Pinnacle Systems Interplay Assist - 1.4 User’s Guide

Avid® Interplay® Assist

User’s Guide

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Avid

Legal Notices

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.

Avid products or portions thereof are protected by one or more of the following United States Patents: 4,970,663; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,577,190; 5,584,006; 5,627,765; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,999,406; 6,038,573; 6,061,758; 6,141,007; 6,211,869; 6,532,043; 6,546,190; 6,596,031; 6,636,869; 6,747,705; 6,763,523; 6,766,357; 6,813,622; 6,847,373; 7,081,900; RE40,107; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Other patents are pending.

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

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

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

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

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

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

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

The following disclaimer is required by the Independent JPEG Group:

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

This Software may contain components licensed under the following conditions:

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

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

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

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

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

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

The following disclaimer is required by Nexidia Inc.:

Manufactured under license from the Georgia Tech Research Corporation, U.S.A. Patent Pending.

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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

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

The following disclaimer is required by Videomedia, Inc.:

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

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

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

The following disclaimer is required by Ultimatte Corporation:

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

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

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

The following disclaimer is required by Interplay Entertainment Corp.:

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

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

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

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

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

Attn. Government User(s). Restricted Rights Legend

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

Trademarks

888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AirSpeed, ALEX, Alexis, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid DS Assist Station, Avid ISIS, Avid Learning Excellerator, Avid Liquid, Avid Mojo, AvidNet, AvidNetwork, Avid Remote Response, AVIDstripe, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, AVX, CamCutter, CaptureManager, ChromaCurve, ChromaWheel, Conectiv, CountDown, DAE, Dazzle, Deko, DekoCast, D-Fi, D-fx, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR, DNxchange, do more, D-Verb, Equinox, ExpertRender, Face Robot, FACE ROBOT, FastBreak, Fast Track, FieldPak, Film Composer, FilmScribe, FluidMotion, FXDeko, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, iNEWS, iNEWS ControlAir, Instinct, Interplay, Intraframe, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, Lightning, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Browse, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, MediaStream, Meridien, MetaFuze, MetaSync, MicroTrack, MissionControl, MovieBox, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, PCTV, Pinnacle MediaSuite, Pinnacle Studio, Pinnacle Systems, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, SalesView, Sci-Fi, ScriptSync, SecureProductionEnvironment, Show Center, Softimage, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, Sputnik, SteadyGlide, SubCap, Symphony, SynchroScience, TARGA, Thunder, Thunder Station, TimeLiner, Torq, Trilligent, UnityRAID, Vari-Fi, Velvet, Video RAID, Video Slave Driver, VideoSPACE, Xdeck, and X-Session are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

Footage

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

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

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

News material provided by WFTV Television Inc.

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.

Avid Interplay Assist User’s Guide • 0130-07606-02 B • June 2008

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Chapter 1 Getting Started with Avid Interplay Assist . . . . . . . . . . . . . . . . . . . . . . . 17

Uses for Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Basic Interplay Assist Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Starting Avid Interplay Assist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Mounting Workspaces on an Avid Unity MediaNetwork System . . . . . . . . . . . . 20

Mounting Workspaces on an Avid Unity ISIS System . . . . . . . . . . . . . . . . . . . . 21

Mounting a Workspace for Send to Playback . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Starting the Avid Interplay Assist Application . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Using Interplay Assist Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Working with MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Understanding Source Mode and Shotlist Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Understanding Undo and Redo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Undoing and Redoing: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Changing the Font. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Printing the Logging Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Chapter 2 Preparing to Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Understanding Asset Markers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Navigating to Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Interplay Assist Search Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Organizing Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Loading Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Updating the Application Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 3 Customizing the Research Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Changing the Research Panel and Logging Panel Sizes. . . . . . . . . . . . . . . . . . . . . 43

Using the Research Panel Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Asset Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Working with Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Displaying Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Creating New Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Enlarging or Reducing Column Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Working with Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Opening Multiple Tabs in the Research Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Changing Writable Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Updating Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Chapter 4 Playing and Marking in the Video Monitor. . . . . . . . . . . . . . . . . . . . . . . . 53

