Pinnacle Systems Media Composer - 4.0 Advanced Guide

Avid® Media Composer
®
make manage move | media
Avid
®
Legal Notices
Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc.
This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.
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Avid products or portions thereof are protected by one or more of the following European Patents: 0506870; 0515031; 0635188; 0674414; 0694243; 0705517; 0752174; 0857293; 0976108; 0988756; 1068723; 1068734; 1111910; 1173850;
1629675. Other patents are pending.
This document is protected under copyright law. An authorized licensee of Avid Media Composermay 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 Avid Media Composer. 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.
Copyright © 2009 Avid Technology, Inc. and its licensors. All rights reserved.
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:
Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc.
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.
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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:
Copyright (c) 1989 The Regents of the University of California. All rights reserved.
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.
Copyright (C) 1989, 1991 by Jef Poskanzer.
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.
Copyright 1995, Trinity College Computing Center. Written by David Chappell.
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.
Copyright 1996 Daniel Dardailler.
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.
Modifications Copyright 1999 Matt Koss, under the same license as above.
Copyright (c) 1991 by AT&T.
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.:
© 2006 Nexidia. All rights reserved.
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.
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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:
©1993–1998 Altura Software, Inc.
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/).
© DevelopMentor
This product may include the JCifs library, for which the following notice applies:
JCifs © Copyright 2004, The JCIFS Project, is licensed under LGPL (http://jcifs.samba.org/). See the LGPL.txt file in the Third Party Software directory on the installation CD.
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
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Pinnacle Studio MovieBoard, Pinnacle Systems, ProEncode, ProServices, ProSessions, Pro Tools, QuietDrive, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, RetroLoop, rS9, rS18, Salesview, Sci-Fi, Scorch, Scorefitter, ScriptSync, SecureProductionEnvironment, Session, Show Center, Sibelius, SIDON, Soft SampleCell, Soft-Clip Limiter, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, Sputnik, Starplay, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, Strike, Structure, Studiophile, SubCap, Sundance Digital, Sundance, Symphony, SYNC HD, SynchroScience, SynchroScope, Syntax, TDM FlexCable, Thunder, Titan, Titansync, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Torq, Torq Xponent, Transfuser, Trigger Finger, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Velvet, Venom, VideoRAID, Video Slave Driver, VideoSPACE, VideoSpin, Vortx, Xdeck, X-Form, Xmon, Xponent, and X-Session are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.
Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.
Footage
Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. 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.
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 Media Composer Advanced Guide • 0130-07986-01 • September 2009 • This document is distributed by Avid in online (electronic) form only, and is not available for purchase in printed form.
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Contents

