Pinnacle Systems Liquid - 7.1 Installation Manual



Avid

Liquid

Installation

Chapter Avid Liquid Installation

Site Settings

“Site” refers to the computer system on which Avid Liquid is running and the video peripherals connected to it. Among others, the settings include the selection of connected players and recorders. These settings, which you can access under Edit > Control Panel > Site tab, apply to all system users and, therefore, are not saved for an individual user but are called each time the system is restarted.

The Site tab contains the following elements:

Player Settings

Parameters of connected players/recorders/other devices page 3

System Settings

Parameters and information on your computer’s software and hardware equipment page 17

Media Management Settings

Here you can define the drives and directories that should be used for digitizing For a detailed description of these parameters and options please refer to the Reference Manual, chapter “Administration”, page 332.

Codec Presets

These topic is also covered in the Reference Manual, chapter “Administration”, page 319.

FX Editors Settings

Settings for render and preview quality, etc. page 23

Plug-In Settings

Information on the storage location for third-party effects and Effect Editors page 25

Player Settings

Icon Player Set-

tings

Changing Parameters

How to change default values page 4

Settings tab

Device-specific settings such as drive ballistics, available inputs and outputs, etc. page 5

Connections tab

Here you can define the communication and signal interfaces used by your hardware page 15

Player Settings

Double-click the icon Player Settings (via Avid Liquid´s Start Menu > Control Panel > Site) to specify players and recorders connected to the system and video, audio and control connections. The dialog box that appears offers two tabs: Settings and Connections.

Chapter Avid Liquid Installation

How to Change Parameters

This dialog box is similar to Windows Explorer in terms of its organization. The categories that can be selected appear on the left; to display subcategories, click the plus sign in the box. Use the right-hand field to adjust the parameters for each category by double-clicking a value, entering one with the keyboard or selecting one from the appropriate drop-down menu.

Settings Tab

This tab can be used for adjusting the technical parameters of the connected devices.

Avid Liquid recognizes three categories of players and differentiates among them based on the protocols used for remote control of the devices:

 Live -

A virtual player that is not controlled.

 i.Link DV -

Controlled via the DV protocol (as per the IEEE 1394 standard). Compatible with all the latest DV and HDV devices.

 Betacam -

A control protocol that is processed via the serial interface as per the RS 422 (or RS 232) standard. More precise than DV i.Link; used in professional environments.

With Windows XP OS it is possible to connect more than one DV device to your computer. All working DV devices are listed under System Settings > Inputs/Outputs. The device that is selected there configured here Settings dialog (page 17).

How to assign and configure new devices page 6

Player Settings

can be

, in the Player Settings dialogs. If you want to switch to another device, turn to the System

Live Input page 8

i.Link DV (IEEE 1394) page 9

Æ Timi ng page 9

Generic Betacam driver (controlled via RS 422)

Æ Timi ng page 10

Æ Functional description page 11

Æ Options page 12

Æ Tape protection page 14

Chapter Avid Liquid Installation

Assign and Configure Devices

The following options allow you to

 select player and recording devices

 configure these devices.

The devices that appear under Player Settings are available in the Logging Tool, for EZ Capture (DV devices only) and in the Record to Tape tool (recorders only). In the default configuration, three players are configured. You can add additional devices.

Assigned Name

For each default setting, a device has either a model, manufacturer or remote control name (e.g. Sony Device, LIVE, Generic Betacam driver or i.Link DV). Initially, this is the same name as the one listed

under Default parameters matching (see below). Consequently, you should first match the name. You can assign an individual name (such as “Player 1”) to each device. Double-click the default name, enter the individual name in the edit field, then press

select the dev ice and then

ENTER.

Player Settings

Default Parameter Matching / Select Device

Here you can configure your video devices.

First, click the device or connection name on the left of the dialog, then double-check the manufacturer name on the right-hand side. Select the manufacturer of the connected device from the list.

Select manufacturer

If necessary, you can enter the exact device name in the line above the manufacturer name. Double-click this line to edit it and press Additional device settings are not usually necessary. However, if you have problems controlling the device, see the information on device timing below.

ENTER to finish editing.

Add Devices/Remove Devices

It is possible to add devices to the list.

