Pinnacle Systems NewsCutter - 5.0 User's Guide

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Avid® NewsCutter® Products

Input and Output Guide

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Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc.

The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement.

Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,781,188; 5,799,150; 5,812,216; 5,852,435; 5,905,841; 5,929,836; 5,929,942; 5,930,445; 5,930,797; 5,946,445; 5,987,501; 5,999,190; 6,016,152; 6,018,337; 6,023,531; 6,023,703; 6,031,529; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919; 6,141,691; 6,157,929; 6,160,548; 6,167,404; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,449,019; 6,473,094; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,539,163; D396,853; D398,912. Additional U.S. and foreign patents pending.

No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.

The following disclaimer is required by Apple Computer, Inc.

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

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

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

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

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

The following disclaimer is required by the Independent JPEG Group:

Portions of this software are based on work of the Independent JPEG Group.

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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

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

The following disclaimer is required by Videomedia, Inc.:

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

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

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

The following disclaimer is required by Ultimatte Corporation:

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

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

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

Attn. Government User(s). Restricted Rights Legend

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

Trademarks

888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, AVIDdrive, AVIDdrive Towers, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, DigiTranslator, DINR, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, Nearchive, NetReview, NewsCutter, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE, SPACEShift, Symphony, the Avid|DS logo, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.

Aaton is a registered trademark of Aaton S.A. Abekas is a registered trademark of Accom, Inc. Acrobat, Acrobat Reader, Adobe, After Effects, and Photoshop are either registered trademarks or trademarks of Adobe Systems, Incorporated in the United States and/or other countries. Alias is a registered trademark and Alias|Wavefront and Wavefront are trademarks of Alias|Wavefront, a division of Silicon Graphics Limited. Amiga is a registered trademark of Amiga, Inc. Apple, Bento, FireWire, Macintosh, and QuickDraw are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Betacam, Betacam SP, Hi8, I-LINK, and Sony are trademarks and/or service marks of Sony Corporation. Chyron is a registered trademark of Chyron Corporation. Cineon, Keykode, and Photo CD are trademarks of Eastman Kodak Company. cleaner and media cleaner are either registered trademarks or trademarks of Discreet Logic Inc./Autodesk, Inc. in the USA and/or other countries. DVDit! is a trademark of Sonic Solutions. Express, V-LAN, and VLXi are registered trademark of Videomedia, Inc. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. Focusrite is a registered trademark of Focusrite Audio Engineering Ltd. GIF is a Service Mark property of CompuServe Incorporated. IBM and OS/2 are registered trademarks of International Business Machines Corporation. IEEE is a registered trademark of the Institute of Electrical and Electronics Engineers, Inc. Ikegami is a registered trademark and Editcam is a trademark of Ikegami Tsushinki Co., LTD. Jaz and Zip are registered trademarks of Iomega Corporation. Microsoft, Windows, and Windows Media, are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Norton AntiVirus is a registered trademark of Symantec Corporation. Paintbrush is a trademark of Zsoft Corporation. Panasonic is a registered trademark of Matsushita Electric Industrial Company, Limited. Pixar is a registered trademark of Pixar Animation Studios. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. RealSystem is either a registered trademark or trademark of Real Networks, Inc. in the United States and/or other countries. Silicon Graphics is a registered trademark of Silicon Graphics, Inc. Sound Forge is a registered trademark of Sonic Foundry, Inc. Sun is a registered trademark and Sun Raster is a trademark of Sun Microsystems, Inc. in the United States or other countries. TARGA is a trademark of Pinnacle Systems, Inc., registered in the U.S. and other countries. Video Toaster is a trademark of NewTek. X Window System is trademark of X Consortium, Inc. Yamaha is a registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners.

Footage

Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Tornadoes + 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 NewsCutter Products Input and Output Guide • 0130-05728-01 • May 2003

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . . 20

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Avid Educational Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chapter 1 Planning a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Project Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . . . 27

NTSC and PAL Image Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Software-Only Avid Editing Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Sample Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Video and Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Chapter 2 Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Logging Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Logging Preroll. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Logging Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Double-Checking the Logs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Adding a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Preparing Logs for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Importing Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . . 43

Converting a Log File to an ALE File . . . . . . . . . . . . . . . . . . . . . . . . 44

Using Drag-and-Drop Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Logging Directly to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Logging with an Avid-Controlled Camera or Deck . . . . . . . . . . . . . . 50

Pausing a Deck While Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Logging with a Non-Avid-Controlled Camera or Deck . . . . . . . . . . . 56

Logging Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . 62

Modifying the Pulldown Phase Before Capturing. . . . . . . . . . . . 63

Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . . 65

Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Entering Additional Timecodes (Option) . . . . . . . . . . . . . . . . . . . . . . 66

Entering the Ink Number (Option). . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . 68

The Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Options for Modifying Bin Information. . . . . . . . . . . . . . . . . . . . . . . . 70

Modifying in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Chapter 3 Preparing to Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Understanding Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Preparing the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Using General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Selecting Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Creating a GPI Trigger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Deleting a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Editing an Existing GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Deleting Deck Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Understanding Drop-Frame and Non-Drop-Frame Timecodes . . . . . . . 93

Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Selecting Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Selecting Audio Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . 100

Setting the Pulldown Switch . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Film Project Pulldown and Transfer Settings. . . . . . . . . . . . . . 102

Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . 103

Selecting a Format in the Capture Tool . . . . . . . . . . . . . . . . . . . . . 104

Selecting a Draft Resolution for DV Media . . . . . . . . . . . . . . . . . . 104

Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Targeting Separate Drives for Audio and Video . . . . . . . . . . . 106

Interpreting the Time Remaining Display. . . . . . . . . . . . . . . . . . . . 107

Capturing to Multiple Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . 108

Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Capturing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . . 112

Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Selecting the Audio File Format. . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . . . 115

Checking for a Valid Digital Sync Signal . . . . . . . . . . . . . . . . . . . . 115

Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Configuring the Sound Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Resizing the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Adjusting the Reference Level . . . . . . . . . . . . . . . . . . . . . . . . . 121

Selecting a Peak Hold Option . . . . . . . . . . . . . . . . . . . . . . . . . 121

Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Calibrating Input Channels for the Audio I/O Device . . . . . . . . 126

Calibrating Output Channels for the Audio I/O Device. . . . . . . 127

Using the Passthrough Mix Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . 129

Monitoring Audio with the Passthrough Mix Tool. . . . . . . . . . . 129

Changing an Audio Level in the Passthrough Mix Tool . . . . . . 130

Adjusting Pan Values in the Passthrough Mix Tool . . . . . . . . . 131

Audio Meters in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Using the Meter Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Adjusting Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Using the Console Window to Check Audio Levels . . . . . . . . . . . . 135

Calibrating for Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Manually Calibrating for Video Input. . . . . . . . . . . . . . . . . . . . . . . . 137

Limitation When Using Consumer Decks or Decks Without

Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Capturing from Unstable Time-Base Sources . . . . . . . . . . . . . 142

Green Line in VHS Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Saving a Custom Default Setting for the Video Input Tool . . . . . . . 145

Adjusting Video Levels Without Color Bars . . . . . . . . . . . . . . . . . . 146

Compression Resolutions and Storage Requirements . . . . . . . . . . . . . 146

Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Digital Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

JFIF Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . 148

Compression Groups and Image Quality. . . . . . . . . . . . . . . . . 149

Video Streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Compression Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Setting Media Creation Resolutions and Selecting Drives. . . . . . . 152

Chapter 4 Capturing Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Before You Begin Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . . . . 157

Adding Extra Text Fields in the Capture Tool. . . . . . . . . . . . . . . . . . . . 157

Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Creating Subclips On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

DV Capture Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . 163

Capturing from One Point to Another. . . . . . . . . . . . . . . . . . . . . . . 164

Capturing from an IN Point to an OUT Point . . . . . . . . . . . . . . 164

Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Capturing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Autocapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Capturing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . . 172

Capturing in Satellite Mode or No Device Control . . . . . . . . . . . . . 172

Setting a Timed Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Capturing Audio from a Music CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . 182

Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Batch Capturing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . 187

DV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Setting Up DV Scene Extraction Before Capturing . . . . . . . . . . . . 190

Setting Up DV Scene Extraction After Capturing. . . . . . . . . . . . . . 192

Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Recapturing Master Clips and Subclips. . . . . . . . . . . . . . . . . . . . . 193

Recapturing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Saving Two Versions of a Sequence When Recapturing . . . . 194

Recapturing the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Other Capture Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Working in Quick Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . 198

Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . . 199

Ejecting Tapes with a Button or Key. . . . . . . . . . . . . . . . . . . . . . . . 199

Returning to the Previous Place in the Select Tape Dialog Box. . . 200

Chapter 5 Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Working with Mixed-Resolution Projects. . . . . . . . . . . . . . . . . . . . . . . . 202

Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . 209

Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . . . 210

Importing Multilayered Photoshop Graphics. . . . . . . . . . . . . . . . . . 211

Understanding Multilayered Graphics Import. . . . . . . . . . . . . . 211

Importing Multilayered Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Importing Editcam Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

The Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Selected Clips Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Import Target Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Import Options Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Chapter 6 Output Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Selecting Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . 228

Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . 228

Using Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Adjusting Phase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Calibrating the System with Passthrough Signals. . . . . . . . . . 234

Calibrating for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Calibrating Global Output Levels. . . . . . . . . . . . . . . . . . . . . . . 237

Adjusting Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Frame-Accurate Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Manual Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . 242

Using the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Selecting a Deck in the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . 246

Previewing a Digital Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Outputting Directly to a DV Device . . . . . . . . . . . . . . . . . . . . . . . . 249

Performing a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . 250

Performing a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . 254

DV Digital Cut Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Understanding Passthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Chapter 7 Exporting and Exchanging Material. . . . . . . . . . . . . . . . . . . . 259

Exporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Exporting Frames, Clips, or Sequences. . . . . . . . . . . . . . . . . . . . . . . . 264

Using the Drag-and-Drop Method for Export . . . . . . . . . . . . . . . . . 266

Using ProEncode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Using AvidLinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Creating Files for a DVD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . 274

Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Preset Export Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Exporting Through OMF Interchange. . . . . . . . . . . . . . . . . . . . . . . 279

Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . 280

Exporting OMFI or AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Exchanging Titles in OMFI Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Exporting as a QuickTime Reference Movie . . . . . . . . . . . . . . . . . 284

Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Exporting As an AVI File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Using the Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . 296

Exporting with the Avid DV Codec or an

Avid Meridien Codec. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Exporting with the Avid ABVB NuVista Codec

for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Installing an Avid Codec on Other Systems . . . . . . . . . . . . . . . . . . 303

Copying an Avid Codec for QuickTime to a

Windows System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Downloading Avid Codecs for QuickTime . . . . . . . . . . . . . . . . 304

Exporting from a Third-Party Application . . . . . . . . . . . . . . . . . . . . 305

Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Exporting As a Graphics File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Transferring a Project Between Systems . . . . . . . . . . . . . . . . . . . . . . . 309

Methods for Transferring Files Between Avid Editing Systems . . . 309

Compatibility Requirements for Transfer . . . . . . . . . . . . . . . . . . . . 310

Transferring a Project and Associated Media Files . . . . . . . . . . . . 310

Transferring Projects, User Profiles, and Site Settings. . . . . . . . . . 312

Transferring Projects and Bins Using AFE Files. . . . . . . . . . . . . . . 313

Transferring Media to and from a Video Server . . . . . . . . . . . . . . . . . . 315

Setting Up a Video Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . . 316

Configuring the Video Server As a Deck. . . . . . . . . . . . . . . . . 316

Transferring from the Avid Editing System to the Video Server. . . 317 Transferring from the Video Server to the Avid Editing System. . . 319

Chapter 8 Using the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Configuring the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Configuring the ENPS Server for Avid Clients. . . . . . . . . . . . . . . . 322

Configuring the NRCS Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Starting the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Understanding the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Using the Directory Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Opening a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Creating a Shortcut to a Directory (iNEWS Only) . . . . . . . . . . . . . 334

Removing a Shortcut to a Directory (iNEWS Only) . . . . . . . . . . . . 334

Deleting a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Changing the Text Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Editing Story Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Rearranging Text in a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . 336

Marking Text As Presenter Instructions (iNEWS Only) . . . . . . . . . 336

Marking Text As Closed Caption (iNEWS Only) . . . . . . . . . . . . . . 337

Adding a Production Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . 338

Deleting a Production Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . 339

Marking Text As Machine Control (iNEWS Only) . . . . . . . . . . . . . 339

Formatting Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Marking Text As Normal (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . 340

Adding a Loaded Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . 340

Using a Loaded Cue (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . . . 341

Deleting a Loaded Cue (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . 342

Finding the Read Time of a Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Building a Sequence from a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Script-Based IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Setting Timeline IN and OUT Points Based on Story Timing. . . . . 347

Adjusting the Story Timing (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . . 349

Adjusting the Story Timing with a Time Marker (iNEWS Only). . . . 350

Adjusting the Story Timing with a Time Pad (iNEWS Only) . . . . . . 350

Using Associated Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Saving Changes to a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . 354

Using the Post to Web Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Processing the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Creating a Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Linking Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Using Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

The Story Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

The Text Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

The Clip Tag. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Using a Template with Post to Web . . . . . . . . . . . . . . . . . . . . . . . . 365

Posting a Story to the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Sending and Receiving NRCS Mail (iNEWS Only). . . . . . . . . . . . . . . . 370

Sending NRCS Tool Mail (iNEWS only). . . . . . . . . . . . . . . . . . . . . 370

Receiving NRCS Tool Mail (iNEWS only). . . . . . . . . . . . . . . . . . . . 371

Disconnecting from Your NRCS Server . . . . . . . . . . . . . . . . . . . . . . . . 372

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Tables

Table 1 Supported Resolutions and Field Dimensions. . . . . . . . . .26

Table 2 Line Endings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Table 3 Options for Modifying Bin Information . . . . . . . . . . . . . . . .70

Table 4 GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

Table 5 GPI Node Settings Options . . . . . . . . . . . . . . . . . . . . . . . .83

Table 6 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Table 7 Film Project Pulldown and Transfer Settings. . . . . . . . . .102

Table 8 Audio Tool Components . . . . . . . . . . . . . . . . . . . . . . . . .120

Table 9 Audio Meter Menu Options . . . . . . . . . . . . . . . . . . . . . . .132

Table 10 Luminance Settings for Video Input. . . . . . . . . . . . . . . . .139

Table 11 Video Level Adjustment Criteria . . . . . . . . . . . . . . . . . . .146

Table 12 Compression Resolution Specifications . . . . . . . . . . . . .150

Table 13 Scheduled Record Settings . . . . . . . . . . . . . . . . . . . . . . .176

Table 14 Quick Record Condition Messages . . . . . . . . . . . . . . . . .196

Table 15 Support for Photoshop Layer Options . . . . . . . . . . . . . . .214

Table 16 Support for Photoshop Special Layer Types . . . . . . . . . .215

Table 17 Video Format Output Parameters . . . . . . . . . . . . . . . . . .230

Table 18 Luminance Settings for Video Output . . . . . . . . . . . . . . .232

Table 19 Available Avid Applications for AvidLinks Export. . . . . . .270

Table 20 DVD Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Table 21 Devices for Transferring Files . . . . . . . . . . . . . . . . . . . . .310

Table 22 Default Folder and File Locations . . . . . . . . . . . . . . . . . .312

Table 23 NRCS Tool Components . . . . . . . . . . . . . . . . . . . . . . . . .331

Using This Guide

The Avid® NewsCutter® products help editors, journalists, Web authors, and other professionals create broadcast-quality output. Users can incorporate production elements from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling.

The documentation describes the features and hardware of all the NewsCutter models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.

Who Should Use This Guide

This guide is intended for all Avid editors, from beginning to advanced. You should be familiar with your Windows with recording and producing news broadcasts.

About This Guide

This guide is designed to consolidate all the information you will need to take advantage of the many options that Avid offers. This guide will lead you through even the most complex procedures with task-oriented instructions.

The Contents lists all topics included in the book. They are presented with the following overall structure:

XP operating system, and

• Chapter 1 through Chapter 8 include conceptual information and stepby-step procedures for all aspects of input and output.

• A detailed Index helps you quickly locate specific topics.

Using This Guide

Symbols and Conventions

Unless noted otherwise, the material in this document applies to the Windows XP operating system.

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

> This symbol indicates menu commands (and

Margin tips In the margin, you will find tips that help you

Italic font Italic font is used to emphasize certain words and to

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.

subcommands) in the 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.

perform tasks more easily and efficiently.

indicate variables.

Courier Bold font

Click Quickly press and release the left mouse button.

Double-click Click the left mouse button twice rapidly.

Courier Bold font identifies text that you type.

Symbol or Convention Meaning or Action

Right-click Quickly press and release the right mouse button.

Drag Press and hold the left mouse button while you move

Ctrl+key Press and hold the first key while you press the

If You Need Help

If you are having trouble using NewsCutter, you should:

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 ReadMe installed with your Avid application for the latest information that might have become available after the hardcopy documentation was printed.

If You Need Help

the mouse.

second key.

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

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

5. For Technical Support, please call 800-800-AVID (800-800-2843). For Broadcast On-Air Sites and Call Letter Stations, call

800-NEWSDNG (800-639-7364).

Using This Guide

Accessing the Online Library

The Avid NewsCutter Products Online Library CD-ROM contains all the product documentation in PDF format. You can access the library from the Online Library CD-ROM or from the Help menu.

You will need Adobe® Acrobat® Reader® installed to view the documentation online. The Acrobat folder on your CD-ROM contains an installer for Acrobat Reader. The effects reference guide requires Apple’s QuickTime the latest version of QuickTime from the Apple

To access the online library from the Online Library CD-ROM:

1. Insert the Online Library CD-ROM into the CD-ROM drive.

2. Double-click the Mainmenu file.

To access the online library from the Help:

1. Insert the Online Library CD-ROM into the CD-ROM drive.

2. In your Avid application, select Help > Online Library.

For the latest product information, see the Avid Knowledge Center: www.avid.com/support

application to view the QuickTime movies. You can download

If You Have Documentation Comments

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How to Order Documentation

Using This Guide

Chapter 1

Planning a Project

This chapter gives a brief description of video formats and resolutions supported by your Avid editing application, and other information that can help you plan your project. This chapter includes the following topics:

• Types of Projects

• Project Resolutions

• Working with Mixed-Resolution Projects

• NTSC and PAL Image Sizes

• Software-Only Avid Editing Systems

• Sample Workflow

• Video and Film Projects

Types of Projects

When you start a project on your Avid editing application, you need to decide on a project type. Select your project type based on your source footage. You can select one of the following options from the New Project dialog box:

• 24p NTSC: For film-originated footage or other 24-fps footage,

transferred to NTSC videotape

• 23.976p NTSC: For film-originated or other 24-fps footage in which

you want to use digital audio, or for footage which has been shot at

23.976

Chapter 1 Planning a Project

• 30i NTSC: For NTSC video-originated footage (30 fps)

• 24p PAL: For film-originated footage or other 24-fps footage,

transferred to PAL videotape

• 25p PAL: For 25-fps film-originated footage or other 25-fps footage,

transferred to PAL videotape

• 25i PAL: For PAL video-originated footage (25 fps)

In these options, 23.976p, 24p, and 25p designate 23.976-fps, 24-fps, and 25-fps progressive media. For these projects, your source footage is captured and stored as 23.976, 24, or 25 full, discrete frames per second. In the 30i NTSC and 25i PAL options, the i represents interlaced frames played at 30 fps or 25 fps. An interlaced frame consists of two fields, each of which contains one-half the scan lines of the frame. Interlaced frames are standard for NTSC and PAL video media.

Project Resolutions

You must capture media to begin a project. Connect your media device to

™

the Avid Adrenaline

™

Mojo

DNA. The Avid installation poster identifies all of the connectors

Digital Nonlinear Accelerator (DNA) or Avid

on your Avid Adrenaline DNA or Avid Mojo DNA. If you have a software only application, you can connect a DV camera or deck directly to your Avid editing system. Alternatively, you can use a Media Station XL system or an Avid Xdeck

™

recorder in an Avid Unity™ MediaNetwork environment to capture media. For more information about these products, contact your Avid representative, or visit the Avid Web site.

Project formats are described as follows:

• Avid video projects capture and store 30i-fps NTSC or 25i-fps PAL

media as digital video that conforms to the ITU-R 601 standard (SDTV or standard-definition TV).

• Avid film projects capture and store 23.976p-fps NTSC or 25p-fps

PAL media. You do your offline editing in an Avid editing application and finishing on a Symphony

™

or Avid|DS system.

Project Resolutions

You cannot create 24p or 25p media or multiple output formats from video footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film or HD (high-definition).

• Digital video (DV) is an international standard created by a consortium of 10 companies to serve as a consumer digital video format. Avid editing applications support two DV resolutions: DV 25 and DV 50.

DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch tape to record very-high-quality digital video. The video is sampled at the same rate as D1, D5, or Digital Betacam scan line). The color information in DV 25 is sampled at the D1 rate 4:1:1 in 525-line (NTSC) and 4:2:0 in 625-line (PAL) formats. DV 50 is defined as 720 x 480, 50-megabit-per-second (Mb/s) 4:2:2 DV.