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 1 Working with the Project Window: Advanced. . . . . . . . . . . . . . . . . . . . . 41
User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Managing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Guidelines for Project Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Managing Bins and Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Adjusting Automatic Saves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Using the Info Display to View Memory Information and
Access the Hardware Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Usage Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Displaying Usage Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Statistics File Structure and Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Importing the Statistics File into a Spreadsheet . . . . . . . . . . . . . . . . . . . . . . . . . 53
Displaying Disk Space Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Customizing the Avid User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Changing Interface Component Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Changing Button and Toolbar Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Using Interface Appearance Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
User-Customized Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
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Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Working with Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . 65
Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Sharing Only Bins in Avid Unity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Sharing Bins and Projects in Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Locks and Shared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Working with Locks and Shared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Restrictions and Limitations for Locked Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Suggestions for Improving Performance When Working with
Shared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Shared Bin and Project Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Shared Bin Lock Icon Limitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Drive Filtering in Networked Workflows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Chapter 2 Using Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Using a Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Deck Controller Window Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
The Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Understanding Button Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Mapping User-Selectable Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
The Blank Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Modifier Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Activating Commands from the Command Palette . . . . . . . . . . . . . . . . . . . . . . 81
Using the Avid Calculator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
The Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Displaying System Information in the Console Window . . . . . . . . . . . . . . . . . . 83
Reviewing a Log of Errors in the Console Window . . . . . . . . . . . . . . . . . . . . . . 83
Getting Information with the Console Window. . . . . . . . . . . . . . . . . . . . . . . . . . 83
Using the Console Window to Access Network Drives . . . . . . . . . . . . . . . . . . . 84
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Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Using Avid Log Exchange to Prepare Log Files for Import . . . . . . . . . . . . . . . . . . . . 87
Converting Log Files with Avid Log Exchange (Windows) . . . . . . . . . . . . . . . . . 88
Using Drag-and-Drop Conversion for Log Files (Windows) . . . . . . . . . . . . . . . . 91
Converting Log Files with Avid Log Exchange (Macintosh) . . . . . . . . . . . . . . . . 92
Using Drag-and-Drop Conversion for Log Files (Macintosh) . . . . . . . . . . . . . . . 94
Avid Log Exchange Stores ASC Color Decision List (CDL) Parameters . . . . . . 95
Log Formats Compatible with Avid Log Exchange. . . . . . . . . . . . . . . . . . . . . . . 95
Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Global Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Column Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Creating an Avid Log. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Double-Checking Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Tips for Logging Preroll, Logging Timecode, and Naming Tapes . . . . . . . . . . 108
Logging with Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Logging with Non-Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Understanding the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Film-Related Log Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Modifying the Pulldown Phase Before Capturing . . . . . . . . . . . . . . . . . . . . . . . 124
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . . . . . . . . . . 125
Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
9
Entering Additional Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Entering Ink Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Chapter 4 Capturing Media: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Advanced Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Selecting Settings for Capturing Across Timecode Breaks. . . . . . . . . . . . . . . 132
Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Preroll Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
General Settings for Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Settings for Film and 24p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Disabling Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Understanding Drop-Frame and Non-Drop-Frame Timecode . . . . . . . . . . . . . . . . 141
Preparing for Audio Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Creating Tone Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Resizing the Passthrough Mix Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . 143
Changing an Audio Level in the Passthrough Mix Tool. . . . . . . . . . . . . . . . . . 144
Adjusting Pan Values in the Passthrough Mix Tool. . . . . . . . . . . . . . . . . . . . . 145
Changing Audio Hardware Calibration Settings for Avid Adrenaline . . . . . . . 145
Calibrating Audio Input Channels for Avid Adrenaline . . . . . . . . . . . . . . . . . . 146
Calibrating Audio Output Channels for Avid Adrenaline . . . . . . . . . . . . . . . . . 147
Audio Hardware Calibration for Avid Nitris DX and Avid Mojo DX . . . . . . . . . 147
Using the Default Audio Calibration for Avid Nitris DX or Avid Mojo DX . . . . . 148
Using a Tone Generator to Calibrate Audio Input Channels for
Avid Nitris DX or Avid Mojo DX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Using an External Meter to Calibrate Audio Output Channels for
Avid Nitris DX and Avid Mojo DX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Using the Console Window to Check Audio Levels. . . . . . . . . . . . . . . . . . . . . 152
Preparing for Video Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Limitations When Using Consumer Decks or Decks Without
Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
10
Saving Calibration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . . . . . . . . 155
Adjusting Video Levels for Tapes Without Color Bars . . . . . . . . . . . . . . . . . . . 156
Using Capture Function Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Special Capture Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Logging Errors to the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Opening the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Considerations for Creating Subclips While Capturing . . . . . . . . . . . . . . . . . . 159
Creating Subclips While Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Creating Timed Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Understanding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Returning to the Previous Place in the Select Tape Dialog Box . . . . . . . . . . . 163
Understanding DV Capture Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
RS-422 Controlling a DV Device Configuration . . . . . . . . . . . . . . . . . . . . . . . . 164
FireWire Configuration Without Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
FireWire Configuration with Encoded Timecode . . . . . . . . . . . . . . . . . . . . . . . 164
Capture with No Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Capturing DV Material with Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Delaying Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Live Capture with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Preparing for Capturing with External Timecode . . . . . . . . . . . . . . . . . . . . . . . 167
Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . . . . . . . . . . 171
Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Selecting Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . 172
Enabling Remote Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Enabling Remote Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
11
Setting up Your System for Remote Punch-In. . . . . . . . . . . . . . . . . . . . . . . . . 174
Using Serial Drivers with Remote Play and Capture (Windows Only). . . . . . . 176
Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
DV and HDV Scene Extraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Setting Up DV and HDV Scene Extraction Before Capturing . . . . . . . . . . . . . 183
Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . . . . . . . 183
Using the Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Chapter 5 Importing Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Importing Single-Layer Photoshop Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . 188
Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Example of Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . 189
Support for Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . 191
Preserving Layer Effects in Multilayered Photoshop Graphics . . . . . . . . . . . . 192
Importing Multilayered Photoshop Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Restrictions on Importing Editcam Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Importing Sequences from Pro Tools through Interplay (Windows Only) . . . . . . . 195
Chapter 6 Working with Bins: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Advanced Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Film Scene Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Displaying Custom Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Saving a Custom Bin View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Sequence and Clip Information Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Creating a Summary of Effects and Source Information . . . . . . . . . . . . . . . . . 204
Understanding Sifting Timecodes or Keycode Ranges. . . . . . . . . . . . . . . . . . 207
Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
12
Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Selecting Sources Used by an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Selecting Unreferenced Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Text View: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Manipulating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Duplicating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Changing a Custom Bin Column Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Adding a Metadata Bin Column Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Tracking Frames Based on File Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Managing Clip Information in Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Modifiable Bin Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Using the Modify Command to Modify Data. . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Modifying Data with the Modify Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Copying Information Between Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Copying Information from Another Cell in a Custom Column. . . . . . . . . . . . . . 225
Selecting a Film Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Tracking 3-Perf Counts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Selecting an Edgecode Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Displaying Timecodes in a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . 228
Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . . . . 229
Adding Timecode Values to the Timecode Columns . . . . . . . . . . . . . . . . . . . . 229
Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Displaying or Outputting Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Editing with Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Disassociating Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Viewing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
13
Changing Restriction Comments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Searching the Database for Restrictions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Digital Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Importing Color Bars and Other Test Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Leaders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Chapter 7 File Based Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Sony XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Sony XDCAM EX Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
XDCAM and XDCAM EX Formats and Resolutions . . . . . . . . . . . . . . . . . . . . 246
Working with XDCAM HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Installing the XDCAM Drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Connecting the XDCAM or XDCAM EX Device . . . . . . . . . . . . . . . . . . . . . . . 247
Ejecting an XDCAM EX Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Panasonic P2 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Panasonic P2 Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
P2 Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Installing the Panasonic P2 Drivers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Preparing to Mount P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Setting up a P2 Card Reader (Windows only). . . . . . . . . . . . . . . . . . . . . . . . . 251
Mounting P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Copying P2 Files to a FireWire or Network Drive . . . . . . . . . . . . . . . . . . . . . . 253
Changing P2 Cards in the Card Reader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Sharing P2 Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Working with Spanned Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Ikegami GFCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
GFCAM Formats and Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
GFCAM Files and Folders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Connecting the GFPAK Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Spanned Clips and GFCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Copying GFCAM Files to a FireWire or Network Drive . . . . . . . . . . . . . . . . . . 258
14
The Avid Media Access (AMA) Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Selecting the AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Viewing Installed AMA Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Understanding Linking with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Linking Media with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Using Virtual Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Virtual Volumes and AMA Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Workflow for Editing XDCAM and XDCAM EX Clips with AMA . . . . . . . . . . . . 264
Workflow for Editing P2 Clips with AMA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Workflow for Editing GFCAM Clips with AMA . . . . . . . . . . . . . . . . . . . . . . . . . 266
Working with Shot Marks and Check Marks with GFCAM Media . . . . . . . . . . 267
Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Import and Export Workflow for File-Based Media . . . . . . . . . . . . . . . . . . . . . . . . . 268
Setting XDCAM Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Importing XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Importing XDCAM EX Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Automatically Importing Proxy Media from an XDCAM Device . . . . . . . . . . . . 273
Importing Proxy Media from an XDCAM Disc . . . . . . . . . . . . . . . . . . . . . . . . . 275
Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . . . . . . . . . . 276
Manually Importing XDCAM Media from the XDCAM Disc . . . . . . . . . . . . . . . 276
Importing Essence Marks as Locators in XDCAM Media. . . . . . . . . . . . . . . . . 277
Editing XDCAM Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Batch Importing High-Resolution XDCAM Media from the
XDCAM Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Editing and Finishing High-Resolution XDCAM Media. . . . . . . . . . . . . . . . . . . 281
Exporting Media to XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Exporting to XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Workflow for Editing with P2 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Changing P2 Cards in the Card Reader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Importing P2 Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Dragging P2 Master Clips from the Media Tool to a Bin . . . . . . . . . . . . . . . . . 287
Exporting Your Clip or Sequence to a P2 Card . . . . . . . . . . . . . . . . . . . . . . . . 289
15
Chapter 8 Managing Media Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Relink Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Relinking and New Project Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Relinking Clips to a New Project Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Relinking by Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Relinking Consolidated Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Relinking Moved Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Videotapes for Archiving and Restoring Media Files . . . . . . . . . . . . . . . . . . . . . . . 301
Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Restoring an Archive from Videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Sequence and Clip Information Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Chapter 9 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Lined Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Lined Script Symbols. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Script Window Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Selecting Text Encoding for Scripts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Opening, Closing, and Saving the Script Window. . . . . . . . . . . . . . . . . . . . . . 317
Displaying Clip and Sequence Information in a Script Window. . . . . . . . . . . . 318
Exploring the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Working with Script Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Changing the Font Used in Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Selecting Text in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
16
Cutting, Copying, and Pasting Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Using Page and Scene Numbers in the Script Window . . . . . . . . . . . . . . . . . . 322
Conducting a Text Search in the Script Window . . . . . . . . . . . . . . . . . . . . . . . 324
Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Working with Slates in the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Resizing Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Holding Slates On Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Hiding Slate Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Showing One Take Per Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Working with Takes in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Changing the Representative Frame for a Take . . . . . . . . . . . . . . . . . . . . . . . 332
Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Playing Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Indicating Off-Screen Dialog in a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Using Color Indicators in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Using Real-Time Screening and Marking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Marking with ScriptSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Loading and Playing Marked Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Moving a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
17
Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Finding Clips and Bins from the Script Window. . . . . . . . . . . . . . . . . . . . . . . . 342
Editing From the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Assembling a Rough Cut From the Script Window . . . . . . . . . . . . . . . . . . . . . 343
Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Interactive Screenings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Chapter 10 Viewing and Marking Footage: Advanced . . . . . . . . . . . . . . . . . . . . . . . 347
Using the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Using the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Playing Selected Clips in a Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Suggested Uses for Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Adding Locators On-the-Fly while Playing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Finding Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Editing Locator Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Copying Locators from Source Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Marking an Area Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Moving to the Previous or Next Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Using the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Viewing Locators in the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Working in the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Exporting and Importing Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Creating a Locator Text (.txt) File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Copying and Pasting Locators Using the Locators Window . . . . . . . . . . . . . . 363
Printing the Contents of the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . 364
Disabling the Locator Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
18
Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Creating a Summary of Effects and Source Information. . . . . . . . . . . . . . . . . . . . . 368
Chapter 11 Creating and Editing Sequences: Advanced. . . . . . . . . . . . . . . . . . . . . 373
User Preferences for Creating Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Enabling Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Adding Comments to Sequence Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Playback Performance Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Understanding Autosyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Creating an Autosynced Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
AutoSequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Understanding AutoSequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Adding Audio to Original Videotape Using AutoSequence. . . . . . . . . . . . . . . . 381
Resyncing Subframe Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Understanding Subframe Resyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Resyncing Audio for a Selected Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Managing Sync with Multiple Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Understanding Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Sync Point Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Using MetaSync to Synchronize Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Chapter 12 Using the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Timeline Views: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Displaying the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Changing the Timeline Background or Track Color . . . . . . . . . . . . . . . . . . . . . 391
Showing Locators in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Setting the Scroll Option for the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
19
Navigating in the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Advanced Timeline Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Bin Editing Directly into a Sequence Using the Keyboard. . . . . . . . . . . . . . . . 396
Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Editing in Heads or Heads Tails View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Performing a Quick Edit Using the Top and Tail Commands . . . . . . . . . . . . . 399
Add Edit (Match Frame) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Adding a Match-Frame Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Adding Edits to Filler Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Removing Match-Frame Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Dupe Detection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Activating Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Methods for Changing Handle Length in Dupe Detection . . . . . . . . . . . . . . . . 403
Adjusting Handle Length in Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Tracking Color Frame Shifts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Chapter 13 Working in Trim Mode: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Adding Black When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Trimming with Sync-Locked Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Lassoing Segments for Slip or Slide Trimming . . . . . . . . . . . . . . . . . . . . . . . . 415
The Four-Frame Slip/Slide Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Performing a Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Slipping Shots in Source/Record Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Using the Transition Corner Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
20
Chapter 14 Working with Audio: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . 422
Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . 423
Viewing Clip Gain and Automation Gain Values . . . . . . . . . . . . . . . . . . . . . . . 424
Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Adjusting Volume While Playing a Clip Gain Effect . . . . . . . . . . . . . . . . . . . . . 424
Improving Response Time When Adjusting Volume . . . . . . . . . . . . . . . . . . . . 425
Using External Fader Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Adjusting the Volume of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . 429
Adjusting the Pan of Individual Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Using an External Fader Controller or Mixer to
Record Automation Gain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Using the Digi 002 and the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Using the Digi 002 with Avid Input/Output Hardware (Windows Only). . . . . . . 432
Using the Command|8 with Your Avid Editing System. . . . . . . . . . . . . . . . . . . 433
Configuring the Digi 002 or Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Mapping Buttons and Menu Commands for the Digi 002 or
Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Button Layouts on the Digi 002 and Command|8. . . . . . . . . . . . . . . . . . . . . . . 437
Viewing Different Controller Button Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Mapping Controller Menu Commands for the Digi 002 or
Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Using Digi 002 or Command|8 Buttons to Change Focus in the
Avid Editing Application Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Using a Foot Pedal as a Foot Switch with the Digi 002 or
Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Switching Between the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . . . . . 439
Using a Digi 002 or Command|8 to Record Automation Pan . . . . . . . . . . . . . . 440
Using the Latch Mode Feature on the Digi 002 and Command|8 . . . . . . . . . . 440
Configuring USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . . . . 441
Installing USB-to-MIDI Software (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Installing USB-to-MIDI Software (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . 443
Testing External Fader Controller Connections . . . . . . . . . . . . . . . . . . . . . . . . 443
21
Switching Between MIDI Connections on the
USB-to-MIDI Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Troubleshooting MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Using the FaderMaster Pro and MCS-3000X. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Using the Snap Mode Feature on the MCS-3000X. . . . . . . . . . . . . . . . . . . . . 448
Ganging Faders on the FaderMaster Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Using the Yamaha 01V/96 or the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Initializing the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . 449
Configuring the Yamaha 01V/96 or Yamaha 01V to
Recognize Control Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Starting the Avid System with the Yamaha 01V/96 or the
Yamaha 01V Attached . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Switching Between Audio Mixing and Gain Recording with the
Yamaha 01V/96 and Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Operating the Yamaha 01V/96 and Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . 452
Soloing Avid System Channels with the Yamaha 01V/96 and
Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Removing Audio EQ Effects with the Fast Menu. . . . . . . . . . . . . . . . . . . . . . . 459
Removing Audio EQ Effects with the Remove Effect Button. . . . . . . . . . . . . . 460
Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Small Octave Range Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Creating Your Own Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Adding an EQ Template to the Audio EQ Tool Fast Menu . . . . . . . . . . . . . . . 465
Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 465
22
Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Connecting Voice-Over Recording Hardware . . . . . . . . . . . . . . . . . . . . . . . . . 467
Understanding the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Audio Punch-in Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Audio Punch-in Tool Scenarios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Recording Voice-Over Narration Using Audio Punch-in. . . . . . . . . . . . . . . . . . 470
Monitoring Previously Recorded Tracks While Recording
Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Using Peak Hold While Recording Voice-Over Narration . . . . . . . . . . . . . . . . 473
Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 473
Understanding GPI Trigger Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
GPI Signal Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Example of Linking GPI Actions to Trigger Signals . . . . . . . . . . . . . . . . . . . . . 475
Connecting a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . . 476
Configuring a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . . 476
Working with GPI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Creating a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Editing a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Deleting a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Displaying Audio Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Chapter 15 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Understanding Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
AudioSuite Plug-Ins Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . . . . . . . . . . 483
Using an AudioSuite Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Rendering AudioSuite Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Creating New Master Clips with AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . 486
AudioSuite Controls for Creating New Master Clips. . . . . . . . . . . . . . . . . . . . . 487
Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins . . . . . . . . 489
Using AudioSuite Plug-ins to Create New Master Clips. . . . . . . . . . . . . . . . . . 490
23
Using AudioSuite Effect Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
AudioSuite Plug-in Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
BF Essential Clip Remover AudioSuite Plug-in. . . . . . . . . . . . . . . . . . . . . . . . 496
Bomb Factory BF76 AudioSuite Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Chorus AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
D-Verb AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Compressor AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Limiter AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Expander-Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
DeEsser AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Compressor/Limiter III (Dynamics III) AudioSuite Plug-In . . . . . . . . . . . . . . . . 506
Expander/Gate III (Dynamics III) AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . 510
DeEsser III (Dynamics III) AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . 512
EQ AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Flanger AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Funk Logic Mastererizer AudioSuite Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Invert AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Duplicate AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Delay AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Multi-Tap Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Normalize AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
Gain AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Ping-Pong Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Reverse AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
DC Offset Removal AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Signal Generator AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Time Compression Expansion AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . 525
24
Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Time Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Non-Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Chapter 16 Exporting Frames, Clips, or Sequences and
Transferring Material: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Exporting With the Send To Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Exporting Using Send To DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
Exporting Using Send To Digidesign Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . 539
Exporting Using Send to DVD Authoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
Exporting Using Send to DVD One Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Exporting Using Send to Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Exporting Using Send To Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Creating a Custom Send To Template for Exporting to
Third-Party Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Exporting Through OMF Interchange. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . . . . . . . . . . 553
Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Guidelines for Exporting AAF Files to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 557
Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . . 558
Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Exporting As a QuickTime Reference Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Using Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
Exporting As an AVI File (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . . 571
Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . . 573
Exporting as Windows Media (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Exporting as Windows Media Using an Avid Supplied Template
(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Exporting as Windows Media Using an Existing Windows Media Profile
Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
25
Creating a Custom Video Profile for Windows Media Export
(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
Creating a Custom Audio Profile for Windows Media Export
(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Exporting as Windows Media Using a VC1 Resolution. . . . . . . . . . . . . . . . . . 580
Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Exporting Frames As Graphic Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Chapter 17 Generating Output: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Using Test Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
Calibrating the System with Passthrough Signals. . . . . . . . . . . . . . . . . . . . . . 588
Using an XLR Adapter for Consumer-Level Analog Output. . . . . . . . . . . . . . . . . . 589
Using the Digital Cut Tool: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device. . . . . . . . 592
Selecting Output and Timecode Formats for 23.976p, 24p, and
25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Selecting Output Formats for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . 594
Output Format Reference for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . 594
Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously
for Downstream Encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Indicating the Destination Timecode Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Selecting the Video Pulldown Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Digital Cuts and Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . . . . . . . 601
Understanding DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Delaying the Sequence for a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Using EDL Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Understanding Matchback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
26
Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Vertical Blanking Interval Line Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Displaying and Preserving Vertical Blanking Information. . . . . . . . . . . . . . . . . 606
Editing a Sequence with Vertical Blanking Information . . . . . . . . . . . . . . . . . . 608
Effects of Preserving Vertical Blanking Information on Compressed
Video Quality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Comparison with Vertical Blanking Information on Meridien Systems . . . . . . . 609
Preserving HD Closed Captioning and Ancillary Data . . . . . . . . . . . . . . . . . . . . . . 610
Controlling Ancillary Data through a Settings Window . . . . . . . . . . . . . . . . . . . 611
Controlling Ancillary Data with a Console Command. . . . . . . . . . . . . . . . . . . . 613
Chapter 18 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . 615
Creating Group Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Full-Monitor Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Quad Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Nine Split Source View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Real-time Playback in MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Limitations on Playback of MultiCamera Media . . . . . . . . . . . . . . . . . . . . . . . . 624
MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Switching Clips with the Arrow Keys During Multicamera Editing . . . . . . . . . . 625
Numeric Keypad and Mouse Support for MultiCamera Editing . . . . . . . . . . . . 626
Editing and Playing Back a Linecut in MultiCamera Mode. . . . . . . . . . . . . . . . 627
Using the Add Edit Button During Multicamera Editing . . . . . . . . . . . . . . . . . . 627
Understanding the Group Menu for Multicamera Editing . . . . . . . . . . . . . . . . . 628
Using the Group Menu for Multicamera Editing . . . . . . . . . . . . . . . . . . . . . . . . 629
Using the Multi-angle View Menus During Multicamera Editing. . . . . . . . . . . . 629
Using Match Frame in MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Committing MultiCamera Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
27
Chapter 19 Using Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Viewing Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
AMA Settings: Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
AMA Settings: Volume Mounting Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Audio Projects Settings: Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Audio Project Settings: Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Audio Project Settings: Effects Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 658
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659
Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661
Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Capture Settings: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Capture Settings: DV & HDV Options Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666
Composer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666
Composer Settings: Window Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666
Composer Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Composer Settings: FF/REW Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Composer Settings: MultiCam Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
28
Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Correction Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Dynamic Relink Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682
Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682
Export Settings: QuickTime Reference Options. . . . . . . . . . . . . . . . . . . . . . . . 683
Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . 686
Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 688
Export Settings: QuickTime Compression Settings . . . . . . . . . . . . . . . . . . . . . 689
Export Settings: HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Export Settings: OMFI, AAF, and AFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Export Settings: AVI (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695
Export Settings: AVI Video Compression (Windows Only) . . . . . . . . . . . . . . . 697
Export Settings: Windows Media Export Options (Windows Only) . . . . . . . . . 698
Windows Media Legacy Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Existing Windows Media Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699
Windows Media Options Video Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699
Custom Profile Audio Settings for Windows Media Export. . . . . . . . . . . . . . . . 701
Export Settings: Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Export Settings: Graphic Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
P2 Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
Export Settings: XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Film and 24P Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712
29
Grid Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
Grid Settings: Coordinates Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
Grid Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Import Settings: OMFI/AAF Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719
Import Settings: Shot Log Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719
Import Settings: Audio Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 720
Import Settings: XDCAM Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Interface Settings: Appearance Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723
Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Interplay Server Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726
Interplay User Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726
Keyboard Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727
Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
Media Creation Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
Media Creation Settings: Drive Filtering & Indexing Tab. . . . . . . . . . . . . . . . . 729
Media Creation Settings: Capture Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Media Creation Settings: Titles, Import, and
Mixdown & Transcode Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730
Media Creation Settings: Motion Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . 730
Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731
Media Creation Settings: Media Type Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 732
Media Services Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732
Mouse Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735
Safe Colors Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737
Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738
Sound Card Configuration Settings
(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739
30
Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740
Timeline Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740
Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741
Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741
Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742
Trim Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742
Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744
Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744
Video Output Tool Settings: Options Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745
Video Output Tool Settings: SD Cal Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747
Video Output Tool Settings: HD Cal Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749
Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751
Chapter 20 File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
Specifications for Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754
Import Specifications for Supported Graphics File Formats. . . . . . . . . . . . . . . 754
Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Frame Size for Imported Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759
Specifications for Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
Specifications for Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761
Understanding MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761
Specifications for Importing OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Working with BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763
BWF Information Displayed in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Importing, Syncing, and Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . 765
Importing Multi-Channel Broadcast Wave (BWF) Files . . . . . . . . . . . . . . . . . . 767
Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Chapter 21 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . 771
Compression and Avid Editing Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771
Monitor Display Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772
31
Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
Resolution Specifications: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
Resolution Specifications: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
Resolution Specifications: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . . . . . 777
Resolution Specifications: Multicam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777
Resolution Specifications: Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . . . . 778
Resolution Specifications: MPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779
Resolution Specifications: VC1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779
Resolution Specifications: AVC-Intra. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781
Support for Uncompressed HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782
Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783
Resolution Groups and Image Quality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783
Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784
Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784
Estimated Storage Requirements: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785
Estimated Storage Requirements: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . 787
Estimated Storage Requirements: JFIF Progressive . . . . . . . . . . . . . . . . . . . 790
Estimated Storage Requirements: DV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Estimated Storage Requirements: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Maximizing Drive Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
Managing Storage to Improve Playback Performance. . . . . . . . . . . . . . . . . . . . . . 794
Chapter 22 Working in a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
Understanding 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
Understanding 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796
Planning a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797
24p Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output. . . . . 797
Offline Workflow: 24-fps Film Source, SDTV Transfer . . . . . . . . . . . . . . . . . . 799
Online Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output. . . 800
24p Workflow: 24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801
Offline Workflow: 24-fps Film or HDTV Source SDTV Downconversion . . . . . 803
Online Workflow: 24-fps Film or HDTV Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
32
25p Workflow: 25-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805
Offline Workflow: 25-fps Film or HDTV Source,
SDTV Downconversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807
Online Workflow: 25-fps Film or HDTV Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808
Audio Transfer Options for 24p PAL Projects . . . . . . . . . . . . . . . . . . . . . . . . . 809
Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809
Creating a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810
Tools and Settings Information for 23.976p Projects . . . . . . . . . . . . . . . . . . . . 811
23.976 Workflow: 23.976-fps Film Transfer or HD Video Source,
SDTV Downconversion, Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . 811
Offline Workflow: 23.976-fps Film Transfer or HDTV Source,
SDTV Downconversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814
Online Workflow: 23.976-fps Film Transfer or HDTV Source,
SDTV Downconversion, Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . 815
NTSC Audio and Video Captured Separately (23,976p Project) . . . . . . . . . . . 816
Limitations for 23.976p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817
Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817
Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818
Viewing Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819
Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820
Video Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821
Understanding the Film-to-Tape Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . 822
Transfer of 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822
Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823
Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823
Stage 2: Capturing at 24 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 825
Transfer of 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 826
PAL Method 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827
PAL Method 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828
How Avid Editing Applications Store and Display 24p and 25p Media . . . . . . . . . . 829
Film-to-Tape Transfer Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831
Film-to-Tape Transfer Quality Options and Production Aids. . . . . . . . . . . . . . . . . . 831
33
Chapter 23 Working with Stereoscopic Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . 833
Acquiring Stereoscopic Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834
Setting Up Your System For Viewing Stereoscopic Material in
Three Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834
Displaying Stereoscopic Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
Considerations When Working with Stereoscopic Material . . . . . . . . . . . . . . . . . . 838
Chapter 24 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841
High-Definition Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842
HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
HD Workflow: Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . 843
Offline Workflow: 24-fps Film Source for HDTV . . . . . . . . . . . . . . . . . . . . . . . 845
Online Workflow: 24-fps Film Source for HDTV . . . . . . . . . . . . . . . . . . . . . . . 846
HD Workflow: Video-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . 847
HD Workflow: Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . 849
Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850
Understanding Options for Changing the Project Format . . . . . . . . . . . . . . . . 850
Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852
Understanding Options for Modifying the Sequence Format. . . . . . . . . . . . . . 852
Converting a 23.976p NTSC Sequence to 720p/23.976 . . . . . . . . . . . . . . . . . 852
Mixing SD and HD Material in a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853
Displaying Formats in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854
Editing at 60 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854
Working with True 24 FPS Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855
Transcoding HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855
Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855
Working with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855
Understanding HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856
HDV Basic Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857
Capturing and Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858
Capturing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858
Importing HDV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859
Playing Back HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859
Rendering and Transcoding HDV Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 860
34
Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 860
Long-GOP Splicing for HDV Encoding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861
Exporting to an HDV Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861
Outputting HDV through Avid Input/Output Hardware . . . . . . . . . . . . . . . . . . . 862
Exporting an HDV Transport Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 863
Exporting HDV as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 863
Finishing HDV on Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865
Chapter 25 International Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867
Using a Local Language Operating System
(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867
Choosing a Locale on an English Language Operating System
(Windows and Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868
Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868
Setting the Language in System Preferences (Macintosh) . . . . . . . . . . . . . . . 869
Specifying the Language in the Get Info Dialog Box (Macintosh) . . . . . . . . . . 871
Non-English Character Support (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 872
Using Foreign Keyboard Mapping (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 875
Recommendations and Restrictions for International Character Support . . . . . . . . 876
Avid Supports English Plus One Locale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876
Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . . . . . . . . . . 876
Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . . . . . . . . . . 877
EDL Manager Does Not Save Diacritical Marks or
Chinese Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878
Traditional Chinese Big 5 Character Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878
Rebuilding the asifont.map File (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . 878
Tips and Limitations for International Character Support . . . . . . . . . . . . . . . . . . . . 879
Creating Vertical Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879
Additional Tips and Limitations for Working with
International Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
35
Chapter 26 Using the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881
Configuring the MCS3 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881
Using the Default Button Mappings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882
Mapping MCS3 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884
Configuring a Shifted Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885
Customizing the Maximum Jog Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 886
Customizing the Maximum Shuttle Speed. . . . . . . . . . . . . . . . . . . . . . . . . . . . 886
Creating Multiple Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887
Moving Through Footage with the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . 887
Using the MCS3 for Editing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 888
Troubleshooting the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 891
36