Video Monitor Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Changing the Video Monitor Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Using Large Monitor Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Using Medium Monitor Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Using Small Monitor Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Resizing Panels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Selecting Functions from the Video Monitor Context Menu . . . . . . . . . . . . . . . . . . . 60

Playing Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Playing Video Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Using the Position Bar and the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . 62

Using the Transport Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Playing Footage with the J-K-L Keys (Three-Button Play) . . . . . . . . . . . . . . . . 63

Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Displaying Footage at Full or Half Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Playing Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Marking and Cueing Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Marking IN and OUT Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Dragging IN Points and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Cueing the Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Monitoring Audio and Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Changing the Aspect Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Chapter 5 Logging Events With Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Marking Events with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Setting Locator Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Locator Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Displaying Locator Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Adding Locator Text in Large Monitor Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Restricting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Marking a Restriction Locator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Creating Subclips of Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Deleting Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Annotating Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Annotating an Existing Locator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Removing an Annotation from a Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Defining an Annotation Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Adding Your Own Annotation Icon Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Showing Other Users’ Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Displaying All Locators and Annotations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Displaying Particular Users . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Finding Items in the Logging Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Moving to Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Chapter 6 Working with Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Understanding Metadata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Entering Metadata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Working with Metadata Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Displaying a Metadata Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Adding a Default Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Adding a New Metadata Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Flagging an Important Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Hiding a Metadata Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Finding Items in Metadata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 7 Working with Shotlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Creating a New Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Saving Your Shotlist Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Opening an Existing Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Adding to a Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Adding a Source Clip to a Shotlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Adding a Shotlist to a Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Moving Through a Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Finding Items in a Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Changing a Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Rearranging Shots in a Shotlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Removing a Shot from a Shotlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Changing IN Points and OUT Points in a Shotlist . . . . . . . . . . . . . . . . . . . . . . 111

Entering Metadata for Shotlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Saving a Copy of a Shotlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Chapter 8 Sending Files Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Sending Material to Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Working and Target Audio Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Setting Working Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Sending a Shotlist to Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Sending a Source to Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Sending Clips or Shotlists to the Archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Selecting Interplay Media Services Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Sending a Source to the Archive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Managing the Archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Chapter 9 Using the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Speeding Your Logging by Mapping Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Assigning Keys to Insert Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Assigning a Key Combination to an Annotation . . . . . . . . . . . . . . . . . . . . . . . 126

Removing a Key Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Editing Existing Inserted Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Viewing Predefined Key Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Using a Mapped Key Combination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Using Predefined Key Mappings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Using This Guide

Congratulations on your purchase of an Avid® Interplay® Assist application. You can use your application to log, annotate, and archive your work.

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

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

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

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

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

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

Courier Bold font

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

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

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

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

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

items and keyboard sequences.

Courier Bold font identifies text that you type.

mouse action. For example, Ctrl+drag.

If You Need Help

If you are having trouble using your Avid product:

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

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

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

they ship with your application and are also available online.

If the latest information for your Avid product is provided as a ReadMe file, it is supplied on your Avid installation CD or DVD as a PDF document (README_product.pdf) and is also available online.

You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available. To view these online versions, select ReadMe from the Help menu, or visit

the Knowledge Base at

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

www.avid.com/readme.

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

Accessing the Online Library

The Avid Interplay Online Library contains all the Avid Interplay product documentation in PDF format, including a Master Glossary of all specialized terminology used in the documentation for Avid products.

You need Adobe® Reader® to view the PDF documentation. You can download the latest

version from the Adobe web site.

To access the Online Library, do one of the following:

1. Insert the Online Library DVD into the drive.

2. Double-click the MainMenu file.

How to Order Documentation

To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative.

Avid 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

For information on courses/schedules, training centers, certifications, courseware, and books, please visit (800-949-2843).

http://learn.avid.com.

www.avid.com/training or call Avid Sales at 800-949-AVID

How to Order Documentation

1 Getting Started with Avid Interplay

Assist

Avid Interplay Assist provides you with tools to log and archive footage in several ways. You can log captured material and use locators to mark specific points of interest in footage. You can annotate the locators and note a usage restriction on a portion of the footage. You can also work with shotlists containing more than one clip, and you can archive the logs. Assist supports international character input. Traditional Chinese, Simplified Chinese, Japanese, French, Italian, German, and Spanish are supported.