1 Right-click somewhere below the list of devices in the left-hand section of the dialog. In the

shortcut menu, select Add.

2 In the submenu, select the matching remote control protocol or an additional Live Player.

3 Select a precalibrated device from the list of devices as described above (Default parameters...)

4 If you like, assign an individual name for the new device (Assign ed Name).

To remove a device from the list, right-click that device and select Remove.

Chapter Avid Liquid Installation

Live Input (Virtual Live Player)

Use the Live Player if the video or audio signal is not from a controllable source (such as TV) or if you are controlling the player source using the controls on the device itself. You can assign a user-defined name for the Live Player. See also “Assigned Name” on page 6.

A remark for users of Avid Liquid in combination with analog input/outputs: Use the Live Player to capture analog signals. With IEEE 1394 (i.Link DV) remote control there is DV in/out exclusively This restriction does not concern Avid Liquid systems equipped with RS 422 interface. You can use analog inputs in combination with RS 422 control.

Options

You can add TC data to the live input signal or use the supplied TC data of the signal.

1 Click the plus (+) symbol,

2 click Options,

3 and, in the right-hand section, double-click the current Va l u e .

Choose one of three options:

 Custom - It defines that a TC value manually specified in the Logging Tool should be used for gen-

erating timecode data. The timecode starts with the value entered in the Posit ion timecode field. Start/stop the TC counter by clicking Play (toggle button). See also “Timecode Position Field (A)” on page 115.

 Time of day - The system time is used for generating timecode data. “Time of day” is only guar-

anteed with a correctly set system clock. TC count starts immediately after initialization of the Logging Tool.

 Video - TC data embedded in the DV input signal. (VITC cannot be used.)

Player Settings

i.Link DV Devices (IEEE 1394)

i.Link DV is a name for devices connected and remote controlled via a DV interface. Other, more or less synonymous names are Firewire or IEEE 1394 (the latter is the official standard name). This interface needs to be integrated in your computer or in the breakout box. With the exception of timing parameters, there are no further settings to define.

Timing (IEEE 1394, DV)

Double-click the Va l u e you want to edit. Selection varies according to your product version.

Wait After Sending Record [ms]

This value defines the length of time from the moment the record command is sent to the recorder until the actual Timeline play. When it is set to 5000, you automatically receive a black image for 5 seconds before the film is recorded.

Wait Before Sending Record [ms]

This value defines the length of time from the moment the Record button in the R ec ord To Ta pe dialog box is selected until the record command is actually sent to the recorder.

Almost all devices work perfectly with a value of 0. If your recorder does not record despite numerous attempts, we advise you to increase this value in steps of 1000 ms until the recorder records.

The reason for this problem is that some DV dev ices cannot be switched to record mode until an image is present and an immediate synchronization was not possible with a value of 0.

Max. Duration of Goto [s]

This entry determines the amount of time your DV device may require to go from one position on the tape to another position, such as a mark-in.

Preroll [frames]

This value determines the preroll time for Batch Digitize and Record to Tape.

The higher the value, the longer the preroll time. Some DV devices require a preroll time of at least 15 frames in order to guarantee a successful synchronization between Avid Liquid and the DV device.

If a clip cannot be cleanly digitized with Batch Digitize (e.g. the error message “Preroll Position not found” is issued), Avid Liquid automatically attempts to digitize this clip up to three times.

Send 2 Step commands [on/off]

Some players step field by field, some frame by frame. This means: Some transport the tape by one field, some by one frame, when a step command is received. This option forces the fieldsteppers among the players to move frame by frame, when you click the one frame forward tool button: 2 x field steps = 1 frame step.

Chapter Avid Liquid Installation

Generic Betacam Driver (Controlled via RS 422)

This driver is used to control professional tape decks via a serial cable.

Timing

CAUTION: Change these parameters only when the connected device works inaccurately. With

Liquid

needed for RS 422 control. Please contact your Avid Technology, Inc. dealer.

with RS 422 interface, some of the following options do not apply. A special 232-422 cable is

Avid

Position Request

This default set value should not be changed.