• MPEG 50 is a resolution specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX

Avid editing applications allow you to capture, edit, and play back in the resolution listed in Table 1 , except where noted. You cannot capture DV 50 Avid Adrenaline DNA systems. The Avid Mojo DNA and the softwareonly systems cannot capture DV 50 and MPEG 50.

™

VTRs.

video (720 pixels per

Avid editing applications support DV 50 and MPEG 50 media, but some models cannot capture it in its native format. To capture DV 50 and MPEG 50 media in its native format, use a Meridien-based NewsCutter system (or the Avid Adrenaline DNA to capture MPEG 50) and share the media using an Avid Unity MediaNetwork to access and edit the media.

Your Avid editing applications also support Avid Video Resolutions (AVR). These media resolutions cannot be captured but, if you have access to the media, you can edit them using this Avid editing application.

Chapter 1 Planning a Project

Table 1 Supported Resolutions and Field Dimensions

Resolution

NTSC Per-Field Dimensions

PAL Per-Field Dimensions

DV 25 4:1:1 720 x 480 720 x 576

DV 25 4:2:0 720 x 480 720 x 576

DV 50 4:2:2

720 x 480 720 x 576

(editing and playback only)

MPEG 50 4:2:2

720 x 256 720 x 308

(editing and playback only)

15:1s 352 x 248 352 x 296

4:1s 352 x 248 352 x 296

2:1s 352 x 248 352 x 296

20:1 720 x 248 720 x 296

10:1 720 x 248 720 x 296

3:1 720 x 248 720 x 296

2:1 720 x 248 720 x 296

1:1 (Uncompressed) 720 x 248 720 x 296

35:1p 720 x 486 720 x 576

3:1p 720 x 486 720 x 576

28:1p 720 x 486 720 x 576

2:1p 720 x 486 720 x 576

14:1p 720 x 486 720 x 576

1:1p 720 x 486 720 x 576

Working with Mixed-Resolution Projects

These resolutions appear, along with other Avid resolutions, wherever a list of resolutions appears (for example, in the Video Resolution pop-up menu of the Media Creation dialog box). The exact list depends on whether you are working in an NTSC or PAL project.

For information about input and output, see the following sections:

• “Configuring Decks” on page 84

• “Setting Up the Capture Tool” on page 94

• “Using the Digital Cut Tool” on page 244

Working with Mixed-Resolution Projects

The Avid editing system s allows you to work with mixed resolutions in the same sequence.

The only restriction is you cannot mix clips with different frame rates. For example, you cannot mix NTSC with PAL and you cannot mix interlaced resolutions with progressive resolutions.

NTSC and PAL Image Sizes

The Universal Mastering capabilities of your Avid editing application let you create both NTSC and PAL master tapes from the same project. If you plan to output both formats, consider the following information.

In the Avid editing application, NTSC video uses a 4:3 aspect ratio with a screen display of 720 x 486 pixels. DV and MPEG footage uses a screen display of 720 x 480 pixels. PAL video uses the same aspect ratio, but includes an additional 90 horizontal lines for a total screen display of 720 x 576. During the process of creating a digital cut, the Avid editing application resizes the video image to the appropriate screen dimensions. For example, if you are working in an NTSC project and want to output PAL video, the Avid editing application resizes the NTSC video image to the larger PAL screen dimensions. This is the same process used in other standalone standards converters.

Chapter 1 Planning a Project

Because PAL has more horizontal lines of resolution than NTSC, resizing from PAL to NTSC results in better quality, especially for imported graphics. If you plan to output both NTSC and PAL versions of a sequence, consider using PAL film-to-video transfer and graphics sized for PAL. Your choice will depend on other production requirements, such as audio workflow and hardware availability.

Software-Only Avid Editing Systems

When you configure Avid editing systems that do not use an external Avid Adrenaline DNA or Mojo DNA for a DV camera or deck, you need to select OHCI (for example, from the Video pop-up menu in the Capture tool). The OHCI (Open Host Controller Interface) specification is a standardized way of interacting with the 1394 bus. The IEEE 1394 interface that conforms to the specification can provide a connection between a computer and a DV camera or deck that will operate in a standard way.

The video compression format can be transferred through equipment that conforms to IEEE decks, cables, connectors, and processing boards) is sometimes referred to as FireWire data (both video and audio) directly from a DV camera or deck to an Avid editing system with no conversion loss.

The Avid editing application does not use the default Microsoft driver, but instead uses a custom OHCI driver. Whenever you connect a new DV device (camera or deck), the Avid editing application automatically links the device to the custom OHCI driver. For more information on linking a DV device, see the Avid Using the Avid

Adrenaline DNA Installation Instructions or Avid Using the Avid Mojo DNA Installation Instructions for your Avid editing system.

DV resolutions and OHCI input and output are not available in progressive projects.

1394. This equipment (cameras, video and audio

or i.LINK®. IEEE 1394 connections let you transfer digital

OHCI

Sample Workflow

Figure 1 shows a possible workflow using a standalone configuration. If

you were in a workgroup environment, media can be brought in from, and sent back to, shared storage.

Sample Workflow

1. (Option) Import a log file to create a bin.

2. Connect your equipment. For analog video, use the Avid Adrenaline DNA or Avid Mojo DNA. For the software only model, use the 1394 connection on the Avid editing system.

3. Capture the media in the resolution you want. If you imported a log file, batch capture. Otherwise, log and capture or capture on-the-fly.

4. Perform edits and create a final sequence.

5. Output an analog or digital, NTSC or PAL, master tape.

In a workgroup environment you can send to air or post to Web.

Software only models

Log

DV deck or camera

1394 connection

DV deck or camera

Beta- cam

Source footage: NTSC 30 fps or PAL 25 fps

Betacam, Digital Betacam, or other VTR, DV deck or camera

Adrenaline DNA or Mojo DNA

Avid editing system

Adrenaline DNA or Mojo DNA

Betacam, Digital Betacam, or other VTR, DV deck or camera

Figure 1 Project Workflow

Betacam

25-fps or 30-fps master

Chapter 1 Planning a Project

Video and Film Projects

Avid editing applications offer you a flexible approach to finishing your project, whether it originates as video or film.

For video projects, you can use the offline capabilities of the Avid editing application and the Total Conform capabilities of the Symphony system to produce the highest quality, uncompressed broadcast masters.

For film and 24-fps or 25-fps HDTV (high-definition television) projects, you can use the Avid editing application’s Universal Offline Editing capabilities to capture footage at 24 fps or 25 fps, and edit the content in its native frame rate. Then use the Symphony system’s film-tape-film-tape (FTFT) and Total Conform capabilities to finish and deliver uncompressed NTSC, PAL, 4:3, 16:9, and letterbox formats, as well as frame-accurate film cut lists and edit decision lists (EDLs), all from the same 24p (24-fps progressive) or 25p media.

Chapter 2

Logging

When you log with a deck or import shot log files, you provide the Avid editing system 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 sections provide techniques for preparing log information prior to capturing:

• Logging Tips

• Preparing Logs for Import

• Importing Shot Log Files

• Setting the Pulldown Phase

• Converting Log Files with Avid Log Exchange

• Logging Directly to a Bin

• Logging Film Information

• Modifying Clip Information Before Capturing

• Exporting Shot Log Files

Chapter 2 Logging

Logging Tips

Logging Preroll

The following sections provide important guidelines for preroll, timecode formats, and naming of tapes when logging prior to capturing.

Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 or 3 seconds for Betacam playback, 5 seconds for 3/4-inch U-matic playback, and 6 seconds for DV playback.

To set the default preroll for tape playback:

1. Open the Deck Settings dialog box by doing one of the following: t If no deck currently exists, double-click Deck Configuration in the

Settings scroll list to open the Deck Configuration dialog box, click Add Channel and then click Add Deck.

t If a deck already exists, double-click Deck Configuration in the

Settings scroll list to open the Deck Configuration dialog box, and then double-click the deck name.

t Select Tools > Capture to open the Capture tool, and then click the

Deck Selection pop-up menu, and select Adjust Deck.

Preroll setting

Logging Tips

2. Click the Preroll pop-up menu, and select a preroll time.

Logging Timecode

Within an NTSC project, check the timecode format of each tape (dropframe versus non-drop-frame timecode) when you are logging without a tape in the deck.

Drop-frame timecode and non-drop-frame timecode exist only in NTSC projects.

Chapter 2 Logging

To log drop-frame timecode when there is no tape in the deck:

1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens.

Log As pop-up menu

2. Click the Log As pop-up menu, and select Drop Frame. When you are bringing in a bin created outside of the Avid editing system, use semicolons (;) between the hours, minutes, seconds, and frames.

To log non-drop-frame timecode when there is no tape in the deck:

1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens.

2. Click the Log As pop-up menu, and select Non-drop Frame. When you are bringing in a bin created outside of the Avid editing system, use colons (:) between the hours, minutes, seconds, and frames.

Naming Tapes

Logging Tips

When you type tape names in the Capture tool, consider the following:

• It is important that you devise a naming scheme for your tapes. For example, tapes with similar names can be easily sorted and viewed together in a bin. However, it might be difficult to distinguish among tapes with similar names when you try to locate a specific tape quickly. Name tapes based upon the amount and complexity of your source material.

• Tape names must be alphanumeric characters (A–Z, 0–9), with no spaces before the name. They can include uppercase and lowercase letters. Bin names are now limited to 27 characters (not including the 4 characters reserved for the file name extension).

• It is possible to have a single tape listed as several different tapes if you alter the case of the letters. This can cause significant problems in keeping track of clips. Choose a case convention and maintain it throughout a project.

• If you are planning to generate an edit decision list (EDL) for import into an edit controller for online editing, double-check the controller’s specifications beforehand. Some edit controllers will truncate source tape names to as few as six characters, while others will eliminate characters and truncate to three numbers.

Double-Checking the Logs

When importing shot logs for video, the Avid editing system compares the video duration to the video out minus the video in. When importing film shot logs, the system compares the key number out minus the key number in.

If the Avid editing application detects a discrepancy, it reports the error and does not bring the clip into the bin.

To ensure that clips are not discarded on import:

t Double-check the logs for discrepancies in duration and marks.

Chapter 2 Logging

Adding a Memory Mark

You can add a memory mark to a particular location on a tape. The Mark Memory button in the Capture tool allows you to add one mark per tape. The Go to Memory button allows you to move through the tape to the marked location. You can clear the memory mark by using the Clear Memory button.

The memory mark is not stored on the tape. When you remove the tape from the deck, the mark is cleared.

Go to Memory button Clear Memory button Mark Memory button

Preparing Logs for Import

For Avid Log Exchange information, see “Avid Log Specifications” in the Help.

Avid editing applications provide many useful tools to help you prepare frame-accurate log information for import to the bin from any number of sources. This process might involve using a word processor or standard text editor to create and import logs, including those using the Avid Log Exchange (ALE) format.