Using This Guide

This guide contains all the advanced task-oriented instructions and conceptual information you need to use the capture, editing, and output features of your Avid editing application, as well as information about file format specifications, and other supplementary information. The Basics Guide for your Avid editing application is a companion to this Advanced Guide. It contains all the basic task-oriented instructions and conceptual information you need to get started using the product. The contents of this guide and of the Basics guide are also available in the Help.
This guide is intended for all users, from beginning to advanced.
Unless noted otherwise, the material in this document applies to the Windows Windows Vista document were captured on a Windows system, but the information applies to both Windows and Mac OS X systems. Where differences exist, both Windows and Mac OS X screen shots are shown.
The documentation describes the features and hardware of all models and applies to both
n
the Windows and Mac OS X operating systems. Your system might not contain certain features and hardware that are covered in the documentation, and might not be available on both Windows and Mac OS X.
®
, and Mac OS® X operating systems.The majority of screen shots in this
®
XP,

Symbols and Conventions

Avid documentation uses the following symbols and conventions:
Symbol or Convention Meaning or Action
n
c
w
> This symbol indicates menu commands (and subcommands) in the
(Windows), (Windows only), (Macintosh), or (Macintosh only)
Bold font Bold font is primarily used in task instructions to identify user interface
Italic font Italic font is used to emphasize certain words and to indicate variables.
Courier Bold font
A note provides important related information, reminders, recommendations, and strong suggestions.
A caution means that a specific action you take could cause harm to your computer or cause you to lose data.
A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.
order you select them. For example, File > Import means to open the File menu and then select the Import command.
This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.
This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X.
items and keyboard sequences.
Courier Bold font identifies text that you type.
38
Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the
mouse action. For example, Command+Option+C or 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 are shipped 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 www.avid.com/readme.
3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues.
If You Need Help
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 Online Library for your Avid editing application contains all the product documentation in PDF format, including a Master Glossary of all specialized terminology used in the documentation for Avid products.
The Online Library for your Avid editing application is installed along with the application itself.
You will need Adobe® Reader® to view the PDF documentation online. You can download
n
the latest version from the Adobe web site.
39
To access the Online Library, do one of the following:
t From your Avid editing application, select Help > Online Library
t (Windows only) From the Windows desktop, select Start > All Programs > Avid > Avid
editing application > Online Library
t Browse to the Online Library folder, and then double-click the MainMenu file.
The Online Library folder is in the same location as the application itself, for example:
(Windows) C:\Program Files\Avid\Avid editing application\Online Library
(Macintosh) MacintoshHD/Applications/Avid editing application/Online Library

Accessing the Goodies Folder

Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application.
The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process. Avid is not responsible for the manufacture, support, or sales of these products. Avid is also not responsible for any loss of data or time, or any other adverse results related to the use of these products. All risks of using such products or accessing such Web sites are entirely your own. The Web sites listed in the Goodies folder are not under the control of Avid, and Avid is not responsible for their content, any changes or updates to them, or the collection of any personal data or information by the operators of such Web sites. All information and product availability is subject to change without notice.