Play TC Delay [Fields]

Adjust this setting until the video is frame-accurately captured by the Logging Too l at the mark-in point. Use burned-in timecode instead of the ordinary timecode overlay to ensure the results are not affected by the construction delay of the timecode overlay. To generate a tape with burned-in timecode simply record the Monitor (Superimposed) Out signal on a second VCR and use this tape as a reference.

Rec TC Delay [Fields]

Place two successive clips on the Timeline and record (Insert) them to tape. Adjust this parameter until the hard cut from Clip 1 to Clip 2 appears at the proper position on the tape (same position as on the Timeline).

Edit Delay [Fields]

After having adjusted Rec TC Delay, adjust the edit delay until the recording (Insert) starts at the first frame of Clip 1.

Note: To obtain reproducible results, clean the area around the insert point before each attempt by recording over it with a different clip.

Encoding delay [fields]

This setting affects tape decks that work with a compressed format (such as DV) but should receive uncompressed signals. In this case, the uncompressed signal must first be encoded inside the device before it can be recorded to tape. The result is a delay in the device’s video path (encoding delay). To correct this delay, enter the correction value for the corresponding number of fields here, i.e. for a delay of two frames, enter a value of 4.

Player Settings

Step Emulation Delay [Fields]

As the protocol does not define a definite single-step command this behavior is emulated with a jog command at a speed of 1/10 for a certain period of time. With this parameter you can control how long the interface command (1 frame forward / backward) is to be maintained to emulate a one-frame step.

Functional Description (RS 422)

The technical options for the connected devices are described here. All entries in the functional description section simply specify the functional features of the device. They are not intrinsically used by the driver but serve to help the software identify which features should be available if a specific device is selected.

You may use these options to configure a taylor-made machine, one, for instance, featuring a YUV-SDI converter at its output, which therefore can be described as being equipped with a SDI output.

NOTE: With

Avid Liquid

Machine Type

The Machine Type property informs the front-end about the recording capabilities of the device. The following options are available:

 Player - the device does not possess any recording capabilities.  Recorder - the device is capable of simple recording, i.e. striping and dumping, but no insert edit.  Assemble Recorder - The device also has assemble mode but not insert mode.  Edit Recorder - in addition to simple dumping, the device is also able to execute insert edits.

(with RS 422 option), some of the following options do not apply.

Digital Audio

If this parameter is activated, the recording device must be equipped with digital audio tracks which become visible in the Record to Tape tool's track settings dialog box.

Maximum Shuttle Speed

Defines maximum shuttle speed for a device. This parameter controls the mapping of shuttle values received from the (assigned to speed x2) and the maximum shuttle position. If improperly specified (usually too high), the device usually enters the maximum shuttle speed once the control ring/knob is moved past the x2 lock position.

Avid Liquid Control

(optional control panel) between the second grid point

Chapter Avid Liquid Installation

Video Outputs

Depending on the individual device you find the following outputs, either assigned by default (Ye s ) or not available (No):

 Composite (CVBS, FBAS)  S-Video (Y/C)  Component (Y/R-Y/B-Y)  SDI  SDTI  SDTI x (hyper-speed transfer 2x, 4x)

The Ye s / N o settings here describe the standard features of the device. You may add outputs according to your specific studio setup. This serves as cross-references in the Settings > Player Settings > Connection dialog and defines the inputs that can be assigned to the editing system.

Audio Outputs

Mimics the video logic for audio outputs.

 Analog  AES/EBU  SDI  SDTI

Options

Minimum Preroll PLAY [s]

Controls the minimum preroll time used by the driver before automatic preroll adjustment has started during the initial digitization process. If it becomes apparent during the calibration process that the device will never lock faster than with 3 seconds preroll, this parameter should be set to 3 seconds to avoid unnecessary retries during the digitization of the first clip. However, this setting will not negatively influence the behavior of the driver if the value initially specified is too low. If it is too high, the driver will take longer than necessary to log a clip.

Player Settings

Minimum Preroll REC [s]

Controls the minimum preroll time initially used by the driver before automatic preroll adjustment starts during the first recording. Do not force the driver to use values less than 5 seconds since, unlike with traditional linear editing suites, actual recording occurs rather infrequently and it is not worth performing unnecessary retries (which take several multiples of 5 seconds) by starting with a too low record preroll time.