Creating Avid Logs

You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor. To ensure accuracy, you must follow the Avid log specifications.

You can use any text editor to create Avid logs. However, you must save the file as a text document (ASCII format).

Your Windows system ships with a text editor called WordPad. WordPad can handle large files, and it allows you to save the files as text documents.

To start WordPad:

tClick the Start button, and select > All Programs > Accessories >

WordPad.

To create Avid logs by using a word processor:

1.Enter shot log information according to the specifications.

For Avid log specification information, see “Avid Log Specifications” in the Help.

2. Save your file as a text file in the Save As dialog box.

Avid editing applications accept only text files (ASCII format).

When you are logging manually, document the following information:

• Identify the source tape for each shot.

Chapter 2 Logging

• Document each clip’s name, start timecode, and end timecode.

This is the minimum information required to capture successfully. You can also add other information such as comments or auxiliary timecodes. You can make a separate log file for each videotape, or you can log clips from several different videotapes into one log.

Importing Shot Log Files

You can import any log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require capturing. The system imports any additional information logged with each clip.

To import shot log files into a bin:

1. Open a bin, click anywhere in an open bin to select it, or create a new bin for the shot log import.

2. Select File > Import.

The Select Files to Import dialog box opens.

Files of type pop-up menu

Options button

Preparing Logs for Import

Up One Level button

3. Do one of the following: t Click the Files of type pop-up menu, and select Shot Log.

The system displays file types that belong to the selected category only.

t Click the Files of type pop-up menu, and select All Files.

The system displays all files in a selected folder, regardless of file type. Use this option if you want to batch import multiple file types.

When batch importing multiple files and file types, you should establish global Import settings in advance. See “Creating and Using Import

Settings” on page 202.

Chapter 2 Logging

4. Click Options to open the Import Settings dialog box if you want to select options for combining events on import from the Import settings.

5. Click the Shot Log tab. For more information about shot log options, see “Import Settings” in the Help.

6. After selecting the appropriate options, click OK to return to the Select Files to Import dialog box.

7. Use the Up One Level button to locate the folder containing the source file.

8. Select the file.

9. Click Open.

When the system finishes importing the file, the clips appear in the selected bin.

Setting the Pulldown Phase

For information about the pulldown process, see “Transferring 24fps Film” in the Help.

Set Pulldown Phase option

If you are logging or capturing 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24 footage, or both), you can set the pulldown-to-timecode relationship for a transferred tape in the Film Settings dialog box.

You set this relationship by selecting the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer.

Chapter 2 Logging

The following illustration shows the relationship between film frames and video frames.

Four film frames

Five NTSC video frames (ten fields)

odd

A1 A2

C1 C2

even

odd

even

odd

even

odd

even

odd

even

This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it. See “Entering Pulldown

Information” on page 60.

The Set Pulldown Phase setting lets you log, batch capture, and captureon-the-fly more easily, because the correct pulldown phase of any IN point for a particular tape is automatically determined. Setting the correct pulldown phase prevents inaccuracies in cut lists and matchback EDLs. It also prevents incorrectly captured clips that appear to stutter when played in 24p NTSC projects.

For example, if you set the pulldown phase of 00:00:00:00 as A (indicating that the A frame is located at timecodes ending in 0 or 5), any timecode you log will calculate its pulldown phase based on the same sync point, regardless of where you set the IN point. If you use the Capture tool to log a clip that starts at 01:00:10:01, the Avid system automatically enters B in the Pullin column of the bin. If you capture on-the-fly starting at 01:00:10:01 (a B frame), the system begins to capture at the next A frame, in this case, 01:00:10:05.

The Set Pulldown Phase feature does not work if you capture from a mark IN.

Converting Log Files with Avid Log Exchange

For information about fixing an incorrectly logged sync point, see

“Modifying the Pulldown Phase After Capturing” on page 187.

The pulldown-to-timecode relationship might vary from tape to tape, or within the same tape, depending on how the footage was transferred. If you find that a tape requires a different pulldown phase, you can change the setting in the Film Settings dialog box, or use the Modify Pulldown Phase dialog box before capturing (see “Modifying the Pulldown Phase Before

Capturing” on page 63.

To set the pulldown phase:

1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways:

t If you are capturing film-to-tape transfers, check the transfer log. t If you are capturing tapes that have been downconverted from

1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion.

t If you still cannot determine the pulldown phase, see

“Determining the Pulldown Phase” on page 62.

2. Double-click Film in the Settings scroll list of the Project window.

3. Select the option Set Pulldown Phase of Timecode 00:00:00:00 and then click the pop-up menu, and select the correct pulldown phase (A, B, X, C, D).

4. Click OK.

Converting Log Files with Avid Log Exchange

You can use the Avid Log Exchange (ALE) utility included with your system to quickly convert shot log files created by other sources. You can then import the files directly into bins, as described in “Importing Shot Log

Files” on page 38.

The ALE utility allows you to:

• Modify the text in a log file.

• Convert log files to the ALE file.

• Convert an ALE file to either an ATN or FLX file.

Chapter 2 Logging

Any options you set in the ALE utility are saved each time you exit 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 Nations1.ale, Nations1_2.ale, Nations1_3.ale, and so on. The converted output files are stored in the folder containing the original input file.

ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included.

Converting a Log File to an ALE File

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. Select File > Open. The Open dialog box opens.

3. Browse to the file you want to convert and double-click it.

Converting Log Files with Avid Log Exchange

4. Depending on the type of file you are opening, one of the following occurs:

- If the file type is recognized by Avid Log Exchange, the file

appears in the Avid Log Exchange window.

- If the file does not contain the Windows line-ending format, then

the Line Endings dialog box opens. Select one of the following options as explained Table 2 :

Table 2 Line Endings Options

Click To

Display & Save Open the file in the Avid Log Exchange window and

change the file to the Windows format.

Display Only Open the file in the Avid Log Exchange window, but do

not change the file.

Ignore Display the file without changes.

Chapter 2 Logging

The file appears in the Avid Log Exchange window.

For specific information on the file types shown here, see

“Avid Log Specifications” in the

Help.

- If the file type is not recognized, the Choose File Type dialog box opens. Select the type of file you are converting, and click OK.

The file appears in the Avid Log Exchange window.

5. 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.

6. Select Options > Clean if you want Avid Log Exchange to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected.

When you select Clean, the utility removes the end timecode from any clip that overlaps the start of the next clip.

7. If you selected Clean, you can also select Options > Relaxed to prevent deleting 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 Clean function from deleting the

Converting Log Files with Avid Log Exchange

clips. 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.

8. Select Convert > ALE. The default output selection is the Avid Log Exchange (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.

9. (Option) Select Window > original file if you want to convert the file again, using different options.

Chapter 2 Logging

10. Select File > Close. If you made changes in the editor, a message box opens.

11. Click Yes. The converted file is stored in the same folder as the original log file.

Using Drag-and-Drop Conversion

Use this shortcut to convert any type of file into an ALE file.

Before you use the drag-and-drop conversion, check the options in the ALE utility. The current options are used when you perform the drag-and-drop conversion.

To convert a log file by using drag-and-drop conversion:

1. Create a shortcut for the ALE utility.

2. Open the folder that contains the files you want to convert, positioning the folder so the Shortcut icon for the ALE utility is visible.

Converting Log Files with Avid Log Exchange

3. Select the files you want to convert.

Avid Log Exchange Shortcut icon

4. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button.

5. 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 Choose File Type dialog box

opens. Select the type of the file you are converting, and click OK. A message box opens, indicating the conversion was successful.

- 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.

Chapter 2 Logging

6.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.

Logging Directly to a Bin

You can log clips directly to a bin by using the Capture tool in one of two ways described in this section:

For complete information on working with bin columns and clip information, see

“Organizing Bin Information in the Help.

• Log directly to a bin with an Avid-controlled deck for semiautomated data entry.

• Log manually during or after viewing of footage offline with a nonAvid-controlled deck or other source.

Logging with an Avid-Controlled Camera or Deck

When you log with a DV camera or compatible video deck controlled from within your Avid editing application, you can automate part of the logging process by using buttons to enter frame-accurate timecode information from the camera or deck. This method is more accurate than manual entry because timecodes are transferred directly from tape to the bin.

To log clips to a bin by using the Capture tool:

1. Make sure the camera or deck is properly connected, and turn on power to the video deck.

2. Open the bin in which you want to store the clips.

Mark IN button

Channel Selection buttons

Deck Selection pop-up menu

Source Tape Display button

Logging Directly to a Bin

3. Select Tools > Capture. The Capture tool opens.

Capture/Log Mode button

Chapter 2 Logging

4. To select a deck or device, click the Deck Selection pop-up menu and select Autoconfigure or Adjust Deck, and then load your tape into the deck.

The Select Tape dialog box opens.

5. Do one of the following:

t Click Cancel to stop the process at any time. t Select “Show other projects” to display the tape names and

associated project names for all bins that have been opened in the current session.

t Click “Scan for tapes” to scan the system and display tape names

and associated project names for all media files that are currently online (drives that are currently mounted on the system).

6. Click the Capture/Log Mode button in the Capture tool until the LOG icon appears.

7. Click the Source Tape Display button. A dialog box opens.

8. Click Yes to open the Select Tape dialog box.

Logging Directly to a Bin

9. Double-click the name of the tape in the dialog box, or click New and type the name of the tape. Click OK.

A message that the system is waiting for you to mark an IN point is displayed in the message bar.

10. Set the first point by using one of the following methods:

Mark IN

Mark OUT

Go to IN

Go to OUT

Mark OUT and Log

t Click the Mark IN button in the upper left corner of the Capture

tool or press F4.

t Use the deck controls in the Capture tool to cue your source tape to

the start or end point, and click the Mark IN or the Mark OUT button.

t If the footage starts at a known IN point or ends at a known OUT

point, type the timecode in the text box next to the Mark IN or the Mark OUT button. Then enter the mark by pressing the Go to IN or the Go to OUT button, which scans the tape forward to the mark, or by pressing Enter.

After you set the point, the Mark IN button changes to either the Mark OUT and Log or the Mark IN and Log button.

If you want to pause the deck while you enter a clip name and comments, see “Pausing a Deck While Logging” on page 54.

11. To finish logging the clip, do one of the following: t Set the remaining IN or OUT point on-the-fly by using the Mark

IN or Mark OUT buttons, or by pressing F4.

t Type a timecode for the clip’s IN point, OUT point, or duration in

the timecode text boxes next to the corresponding icon, and press Enter.

The system automatically calculates the appropriate timecode for the remaining IN point, OUT point, or duration, and enters the clip into the bin. The clip name, which is automatically numbered by the system, is highlighted and ready to be changed.