Avid Training Services

Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment.
To learn about Avid's new online learning environment, Avid Learning Excellerator™ (ALEX), visit http://learn.avid.com.
For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
40
1 Working with the Project Window:
Advanced
The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
The following topics describe advanced features of the Project window:
User Profiles
Managing User Profiles
Folders and Bins
Using the Info Display to View Memory Information and Access the Hardware Tool
Usage Information
Customizing the Avid User Interface
User-Customized Workspaces
Working with Bins and Projects in an Avid Unity Environment
For basic information about the project window, see “Working with the Project Window: Basics” in the Help or the Basics Guide for your Avid editing application.
1 Working with the Project Window: Advanced

User Profiles

You can establish different profiles for a single user. User profiles allow you to switch between settings without having to log out of your system and log back in under a different user name.
User profiles allow you to establish separate settings for different editing functions. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on.
Each user profile is stored in settings files within a folder, as described in “Understanding the Avid Projects and Avid Users Folders” in the Help. User profile folders are kept in the following folder:
(Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users\UserName
(Windows Vista) drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName
(Macintosh) /Users/Shared/Avid editing application/Avid Users/UserName
You can work with user profiles in the following ways (for step-by-step procedures, see
“Managing User Profiles” on page 43):
42
Create new user profiles
Switch between user profiles
Return to the original user profile
Import settings from another user or user profile
Create a user profile on one system, export it to a server, and then import the same user profile from another system to the new system.
When you export a user profile, you can select either a Personal or Group profile.
- When you select Personal, the user profile performs an auto-load and an auto-save
every time you open a project. Every time the user profile is updated, it saves the new profile information. For example, you can create the user profile Jennie on one system, export it to another location (a server), and then import it to a different system. Any time you change the Jennie user profile, it updates to the server and when you open the Jennie user profile on either system, it uses the most updated Jennie user profile.
- When you select Group, the user profile auto-loads but it does not auto-save.
Changes made to the user profile only affect the system on which the changes were made. The changes do not update to the server.
When exporting User Profiles in an Avid Unity™ environment, make sure the workspace
User Profile Selection menu
Project window title bar
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containing the user profile has the same drive letter on all systems.
Cross-platform (Macintosh to Windows or Windows to Macintosh) user profiles can not be
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shared.
Update a user profile with the Update User Profile option, which lets you add user settings, such as the Send To settings options, to an existing Settings list.
For example, if you are upgrading to a version of your application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list.

Managing User Profiles

To create a user profile:
1. Click the Settings tab in the Project window.
Managing User Profiles
2. Click the User Profile Selection menu, and select Create User Profile.
The Create User Profile dialog box opens.
3. Type a name in the Profile Name text box, and then click OK.
The new user profile appears selected in the menu, and the user profile name appears in the Project window title bar.
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1 Working with the Project Window: Advanced
To import user settings from another user or user profile:
1. Click the Settings tab in the Project window.
2. Click the User Profile Selection menu, and select another user profile.
3. The new user profile name appears in the Project window title bar.
To return to the original user profile:
1. Click the Settings tab in the Project window.
2. Click the User Profile Selection menu, and select the default user profile.
If you are using a user profile other than the default and you change to another project, the
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default user settings are loaded, even though the Project window still displays your non-default user profile name. You must reselect the user profile you want to have active.
To import user settings from another user or user profile:
1. Click the Settings tab in the Project window.
2. Click the User Profile Selection menu, and select Import User or User Profile.
3. Navigate to the user or user profile you want to import.
To export user settings to another user or user profile:
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1. Click the Settings tab in the Project window.
2. Click the User Profile Selection menu, and select Export User or User Profile.
3. Select Personal or Group.
4. Navigate to the location where you want to place the user or user profile.
5. Click OK.
To update user profiles:
1. Click the Settings tab in the Project window.
2. Click the User Profile Selection menu, and select Update User Profiles.
Any settings that have been added to the upgraded version of the application now appear in the Settings list.
To delete a user profile from your desktop:
1. Navigate to the Avid Users folder, and then select the user folder you want to delete.
For information about the location of the Avid folders, see “Using the Avid Projects and the Avid Users Folders” in the Help.
2. Do one of the following:
t (Windows) Press the Delete key, then click OK in the dialog box that appears.
t (Macintosh) Drag the folder to the Trash.
3. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system.
4. Close the windows, and restart your Avid editing application.
The deleted user no longer appears in the Select Project dialog box.

Folders and Bins

You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure provides both simplicity and backup security. You can also manage system memory usage, and specify how often your Avid editing application saves bins automatically.

Guidelines for Project Organization

Although the specifics can vary depending on your production needs and habits, the basic principles of project management are as follows:
Folders and Bins
Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene.
Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as follows:
- Create a set of bins for the capture stage.
For example, you can create one bin for each source tape or each day’s worth of dailies transfers to be captured to avoid slowing the system with large bins and causing confusion between tapes.
- Create a second set of bins for organizing your project.
For example, you can create a separate bin for each segment of a video project or each scene of a 24p project, depending on the preferences of the editor.
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1 Working with the Project Window: Advanced
Project folder
Folders containing bin files
Bin files
Settings file Project file
- Create a third set of bins for the editing stage, including:
A current cut bin for storing each work in progress (sequence)
An archive bin for keeping the original version of each cut (sequence)
A selects or storyboard bin for screening selected clips or cuts gathered from the source bins
A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown
(Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each capture bin and show cut bin, or a folder to contain all shot logs to be imported.
Save these files as templates for future productions of a similar nature.
A sample template of bins for a project is shown below.
This hierarchy allows you to have one set of bins available in the Project window during capture and organizing, and another set of bins available during editing to reduce clutter.
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Creating a Folder in a Project

To create a folder in a project:
1. Click the Bins tab in the Project window.
2. Click the Fast Menu button, and select New Folder.
A new untitled folder appears.
3. Click the untitled folder name in the Bins list and rename it.

Managing Bins and Memory

System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance.
In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%. If you exceed the recommended usage, a dialog box opens informing you that your memory usage is high and recommending that you should close some bins and save your project.
If your system is running low on memory and you need to free up memory, you can either close your bins or use the Clear Memory button. If you close your bins, some of your memory remains unavailable until you exit the application because the online master clips remain in memory. The Clear Memory button, however, closes and saves all of your open bins and clears out any cached data of the online master clips.
Folders and Bins
Bins containing sequences use more memory than bins containing master clips. For bins that contain a large number of sequences, you can free up memory and still keep your old sequences. Create an archive bin and move older sequences that you do not use anymore to the archive bin. Keep the archive bin closed.
To free up memory:
1. Click the Info tab of the Project window.
2. Click the Clear Memory button.
A dialog box opens asking if you want to close and save all opened bins.
3. Click OK.
This operation deletes cached data for the online master clips only. Memory might also be used by other parts of the application and will not be reduced by using the Clear Memory button.
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1 Working with the Project Window: Advanced

Saving Bins Automatically

Your Avid editing application automatically saves changes to your work on a regular basis during each session. You can modify the frequency of the automatic backups by using the Bin settings in the Project window Settings list.
When you are working with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar. The asterisk (Windows) or diamond (Macintosh) indicates that the changes to the bin have not been saved. After you save the bin, the asterisk (Windows) or diamond (Macintosh) is removed.
When autosave occurs:
Any open bins are updated with changes made since the last autosave.
Copies of these bins are placed in the project’s backup bin folder:
- (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid
editing application\Avid Attic folder
- (Windows Vista) drive:\Users\Public\Public Documents\Avid editing
application\Avid Attic folder
- (Macintosh) /Users/Shared/Avid Attic folder
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The system automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder. The procedure for recovering bin files from the Avid Attic folder is described in “Retrieving Files from the Attic Folder” in the Help.
For added security, you can save bins manually — for example, immediately after an important edit. For more information, see “Saving Bins Manually” in the Help.

Using the Info Display to View Memory Information and Access the Hardware Tool

Info tab

Adjusting Automatic Saves

To adjust the frequency of automatic saves:
1. In the Project window, click the Settings tab, and then double-click Bin.
The Bin Settings dialog box opens.
2. Type a number in the Auto-Save interval text box.
3. Click OK.
Setting to zero the maximum number of files stored in the Avid Attic folder as well as the
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maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved. For more information about backup options, click the Bin Settings dialog box and press F1(Windows) or the Help key (Macintosh), or see “Bin Settings” on page 659.
Using the Info Display to View Memory Information and Access the Hardware Tool
The Info display in the Project window allows you to view system memory information and access the Hardware tool. The items listed in this display are for information only and cannot be changed. The Hardware tool gives a visual representation of usage for each drive and provides operating system information.
(Windows only) You can view additional memory information through the Windows Task Manager and Performance Monitor tools. You can view information about system activities, such as driver messages, through the Windows Event Viewer. For information on these tools, see the Windows Help.
To open the Info display:
t Click the Info tab in the Project window.
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1 Working with the Project Window: Advanced
To display system memory information:
t Click the Info tab in the Project window, and then click the Memory button.
The Memory window opens.
The following table describes the information your Avid editing application displays in the Memory window:
Item Description
Objects The total number of memory handles currently used by your Avid
editing application. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project.
You can improve the performance of large projects by reducing the number of objects. To do this, close
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unused bins, unmount unneeded media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then quit and restart your Avid editing application. If performance is still slow, restart your system.
Total physical memory (Windows) or Total Mem (Macintosh)
Available physical memory (Windows) or Free Mem (Macintosh)
Total page file The total number of bytes stored in the paging file. The paging file is
Available page file The total number of bytes available in the paging files.
Working set (minimum and maximum) The set of memory pages currently available to the application in RAM.
To open the Hardware tool, do one of the following:
The total number of bytes of RAM (random-access memory).
The amount of RAM available for allocation by the Windows or Macintosh system.
used as virtual memory by the Windows system.
t Click the Info tab in the Project window, and then click the Hardware button.
t Select Tools > Hardware.
The Hardware tool opens.
For more information about the Hardware tool, see “Using the Hardware Tool” on page 85.
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Usage Information

The Statistics feature gathers and reports information on system usage. You can use this information to support business functions such as resource management.
All statistics are gathered and reported by project. The file that contains this information is formatted so you can use it as input to software programs such as analysis applications, spreadsheets, or report generators.
Usage Information
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Do not rely on the Statistics feature for billing or other financial purposes.

Displaying Usage Information

To view and update statistics for an open project:
t Click the Usage tab in the Project window.
To print the Statistics file:
t Select File > Print Usage.