ClipLink Safe Preroll

This setting affects the digitizing of DV tapes to which the ClipLink technique was applied during recording. If the camera was switched off between two takes, in some cases the cut between the first take and the second take may not be precisely flush, which can in turn result in timecode breaks in the preroll. To avoid problems when digitizing, you can configure a value for the ClipLink safe preroll here. The default value is three seconds. During these three seconds of preroll time, no data is digitized.

Record Color Frame Selection

Controls the Color Frame Select command sent to the device before any type of recording.

Timecode

Defines which type of timecode should be used for the device in timecode request. The setting can either be

 VITC (Vertical Interleave Timecode)

 LT C (Longitudinal Timecode)

 CTL (Control Track)

 Aut o (VITC/LTC); recommended setting

TC Monitor Accuracy [Frames]

This parameter is required for detecting TC breaks (see the TC break options in the Logging Tool). The system compares the target and actual values in the current TC. On an ideally synchronized player, the value can be 0 frames; in actual practice, however, deviations can also occur. For this reason, the default setting is 3, meaning that deviations of up to three frames are ignored.

Ignore Reference Warnings

Avid Liquid displays an error message when the player or recording device signals an imminent problem with the sync or reference signal. Set this value On to ignore these warnings. However, we recommend to pinpoint the cause of the problem, because it may impede the editing accuracy.

Chapter Avid Liquid Installation

Tape Protection

Standby Off After (Active)

Controls the time in Still mode (Shuttle 0 or normal STOP) after which the device is switched to Standby Off when the device is being actively used (i.e. it is currently selected as the active device in the Logging or Re co rd ToTa pe Too l and at least one of these is visible on screen).

Standby Off After (Inactive)

Controls the time in Still mode (Shuttle 0 or normal STOP) after which the device is switched to Standby Off when the device is not being actively used (i.e. it is currently not selected as the active device in either the Logging or Record Tool = normal background operation).

Connections Tab

Use these functions to combine video and audio inputs and outputs of the editing system with the outputs and inputs of the connected players, recorders and live sources. Also select the remote control settings for connected devices. Begin by specifying (click on device name) in the left field to which recorder, player or live source the subsequent settings are to apply.

Communication Port (IEEE or RS 422) page 15

Video and Audio Inputs page 16

Video and Audio Outputs page 16

Communication Port

 If you have connected a controllable DV device (camera or recorder/player) via the IEEE 1394

interface (as opposed to a non-controllable live source), click the device name or i.Link DV/1394 in the left-hand box and check that IEEE 1394 appears as a Communication Port.

This selection refers to the device that was selected in System Settings > Inputs/Outputs > Video inputs (in case that more than one device is connected).

Player Settings

 With

Avid Liquid

connected.

RS 422: select the COM port (serial interface) to which the 232-422 cable is

 If you wish to use image and sound material via the Live Player (i.e. not controllable), make sure

the following list options are selected. In the list Video Input: Liquid: IEEE 1394; in the list Audi o Input: IEEE 1394, or, provided your product version supports this, the appropriate analog inputs.

This restriction does not concern can use analog or digital inputs in combination with RS 422 control.

Avid Liquid

systems equipped with RS 422 interface. You

 None - Choose this option if you want to control the player/recorder directly on the device itself

and not via Avid Liquid.

Chapter Avid Liquid Installation

Video Inputs

 1394 - Choose this option if you connected the selected player via an 1394 input (i.Link DV,

Firewire).

Note for users of Avid Liquid versions equipped with analog signal inputs and outputs: Use the Live Player to input analog signals. With analog video inputs there is no remote control via IEEE 1394 possible. CVBS refers to the cinch connector video input on the break-out box (usually marked yellow).

 CVBS (Composite) - Choose this option if you have connected the selected device via the com-

posite input (LIVE player or RS 422).

 Y/C (S-video) - Choose this option if you connected the selected players via the S-video input

(LIVE player or RS 422). S-video offers superior quality compared to CVBS.

 None - Choose this option to operate the selected device without a video interface.

If you have a inputs, YUV and RGB. Select according to actual signal input.

Avid Liquid PRO Box

Audio Inputs

 DV Embedded - Choose this option if you want Avid Liquid to use the audio signal at the DV con-

nector. The video input switches automatically to 1394.