You must enter two of the three timecode marks (IN point, OUT point, or duration) to complete the log entry.

Chapter 2 Logging

12. Name the clip by typing a new name before clicking any of the buttons in the Capture tool.

Consider changing the clip name immediately because it is easy to forget the contents of each clip if you are logging many clips. You can, if necessary, accept the clip name, proceed with the logging process, and then change the clip names in the bin at a later time.

13. Repeat these steps until you have logged all your clips.

While viewing the footage, you can continuously update your marks onthe-fly by clicking the Mark IN or the Mark OUT button repeatedly before entering the second mark.

Pausing a Deck While Logging

If the deck is playing while you log clips, you can direct the Avid editing application to pause the deck automatically after you select an IN point and an OUT point. While the deck is paused, you can enter the name and a comment for the clip you want to log.

To pause the deck while logging:

1. Double-click Capture in the Settings scroll list. The Capture Settings dialog box opens.

2. Select the “Pause deck while logging” option.

Mark IN button

Logging Directly to a Bin

3. Set up the deck and the Capture tool as described in “Logging with an

Avid-Controlled Camera or Deck” on page 50.

4. Start the deck.

5. When you reach the point where you want to start the clip, click the Mark IN button in the upper left corner of the Capture tool (or press the F4 key). The Mark IN button changes to the Mark OUT button, and the deck continues to play.

6. When you reach the point where you want to end the clip, click the Mark OUT button in the upper left corner of the Capture tool (or press F4 again). The Mark OUT button changes to the Log Clip button, and the deck pauses.

7. (Option) Type a clip name and comment.

8. Click the Log Clip button (or press F4). The system logs the clip in a bin, and the deck starts playing again.

Chapter 2 Logging

Logging with a Non-Avid-Controlled Camera or Deck

You can use the Capture tool to log clips directly to a bin from a source that is not Avid-controlled. For example, you can log clips from a camera or deck that is not connected to the system or from handwritten or printed log information for a tape that was previously logged but is not currently available.

When logging with the Capture tool, you should leave the deck empty. If a tape remains in the deck, the system determines drop-frame or non-dropframe from that tape, whether or not it matches your tape’s timecode format.

To log with a non-Avid-controlled camera or deck:

1. If there is a camera or deck connected to the system, eject the tape from the deck.

2. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens.

3. For NTSC projects, click the “When no tape in deck log as” pop-up menu, and select Non-Drop-Frame or Drop-Frame.

4. Click OK to close the dialog box.

5. Open the bin where you want to store the clips.

Mark IN button

Logging Directly to a Bin

6. Select Tools > Capture. The Capture tool opens.

Capture/Log Mode button

Channel Selection buttons

Message bar

Timecode display

Deck controls

Deck Selection pop-up menu

Mark IN text box

Clear OUT button

Mark OUT text box

Source Tape Display button Mark OUT button Mark IN button

7. Click the Capture/Log Mode button in the Capture tool until the LOG icon appears.

8. Click the Source Tape Display button. A dialog box opens.

9. Click Yes to open the Select Tape dialog box.

10. Double-click the name of the tape in the dialog box, or click New and type the name of the tape. Click OK.

11. Select the tracks that you want to log, using the Channel Selection buttons.

12. Type the start and end timecodes in the Mark IN and Mark OUT text boxes.

13. Click the Log Clip button. The clip is logged to the bin.

Chapter 2 Logging

Logging Film Information

Once you have entered or imported the basic log information into a bin, you might want to add film-related log information before capturing. This section describes procedures and formats for adding various film headings.

The following are some important requirements for film-based projects:

• The minimum information required for capturing is the data recorded in the Start and End video timecode columns, and the pulldown phase for NTSC transfers, which is noted in the Pullin column (24-fps capture only).

• Each reel of film can be logged as a separate clip, and will correspond to a single master clip, only if the video transfer of the film reel has continuous pulldown (NTSC format), and continuous timecode (NTSC and PAL). If the film reels for your project do not meet this condition, then you must log each take on a reel of film as a separate clip, which will correspond to a single master clip.

If you log each reel as a separate clip, you can use the F1 and F2 keys to create subclips for each take. See “Creating Subclips On-the-Fly” on

page 160.

• If you want to produce a cut list, or use film-tape-film-tape for recapturing, you must log key numbers. You can add key numbers after capturing, before you create the cut list.

• All film and video reference numbers must be in ascending order.

Displaying Film Columns

To display film columns in the bin:

1. Click the Bin View pop-up menu, and select Film to display all the required film column headings. The Bin View pop-up menu is located at the bottom of the Bin window.

Bin View pop-up menu

Logging Film Information

2. To log data under optional headings (such as Ink Number, Auxiliary TC1-Auxiliary TC5, or Film TC), select Bin > Headings and Ctrl+click (Windows) or click (Macintosh) the specific headings you want to add from the Bin Column Selection dialog box.

Chapter 2 Logging

3. You can also track custom information for the job by creating a custom heading. To create a new heading, type a name that describes the information in the headings bar at the top of the bin. For more information on customizing bin views, see “Customizing Bin Views in Text View” in the Help.

Entering Pulldown Information

For information about importing a log file, see

“Importing Shot Log Files” on page 38.

To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin. (This information is not required for PAL transfer tapes.) Setting the correct pulldown phase prevents inaccuracies in cut lists and matchback EDLs. If you are importing a log generated during the telecine transfer, the pulldown information is automatically included in the bin.

Logging Film Information

Start timecode

If you do not have a transfer log, or if the transfer log is incorrect, you need to add the information manually. If you log clips by using the Capture tool, the Avid system uses the A frame as the default pulldown phase. You might need to edit this value.

For 24p projects, you can set a default pulldown phase in the Film Settings dialog box. See “Setting the Pulldown Phase” on page 41 (24p projects only).

Pullin column (information required for NTSC

For matchback projects, you need to log key-number information before you can log pulldown information.

By specifying the pulldown phase in the Pullin column, you accomplish the following:

• You ensure that the clips will start with the correct frame for the pulldown. Otherwise, you might experience inaccuracies in keynumber tracking and in the cut lists.

• You indicate where the pulldown fields are located so the Avid system can accurately eliminate the pulldown fields during the capturing process, leaving you with a frame-to-frame correspondence between your digital media and the original 24-fps footage (24p projects only).

To do this, you must indicate whether the sync point at the start of each film clip transferred to tape is an A, B, C, or D frame, as described in this section. In most cases, the sync point is the A frame.

Chapter 2 Logging

Determining the Pulldown Phase

It is easiest to determine the pulldown of a sync point (or pulldown phase) if you ask your film lab to keypunch (cut a small hole in) the sync frame at the zero frame in the original film footage before transferring the film to video. Many film labs or transfer houses can also provide a pulldown frame indicator displayed at the far right of the burn-in key numbers, depending on the equipment available. Ideally, the A-frame pulldown coincides with timecode ending in 0 and 5 (:00, :05, :10, and so on).

If the footage has not been keypunched, you can determine pulldown according to clapsticks or any other distinctive frame at the beginning of the clip. Determining the pulldown is easier if the frames depict motion.

For instructions on determining the pulldown phase for material already captured, see “Modifying the Pulldown Phase After Capturing” on

page 187.

To determine the pulldown phase:

1. While viewing the video transfer on a monitor, go to the keypunched (or clapsticks) sync point for the beginning frame of the clip you’re logging.

2. Step (jog) past the sync point frame field-by-field, using the step wheel on the tape deck. You will see either two or three keypunched fields. If the footage is not keypunched, look for two or three fields with little or no motion.

3. If there are two fields, the pulldown is either A or C. Step through the fields again, and note where the timecode changes:

- If the timecode does not change from the first to the second field,

the fields came from an A frame.

- If the timecode changes from the first to the second field, the fields

came from a C frame.

The following illustration shows a keypunch on the A frame. Notice where the timecode changes.

Logging Film Information

Four film frames

Five NTSC video frames (ten fields)

odd

even

odd

even

odd

even

odd

even

odd

even

Timecode change

A1 A2

C1 C2

4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D. Step through the fields again and note where the timecode changes:

- If the timecode changes from the second to the third field, the

fields came from a B frame.

- If the timecode changes from the first to the second field, the fields

came from a D frame.

5. Enter or edit the information in the Pullin column in the appropriate bin, as described in the next section.

Modifying the Pulldown Phase Before Capturing

After you determine the correct pulldown phase (as described in the previous section) you can modify the pulldown phase before capturing in one of the following ways.

To modify the pulldown phase directly in the Pullin column:

1. Click the Text tab to display all bin information.

2. Click the cell you want to modify.

3. Click the cell again. The pointer changes to an I-beam.

4. Type the pulldown phase and press Enter (Windows) or Return (Macintosh).

Chapter 2 Logging

To modify the pulldown phase for multiple clips:

1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify.

2. Select Clip > Modify.

3. Click the Modify Options pop-up menu, and select Pull-in.

4. Select A, B, C, or D.

5. Click OK. The pullin for all selected clips is changed, based on the pulldown

phase you selected.

To modify the pulldown phase for multiple clips that have the same pulldown-to-timecode relationship:

1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify.

2. Select Clip > Modify Pulldown Phase. The Modify Pulldown Phase dialog box opens.

3. Click the pop-up menu, and select the correct pulldown phase for timecodes ending in 0 or 5.

4. Click OK. The pulldown phase for each selected clip is changed, based on the

pulldown phase you selected for 00:00:00:00. The Pulldown Phase setting also appears in the Film Settings dialog

box (24p projects only). You can override that setting with the Modify Pulldown Phase dialog box. The selection in the Film Settings dialog box remains the same. For more information, see “Setting the

Pulldown Phase” on page 41.

Logging Film Information

If you want to modify the pulldown phase after capturing, you must first unlink the clips. See “Modifying the Pulldown Phase After Capturing” on

page 187.

After you capture an NTSC transfer, the timecode shows a loss of every fifth frame of video. For example, don’t be alarmed if you find that your timecode jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame, just an extra pulldown field.

Entering Frames-per-Second Rates for PAL Transfers

When you log in advance for PAL film-to-tape transfers, you must log the footage as clips that have a 25-fps play rate, as listed in the FPS column of the bin. If you want, you can capture the footage on-the-fly, without logging the clips first. The minimum information required to capture the footage is the data logged in the Start and End video timecode columns.

Entering Key Numbers

To add key numbers:

t Highlight the KN Start column, then type the key number for the sync

point at the start of the clip by using one of the following formats:

- Keykode

type code, a six-digit prefix for identifying the film roll, a fourdigit footage count, a two-digit frame offset, and then press Enter (Windows) or Return (Macintosh).