Statistics File Structure and Layout

A new Statistics file is created each time you open the project. The files are stored in a Statistics folder inside each project folder.
The file name has the following format:
Statistics.yymmdd.HHMMSS
where:
Variable Description
yy Indicates the last two digits of the year
mm Indicates the month
dd Indicates the day
HH Indicates the hour
MM Indicates the minutes
SS Indicates the seconds
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1 Working with the Project Window: Advanced
The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. The following illustration shows a sample Statistics file.
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The values in the first column indicate the content of the line:
title1
01
title2
02
Title Only
03
project info
100
Time Project open
101
Capture tool open
102
Capture tool active
104
Captured Media bytes used
105
Rendered Effects bytes used
106
Effects rendering time
110
Title tool open
111
Title tool active
113
Title tool rendering
114
Capture tool capturing
115
Capture tool logging
116
user comments
117
Usage Information
The values in the second column indicate the type of data in the line:
01
02
03
04
project info
time used
bytes used
text string

Importing the Statistics File into a Spreadsheet

You can import the Statistics file into a spreadsheet or other program as an ASCII file and use the application to set up the proper format. The following procedure describes how to import a Statistics file into Microsoft
®
Excel
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1 Working with the Project Window: Advanced
To import a Statistics file into Microsoft Excel:
1. Start Microsoft Excel.
2. Select File > Open, and navigate to the Statistics file you want to import.
(Windows only) Make sure All Files (*.*) is selected in the Files of Type list.
3. Click Open.
The Text Import wizard starts.
4. Select Delimited for the Original Data Type, and click Next.
5. Select Comma for Delimiters, and click Next.
6. Select General for Column Data Format.
7. Click Finish.
The statistics file appears in spreadsheet format.
The following illustration is the sample file from the previous section as it appears when you import it into a spreadsheet.
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Displaying Disk Space Statistics

To improve system performance, statistics for disk space (captured media and rendered effects) are not calculated and are not displayed in the Usage window unless you issue a Console command.
To display disk space statistics in the Usage window:
1. Select Tools > Console.
2. In the command entry text box, type:
toggleStatSpace
3. Press Enter (Windows) or Return (Macintosh).
4. Select File > Load Media Database.
After the media database is loaded, the Usage window displays the number of files and disk space used for captured media and rendered effects.
To update the display:
t Click the Usage tab in the Project window.
To prevent recalculation:

Customizing the Avid User Interface

t Reenter the
toggleStatSpace
command.
Customizing the Avid User Interface
The Appearance tab in the Interface Settings dialog box provides you with controls for customizing the colors and button style of the Avid user interface. You can also change the font and point size of the type in the various windows. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 722.
The following topics provide more information on customizing the appearance of the user interface:
Changing Interface Component Colors
Changing Button and Toolbar Styles
Using Interface Appearance Templates
Changing Font and Point Size
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1 Working with the Project Window: Advanced
Color boxes
Check box
Interface component list

Changing Interface Component Colors

You can use a color selection grid to change the color of interface components.
The Settings list has several Interface templates with predefined color schemes. For
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information about using the Interface templates, see “Using Interface Appearance
Templates” on page 58.
To set the color of an interface component:
1. In the Project window, click the Settings tab, and then double-click Interface.
The Interface dialog box opens.
2. Click the Appearance tab.
The Interface components whose colors you can change are listed in the top half of the Appearance tab, as shown in the following illustration.
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3. Click in the color box next to the interface component that you want to customize.
A color selection grid opens.
4. Click the color to which you want to set your interface component.
The color selection grid disappears. The color you selected appears in the color box. A check mark appears in the check box to show that you want your new color attribute for this component to take effect.
If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value.
5. Do one of the following:
t Click Apply to apply the changes you selected.
If you click Cancel after you click Apply, interface components retain the colors you applied.
t Click OK to close the dialog box and put the new setting into effect.
t Click Cancel to close the dialog box.
The changes you selected but did not apply do not take effect.

Changing Button and Toolbar Styles

You can control the shading style and depth of buttons and toolbars. You can also change the shape of buttons and the way buttons are spaced in Monitors and in the Timeline.
To set the style of buttons and toolbars:
1. In the Project window, click the Settings tab, and then double-click Interface.
The Interface dialog box opens.
2. Click the Appearance tab.
3. Select from one or more of the menus, as described in the table following this procedure.
Customizing the Avid User Interface
4. Do one of the following:
t Click Apply to apply the changes you selected.
If you click Cancel after you click Apply, your editing application retains the selections you applied.
t Click OK to close the dialog box and put the new setting into effect.
t Click Cancel to close the dialog box.
The changes you selected but did not apply do not take effect.
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1 Working with the Project Window: Advanced
Convex
Dim Radial
Convex Radial
Bright Radial
Shading depth 5% Shading depth 50%
Maximum button separation
Moderate button separation
No button separation
Oval
SquareOctagonal
Rounded
Antique
Swoosh
Control Description Options Examples
Shading Style Controls the graphic style
used to shade buttons and toolbars.
Shading Depth Controls the
three-dimensional “rounding” of the buttons and toolbars
Monitor Button Separation
Timeline Button Separation
Controls the spacing between the Monitor buttons and between the Timeline buttons
Button Style Controls the shape of
buttons.
Convex
Dim Radial
Convex Radial
Bright Radial
Percentage values
Maximum
Moderate
None
Oval
Octagonal
Rounded
Square
Swoosh
Antique

Using Interface Appearance Templates

There are several interface appearance templates available for the Avid user interface that have preset background and button colors.
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To use an interface appearance template:
t Click to the left of one of the named Interface settings in the Settings list in the Project
window.
The look of your Avid user interface changes.
To return to the default interface:
t Click to the left of the unnamed Interface setting.
For information on how to change the appearance of particular components of your Avid
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user interface, see “Customizing the Avid User Interface” on page 55.

Changing Font and Point Size

You can change the default font and point sizes of the Project, Bin, ComposerSource/Record monitor, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt.
The following table describes the windows you can change, and where these changes are saved.
Customizing the Avid User Interface
Window Location of Changes
Project Changes the font and point size of the text in the Project window; saved as a Project
setting.
Bin Changes the font and point size of the text in the Bin window; saved as a Bin setting
(not a Bin View setting).
Composer monitor
Script Changes the font and point size of the text in the Script window; saved as a Script
Timeline Changes the font and point size of clip text; saved as a Timeline View setting.
To change the font displayed in the Project, Bin, ComposerSource/Record monitor, Script, or Timeline window:
Changes the font and point size of the sequence or source clip name text; saved as a Composer setting.
setting.
1. Click the Project, Bin, ComposerSource/Record monitor, Script, or Timeline window to make it active.
2. Select Edit > Set Font.
The Set Font dialog box opens.
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1 Working with the Project Window: Advanced
3. Click the Font menu, and select a font.
Any font installed on the Avid system appears in the list. For information on adding fonts to
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your system, see the documentation for your operating system.
4. Type another point size for the font in the Size text box.
5. Click OK.
The new font and point size appear in the active window.
When you close the window, the last font and point size applied are saved with the window.

User-Customized Workspaces

A workspace is the arrangement and size of tool windows displayed in your Avid editing application. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button.
For example, during capture you might want to display the Capture tool and Video Input tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in particular locations and sizes. For information on switching between workspaces, see “Switching Between Workspaces” on page 63.
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While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either:
The arrangement from the last time you left the workspace
The arrangement you set for the workspace, regardless of any changes you made
You can select your preference in the Workspace Settings dialog box. For more information, see “Creating a New Workspace Setting” on page 61.
You can assign up to eight buttons that allow you to switch between user-customized workspaces. This is useful if there is more than one user accessing the same Avid system. Each user can assign up to eight workspaces by using the workspace buttons. The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth. For more information, see “Assigning a Workspace Button” on page 64.
You cannot assign certain tool windows to a workspace, such as the Hardware tool, the
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Communication (Serial) Ports tool, and the Media tool.
In addition, see the following topics for more information on customizing your workspace:
Custom name column
New workspace
Linking User Settings and Workspaces
Deleting a Workspace

Creating a New Workspace Setting

To create a new workspace setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Scroll to the bottom of the Settings list, and select Workspace.
3. Select Edit > Duplicate.
A new workspace setting appears in the Settings list.
If you are duplicating a previously named workspace setting, a .1 appears at the end of the
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new name.
4. Click to the left of the new workspace you want to set.
A check mark appears next to the workspace.
User-Customized Workspaces
5. Assign a custom name to the new workspace:
a. In the column between Workspace and User, click until you see a text cursor and
box. Make sure you click the Custom name column and not the Setting name.
b. Type a name for the new custom workspace; (for example, Logging).
c. Press Enter (Windows) or Return (Macintosh).
d. Open the windows and tools with which you want to associate the workspace.
Resize and move the windows to the location you want them to appear on the monitors.
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1 Working with the Project Window: Advanced
6. Double-click the custom workspace setting.
The Workspace Settings dialog box opens.
7. Select or deselect the following options, depending on your preference for the behavior of the workspace:
Option Description
Activate Settings Linked by Name
Continually Update This Workspace
Manually Update This Workspace
This setting allows you to link other settings to the workspace. For more information, see “Linking User Settings and Workspaces” on
page 62.
This setting automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.
This setting saves the workspace in its current arrangement when you click Save Workspace Now. Future changes to the arrangement of the tool windows are disregarded.
8. Click OK.

Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name.
For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays). You can also link this workspace to a Settings dialog box with customized options selected. You do this by creating a setting and giving it the same name in the Settings list in the Project window as the name of the workspace.
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To link user settings and a workspace:
1. Create a new workspace setting.
For more information, see “Creating a New Workspace Setting” on page 61.
2. Give the workspace a custom name.
3. Click a setting in the Settings list that you want to link to the new workspace. For example, click Timeline View. Adjust the Timeline to how you want it displayed (enlarged tracks, audio waveform, and so forth).
User-Customized Workspaces
Linked setting Linked setting
Linked workspace
4. Give this Timeline View setting the same name you gave the workspace in step 2.
For information on naming a Timeline view, see “Managing Customized Timeline Views” in the Help.
5. Double-click another setting, (for example, Audio). Select the new options, (for example, Default Pan), and close the dialog box.
6. Give this setting the same name you gave the workspace in step 2.
7. Double-click the workspace you just created.
The Workspace Settings dialog box opens.
8. Click Activate Settings Linked By Name.
9. Click OK.
All the settings and the new workspace you created are activated.

Switching Between Workspaces

To switch from one workspace to another:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click to the left of the workspace setting you want to use.
A check mark appears next to the workspace.
You can also switch between workspaces by using the workspace buttons. To assign workspace buttons, see “Assigning a Workspace Button” on page 64.
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1 Working with the Project Window: Advanced
W1 button
More tab

Deleting a Workspace

To delete a workspace:
1. Select the workspace you want to delete from the Settings list in the Project window.
The workspace is highlighted.
Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace.
2. Press the Delete key.
The selected workspace is removed from the Settings list.

Assigning a Workspace Button

To assign a workspace button:
1. If you want to assign a workspace button to a palette (for example, the Tool palette from the Fast menu) or the Keyboard, open the palette or Keyboard setting.
2. Select Tools > Command Palette.
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3. Click the More tab.
4. Select Button to Button Reassignment.

Working with Bins and Projects in an Avid Unity Environment

5. Click a workspace button (W1 – W8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting.
The workspace button appears in the new location.
The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth.
Your Avid editing application sorts the workspaces alphabetically. The workspace button assignments might change if you add workspaces. To keep a designated order, name the workspaces with a number preceding the first letter (for example, 2editing).
6. Click the W1 button to display the first workspace that appears in the Settings list.
When you open the windows associated with the first workspace, they open in the assigned locations.
Working with Bins and Projects in an Avid Unity Environment
The following topics describe how to work in an Avid Unity environment that does not use an asset manager or Avid Interplay Transfer. If you are using an asset manager or Avid Interplay Transfer, see the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide and the Avid Interplay Transfer Setup and User’s Guide.
The following topics provide more information on sharing bins and projects in an Avid Unity environment:
Understanding Avid Unity
Sharing Only Bins in Avid Unity
Sharing Bins and Projects in Avid Unity
Opening a Shared Project
Locks and Shared Bins
Working with Locks and Shared Bins
Restrictions and Limitations for Locked Bins
Suggestions for Improving Performance When Working with Shared Bins
Shared Bin and Project Limitations
Shared Bin Lock Icon Limitation
Drive Filtering in Networked Workflows
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1 Working with the Project Window: Advanced

Understanding Avid Unity

Avid Unity MediaNetwork and Avid Unity ISIS allow you to share bins and projects across the network. When you place your bins and projects on Avid Unity workspaces (drive volumes), several users can work on the same project at the same time.
For example, an editor can create sequences in one bin while an assistant recaptures media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.
Each user can perform tasks from his or her own computer. Your Avid editing application provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin.
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The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.
In an Avid Unity environment, your Avid editing application creates and stores projects and bins on the client’s internal drive. If a user moves or saves these projects and bins to the workspace, only one client can work on the project at a time. If two or more users are working simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them.
For information on managing workspaces, see the clients’ Quick Start cards. For details on Avid Unity, see the Avid Unity MediaNetwork Management Guide or the Avid Unity ISIS Administration Guide.