Only for users of Avid Liquid versions equipped with analog signal inputs and outputs:

 Ch1-Ch2 - Choose this option if you want Avid Liquid to use the audio signal at the analog audio

connectors (cinch connectors on breakout box).

 None - Choose this option to operate the selected device without an audio interface.

If you have a audio inputs: AES and SPDIF. Select according to actual signal input.

Avid Liquid PRO Box

connected to your system, the selection offers two component

connected to your system, you have two additional digital

Video Output

These settings concern the actual video outputs of the computer or the breakout box (if connected). Select the output to which the recording device is connected. This setting will be used in the Record to Ta p e tool. Entries with a preceding “Liquid:” refer to generic interfaces of the computer, such as a built-in DV (IEEE 1394) connector.

Audio Output

Assign an audio output to the selected device.

System Settings

Systems Settings contains parameters which affect the system itself, such as the still image display or the render file storage location. Double-click the icon Systems Set- tings to open the dialog box.

Icon Systems

Settings

Changing Parameters

Procedure for changing default values page 17

General Tab

Contains the General, Video Display and Rendering areas page 18

Inputs/Outputs Tab

Lists audio and video inputs/outputs available in the system page 19

Changing Parameters

System Settings

Restore Initial State - Click this button to restore the settings that were activated when you first opened the item.

Chapter Avid Liquid Installation

General Tab

This tab contains the following sections:

General page 18

Video display page 18

Rendering page 18

General

 Digital Audio Reference Level -

You can set the audio reference level in single steps in a range from -9 dBFS to -20 dBFS. The red range (start of overload limit) of the Avid Liquid audio level meters is adapted accordingly (for instance in the Audio Tool).

Video Display

 Still Display - Select one of three options:

Both (fields) Odd (fields) Even (fields)

Double-click a value to open a selection menu. Odd is default; this setting avoids the flickering of the still image on the video monitor (the inlay is not affected). These settings have no effect on progressive video.

 Viewer Mode -

Choose Overscan or Underscan. Overscan is the default setting; it roughly corresponds to the pic- ture area that normally appears on a TV monitor. Und ersc an and Overscan affect all video inlapage 19ys of the software. If you select Individual, you can use the tool buttons of each Vie wer to toggle Underscan and Overscan.

Rendering

 Destination Volume -

Enter the directory for saving rendered files. Double-click Va l u e to open an edit field (quit with a destination directory.

 Holdoff -

The value entered here defines the time in seconds, after which rendering should begin after the last processing step of an effect. If you enter 3 seconds, the system begins rendering 3 seconds after the effect was last processed.

ENTER), or click the “three dots” to browse for

Inputs/Outputs Tab

On this tab, you can configure the inputs and outputs.

(Recorders and players are assigned on the Player Settings > Connections tab.)

Video Inputs

 IEEE 1394 -

each available DV device is listed here with its manufacturer name and a number; if no device is connected, it says so: No device. The system receives this information directly from the Windows operating system, which in turn checks all i.Link (DV, Firewire, IEEE 1394) connections of the computer and on the breakout box, if connected. If more than one device is connected, you can select one. The device you select here that is controlled by the DV remote interface. It can be used in EZ Capture and in the Logging Tool for clip logging and capturing of AV data to the system’s hard disks. Please note: the software does not list DV interfaces but devices connected to an interface: a DV interface remains invisible until an operating DV device is connected.

Only for users of Avid Liquid versions equipped with analog signal inputs and outputs:

 Y/C -

PA L Setup: B,G,H or SECAM NTSC Setup: NTSC M or NTSC M-J; Hue

System Settings

is the one

 CVBS -

PA L Setup: B,G,H or SECAM NTSC Setup: NTSC M or NTSC M-J; Hue

 Component YUV -

see CVBS.

 Component RGB -

see CVBS.

Chapter Avid Liquid Installation

Video Outputs

 IEEE 1394 > Selected Device -

same functionality and setting as described above.

 IEEE 1394 > DV Output Format -

Select either DV or DVCPro 25 . If you want to output DV captured material via Record to Tape on a DVCPro device, you need to switch formats (and v.v.). Be aware that Timeline clips will be rendered to the other format before the recording can start.