™

Format: Type a two-character manufacturer and film-

The Avid system adds a space, hyphen, and either a plus sign (for 35mm projects) or an ampersand (for 16mm projects) to format the number. For example, in a 35mm project, to enter KJ 23 6892-1234+15, type KJ236892123415. In a 16mm project, typing the same number results in the code KJ 23 6892-1234&15.

Chapter 2 Logging

- Other Formats: Enter other key-number formats in the Ink

Number column. Type up to eight characters for the prefix, up to five characters for the footage count, two digits as the frame count, and then press Enter (Windows) or Return (Macintosh).

The Avid system automatically calculates the ending key number (KN End), based on the timecode duration.

Make sure the correct number appears when you press Enter (Windows) or Return (Macintosh). For key-number formats other than Keykode, you might need to type the space, hyphen (-), and plus sign (+) or ampersand (&) to format the number correctly.

Entering Additional Timecodes (Option)

Consider the following when you enter additional timecodes:

• In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type an auxiliary timecode that syncs with the video timecode logged in the Start column. You can enter up to five auxiliary timecodes. Supported timecodes depend on your project: 30-fps for NTSC (dropframe or non-drop-frame) and 25-fps for PAL. Use one of the following formats:

t Enter a two-digit format for hours, minutes, seconds, and frames.

You need not enter a leading zero. (For example, to enter 01:23:02:00, type 1230200.)

t When working with drop-frame timecode in the NTSC format (not

applicable to PAL), enter a semicolon to indicate drop-frame timecode (for example, to enter 01;23;02;00, type 01;230200).

• In the Sound TC column, enter the Nagra or DAT timecode for the original audio for the start of the clip. The timecode should sync with the video timecode logged in the Start column in the bin. Enter the source sound-roll identifier in the Soundroll column. Supported timecodes depend on your project: 30-fps for NTSC (drop-frame or non-drop-frame) and 25-fps for PAL. The clip to be captured must contain an audio track.

Logging Film Information

• In the Film TC column, enter timecode generated by a film camera (using Aaton or Arri timecode) for tracking the picture at the start of the clip. The film timecode should sync with the video timecode logged in the Start column. Only 24-fps timecode is supported. The clip to be captured must contain a video track.

• In the TC24 column, enter timecode for original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode.

You can use the Duplicate command to convert timecodes from one format to another. For more information, see “Duplicating a Column” in the Help.

Entering the Ink Number (Option)

To enter ink numbers:

1. Open the Film Settings dialog box by clicking Film in the Settings scroll list of the Project window.

2. Make sure the correct options are selected for ink number format and ink number display, and click OK.

You can log different ink number formats in the same project as long as you change the ink number setting to the appropriate format before you log each type. Changing the ink number setting affects only the next ink numbers you log, not numbers that are already logged.

3. Return to the bin and enter numbers under the Ink Number heading. For example, use Keykode format or use a two-digit prefix to identify

the roll, a hyphen, a four- or five-digit footage count, a plus sign, and a two-digit frame count (for example, AA-00924+00).

Entering Additional Film Data

You can continue to log additional film data into the Labroll, Camroll, Soundroll, Scene, and Take columns, or into your own custom columns, as necessary. You can include the information in these columns on the cut lists you create for your edited sequence.

Chapter 2 Logging

Modifying Clip Information Before Capturing

The following conditions apply to modifying clip information:

• When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip.

• Some data cannot be modified after capturing because changes would prevent you from playing back and editing the material successfully.

• Sequence information cannot be changed even though it appears in your bin. The only way to modify sequence information is to edit the sequence itself. You can, however, change the name and start time for the master timecode track.

You can modify some data directly for master clips, subclips, and other objects stored in a bin.

The Modify Command

The Modify command gives you specialized control over groups of clip information. For example, you can use the Modify command to change the name of source tapes for some or all of your clips, to change the timecode format from drop-frame to non-drop-frame, or to increment or decrement the start and end timecodes by a specified length of time for one or several clips at once.

You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way. In addition, you can perform only modifications that alter the end timecodes or the tracks before capturing.

Using the Modify Command

To modify selected clips:

1. Open the bin.

2. Click a Clip icon to select it. Ctrl+click each additional clip you want to modify.

Selected clip is highlighted.

3. Select Clip > Modify. The Modify dialog box opens.

Modifying Clip Information Before Capturing

Pop-up menu

4. Click the pop-up menu, and select an option (for example, Set Timecode By Field).

Depending on the modification you select, different options appear in the dialog box that allow you to establish the specific modification, as shown in Tabl e 3 .

Chapter 2 Logging

5. After selecting the type of modification, select an option or type information in the text boxes (for example, timecode values) when they appear.

6. Click OK. The modification takes effect.

Options for Modifying Bin Information

Table 3 describes the options available from the pop-up menu in the

Modify dialog box.

Table 3 Options for Modifying Bin Information

Type of Modification Options Description

Set Timecode Drop/Non-drop

Set Timecode By Field Start or End Changes either the start or end timecode. Only

Increment Timecode Start or End Changes either the start or end timecode.

Drop, Non-drop Changes the timecode format between drop-

frame and non-drop-frame. Setting must match the timecode format of the tape.

start timecode can be altered after capturing.

Hour, Minutes, Seconds, Frames

Timecode entry field Allows you to enter custom incremental

Allows you to enter custom timecode.

Incrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be incremented after capturing.

timecode.

Modifying Clip Information Before Capturing

Table 3 Options for Modifying Bin Information (Continued)

Type of Modification Options Description

Decrement Timecode Start or End Changes either the start or end timecode.

Decrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be decremented after capturing.

Timecode entry field Allows you to enter new decremental

timecode.

Set Key Number Generic (Prefix)

Set Pullin Punch frame timecode entry

Set Tracks V, A1, A2, A3, A4, A5, A6,

Set Source None Opens the Select Tape dialog box. Selects

Key number field Allows you to enter a custom generic key

number (film projects only).

Sets the timecode location of the punch frame

field

A, B, C, or D Selects the pulldown frame to match the

A7, A8 track selector

for pullin (film projects only).

timecode entry (film projects only).

Changes the clip’s configuration of tracks.

The number of audio tracks varies

depending on the hardware that is connected to your system.

another source tape name for the clips. Should match the original source tape name.

Modifying in the Bin

You can modify the start and end timecodes in the bin before a clip is captured.

To modify clip information in the bin:

1. Set the bin to display Start and End. For more information about setting bin headings, see “Showing and Hiding Columns” in the Help.

2. Select the clip you want to modify.

3. Type the timecode numbers you want.

Chapter 2 Logging

Exporting Shot Log Files

You can export a shot log file from the Avid editing system in either Tab Delimited or Avid Log Exchange format for making adjustments in a text editor or for importing to another system.

To export a shot log based on clip information in a bin:

1. Open the bin containing the clips you want to export, and switch to Text view.

2. Click a Clip icon to select it. Ctrl+click each additional clip you want to export.

3. Select File > Export. The Export As dialog box opens.

4. Do one of the following: t If you have previously created an Export setting for exporting shot

log files, click the Export Setting pop-up menu, and select the setting. Then go to step 11.

For information on creating Export settings, see “Customizing

Export Settings” on page 276.

t If you want to create a new Export setting, go to step 5.

Exporting Shot Log Files

5. Click Options. The Export Settings dialog box opens.

6. Click the Export As pop-up menu, and select either Avid Log Exchange or Tab Delimited as the file type.

7. Click Save As.

8. Type a name in the Setting Name text box. The export setting name is added to the list of formats available from

the Export dialog box.

9. Click OK. You are returned to the Export As dialog box.

10. (Option) Change the file name, but keep the default file name extension.

11. Select the destination folder for the file, and click Save. The file is exported and appears at the selected destination.

To export an entire bin:

1. Ctrl+click selected clips to deselect them, so that nothing is selected in the bin.

2. Select File > Export. The Export Bin As dialog box opens.

3. Click the Export Bin As pop-up menu, select the appropriate option, and click OK.

A shot log of only the master clips in the bin is created.

Chapter 2 Logging

Chapter 3

Preparing to Capture

Capture is the process of creating digital media from videotape or audio input. Before you begin the capturing process in Chapter 4, you need to prepare for it as described in the following sections:

• Understanding Digital Video (DV)

• Preparing the Hardware

• Selecting Settings

• Configuring Decks

• Understanding Drop-Frame and Non-Drop-Frame Timecodes

• Setting Up the Capture Tool

• Preparing for Audio Input

• Audio Meters in the Timeline

• Adjusting Volume Control

• Calibrating for Video Input

• Compression Resolutions and Storage Requirements

Before capturing, see the Avid Using the Avid Adrenaline DNA Installation Instructions or Avid Using the Avid Mojo DNA Installation Instructions to ensure you have properly connected your recording equipment such as a camera or deck.

Chapter 3 Preparing to Capture

Understanding Digital Video (DV)

DV refers to digital video that is transferred through equipment conforming to the Institute of Electrical and Electronics Engineers (IEEE) Standard 1394. This equipment (cameras, decks, cables, connectors, and processing boards) is sometimes referred to as FireWire or i.LINK.

DV connections let you transfer digital data (both video and audio) directly from a DV camera to a digital nonlinear editing system with no conversion losses. DV technology simplifies the process of bringing footage from your camera into your Avid editing application, and gives you high-quality video at low lost.

What Is IEEE Standard 1394?

IEEE 1394 is an internationally standardized, low-cost digital interface that integrates entertainment, communication, and computing electronics into consumer multimedia. IEEE 1394 is a hardware and software standard for transporting data at 100, 200, or 300 megabits per second (Mb/s). Because it’s a digital interface, there is no need to convert digital data into analog, resulting in a loss of data integrity.

What Is OHCI?

The Open Host Controller Interface (OHCI) specification gives the operating system a standardized way of interacting with the 1394 bus. An IEEE 1394 interface that conforms to this specification can provide a connection between a computer and a DV camcorder that will operate in a standard way, using driver software that is included with the latest version of the Windows XP operating system.

Avid software-only editing systems use a custom OHCI driver, rather than the default Microsoft OHCI driver. Whenever you connect a new DV device (camera or deck), Avid editing applications automatically link the device to the custom OHCI driver.

Preparing the Hardware

Before you begin capturing, check the following:

• Remote switch. The deck control switch on the front of the source

deck must be set to Remote rather than Local to control the deck with the Capture tool.

Preparing the Hardware

The deck should be turned on and the control switch set to Remote before you start the Avid editing application.

• Striped drives. If you are capturing high-resolution media, you must

use striped drives.

• Digital Audiotape (DAT). If you want to capture music or audio from

a DAT deck, check the documentation supplied with your equipment to determine whether your model requires VLX

Selecting Settings

A number of settings have a direct bearing on the capturing process. Before you capture, review the following options:

• Using General Settings

• Transfer Settings for Film Projects

• Selecting Capture Settings

• Creating a GPI Trigger

i for video deck control.