Video material comes from the Avid Interplay Engine and shared storage. Avid Interplay Assist can search and browse the Interplay Engine, and it can access workspaces shared with Avid editing applications.

This chapter helps you get started with Avid Interplay Assist. See the following topics:

• Uses for Logging

• Basic Interplay Assist Workflow

• Starting Avid Interplay Assist

• Using Interplay Assist Help

• Working with MultiRez and Dynamic Relink

• Understanding Source Mode and Shotlist Mode

• Understanding Undo and Redo

• Changing the Font

• Printing the Logging Panel

Uses for Logging

Avid Interplay Assist offers a range of functions; one person can use it in different ways, or several different users can specialize in particular tasks. The most frequent uses are likely to be:

1 Getting Started with Avid Interplay Assist

• Logging ingest or captured material, classifying assets based on where they came from, and entering basic information about the material. For example, a college student might be hired to work from a script and add a basic set of comments (metadata) to every clip that comes in.

• Adding locators to the previously identified clips. For example, you can mark all the significant plays in a championship sports event with locators and create subclips from the marked locations.

• Marking restrictions on particular clips or portions of clips. For example, you can mark beginning and ending restriction points to indicate the following: material that should not be used, material that can be used only after rights are available on a certain date, material that the organization will need to pay for upon use, material that has copyright requirements or other legal restrictions that limit its use, and so on.

• Providing a detailed description of the video. For example, a more experienced user of Avid Interplay Assist might use the application to type a running commentary while watching the previously annotated video, tying words and sentences with specific timecodes and creating locators as a result.

• Searching for clips through the Interplay Engine and the archive that are relevant to a particular production, and annotating and creating new sequences. For example, a production assistant might search for master clips, find specific frames and annotate them for use in the production, find or create new sequences, annotate them with editorial notes, and so on.

• Reviewing clips, subclips, and sequences, marking up specific items with notes for the assistant or the editor, creating a rough cut for a final sequence, and sending the video to playback or to an Avid editing application. For example, the producer would review the material prepared by the production assistant, make changes, assemble the final sequence, mark up the production for last-minute changes, and send it to air.

• Archiving video at the end of the production workflow. For example, the archivist or librarian would review and update the metadata content for every clip, sequence, and shotlist going into the archive, assist others in finding material, define the location and hierarchy of stored video, and do other archival tasks.

Basic Interplay Assist Workflow

Basic use of Interplay Assist might include the following steps:

1. Start Avid Interplay Assist.

2. Navigate to the material you want to log or search for clips sharing certain attributes.

3. Load a clip into the Video monitor.

4. Play the material and mark events with locators.

5. Add comments to the locators.

6. Add metadata to the clips.

7. Assemble the clips into a shotlist.

8. Add metadata to the shotlist.

9. Flag restricted material.

10. Save the shotlist.

11. Add metadata to the shotlist.

12. Send the shotlist to play back on a playback device, if appropriate.

Starting Avid Interplay Assist

Avid Interplay Assist runs as a client of Avid Interplay connected to one of several shared storage systems: an Avid so on. Before you start Avid Interplay Assist, you must check to see that you are connected to the shared storage and that you have mounted at least one workspace. Shared storage applications should already be installed on your system; however, if you are not certain if the necessary software has been installed, see your system administrator.

Unity™ MediaNetwork system, Avid Unity ISIS®, LANshare, and

Starting Avid Interplay Assist

For information on mounting workspaces, see the following topics:

• “Mounting Workspaces on an Avid Unity MediaNetwork System” on page 20

• “Mounting Workspaces on an Avid Unity ISIS System” on page 21

Your Avid Interplay administrator must set some site settings before you use Interplay Assist. These settings are stored on the Avid Interplay Server and are used by Interplay Assist when it is retrieving media objects managed by the Avid Interplay Engine. The settings include target and working resolutions, user permissions, the Workgroup and MediaIndexer settings, and so on. For more information, see the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide.