 IEEE 1394 > MPEG output format -

These options are important for outputting MPEG2 video (HDV) via the IEEE-1394 interface. First select an output format that the connected device can record:

- Micro MV (PAL or NTSC frame rate)

- DVH S (25 or 30 fps)

- HD 1 or 2 (50 or 60; see remarks below)

- ProHD/25 or ProHD/30

The output interface is now ready. The following is a brief overview of the subsequent procedure: Call the Record to Tape module, check whether the correct recorder is selected, and click Start. The Time-

line Sequence is rendered in the format configured in the Timeline Properties. If this format is not supported by the selected recorder, an error message will appear. Select a different

Timeline format. Refer to the manual for your recorder to determine which formats (based on resolution, frame rate and interlacing) are permitted. It is generally best to configure a suitable format before beginning the Timeline editing process.

Following a tape query, recording begins. Because no image is displayed in the inlay and no sound is played via the sound card, it is recommended that you connect a monitor and speaker to the recorder (looped signal).

The recorder stops when the entire Sequence has been played.

HDV variants

In many ways, the HDV field is still under development. Standards have not yet been established, not even under specific names, and different manufacturers are pursuing different interests, even though they all refer to it as “HDV”.

As a rule of thumb, select HDV2 for a Sony device and HDV1 for a JVC device. Additional criterion: HDV1 for up to 1280x720 pixels; HDV2 is always 1440x1080. The numbers 50 and 60 refer to the (former) PAL and NTSC regions. If in doubt, test your devices using one of the two settings.

System Settings

 CVBS, Y/C and Component (with analog outputs only, depending on current video signal and

product) -

- Under Setup, you will find the NTSC and PAL modes;

- Loopthru ... This option applies (in the Logging Tool/EZ Capture) to the video display on a video monitor connected to the breakout box (Pro Box, MovieBox, AV/DV): If the LIVE output (“Monitor” icon on the taskbar) is set to Liquid: None, either the signal from the connected player (Loopthru = On) or from the standard color bars (Loopthru = Off ) can be displayed.

- Quarter resolution ... This option reduces the load on the USB interface by reducing the video signal to a quarter of its original resolution. Image quality is somewhat compromised. This option is recommended if, for example, only a USB-1.1 interface is available (generally, however, the USB-2.0 interface is recommended!).

 Component > Mode -

Avid Liquid PRO Box

- YUV (normal)

- YUV Progressive (non-interlaced full frames)

- RGB (RGB signal output)

- Y/C (Y and C separated on two connectors)

- Tr i pl e FB A S/ CV BS (identical CVBS signal on three connectors) .

: several options for the component output:

Chapter Avid Liquid Installation

Audio Inputs

 IEEE 1394/DV Embedded -

Here you can mute the incoming audio signals (On), provided that the player is not in play mode.

Audio Outputs

 Sound device > Selected Device -

If you have a choice here, select the sound card or driver that you would like to use for your sys-

tem’s audio output.

You may use high-quality audio cards based on the ASIO standard, e.g. for 5.1 or 7.1 sound.

Make sure that the ASIO version is 2.0 or higher.

For ASIO drivers, manufacturer-specific editing options are available that vary with regard to

their scope.

Normally, you will find your DirextX sound card or the sound chip on the motherboard here.

Many current models support 5.1 sound.

Your selection here will affect what you see in the Output Mapping of the Audio Editor.

 Digital > Mode -

Applies to

output via the optical digital audio interface.

Avid Liquid PRO Box

: Select either the SPDIF or ADAT mode that should be

FX Editors Settings

These settings influence the quality of effects, both in finished sequences and in the preview in the Effect Editors. Double-click the icon FX Editors Settings to open the dialog box.

Icon FX Editors

Settings

Please be aware that these settings apply only to rendered (Classic) effects. Realtime effects are not

affected by these parameters.

Render Quality Tab page 23

Preview Quality Tab page 23

System Tab page 24

Advanced Settings page 24

Render Quality Tab

Select either Best, High or Preview Quality for rendering effects. Preview delivers the fastest results, but

the lowest quality. Always use Best for masters.

FX Editors Settings

Preview Quality Tab

Use this tab to specify the quality of the effect preview display. Keep in mind that the system has to do a

lot of processing to display clips at maximum resolution. Therefore, clips in the effect preview display

may appear a bit jerky, especially if the effects are complex - even at maximum quality.