Sharing Only Bins in Avid Unity

When you use shared bins, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows:
Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.
Displays a second column of information for the bin that identifies the computer that currently has the bin locked.
Uses bold text to identify bins that are locked by another user.
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Working with Bins and Projects in an Avid Unity Environment
Computer that currently has the bin locked
Project folders for each user
Bold bins are locked for editing but can be viewed.

Sharing Bins and Projects in Avid Unity

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). Your Avid editing application identifies information from each computer using the shared workspace as follows:
Creates a project folder for each computer that accesses the project. Your Avid editing application adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data for other users.
The folder is similar to the folder created when you select New Folder from the Project Window Fast menu. For more information, see “Folders and Bins” on page 45.
Displays an extra column in the Project window that identifies the computer that has the bin locked.
Uses bold text to identify bins that are locked by other users.
Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.
Depending on the number of users sharing a workspace, you might want to increase the
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number of files that your Avid editing application stores in the Unity Attic folder (using the Bin Settings dialog box).
The following illustration shows the Project window for a shared project.
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1 Working with the Project Window: Advanced
Unlocked bin
Locked bin

Opening a Shared Project

To open an existing project on the shared volume:
1. Start your Avid editing application.
2. In the Select Project dialog box, navigate to the project on Avid Unity.
The Project window opens. For a description of the elements specific to Avid Unity in the Project window, see “Sharing Only Bins in Avid Unity” on page 66 and “Sharing
Bins and Projects in Avid Unity” on page 67.
3. Open one of the bins by double-clicking the Bin icon.
The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications.
The following illustration shows locked and unlocked bins.
When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 69.
The Bin Lock Status button does not appear if the bin is not on Avid Unity.
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Locks and Shared Bins

Your Avid editing application uses a locking mechanism to help you keep track of who is currently working in a shared bin. This allows one user to write to a bin; multiple users can read the files in that bin.
The user who opens the bin first gets the lock and obtains write access to the bin. Your Avid editing application uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock.
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Working with Bins and Projects in an Avid Unity Environment
If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.
You can instruct your Avid editing application to keep a bin locked even after you close it.
You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.

Working with Locks and Shared Bins

To open a bin without taking the lock:
t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project
window.
To permanently lock a bin:
1. Select one or more bins in the Project window.
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Bin icon, and select Lock Project Bin.
An asterisk (Windows) or diamond (Macintosh) appears next to the user name in the Project window. In this case, the bin remains locked even after you close it.
To unlock the bin:
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the bin in the Project window,
and select Unlock Project Bin.
The Lock Project Bin and Unlock Project Bin commands are also available from the Clip
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menu.

Restrictions and Limitations for Locked Bins

The following restrictions apply to bins that are locked by another user:
You cannot select a locked bin for operations such as capture, title creation, and importing. This helps to minimize the problems of modifying a locked bin.
You cannot drag an item to a locked bin.
If you drag an item from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin.
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1 Working with the Project Window: Advanced
You cannot move a bin that is locked by another user.
If you modify a locked bin, your Avid editing application does not let you save the bin to the same name, but it allows you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The application sees the duplicate contents of these bins and resolves the conflicts by newest modifications (this might not be desirable behavior).
Try to avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin.
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The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Suggestions for Improving Performance When Working with Shared Bins

The following information is provided to improve performance when working with shared bins in an Avid Unity environment.
Do not use the same name for your editing system machine name and your user name. In fact, do not use the same name for security objects such as machine names, user names, group names, and domain names. If any two security objects have the same name, Windows might become confused and sharing might not work properly.
Do not use the same prefix for machine names in a shared environment. No full name can be a prefix of another name. If one of the systems has a machine name that is the full name, and others in the environment have the prefix as part of their machine name, problems can occur. For example, if an editing system has a machine name ABC and additional editing systems in the shared environment have machine names ABCnn, ABCxx, the following problems could occur:
- When the system with the machine name ABC is writing to a directory, the systems
whose machine names have the same prefix (ABCnn and ABCxx) might not be able to access the directory.
- When the system with the machine name ABC is rendering, systems whose
machine names have the same prefix (ABCnn and ABCxx) might be unable to launch.
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Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.).
Working with Bins and Projects in an Avid Unity Environment
Avoid using Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when editors are using those files or folders. If you do, editors attempting to access those shared bins or projects may experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),” where MESSAGE is replaced by a specific message identifying the action that is being retried.
If the busy condition persists, and the retries are exhausted, a failure message appears. When that happens, ensure that Windows Explorer is not being used on the shared bins you are trying to access, and then try the operation again.
When you have an environment where more than five users are sharing bins on Avid Unity, Avid recommends using an Avid Interplay server in the workgroup environment.
When an Avid Interplay server is available in an Avid Unity system in the workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Interplay Window to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid Unity client software installed. The Media Tool might become unreliable if an editor in the Avid Unity workgroup environment does not have the Avid Unity client software installed.

Shared Bin and Project Limitations

If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately. If an editor tries to play that file, “media file not found” messages might appear in a monitor window, and access violation errors might occur.
Each editing application maintains a PMR file in its machine name folder inside the OMFI MediaFiles folder or the Avid MediaFiles folder. The PMR file lists all the online media files. Every editing application consults all the PMR files in all the machine name folders to find out which media files are online. Whenever a media file is created, its name is immediately added to the creating editor application's PMR file, and whenever a media file is deleted by its creator, its name is immediately removed from the PMR file.
However, if an editing application other than the creator deletes a media file, the PMR file that contains the deleted file is NOT updated immediately. Once the creating editor encounters an event that causes its PMR to be updated, then all editing systems know that the deleted media file has gone offline.
There are several ways to force an editing application to update its PMR. The simplest is to switch to the desktop and back.
Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.
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1 Working with the Project Window: Advanced

Shared Bin Lock Icon Limitation

Occasionally, when two editors attempt to open a shared bin at the same time, both editors get the green lock icon. However, only one editor really has the lock, and that editor's machine name appears beside the bin name in both Project windows.
Both editors can modify their copies of the bin, but only the editor that holds the lock, as indicated in the Project window, can save that bin. The other editor is warned that the bin is locked but is allowed to save a copy of the changed bin.
Avid recommends that you use the “Save Bin Copy As...” button and continue working.

Drive Filtering in Networked Workflows

The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options:
Filter by Resolution
Filter by System Drive
Filter by Launch Drive
For Symphony products and for current versions of Avid Media Composer and Avid NewsCutter Avid Media Composer and Avid NewsCutter enabled, Filter by System Drive disabled, Filter by Launch Drive disabled. This caused breakages with the networked workflows as media in new projects were being created on the C: drive instead of the shared storage when using the default Media Creation Settings. To fix this, all three drive filtering options are enabled by default.
Avid Xpress products and Avid Free DV default to Filtering off because these products might not have additional drives available, especially if you are working on a laptop.
Any project brought into a networked workflow that was created with any of the filtering
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selections off might have problems with networked media creation, such as “Audio and/or Video Mixdown” and “SendToPlayback,” because their Media Creation Settings are still configured for standalone usage.
®
products, these three options are selected by default. Some older versions of
®
products shipped with Filter by Resolution
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Working with Bins and Projects in an Avid Unity Environment
There are several ways for you to work around this issue. First, adjust the drive filtering settings when switching environments, either by opening the Media Creation Setting and switching the drive filtering settings or by creating multiple Media Creation Settings and switching the active setting whenever you shift environments. If you always work in an environment that differs from the defaults (for example, an Avid Xpress product always connected to shared storage), you can create a Media Creation setting that fits your workflow and add it to your Site Settings so new projects are created with the desired defaults. For more information, see “Using Site Settings” on page 647.
The default values for Filter by Resolution, Filter by System Drive, and Filter by Launch Drive are as follows:
Filter by System
Product Filter By Resolution
Symphony products Yes Yes Yes
Media Composer products
NewsCutter products Yes Yes Yes
Media Station PT Yes Yes Yes
Avid Xpress ProNoNoNo
Avid Xpress DV No No No
Free DV No No No
Ye s Yes Ye s
Drive
Filter by Launch Drive
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1 Working with the Project Window: Advanced
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2 Using Tools

The Tools menu in your Avid editing application provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage. These tools are described in the following sections:
Using the Tools Menu
Using a Deck Controller
Deck Controller Window Reference
The Command Palette
Using the Avid Calculator
The Console Window
Using the Hardware Tool
External Controllers as Editing Control Surfaces

Using the Tools Menu

You can open any of the most frequently used system tools from the Tools menu.
To open a tool:
t Select Tools > tool name.

Using a Deck Controller

A deck controller provides direct serial or VLXi® V-LAN® control of an Avid-compatible tape deck at any time during editing. You can cue and screen footage from source tapes in various edit modes, or when recording a digital cut, without opening the Capture tool.
To open a deck controller:
t Select Tools > New Deck Controller.
The Avid Deck Manager program is initialized, and a new Deck Controller window opens.
2 Using Tools
Timecode indicator
Timecode display Deck controls Deck Selection
menu
Tape Name button
Eject
Logging controls
Close button Timecode display
Delete Mark IN
Delete Mark OUT
Clear Memory button
Go To Memory button
Mark IN
Mark OUT

Deck Controller Window Reference

Each deck controller includes the following elements:
The Timecode display provides information about the control status of the tape deck, as follows:
- If the deck is properly connected and power is on, the deck controller displays
timecode when a tape is mounted.
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- If a deck is not properly connected to the system or power is off when you open the
controller, the indicator displays the message “NO DECK.”
- If you turn the deck power off with the deck controller already open, the indicator
displays the message “Power Off.”
- If you switch the deck control to Local on the VTR, the indicator displays the
message “Local.”
Information on connecting decks and cabling varies depending on the Avid input/output
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hardware device you use. For more information, see “Connecting Cameras, Decks, and Monitors” in the Help.
The Timecode indicator flashes green during playback or capture to indicate that the system is receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode.
The deck controls provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step backward and step forward, pause, and eject.
The Deck Selection menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see
“Deck Configuration Settings” on page 674.
The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Source Tape” in the Help.
Logging controls allow you to log IN and OUT marks while cueing your tape.
For more information on logging, see “Logging Directly into a Bin” on page 108.
Marks you set with the deck controller are temporary and allow you to return to timecode locations entered in the window while screening and cueing a tape. If the Capture tool is open, however, timecodes logged in the deck controller also appear in the Capture tool and can be entered into an open bin.

The Command Palette

The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse.
The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed in each tab. The functions are Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam (MultiCamera), Other, and More.
The Command Palette
You can use the Command palette to:
Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable
Buttons” on page 79.
Map menu commands to various buttons and keys. See “Mapping Menu Commands” on
page 80.
Directly activate a command. See “Activating Commands from the Command Palette”
on page 81.
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2 Using Tools
For information about each button in the Command palette, right-click (Windows) or
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Ctrl+Shift+click (Macintosh) a button and select What’s This? from the menu.
For more information on logging with the Capture tool, see “Logging Directly into a Bin”
on page 108.