For information on installing the Avid Interplay Assist application, see the Avid Interplay

Assist ReadMe

www.avid.com/readme. To start the Avid Interplay Assist application, see “Starting the Avid

Interplay Assist Application” on page 24.

You can start the Interplay Assist application from within Interplay Access by

double-clicking an asset; Interplay Assist logs you in with your Interplay Access user information. For more information about Interplay Access, see the Avid Interplay Access

User’s Guide.

on the Avid Interplay installation DVD or on the Knowledge Base at

1 Getting Started with Avid Interplay Assist

Mounting Workspaces on an Avid Unity MediaNetwork System

If your system is connected to an Avid Unity MediaNetwork, you can mount an Avid Unity MediaNetwork workspace before you begin your Interplay Assist session by using

Unity Connection Manager.

Avid

To mount Avid Unity MediaNetwork workspaces on your system:

1. Make sure Avid Interplay Assist is not running.

2. Click the Connection Manager icon in the Windows® taskbar, and select Configure.

The Avid Ethernet Attached Client Configuration dialog box opens.

You need to add the name of your server to the server list. If you are not certain of your Avid

Unity configuration, see your system administrator.

3. Do one of the following:

t Select “Get a list of servers from License Pool Server(s),” and then in the Server

List text box type the name of the server you want to use to locate the Ethernet Attached Server to which your client system is connected.

t Select “Manually specify Ethernet Attached Server(s),” and then in the Server List

text box type the name or the IP address of the server to which you want your client system to connect.

4. Click Add to add the new Ethernet® server to the list of available servers.

Starting Avid Interplay Assist

5. Click OK to close the dialog box and save the change.

6. Click the Connection Manager icon in the Windows taskbar, and select Manage

Connections.

If you are logged in to Windows using a valid Avid Unity MediaNetwork user name and password, the Avid all the Avid

Unity MediaNetwork workspaces to which you have access. (If you are not

Unity Connection Manager dialog box opens and displays a list of

logged in with a valid MediaNetwork user name and password, you are prompted to supply them before the Avid

Unity Connection Manager dialog box opens.)

Workspaces that are already mounted appear selected in the workspace list.

7. In the workspace list, select the workspace or workspaces you want mounted.

8. (Option) To select all workspaces, click the Select All button. To deselect all workspaces, click the Clear All button.

9. (Option) If you want the selected workspaces remounted the next time you log in, select “Automatically remount these workspaces the next time I log in.”

10. Click Apply.

The Connection Manager mounts the selected workspaces on your client. When workspaces are mounted, the square in the top right corner of the Connection Manager icon changes from red to green.

Mounting Workspaces on an Avid Unity ISIS System

If your system is connected to an Avid Unity ISIS media network, you can mount an

Unity ISIS workspace before you begin your Interplay Assist session using Avid Unity

Avid Client Manager.

1 Getting Started with Avid Interplay Assist

To connect to the Avid Unity ISIS network:

1. Do one of the following:

t (Windows) If the Client Manager icon is not available in the Windows taskbar,

select Start > All Programs > AvidUnityISIS > ClientManager.

t (Windows) Click the Client Manager icon in the Windows taskbar.

t (Windows) Right-click the Client Manager icon and select Unity ISIS Client

Manager.

t (Macintosh) Double-click the Client Manager alias icon on the desktop, or

double-click the Client Manager alias icon in the dock.

t (Macintosh) If the Client Manager alias icon is not available, select Go >

Applications, and then double-click the AvidUnityISIS folder. In this folder, double-click the UnityClientManager file.

The Avid Unity ISIS Client Manager opens.

Menu panel

Connections list

Sort menu

Fast menu

2. In the Menu panel, click Connections.

The Connections list displays all available System Directors.

