits49
Broadcast standards
options in EDLs
setting for49
B-roll43
12
50
C
Changing EDL titles26
Changing settings
in the EDL Manager window
in the Options window36
Channels See Audio channels
Check list for online editing
Choosing audio channel format31
Clip Names option46
Closing the Help system72
CMX format
for RT-11 disks
Combining tracks30
17
25
61
88
Comments
in EDLs
support in edit controllers46
Complex sequences30, 56
Composer See Avid editing system
Console window
Contents tab
in Help Topics dialog box
Controllers See Edit controllers
Copying
EDLs between storage locations
text from a Help topic80
Corruptions60
Creating a sequence from an EDL21
Creating EDLs
for an active sequence
for matchbacked sequences66
from a bin12
with audio only67
Creating stereo channels31
Customizing EDLs
in the EDL Manager window
in the Options window36
in the Site Settings dialog box52
45
56
74
21
25
D
Defining audio channels27
Defining video tracks27
Digital cut63
Disks
See also RT-11 disk
types used in online suite
Dissolves as Cuts option48
Dupe list
described
options in EDLs43
view in EDL Manager window31
Dupe reel
described
43
43
62
19
E
Edit controllers
connecting to a computer
defining tracks and channels for27
format for audio channels31
selecting a format for37
sorting events for39
support for comments46
Edit decision lists See EDLs
Editing EDLs
for successful reading
with a text editor54
EDL Manager window25
EDLs
audio-only
changing titles of26
creating for film projects65
creating for matchbacked sequences66
creating from an active sequence21
creating sequences from21
customizing24 to 52
defined9
displaying different views in31
editing for successful reading54
editing with a text editor54
file name guidelines for64
film-to-video65
formats supported for37
formatting54
optimizing48
printing19
reading in .EDL format14
reading in CMX or GVG (RT-11) format14
saving as OMFI compositions15
saving as text files15
saving to RT-11 disks16
selecting templates for32
serial transmission68
setting options25
transmitting70
67
68
54
89
EDLs (cont’d)
troubleshooting
updating35
verifying an RT-11 save17
Effects
options in EDLs
simplifying59
supported in EDL Manager47
Error messages56
Events
order of
simplifying48
Excluding tracks28
39
53
46
F
File name guidelines for EDLs64
File names of templates32
Film projects
creating EDLs for
Film-to-video EDLs
matchback conversion in
Find tab
in Help Topics dialog box
Fixing transitions58
Font
changing size in Help topics
Format header55
Formats
GPI (general-purpose interface) triggers55
GVG format
for RT-11 disks
17
H
Hardware connections
for serial transmission
Header format55
in EDLs55
Help system
buttons in topic windows
changing font size of topics in80
closing72
Contents tab74
context-sensitive Help78
copying text from80
Find tab75
Help Topics dialog box74
Index tab75
menu items77
opening72
printing a topic from79
What’s This? Help79
Hiding or showing text options45
68
76
I
Include Black Edits option49
Including tracks28
Index tab
view in EDL Manager window31
Master start event41
Matchback conversion in EDLs65
Messages
displayed in Console window
Missing information
locating
58
41
56
N
Nonlinear editing systems9
NTSC (National Television Standards
Committee)
50
O
Offline editing
defined
transmitting from68
OMFI
defined
OMFI compositions
saving EDLs as
Online editing
check list for
defined9
9
9
15
61
Online Help See Help system
Online suite
preparing for
running EDL Manager at63
transmitting to52, 68
Opening a template33
Opening the Help system72
Optimization48
options for EDLs48
Options25
saving51
undoing changes51
Options window36
changing settings in36
Order of events39
Output and Source
pop-up menus
timecodes33
updating changes to35
61
33
P
PAL (Phase Alternating Line)50
Preread option44
Printing
EDLs
19
Help topics79
source tables23
Problems
header format
55
R
Reading existing EDLs
in .EDL format
in CMX or GVG (RT-11) format14
Record Start Time area51
Redefining a track28
Reel ID type41
14
91
Repair notes
in EDLs
Representing complex sequences30
Revert button51
RT-11 disk
formatting
reading an EDL from14
saving EDLs to16
verifying a save to17
46, 47
17
S
Save As button51
Saving EDLs
as OMFI compositions
as text files15, 54
to RT-11 disks16
Saving options51
Saving settings to a template51
Saving templates51
Selecting EDL formats36, 37
Sending EDLs70
Sequences
complex
creating an EDL from an Avid editing
creating from an EDL21
for an Avid editing system from an EDL21
Serial transfer options
changing
Serial transmission
hardware connections for
of EDLs68
options in Site Settings dialog box52
setting options69
Setting EDL options25
Setting record start time51
Settings
for serial transmission
in the EDL Manager window25
30, 56
system
52
21
15
68
69
in the Options window36
selecting a template of32
Showing or hiding text options45
Simplifying effects59
Simplifying events48
Site Settings dialog box52
Slicing and dicing58
Sort mode options39
Sorting order of events39
Source and Output
pop-up menus
timecodes33
updating changes to35
Source table
displaying list of source tapes in
printing23
taking to the online suite64
view in EDL Manager window31
Source tapes
displaying list of
viewing list of22
Standards
options for EDLs
Start time options51
Starting EDL Manager10
Stereo channels31
Suite
defined
Suite See Online suite
Switcher setting
Switchers
options for EDLs
Symphony See Avid editing system
33
31
49
9
50
50
T
Template pop-up menu32
Templates
described
file names of32
32
31
92
Templates (cont’d)
opening
saving51
selecting32
temporary files51
Temporary template file51
Text editors
editing EDLs with
Timecode sort mode39
Timecodes33
Titles
changing EDL
Track Selector panel
described
updating changes to35
Tracks
See also Video tracks
combining
creating stereo31
excluding28
including28
isolating30
redefining28
selecting27
updating35
Transitions58
Transmitting EDLs See Serial transmission
Troubleshooting