Understanding Button Mapping

Mapping user-selectable buttons allows you to reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs.
When you map buttons to the keyboard, the mapping might be specific to the current editing
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mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.
The following are a few examples of mapping buttons:
Subcataloging clips: You can map the Make Subclip button and other clip management buttons.
Make Subclip Find Bin Add Locator
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Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, Transition Corner Display, Fade Effect, Render Effect, Cycle Picture/Sound, Quick Transition, and Grid (which displays Safe Title overlays).
Motion Effect Remove Effect Transition
Corner Display
Fade Effect Render Effect Cycle
Picture/Sound
Quick Transition Grid
MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang buttons.
Quad Split Swap Cam Bank Gang
The Command Palette
When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes.
For more information on multiple settings, see “Working with Multiple Settings” on page
643.
Your Avid editing application saves button configurations as follows:
Changes to the Keyboard palette are saved in the Keyboard settings.
Changes to the pop-up monitor Tool palette and Tool palette in the Composer window are saved with the Composer settings.
Changes to Command palettes in Trim mode are saved with Trim settings.
Changes to the Tool palette are saved in the Interface settings.
You can change the appearance of the buttons in the Tool palette by using the Interface settings from the Settings list in the Project window. For more information, see
“Customizing the Avid User Interface” on page 55. You can choose to identify a button’s
function with only an icon or with an icon and letters. For more information, see “Interface
Settings” on page 722.

Mapping User-Selectable Buttons

To map buttons or keys on the keyboard by using the Command palette:
1. Open a window that has a user-selectable button palette by doing one of the following:
t Activate the Playback, Source, or Record monitor in the Composer window.
t Click a button, and drag the Tool palette to open it.
t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu
button, and drag to tear off the Tool palette.
t Open a clip in a pop-up monitor.
t Enter Trim mode in the Composer window.
t Open the Keyboard palette from the Settings list in the Project window.
2. Select Tools > Command Palette.
The Command palette opens.
3. Select Button to Button Reassignment at the bottom of the Command palette.
4. Click the tab from which you want to select a user-selectable button.
5. Drag the button from the Command palette to a button location on the other palette.
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The Blank Button

The button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button.
For more information on mapping the Blank button to a new location, see “Mapping
User-Selectable Buttons” on page 79.

Modifier Keys

You can add modifier keys to functions already associated with keys and buttons. The Other tab in the Command palette contains the following modifier key buttons:
Button Description
(Windows) Add Alt Key button
(Macintosh) Add Control Key button
(Macintosh) Add Option Key button
For example, on a Windows system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.
After you modify a key or button with a modifier key button, you can use the default function
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of the key or button by pressing and holding the appropriate modifier key while pressing the key, or by pressing and holding the modifier key while clicking the button.

Mapping Menu Commands

You can map menu commands displayed in the menus in your Avid editing application menu bar directly onto any mappable button location or onto the keyboard. In some cases, you can avoid using the menus altogether.
Before you can map some commands, you must first establish the condition that enables the
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command. For example, before you can map the Render In/Out command from the Clip menu, you must first mark IN and OUT points in the Timeline so that the menu command appears.
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The Command Palette
Menu command mapped to a button
To map menu commands:
1. Open a window that has user-selectable buttons by doing one of the following:
t Activate a monitor in the Composer window.
t Click a button, and drag the Tool palette to open it.
t Open a clip in a pop-up monitor.
t Enter Trim mode in the Composer window.
t Open the Keyboard palette from the Settings list in the Project window.
2. Select Tools > Command Palette.
The Command palette opens.
3. Select Menu to Button Reassignment.
4. Click a target button in the Keyboard palette or other palette (for example, the Command palette under a monitor).
The pointer changes to a small white menu.
5. Select the menu command you want to map to the target button.
The initials for the menu command appear on the target button.

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor.
To activate a command from the Command palette:
1. Select Tools > Command Palette.
The Command palette opens.
2. Select Active Palette at the bottom of the Command palette.
3. Click the tab from which you want to select a command function.
4. Click the button in the Command palette for the function you want to perform.
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2 Using Tools

Using the Avid Calculator

The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats.
For example, you can:
Convert drop-frame to non-drop-frame timecode values.
Convert timecode durations between 30-fps and 25-fps projects.
Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film.
To use the Avid Calculator:
1. Select Tools > Calculator.
The Avid Calculator opens.
2. Click the Format menu, and select a format.
3. Make calculations in one of the following ways:
t Click numbers and functions in the Avid Calculator.
t Enter numbers and functions using the numeric keypad.
t Enter numbers and functions using the top row of numbers on the keyboard.
You do not need to enter leading zeros, colons, or semicolons for timecode.
To convert your totals at any time to another format:
t Click the Format menu, and select a different frame code or key number format.
If drop-frame timecode is entered into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa).

The Console Window

The Console window provides a number of features, including:
Current system information, including your system ID number
A log of error messages
Detailed information about sequence segments in the Timeline or about objects in a bin
A command to display networked drives for use as media drives
Information after you capture or import
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The Console Window
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Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.)

Displaying System Information in the Console Window

To display current system information:
1. Select Tools > Console.
The Console window opens.
2. Scroll in the Console window to view your system information and ID.
Your system ID is on a line beginning
This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support.
System ID:

Reviewing a Log of Errors in the Console Window

To review errors logged to the Console window:
1. When an error occurs, close the message box and select Tools > Console.
2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support.

Getting Information with the Console Window

The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin including hidden items. You can also use the Console window to display information about a clip, segment, or sequence in the Timeline.
To get information with the Console window:
1. Select Tools > Console.
The Console window opens.
2. Select the item about which you want information, for example:
t In the Timeline, move the position indicator to the selected clip or segment.
t In the bin, select an object or Ctrl+click (Windows) or Shift+click (Macintosh)
multiple objects.
3. Select File > Get Bin Info or File > Get Position Info.
Information about the clip appears in the Console window.
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2 Using Tools

Using the Console Window to Access Network Drives

Your Avid editing application can access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing the appropriate console command displays the mapped drive letter in the appropriate tools in the Avid editing application.
For information about mapping dives to your computer, see your Windows or Macintosh
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documentation.
You do not need to use this feature to access Avid Unity shared network drives.
When the feature is turned on, the mapped drive letter appears in the Target Drive menu. When you turn the feature off, the mapped drive letter is dimmed. If you quit and restart your application, the mapped drive letter does not appear in the Target Drive menu.
To make your mapped network drives available:
1. Open the Console window by selecting Tools > Console.
2. In the Console command line, type:
alldrives 1
3. Press Enter (Windows) or Return (Macintosh).
Network drives are now visible in your Avid editing application.
Typing
alldrives 2
By default, network drives are filtered by resolution when the option Filter Network Drives Based on Resolution option is selected in the Media Creation settings. For more information, see “Media Creation Settings” on page 728.
alldrives
in the Console window turns this feature on and off. Typing
restores the default behavior where only media drives are available.
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Using the Hardware Tool

The Hardware tool provides the following information about the system’s hardware configuration:
The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.
If your system is connected to an Avid Unity network, you see two drives tabs, Local Drives
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and Avid Unity Drives.
(Windows) The System tab lists the operating system, its version, service pack, and build, and the physical memory.
(Macintosh) The System tab lists the operating system, its version, and the physical memory.
To check the hardware configuration of your Avid system, do one of the following:
t Select Tools > Hardware.
t Click the Info tab in the Project window, and then click Hardware.
Using the Hardware Tool
The Hardware tool opens.

External Controllers as Editing Control Surfaces

Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing footage. Avid supports the following controllers for this purpose:
Digidesign Command|8™
Digidesign Digi 002(Windows only)
For information about connecting these controllers, see “Connecting Serial and MIDI Port Devices” in the Help.
For information about configuring these controllers and using them as editing control surfaces, see “Using the Digi 002 and the Command|8” on page 431.
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3 Logging: Advanced

When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project. The following topics provide advanced information for preparing log information:
Using Avid Log Exchange to Prepare Log Files for Import
Avid Log Specifications
Creating an Avid Log
Double-Checking Log Files
Transferring Bins from MediaLog
Logging Directly into a Bin
Understanding the Pulldown Phase
Setting the Pulldown Phase
Film-Related Log Information
For more information, see “Importing Shot Log Files” in the Help or the Basics Guide for your Avid editing application.

Using Avid Log Exchange to Prepare Log Files for Import

Log files need to conform to the Avid Log Exchange (ALE) format to be imported into your Avid editing application. You can use the ALE utility included with your system to quickly convert shot log files.
3 Logging: Advanced
The ALE utility allows you to:
Modify the text in a log file (Windows only).
Convert log files of different formats to ALE files. See “Log Formats Compatible with
Avid Log Exchange” on page 95.
Convert an ALE file to either an ATN or FLX file.
Any options you set in the ALE utility are saved each time you close the ALE utility.
When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale, and so on. The converted output files are stored in the folder containing the original input file.

Converting Log Files with Avid Log Exchange (Windows)

To convert a log file to an ALE file:
1. Click the Start button, and select All Programs > Avid > Avid Log Exchange.
The Avid Log Exchange window opens.
2. Do one of the following:
t If the log file is a Final Cut Pro®, Cinema Tools™, or a Tabbed shot log file, select
File > Import > file type.
t If the log file is another file type, such as .flx or .atn, select File > Open.
The Open dialog box opens.
3. Double-click the file you want to convert.
The Import Header Options dialog box opens.
4. Select the information you want to appear in the global settings of the .ale file.
The global settings appear at the top of the .ale file.
5. Click OK.
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Using Avid Log Exchange to Prepare Log Files for Import
6. Depending on the type of file you are opening, one of the following occurs:
- If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window.
- If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you are converting and click OK.
- If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens. Select an option from the following table.
Option Description
Display & Save Opens the file in the Avid Log Exchange window and changes the file to the
Windows format.
Display Only Opens the file in the Avid Log Exchange window, but does not change the file.
Ignore Displays the file as is without changes.
The file appears in the Avid Log Exchange window.
For specific information on the various file types, see “Log Formats Compatible with
Avid Log Exchange” on page 95.
7. Use the Options menu to select the tracks to include in the Tracks column of the log.
The default track selections are Log V, Log A1, and Log A2.
After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.
The Track selection only works on non-ALE files being converted to ALE format. When ALE is the incoming format, Track selection does not work.
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3 Logging: Advanced
8. Select Options > Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips.
By default, Clean is selected.
When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event.
9. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default.
For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour, the first half of the film has 24 hours, and the second half has 0 hours.
10. Select Convert > ALE.
The default output selection is the ALE format. This is the required format for import into an Avid bin.
The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format.
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11. (Option) Select the original file from the Window menu if you want to convert the file again using different options.
Using Avid Log Exchange to Prepare Log Files for Import
12. Select File > Close.
If you made changes in the editor, a message box opens.
13. Click Yes.
The converted file is stored in the same folder as the original log file.

Using Drag-and-Drop Conversion for Log Files (Windows)

Use this shortcut to convert files into an ALE file.
If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use
n
drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log
Exchange (Windows)” on page 88 to convert files of this type.
To convert a log file by using drag-and-drop conversion:
1. Check the options that are set in the ALE utility.
See “Converting Log Files with Avid Log Exchange (Windows)” on page 88. The current options are used when you perform drag-and-drop conversion.
2. Create a shortcut for the ALE utility.
3. Open the folder that contains the files you want to convert, positioning the folder so the Shortcut icon for the ALE utility is visible.
4. Select the files you want to convert.
5. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button.
6. Depending on the type of files you are converting, one of the following occurs:
- If the file type is recognized by the ALE utility, a message box opens, indicating the
conversion was successful.
- If the file type is not recognized, the Select File Type dialog box opens. Select the
type of file you are converting and click OK.
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3 Logging: Advanced
Global Settings Information
Convert button Quit button
Clean option
Convert button
Track selection
Files you can convert Files you can generate
- If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK.
A message box opens, indicating the conversion was successful.
7. Click OK to close the message box.
The converted files have the same file names as the original files, except the file name extension matches the converted file format.
For example, the .ale file name extension is added to the new file names for the Avid format. The converted files are stored in the folder containing the original log files.