Using General Settings

The General Settings dialog box (accessed through the Settings scroll list) includes the following options that are important for capture.

• Project Type: The top portion of the dialog box displays the project

type (NTSC or PAL) and other useful information such as the type of film used as source media.

Chapter 3 Preparing to Capture

• NTSC Has Setup: This option applies to standard NTSC format and is

selected by default. If the source footage is in the NTSC-EIAJ format standard (used primarily in Japan), deselect NTSC Has Setup.

For more information about General settings, see “General Settings” in the Help.

The Avid editing system will not prevent you from using non-Avid drives, but their reliability cannot be guaranteed.

Transfer Settings for Film Projects

The following settings are important for transferring media in a film project. You should set the transfer settings for film projects immediately after you create a new project and before capturing. For information about other film settings, see “Film and 24p Settings” in the Help.

Selecting Settings

For information about film-to-tape transfer methods, see Film-to-Tape Transfers in the Help.

• Video Pulldown Cadence: allows you to specify the type of

film-to-tape transfer that you capture:

- Video rate, no pulldown: Select this option when working with

24-fps footage that has been transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio has been brought into the Avid system separately at 100 percent of the actual speed.

- Standard 2:3:2:3 pulldown: Select this option when working with

24-fps footage that has been transferred to 30 fps by duplicating frames (pulldown) and the audio has been synchronized to the picture.

- Advanced 2:3:3:2 pulldown: Select this option when using native

DV editing with capture over Firewire.

If you are capturing sound that has been created during an NTSC film-to-tape transfer, you need to set the pulldown switch before you begin capturing. See “Setting the Pulldown Switch” on page 101.

For NTSC projects, you can mix footage transferred with pulldown and footage transferred without pulldown (video rate). You can also mix sound transferred at 0.99 (with pulldown) and 1.00 (without pulldown).

• (PAL only) You define the Audio Transfer Rate in the New Project

dialog box when you create a 24p PAL film project. (It is not needed for a 25p PAL project because there is no film speedup during the transfer.) It is important to keep the audio transfer rate constant for the project. However, if there is a specific element that you need to capture at a different rate, you can use the Film and 24p Settings dialog box to change the rate. The following options are available:

- Film Rate (100%): Select this option when your 24-fps film

footage has been transferred MOS to 25 fps by speeding up the film, and the audio comes in separately at 100 percent of the actual speed (PAL Method 2).

- Video Rate (100%+): Select this option when your 24-fps film

footage has been transferred to 25 fps by speeding up the film, and the audio is synchronized to the video picture. This means that the audio speed is increased by 4.1 percent (PAL Method 1).

Chapter 3 Preparing to Capture

For PAL 24p projects, you can mix audio that has been transferred at

4.1 percent speedup (video rate, PAL Method 1) with audio that has not been transferred (film rate, PAL Method 2). However, Avid does not recommend this.

The Info tab in the Project window allows you to view the audio transfer rate you selected when you created the project. The actual audio transfer rate might be different from the display if you used the Film and 24p Settings dialog box to change the audio transfer rate.

• Audio Source Tape TC Rate allows you to specify the digital

audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when capturing audio only.

This setting does not appear in 23.976p projects.

• Set Pulldown-to-Timecode Relationship allows you to set a default

pulldown phase for a 24p NTSC project. See “Setting the Pulldown

Switch” on page 101.

Selecting Capture Settings

Capture settings include essential options for capturing, batch capturing, autocapturing, capturing to multiple media files, and DV scene extraction.

To open the Capture Settings dialog box:

t Double-click Capture in the Settings scroll list.

For more information on Capture Settings tabs, see “Capture Settings” in the Help:

• Capture settings General tab

• Capture settings Batch tab

• Capture settings Edit tab

• Capture settings Media Files tab

• Capture settings DV Options tab

Creating a GPI Trigger

You can define and save custom general-purpose interface (GPI) settings. After you create a GPI setting, you can use it repeatedly. For example, you can create two GPIs: one to start capturing and one to stop capturing.

Selecting Settings

To access the GPI Settings dialog box, you must have a V-LAN VLXi (GPI) connected to your system.

V-LAN VLXi is not compatible with the V-LAN Express single-device controller. For device connectivity information, refer to your V-LAN documentation.

To create a GPI trigger:

1. Double-click Deck Configuration in the Setting scroll list. The Deck Configuration dialog box appears.

2. Click Add Channel. A Channel dialog box appears.

3. Click the Channel Type pop-up menu, and select VLAN VLX.

4. Click the Port pop-up menu, and select COM1 or COM2.

5. Click OK. A dialog box appears, asking if you want to automatically configure

the channel now.

6. Click Yes. The connected GPI is automatically detected and appears in the Deck

Configuration dialog box.

7. Double-click the VLAN VLXi-GT device name in the Deck Configuration dialog box.

The GPI Settings dialog box appears.

8. Select the appropriate settings. For a description of GPI settings options, see Table 4 on page 82.

Chapter 3 Preparing to Capture

9. Click Add. The GPI Node Settings dialog box appears. For a description of GPI

node settings options, see Table 5 on page 83.

10. Select the appropriate settings.

11. Click OK. The GPI Settings dialog box appears.

12. Click OK to set the GPI.

13. Click Apply in the Deck Configuration dialog box.

Table 4 GPI Settings Options

Option Description

Name The V-LAN VLXi name appears. Keep the default or type a new name.

Description (Option) Add a description of the GPI trigger.

Device Type Select V-LAN, the Avid-supported device type.

Address Valid addresses on the V-LAN network are 16 through 19. This address must

match the internal V-LAN address.

Pulse Duration Pulse durations are expressed in milliseconds.

GPI Control Enable When you deselect this option, you disable the GPI but keep the GPI settings.

This is useful for troubleshooting purposes.

Edit Click to edit an existing GPI node.

Delete Click to delete an existing GPI node.

Add Click to add another GPI node.

Selecting Settings

Table 5 GPI Node Settings Options

Option Description

Function Select a function for a particular node:

• Capture in (Satellite mode)

•Play in

• Cue to first frame

• Stop in

• Capture out (Satellite mode)

• Play out

• Stop out

Node Click the Node pop-up menu, and select a Node. The options are node 1 through 6. These

correspond to the physical connectors on the back of the V-LAN VLXi box.

Action Select an action:

• Set activates a command.

• Reset deactivates a command.

• Pulse switches the state for the amount of time set in Pulse Duration in the GPI Settings

dialog box.

Deleting a GPI Setting

You can delete a GPI setting that you have defined so that it no longer appears as an option in your GPI Settings dialog box.

To delete a GPI setting:

1. Double-click Deck Configuration in the Setting scroll list. The Deck Configuration dialog box appears.

2. Click the VLXi-GT text box.

3. Select the name of the GPI you want to delete.

4. Click Delete.

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5. Click OK.

6. Click Apply. The GPI setting is deleted.

Editing an Existing GPI Setting

To edit a GPI setting:

1. Double-click Deck Configuration in the Setting scroll list. The Deck Configuration dialog box appears.

2. Click the VLXi-GT text box.

3. Select the name of the existing GPI you want to edit.

4. Click Edit.

5. Make the applicable changes.

6. Click OK.

7. Click Apply. The GPI setting is updated.

Configuring Decks

Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings, you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations.

Deck Configuration settings and global Deck Preferences settings appear as separate items in the Settings scroll list of the Project window.

Deck control settings

Configuring Decks

You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the

Using the Avid Adrenaline DNA Installation Instructions for the Windows XP Operating System or Using the Avid Mojo DNA Installation Instructions for the Windows XP Operating System.

For more information about Deck Configuration settings, see “Deck Configuration Settings” in the Help.

Chapter 3 Preparing to Capture

To configure a deck or multiple decks:

1. Double-click Deck Configuration in the Settings scroll list. The Deck Configuration dialog box opens.

2. If you are configuring your system for the first time, click Add Channel to add a new channel box on the left side of the Deck Configuration dialog box and automatically open the Channel dialog box.

3. Depending on your system configuration, click the Channel Type pop-up menu, and select one of the following items:

- Direct, if you are connecting a deck directly to the serial port

- FireWire, if you are connecting a deck by means of a FireWire

connection

- VLAN VLX, if you are controlling decks through a V-LAN/VLXi

connection

4. Click the Port pop-up menu, and select the port to which you are connecting the deck.

Configuring Decks

If you are not sure which port to select, check the 9-pin serial port connectors on the back of the system. If the ports are not labeled, see the hardware documentation supplied with your system.

5. Click OK to close the Channel dialog box. A dialog box opens asking if you want to automatically configure the

channel now.

6. Click Yes if you want to automatically configure the channel. A new channel appears in the display area of the Deck Configuration

dialog box, along with the autoconfigured deck.

Channels appear on the left side.

Decks appear on the right side.

You can reopen the Channel settings to change the options at any time by double-clicking the channel box.

7. If you did not autoconfigure the deck, click the channel box to select it.

8. Click Add Deck to open the Deck Settings dialog box.

Chapter 3 Preparing to Capture

With a deck already connected to the system, you can click Auto-configure to bypass the Deck Settings dialog box and automatically configure a deck with the default settings.

Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure will select only the generic devices. When a digital camera is attached to your system, click the Device pop-up menu, and select the proper device. When a deck with a transcoder is attached, click the Device pop-up menu, and select the applicable transcoder.

9. Select settings based on your device. For information on Deck settings, see “Deck Settings Options” on page 89.

10. Click OK to close the Deck Settings dialog box and to return to the Deck Configuration dialog box.

You can reopen the Deck Settings dialog box to change the options at any time by double-clicking the deck box in the Deck Configuration dialog box.

Configuring Decks

11. Repeat steps 1 through 10 for each additional channel or deck you want to configure.

12. (Option) Select “Verify configuration against actual decks” if you want the system to check the deck configuration against the devices physically connected to the system.

The system checks the deck configuration after you click Apply in the Deck Configuration dialog box and when you start the Avid editing application. A message warns you if the configuration does not match the deck.

13. Type a name in the Configuration Name text box to name the deck configuration. The new deck configuration will appear in the Settings scroll list.

14. Click Apply to complete the configurations and close the Deck Configuration dialog box.

15. If necessary, double-click Deck Preferences in the Settings scroll list to adjust global deck preferences.

For more information about Deck Preferences, see “Deck Preferences Settings” in the Help.

Deck Settings Options

To open the Deck Settings dialog box, do one of the following:

t Click Add Deck in the Deck Configuration dialog box. t In the Deck Controls area of the Capture tool, click the Deck Selection

pop-up menu and select Adjust Deck.