 If you choose Fast Preview First and Best Quality Last, the effect preview will first appear with a

low resolution. This gives you a quick look at the effect. Maximum resolution is then used for the final preview so that you can ultimately see the effect at maximum quality.

 Whether or not Fast Preview First and Best Quality Last can be selected depends on which pre-

view quality you selected. With Best, Best Quality Last is automatically selected. With Fast Pre- view, Fast Preview First is automatically selected. With High Quality, either Best Quality Last or Fast Preview First can be selected.

First click the required main preview quality: Best, High or Fast Preview and then the corresponding

options Best Quality Last or Fast Preview First.

Chapter Avid Liquid Installation

System Tab

 Video Draw Method - Bitmap (BMP) is the default setting. Other options are Video Driver, Vide o

for Windows and Bitmap (DIB).

 Image Cache Size - used for specifying cache size. Default setting: 64megabytes. If your system is

well equipped with RAM, increase the setting to achieve higher performance.

 Avid Liquid supports the MMX function of Pentium processors. If your computer can handle

MMX extensions, activate this function to increase system performance.

 SSE1/2 relates to a subset of Intel processor commands. If you’re using one or more SSE capable

CPU(s) in your system, check these options to enhance system performance.

Advanced Settings

Use Advanced Settings to fine tune effect rendering parameters. You should, however, edit these parameters only if you’re knowledgeable in the field of render mathematics. We recommend consulting specialized literature before you make any changes here, since a detailed description is beyond the scope of this reference manual.

Plug-In Settings

Icon Plug-In

Settings

To remove a plug-in directory, select the path and click Remove. If you remove a plug-in from the direc-

tory window, only the path to this plug-in is deleted and not the plug-in itself.

Use the Move Up and Move Down arrows to change the order of the paths in the plug-in directory win-

dow.

Whenever you add a plug-in or delete a plug-in from this directory window, you must restart Avid Liq-

uid in order for the changes to take effect. To save time, therefore, make several changes in a single proce-

dure before confirming your actions by clicking OK.

Once you have followed this procedure to add new plug-ins, Avid Liquid identifies each plug-in as either

a Transition Plug-In or a Clip Plug-In and stores it in the Project window on the

available in the PlugIn Racks and can be used like any other effect.

If no PlugIns have been registered, the mentioned Racks do not show.

Plug-In Settings

These settings are used for specifying which folder contains the additional video filters and video effects to be used with Avid Liquid. The plug-in files must be compatible with the “Adobe Premiere interface for plug-ins” (*.prm). Double-click this icon to open the Plug-In Settings dialog box.

Click Add and select the directory containing the plug-in you want to add. As soon as you confirm your selection by clicking OK, the path is entered in the plug-in directory window.

Library

tab. It is then

Chapter Avid Liquid Installation

Advanced Settings (FX) 24 AES/EBU

Audio Output (Player Settings) 12

Analog

Audio Input 16 Audio Output (Player Settings) 12

Audio

DV Embedded 15

Audio Reference Level

Adjusting 18

Auto (VITC/LTC, Player

Settings) 13

Capture Preroll 9 Component

Video Output (Player Settings) 12

Composite

see CVBS 16

Connections 15

see also Inputs/Outputs Audio DV Embedded Audio Inputs 16 Communication Port

(IEEE 1394)

Remote IEEE 1394 15 Video IEEE 1394 15 Video Inputs 16

Control Panel

Site Settings 2

CTL (Player Settings) 13 Customize

Site Settings 2

CVBS

Video Input (Connections) 16 Video Output (Player Settings) 12

Destination Volume

Rendering (System Settings) 18

Digital Audio

Player Settings 11

Embedded (Audio) 15

DV Output format

(System Settings) 20

D-VHS 20

Edit Delay 10 Effect

Render Quality 23

Effect Editors

Properties 23

Effect Settings

Advanced 24

Encoding delay 10

HDV (Output) 20 Hold Off (Rendering, System

Settings) 18

IEEE 1394

Audio Input 16 Interface (Connections) 15

Image Cache Size

(Render Options) 24

Inputs