Starting Avid Interplay Assist

3. Select the System Director you want to connect to from the Connections list.

You can sort the Connections list by clicking the Sort menu and selecting Hostname or Connection Status.

4. Do one of the following:

t (Windows) If your ISIS system is configured to use the Windows user name and

password for your local system, select OS Login. By default, the Username and Password text boxes are inactive when you select this option.

t (Windows) If your ISIS system is configured to use a separate Avid Unity ISIS

client account user name and password, select User Login, and then type your account name in the Username text box, and type your password in the Password text box.

t (Macintosh) Type your Avid Unity ISIS account name in the Username text box,

and type your password in the Password text box.

5. Do one of the following:

t Click the Connect button.

t Click the Fast menu, and select Connect.

The Connect button changes to green when the connection is complete.

6. (Option—Windows only) If you used the OS Login option, and you want to connect to the network automatically every time you start your system, click the Auto Connect button.

The Auto Connect button changes to blue.

Mounting a Workspace for Send to Playback

On Avid Unity ISIS, if you need to write to a drive or use the drive for Send to Playback, your target voice-over workspace must be mounted with lettered drive mapping (for more information about selecting your target voice-over workspace, see “Editor Database Settings” in the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide). If your drive is already mounted as letterless, do following to mount it as a lettered drive.

To mount a workspace as a lettered drive:

1. Open the ISIS Client Manager application.

2. Right click the target voice-over workspace and select Unmount.

3. Right-click the target voice-over workspace again and select Mount To.

4. Select a drive letter.

1 Getting Started with Avid Interplay Assist

Interplay Assist does not support voice-overs, but you still need to have the target voice-over workspace mounted so you can send to playback.

Starting the Avid Interplay Assist Application

To start the Avid Interplay Assist application:

1. Do one of the following:

t Double-click the icon on your desktop.

t Click the Start button, and select All Programs > Avid > Avid Interplay Assist.

The Avid Interplay Assist Login window opens.

2. Type the name of your Avid Interplay Engine in the Asset Manager text box.

3. Type your name in the User Name text box.

4. Type your password in the Password text box.

Interplay Server passwords are case sensitive.

5. Click Login.

The Interplay Assist application opens.

Using Interplay Assist Help

Your Interplay Assist application comes with a Help system that contains the same information as this guide.

To view the Help:

1. Select Help > Avid Interplay Assist Help.

The Help opens.

2. For more information about using the Help, click the Contents tab and explore the Using Help topic.

1 Getting Started with Avid Interplay Assist

Working with MultiRez and Dynamic Relink

MultiRez (a term derived from “multiple resolutions”) allows you to associate a clip with multiple media files of different resolutions. For example, you can associate the same audio clip with low-resolution MP2 or uncompressed PCM, and the uncompressed files can be associated with more than one sample rate or bit depth. MultiRez works with both audio and video files.

When you work with MultiRez, you can easily switch between the different resolutions. This switching is referred to as dynamic relink. Dynamic relink is useful when you want to work with low-resolution media and create your final output in high-resolution media.

When your Avid Interplay administrator enables dynamic relink, Assist loads video and audio clips in your working resolution (see

page 115). When you send a sequence to playback, the media clips are automatically

relinked to the target resolution. If dynamic relink is disabled, Assist loads clips using the resolution the media clips are currently linked to, and Assist does not relink media when you export it.

To check if dynamic relink is enabled:

1. Select Help > About Avid Interplay Assist.

“Working and Target Audio Resolutions” on

2. Click the MultiRez tab, and check that the Dynamic Relink Enabled option is set to Yes.

3. Click OK.

Understanding Source Mode and Shotlist Mode

In Avid Interplay Assist, you work in one of two modes: Source mode or Shotlist mode. You can add locators and metadata to either source clips or shotlists.

Source material comes from capture. To log material, you move through it, mark IN and OUT points, create subclips, and note significant events with locators, annotations, and metadata.

Shotlists are composed of source material. A shotlist can be an ordered set of clips that ends up as a rough cut for a sequence in an Avid editing application, for example. It can also be an unordered set of similar clips from which the best instance is chosen or which is archived as a group. Shotlists can be marked with locators and metadata.