Converting Log Files with Avid Log Exchange (Macintosh)

You can use the ALE utility included with your system to quickly convert shot logs that are created during a film-to-tape transfer.
To convert a log file to an ALE file:
1. Select Go > Applications, open the ALE folder, and double-click the ALE icon.
The Avid Log Exchange dialog box opens.
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Using Avid Log Exchange to Prepare Log Files for Import
2. Select the type of file you want to convert from the Input list.
If you are not sure of the type of file, select the Automatic option. ALE will determine the type of file based on the file name.
For a list of supported file types, see Log Formats Compatible with Avid Log Exchange.
3. Select the type of file you want to create from the Output list.
The default output selection is the Avid Log Exchange (.ale) format. This is the required format for import into an Avid bin.
4. Select the tracks to include in the Tracks column of the log.
After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.
The Track selection only works on non ALE files being converted to ALE format. When ALE is the incoming format, Track selection does not work.
5. Select the option if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips.
When you select Clean, the utility changes the end timecode of a previous event to be less than the following event.
6. If you selected the Clean option, you can also select the Relaxed option to prevent the deleting of events that come earlier in the transfer.
Relaxed is not set by default. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour and the first half of the film has 24 hours and the second half has 0 hours.
7. Select the global settings information, for example, NTSC or PAL, that you want to appear in the ALE file.
Global settings appear at the top of the .ale file.
8. Click the Convert button to open the Select File To Convert dialog box.
9. Open the drive and folder that contain the files you want to convert.
10. Double-click the input file name.
If you selected a file type, ALE converts the file immediately.
If you selected the Automatic option, a message box opens and asks you to confirm the file type.
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11. Click the button for the selected file type.
A message box opens.
12. Do one of the following:
t Click the This File Only button to convert only the file you selected to the format
you selected.
t Click the All Files button to convert all files you select in this session to the format
you selected. If you click All Files, the message boxes will not open the next time you double-click a file.
ALE stores the converted file in the same folder as the original input file.
The original file name extension is replaced by the extension for the new format. The .ale files can be imported only into Avid products.

Using Drag-and-Drop Conversion for Log Files (Macintosh)

Use this shortcut to convert files into an ALE file.
If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log file, you cannot
n
use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log
Exchange (Macintosh)” on page 92) to convert files of this type.
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To convert a log file by using drag-and-drop conversion:
1. Check the options that are set in the ALE utility.
See “Converting Log Files with Avid Log Exchange (Macintosh)” on page 92. The current options are used when you perform drag-and-drop conversion.
2. Navigate to and then open the folder that contains the Avid Log Exchange icon.
3. Open the folder that contains the files you want to convert, positioning the folder so the Avid Log Exchange icon is visible.
4. Select the files you want to convert.
5. Drag the selected files to the Avid Log Exchange icon, and release the mouse button.
The system converts the files to Avid format, adding the .ale file name extension to the new file names.
Using Avid Log Exchange to Prepare Log Files for Import

Avid Log Exchange Stores ASC Color Decision List (CDL) Parameters

Avid Log Exchange can now store ASC_SOP (American Society of Cinematographers Slope, Offset and Power) and ASC_SAT (American Society of Cinematographers Saturation) parameters.
To view the ASC_SOP and ASC_SAT parameters in the Avid editing application:
1. In the editing application, with a bin in Text view, select Bin > Headings.
2. Click to select ASC_SOP and ASC_SAT.
3. Import the ALE file.
The ASC_SOP and ASC_SAT information appears in the appropriate bin column.
To view the ASC_SOP and ASC_SAT parameters in the EDL application:
1. With the sequence loaded in the Avid editing system, select Output > EDL.
2. In EDL Manager, select Windows > Options.
3. Select the Comments tab.
4. Enable the Color Decision List option.
5. Select File > Get Current Sequence.
The ASC_SOP and ASC_SAT information appears as part of the edit event.

Log Formats Compatible with Avid Log Exchange

The following table lists the log formats that can be imported directly or converted for import using Avid Log Exchange (ALE).
Log Format Requirements File Name Extension
AatonBase Conversion required .atn or .atl
Avid Log Import directly .ale
Cinema Tools Conversion required .txt
CMX EDL Conversion required .cmx
®
Evertz
Excalibur Conversion required .ale or .flx
Final Cut Pro Conversion required .txt
FLEx™ Conversion required .flx
Conversion required .ftl
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3 Logging: Advanced
Log Format Requirements File Name Extension
Keyscope Conversion required .ksl
Log Producer™ Conversion required .llp
Log right Import directly .ale
®
OSC/R (Macintosh
OLE (Windows only) Conversion required .odb
Shotlister Import directly .ale
Tab Delimited Conversion required .txt
only) Conversion required .asc

Avid Log Specifications

You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor. You can use the file name extension .txt, but it is not required.
To ensure accuracy, you must follow the Avid log specifications described in this section.
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An Avid log is composed of three sections, in this order:
Global Titles
Standard and custom column Titles
Data Titles
The following topics contain tables that show how to enter Titles and data in these sections to create an Avid log.
When you create an Avid log, you must follow the order precisely. The tables in these topics follow this order.
The tables use the following conventions:
A Title appears in the first column, without angled brackets or square brackets. For example, FIELD_DELIM is the first global Title.
A <supported value> is surrounded by angled brackets. <Alternative supported values> appear underneath, also in angled brackets. You must enter one of these values. For example, <29.97> is one of the supported values for the FPS Title; to specify that value,
29.97
type
.
A <variable data value> is also surrounded by angled brackets, but it is italicized. For example, <timecode> is the data entry for the Start Title; type the correct timecode, in the format
[Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by standard brackets.
A column contains the word “Required” if the Title must be included in the log.
The final column contains notes about the Title or values.
You can decide not to display a defined Title (including a required Title), except for Name. Name must always be displayed.
The maximum number of combined global, standard, and custom Titles in a log file is 64.
For an example of a simple log file, see “Sample Avid Log” on page 103.

Global Titles

The global Titles must come first in an Avid log file, and you must enter one value for each Title.
08:19:10:00
(or
08;19;10;00
Avid Log Specifications
, for drop-frame timecode).
The following table shows the format for the global Titles and the supported values for each Title.
GLOBAL Titles: Global Titles are case sensitive and must be spelled exactly as shown. Include all required Titles. Other Titles are optional but might be necessary for your project. The maximum number of combined global, standard, and custom Titles in a log file is 64.
Title [Enter] or
[Return]
FIELD_DELIM [Tab] <TABS> [Enter] or
[Return]
VIDEO_FORMAT [Tab] <NTSC>
<PAL>
FILM_FORMAT [Tab] <16mm>
<35mm,3perf> <35mm,4perf>
AUDIO_FORMAT [Tab] <22kHz>
<24kHz> <44kHz> <48kHz>
[Enter] or [Return]
[Enter] or [Return]
[Enter] or [Return]
Required This marks the start of the global
Titles.
Required Enter TABS to show that the file is
Tab delimited.
Required
Audio sampling rate for digitizing. You can override this for individual clips.
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3 Logging: Advanced
TA PE [ Ta b] < tape name> [Enter] or
[Return]
FPS [Tab] <23.98>
<24> <25> <29.97>
[Enter] or [Return]
[Enter] or [Return]

Column Titles

The standard column Titles appear after the global Titles in the Avid log file.
You do not enter the data for a column Title along with the Title. You enter the data later, in a separate data section.
You must include the five required standard column Titles; they are listed first in the following table.
Required Name of the videotape reel you
are logging. If you omit this Title, the file name becomes the global tape name. You can override this for individual clips.
Required Capture rate is 23.98 fps
(23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or
29.97 fps for NTSC.
Press Enter (Windows) or Return (Macintosh) a second time after entering the FPS value. This marks the end of the global Titles.
You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the following table). To create a custom Title, substitute the custom Title name for <Your_Title>. You can create several custom Titles, as long as the total of global, standard, and custom Titles does not exceed 64.
COLUMN Titles: Column Titles are case sensitive and must be spelled exactly as shown. Note that the first five Titles are required. Other Titles are optional but might be necessary for your project. This table lists only the column Titles that are relevant to shot log files. Some data, such as Creation Date, is gathered by the system. The following table does not include Titles for such data. The maximum number of combined global, standard, and custom Titles in a log file is 64.
Column [Enter] or [Return] Required Indicates the start of the column Titles.
Name [Tab] Required Title for clip name.
Tracks [Tab] Required Title for tracks you select for digitizing.
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Avid Log Specifications
Start [Tab] Required Title for video timecode of sync point — the
timecode IN for clip. From address track of video.
End [Tab] Required Title for timecode OUT for clip. From
address track of video.
Audio [Tab] Title for the audio resolution (sample rate). If
omitted, the global entry for AUDIO_FORMAT applies.
Auxiliary Ink [Tab] Title for a second ink number used for the
clip.
Auxiliary TC1 [Tab] Title for auxiliary timecode.
Auxiliary TC2 [Tab] Title for auxiliary timecode.
Auxiliary TC3 [Tab] Title for auxiliary timecode.
Auxiliary TC4 [Tab] Title for auxiliary timecode.
Auxiliary TC5 [Tab] Title for auxiliary timecode.
Camera [Tab] Title for the camera used to film this clip.
This feature is used in multicamera shoots.
Camroll [Tab] Title for the camera roll ID containing this
clip.
Duration [Tab] Title for timecode Start to timecode End, the
length of the video clip.
FPS [Tab] Title for video frames per second rate for
digitizing the individual clip. If omitted, the global entry applies.
Film TC [Tab] Title for the timecode used on the film.
Ink Number [Tab] Title for the ink number used for the clip.
KN Duration [Tab] Title for the length of the clip, expressed in
feet and frames.
KN End [Tab] Title for the ending key number for the clip.
KN Start [Tab] Title for the starting key number for the clip.
Labroll [Tab] Title for the lab roll ID for the clip. Lab rolls
are a combination of several camera rolls.
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Perf [Tab] Title for the film-edge perforations format
used for 3-perf projects.
Pullin [Tab] Title for the telecine pulldown of the first
frame of the clip (pulldown phase). Pullin can have the values A, B, C, or D.
Pullout [Tab] Title for the telecine pulldown of the last
frame of the clip (pulldown phase). Pullout can have the values A, B, C, or D.
Reel # [Tab] Title for the source reel number.
Scene [Tab] Title for the scene number of the clip.
Shoot date [Tab] Title for the date the footage was shot.
Sound TC [Tab] Title for Nagra timecode, Arri code, and so
on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps.
Soundroll [Tab] Title for sound roll ID for clip.
TC 24 [Tab] Title for 24-fps timecode.
TC 25P [Tab] Title for 25-fps timecode with pulldown.
TC 25 [Tab] Title for 25-fps timecode.
TC 30 [Tab] Title for 30-fps timecode.
Take [Tab] Title for take ID for clip.
Tape [Tab] Title for source tape ID for the individual clip.
If omitted, the global entry applies.
DESCRIPT [Tab] Title for description of clip.
COMMENTS [Tab] Title for comments about clip.
<Your_Title> [Tab] Add any category of information you want.
Add as many Titles as you want, but do not use more than a total of 64 global and column Titles in the file. Press the Tab key between each Title. Do not press the Tab key after the last Title.
[Enter] or [Return] [Enter] or [Return] Press [Enter] (Windows) or [Return]
(Macintosh) twice (do not press Tab) after the last Title.
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