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t Double-click the deck box in the Deck Configuration dialog box.

The Deck Settings dialog box opens.

Notes field

Model pop-up menu

Manufacturer pop-up menu

Table 6 describes the Deck Settings options.

Table 6 Deck Settings Options

Option Suboption Description

Name — Type your custom name for the tape deck. The default name matches the

deck type.

Description — Enter notes about the deck.

Notes — Displays configuration information, supplied by Avid, about the deck

you have selected. Not all decks include this information.

Configuring Decks

Table 6 Deck Settings Options (Continued)

Option Suboption Description

Device — Select your model and manufacturer from the pop-up menus. If your DV

device (deck, camera, or transcoder) does not appear in the list, click the Manufacturer pop-up menu, select Generic, and then click the Model pop-up menu, and select one of the following:

t DVBasicDevice-NTSC

t DVDevice-NTSC

t DVTranscoder-NTSC

t Edit-Deck-NTSC

t Play-Deck-NTSC

t Capture-Deck-NTSC

Address — For VLXi use only (see your VLXi documentation). If you are using

direct serial port deck control, this option is unavailable.

Preroll — Specifies how many seconds the tape rolls before a record or digital cut

starts. The default is based on the type of videotape recorder (VTR).

Fast Cue — Speeds up long searches if your decks can read timecode in fast forward

or rewind mode. Otherwise, this option is not useful.

Switch to ff/rew (seconds): n

Select this option if you want the Avid editing application to switch to fast forward or rewind if the target timecode is beyond the specified number of seconds from your current location on the tape.

By default, the deck switches to fast forward or rewind to reach a target timecode that is more than 60 seconds away.

If your deck shuttles very quickly, you can increase this number so the system uses fast cue only for long searches.

Switch to search (seconds): n

Select this option if you want the Avid editing application to switch out of fast forward or rewind when it is within the specified number of seconds of the target timecode. By default, the system switches to search mode when it is 60 seconds from the target timecode.

Chapter 3 Preparing to Capture

Deleting Deck Configurations

To delete a deck configuration:

1. Double-click Deck Configuration in the Settings scroll list. The Deck Configuration dialog box opens.

Delete button

2. Click the names of the currently configured channel and deck in the display area. The entire display area should have a red border.

3. Click Delete.

4. Click Apply to complete the changes and close the dialog box.

Setting Deck Preferences

Deck preferences are global settings for basic deck control. These settings apply to all decks connected to your system, regardless of your deck configuration. You can open the Deck Preferences dialog box from the Settings scroll list.

Understanding Drop-Frame and Non-Drop-Frame Timecodes

For more information about Deck Preferences, see “Deck Preferences Settings” in the Help.

Understanding Drop-Frame and Non-Drop-Frame Timecodes

Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that have elapsed on a videotape. For example, a timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames.

NTSC video (the video format used mainly in the United States) uses one of two formats: drop-frame timecode and non-drop-frame timecode. Drop-frame (DF) timecode is designed to match the NTSC scan rate of

29.97 frames per second (fps). Two frames of timecode are dropped every

Chapter 3 Preparing to Capture

minute except for the tenth minute. No video frames are actually dropped. Drop-frame timecode is indicated by semicolons between the digits; for example, 01;00;00;00.

Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps and is indicated by colons between the digits; for example, 01:00:00:00. Non-drop-frame timecode can be easier to work with, but does not provide accurate timing for NTSC broadcast.

For example, a typical 1-hour show uses 52 minutes of video. If your program ends at 01:52:00:00 (non-drop-frame), and it is broadcast at 29.97 fps, it will last 94 frames too long (approximately 3 seconds). The final credits could be cut off.

PAL video (the video format used in many countries other than the United States) uses a scan rate of 25 fps. Timecode is indicated by colons. There is no need for drop-frame timecode in PAL video.

You set the default timecode format for logging clips in the Deck Preferences dialog box (see “Setting Deck Preferences” on page 92). You set the default starting timecode in the General Settings dialog box (see “General Settings” in the Help). In both cases, you can select drop or non-drop.

You can change the starting timecode of a sequence or, for NTSC projects, the type of timecode. See “Changing the Sequence Info” in the Help.

Setting Up the Capture Tool

The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations.

Opening the Capture Tool

To open the Capture tool:

t Select Tools > Capture.

The Capture tool opens.

Setting Up the Capture Tool

Deck Selection pop-up menu

Setting the Video and Audio Input

The Video and Audio pop-up menus show you the current input settings for the Video Input tool and the Input tab in the Audio Project Settings dialog box. The pop-up menus also provide a convenient way to change the settings if necessary. The choices are as follows:

• Video input: Composite, Component, S-video, SDI, and DV

Software-only models include: OHCI

Chapter 3 Preparing to Capture

• Audio input: XLR (+4dBu), RCA (–10dBu), AES/EBU,

Optical (ADAT), and Optical (S/PDIF) Software-only models include: Aux, Video, CD Player, Line In,

Microphone, Phone Line, and OHCI

For more information, see “Preparing for Audio Input” on page 113.

Selecting Video Input

Selecting Audio Input

If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box change automatically.

To select video input:

t The following video input is already selected:

To select audio input:

t Click the Audio pop-up menu, and select one of the following:

- Composite

- Component

-S-Video

-SDI

-DV

- OHCI (software-only models)

-XLR (+4dBu)

- RCA (–10dBu)

-AES/EBU

-Optical(ADAT)

- Optical (S/PDIF)

- OHCI (software-only models)

- CD Player (software-only models)

- Line In (software-only models)

Selecting a Deck

Setting Up the Capture Tool

- Microphone (software-only models)

- Phone Line (software-only models)

The Deck Selection pop-up menu in the Capture tool contains a list of decks or cameras that were connected to the system, powered up, and initialized when you entered Capture mode. The first deck or camera in the list is selected by default, unless all decks or cameras are offline.

The Deck Selection pop-up menu also lists three commands:

• Adjust Deck opens the Deck Settings dialog box. Changes you make

apply to the selected deck. For information on Deck settings, see

“Deck Settings Options” on page 89.

• Auto-configure allows you to automatically configure the selected

deck with the default deck settings for that deck.

• Check Decks helps to reestablish deck control if the power to your

decks was turned off or the decks were disconnected when you first entered Capture mode.

You must have V-LAN VLXi hardware to manage more than one deck at a time. For more information on V-LAN equipment, contact your Avid sales representative.

If the words “No Deck” appear in the pop-up menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on

page 84.

If a deck name appears in italics in the pop-up menu, the deck has lost power or has been disconnected. To reestablish deck control, click the pop-up menu, and select Check Decks.

Once deck control has been properly initialized, it will remain active for all deck controllers throughout the session until you quit the application.

To activate playback from an available deck or camera, do one of the following:

t Select the name of a previously configured deck or camera. t Select Auto-configure to automatically establish the default deck

settings for a VTR that is currently connected to the system.

Chapter 3 Preparing to Capture

Selecting a Tape

Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only the generic devices. When a digital camera is attached to your software-only system, click the Deck Selection pop-up menu, and select the proper device. When a deck with a transcoder is attached, click the Deck Selection pop-up menu, and select the applicable deck.

If you forgot to turn on or connect a deck or camera prior to entering Capture mode:

1. Make sure the deck is connected and the power is turned on.

2. Select Check Decks to reestablish deck control.

To select a source tape:

1. Insert a tape into your deck. The Select Tape dialog box opens.

Setting Up the Capture Tool

2. In an NTSC project, play the tape briefly so the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape.

For information on tape naming conventions, see “Naming Tapes” on

page 35.

Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. (Drop-frame timecode and non-drop-frame timecode exist only in NTSC projects.)

3. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list displayed in the Select

Tape dialog box, and click OK.

t Click New if the tape is not in the list. Type the new name in the

dialog box, and click OK.

Selecting Source Tracks

You can select the tracks to capture from the source tape.

To select only those tracks that you want to capture:

t Click the Channel Selection buttons in the Capture tool.

The TC (timecode) track is selected by default.

Chapter 3 Preparing to Capture

Channel Selection buttons

If you are not seeing the source video or hearing source audio in Capture mode, click the Channel Selection buttons to make sure the correct tracks have been selected.

To select or deselect all tracks at once:

t Press and hold the Alt key, and click any Channel Selection button.

Setting the Video and Audio Input

• Video input: Composite, S-video, Component, SDI, DV

• Audio input: XLR (+4dBu), RCA (-10dBu), DV, AES/EBU,

S/PDIF, Optical (ADAT), Optical (S/PDIF)

100

Pinnacle Systems NewsCutter - 5.0 User's Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Who Should Use This Guide

About This Guide

Symbols and Conventions

If You Need Help

Accessing the Online Library

If You Have Documentation Comments

How to Order Documentation

Avid Educational Services

Planning a Project

Types of Projects

Project Resolutions

Working with Mixed-Resolution Projects

NTSC and PAL Image Sizes

Software-Only Avid Editing Systems

Sample Workflow

Video and Film Projects

Logging

Logging Tips

Logging Preroll

Logging Timecode

Naming Tapes

Double-Checking the Logs

Adding a Memory Mark

Preparing Logs for Import

Creating Avid Logs

Importing Shot Log Files

Setting the Pulldown Phase

Converting Log Files with Avid Log Exchange

Converting a Log File to an ALE File

Using Drag-and-Drop Conversion

Logging Directly to a Bin

Logging with an Avid-Controlled Camera or Deck

Pausing a Deck While Logging

Logging with a Non-Avid-Controlled Camera or Deck

Logging Film Information

Displaying Film Columns

Entering Pulldown Information

Determining the Pulldown Phase

Modifying the Pulldown Phase Before Capturing

Entering Frames-per-Second Rates for PAL Transfers

Entering Key Numbers

Entering Additional Timecodes (Option)

Entering the Ink Number (Option)

Entering Additional Film Data

Modifying Clip Information Before Capturing

The Modify Command

Using the Modify Command

Options for Modifying Bin Information

Modifying in the Bin

Exporting Shot Log Files

Preparing to Capture

Understanding Digital Video (DV)

Preparing the Hardware

Selecting Settings

Using General Settings

Transfer Settings for Film Projects

Selecting Capture Settings

Creating a GPI Trigger

Deleting a GPI Setting

Editing an Existing GPI Setting

Configuring Decks

Deck Settings Options

Deleting Deck Configurations

Setting Deck Preferences

Understanding Drop-Frame and Non-Drop-Frame Timecodes

Setting Up the Capture Tool

Opening the Capture Tool

Setting the Video and Audio Input

Selecting Video Input

Selecting Audio Input

Selecting a Deck

Selecting a Tape

Selecting Source Tracks

Setting the Video and Audio Input