Most of your work, after you find and navigate to clips and shotlists, is done in the Video monitor and the Logging panel. You click the Source button to enter Source mode, and the Shotlist button to enter Shotlist mode.

Video monitor Source tabs Shotlist tabsSource button Shotlist button

For more information, see the following topics:

• “Playing and Marking in the Video Monitor” on page 53

• “Logging Events With Locators” on page 75

• “Working with Shotlists” on page 101

• “Working with Metadata” on page 91

Understanding Undo and Redo

You can undo many of the actions you carry out in Interplay Assist. Undoing reverses the last operation you performed.

Also consider the following:

• If you are working on a source clip and then load a new clip, the Undo history starts over. You can’t go back to the first clip and undo your actions.

• If you are working on a shotlist and then create a new shotlist, the Undo history starts over. You can’t go back to the first shotlist and undo actions.

• The Undo history is separate for the Source tabs and the Shotlist tabs. If you are in the Source Locators tab, for example, and then click and work in the Shotlist locators tab, you can still return to the Source Locators tab and undo an action. You don’t lose your Source tab Undo history by working in a Shotlist tab; the reverse is also true.

You can redo an action.

1 Getting Started with Avid Interplay Assist

Undoing and Redoing:

To undo an action:

t Do one of the following:

- Select Edit > Undo.

- Press Ctrl+Z.

Certain operations cannot be undone. These are noted in the appropriate sections in this book.

To redo an action:

t Do one of the following:

- Select Edit > Redo.

- Press Ctrl+Y.

Changing the Font

You can change the default fonts and font sizes for the following areas of the Assist interface using the Fonts menu options:

• Locator and metadata text

• Directory panel

• Research panel

Font changes are saved as user settings and do not affect other Assist systems.

To change the font in Assist:

1. Select Preferences > Fonts > [font option].

The Select [font option] font dialog box opens. The dialog box allows you to select and preview options other than Font and Size, but those options do not take effect in the application; you can change only Font and Size. You must have locators displaying in a Locators tab if you want to change the locator text font.

2. Select a font and a size, and then click OK.

Printing the Logging Panel

The font in the Interface area you selected changes.

To restore the default fonts in the Assist interface:

t Select Preferences > Fonts > Restore Fonts to Default.

Printing the Logging Panel

You can print the currently open tab in the Logging panel. You can select a single locator or clip for printing or you can print the entire tab. You can print the contents of any of the tabs.

The Logging panel must be visible to print it. If you are in Large Monitor mode and are

viewing the Video monitor, you need to click the Display button to return to the panels view.

“Using Large Monitor Mode” on page 56.

See

To print the contents of a tab:

1. (Option) Select File > Page Setup, select options in the Page Setup dialog box, and click OK.

2. Do one of the following:

t Select File > Print.

1 Getting Started with Avid Interplay Assist

t Right-click in a locator or a clip and select Print. (Do not right-click in the header

area.)

A standard Print dialog box opens.

3. Select one of the following:

t All: the entire tab prints.

t Selection: the currently selected locator or clip prints.

t Pages: specify which pages you want to print. In general, it is more effective to

select All or Selection.

4. Select other options and then click Print.

Headframes that are not visible on the screen might not be fully loaded when you decide to

print. The print function waits for the headframes to load; after a certain period of time, you might see a message box asking you if you want to wait longer.

The contents of the tab print. The header information from the tab, such as user name, working resolution, and so on, does not print. A default header prints, however, containing the name of the clip or shotlist, the name of the tab, and the date and time. If you print more than one page, the pages break at locator or metadata boundaries.

5. (Option) If the Logging panel is too wide and the right-hand edges of the locators print onto a second page, do one of the following and then repeat the printing procedure:

t In the Print dialog box, click Preferences, select Landscape, and then click OK.

t Click the right-hand edge of the application and drag it to the left to resize

application to a more narrow width.

+ 108 hidden pages