Pinnacle Systems NewsCutter - 6.7, NewsCutter - 6.5 User Manual

Download

Avid® NewsCutter® Products

Basics Guide

make manage move | media

™

Avid

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; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,999,406; 6,038,573; 6,061,758; 6,141,007; 6,211,869; 6,532,043; 6,546,190; 6,596,031; 6,636,869; 6,747,705; 6,763,523; 6,766,357; 6,813,622; 6,847,373; 7,081,900; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Other patents are pending.

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

Copyright © 2006 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:

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

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

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

The following disclaimer is required by the Independent JPEG Group:

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

This Software may contain components licensed under the following conditions:

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

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

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

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

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

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

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Nexidia Inc.:

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

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

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

The following disclaimer is required by Videomedia, Inc.:

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

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

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

The following disclaimer is required by Ultimatte Corporation:

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

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

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

The following disclaimer is required by Interplay Entertainment Corp.:

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

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

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

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

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

Attn. Government User(s). Restricted Rights Legend

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

Trademarks

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

Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.

Footage

Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. News material provided by WFTV Television Inc. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. Tornados + Belle Isle footage — Courtesy of KWTV News 9. WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA. Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.

GOT FOOTAGE? Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content

creators of every genre — Just finished an incredible project and want to share it with the world?

Send us your reels and we may use your footage in our show reel or demo!* For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.

*Note: Avid cannot guarantee the use of materials submitted.

Avid NewsCutter Products Basics Guide • 0130-07602-01 • March 2007

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Chapter 1 Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Turning on Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Working with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Using the Windows Taskbar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Using Shortcut Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Navigating in Dialog Boxes and Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Understanding Mouse Scroll Wheel Functions . . . . . . . . . . . . . . . . . . . . . . . . . 34

Customizing Mouse Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Starting Your Avid Editing Application. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Understanding the Select Project Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Opening an Existing Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Browsing for a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Opening a Project Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Deleting a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Ending a Work Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Quitting Your Avid Editing Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Turning Off Your Equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . . . . . . . . . 45

Understanding the Avid Projects and Avid Users Folders. . . . . . . . . . . . . . . . . 45

Changing Project and User Names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Saving Your Project Information on a Drive or on Removable Media . . . . . . . . 48

Restoring from a Backup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Working with the Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Understanding the Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Retrieving Files from the Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Opening Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Customizing Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Linking Toolsets to Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Chapter 2 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Understanding the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Controlling Project Window Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Using the Bins Tab in the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Creating a New Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Renaming a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Opening and Closing Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Displaying Folders of Bins in the Bins List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Deleting a Bin or Folder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Emptying the Trash in the Bins List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Using the Settings Tab in the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Using the Format Tab in the Project Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Chapter 3 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Understanding Logging and Shot Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Preparing the Hardware for Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Getting Information About Striped Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Understanding Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Selecting Video Resolutions and Media Drives . . . . . . . . . . . . . . . . . . . . . . . . . 73

Setting Drive Filtering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Configuring a Deck or Multiple Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Deleting Deck Configuration Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Capturing DV Media Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Connecting a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Selecting a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Capturing DV 25 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Capturing DV 50, DVCPRO HD, or HDV Media. . . . . . . . . . . . . . . . . . . . . . . . . 86

Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Changing the Power Scheme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Selecting a Deck in the Capture Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Selecting a Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Setting the Video and Audio Input in the Capture Tool . . . . . . . . . . . . . . . . . . . 91

Detecting a Valid or Locked Sync Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Targeting Separate Drives for Audio and Video . . . . . . . . . . . . . . . . . . . . . 94

Targeting a Drive Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Selecting a Custom Preroll. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Understanding Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Selecting the Audio Sample Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Understanding Audio Files and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Selecting the Audio Input Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Configuring the Sound Card (Software-Only Systems). . . . . . . . . . . . . . . . . . . 99

Sound Card Configuration with Surround Sound Capabilities

(Software-Only Systems) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Understanding the Audio Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Opening and Sizing the Audio Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Preparing for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Opening the Video Input Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Using the Factory Preset Buttons in the Video Input Tool. . . . . . . . . . . . . . . . 105

Preparing to Calibrate Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Calibrating Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Naming Clips and Adding Comments in the Capture Tool . . . . . . . . . . . . . . . 111

Capturing from a Mark IN to a Mark OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Capturing by Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Capturing by Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Capturing On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Preparing to Autocapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Autocapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Capturing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Capturing Audio from a Music CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Frame Chase Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Understanding Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Enabling Frame Chase Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Requirements and Guidelines for Frame Chase Capture . . . . . . . . . . . . . . . . 122

Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Batch Capturing Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Recapturing Master Clips and Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Recapturing Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Saving Two Versions of a Sequence When Recapturing . . . . . . . . . . . . . 128

Using Decompose When Recapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Recapturing the Sequence Without Using Decompose . . . . . . . . . . . . . . 130

Chapter 4 Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Importing Audio Files from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Using the Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Chapter 5 Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Understanding Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Understanding Bin Highlight Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Using Brief View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Enlarging or Reducing Frame Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Rearranging Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Realigning Frames in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Changing the Frame Identifying the Clip . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Adding Text in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Playing Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Basic Bin Procedures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Using the Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Selecting Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Duplicating Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Copying Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Deleting Bin Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Conserving Screen Real Estate with the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . 160

Enabling and Disabling the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Opening Bins in the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Closing the SuperBin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Moving Bins into and out of the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Moving Clips and Sequences into and out of the SuperBin . . . . . . . . . . . . . . 162

Copying Clips and Sequences into and out of the SuperBin. . . . . . . . . . . . . . 162

Deleting a Bin with the SuperBin Enabled. . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Creating a Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Chapter 6 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Working with Media Files in an Avid Interplay Environment. . . . . . . . . . . . . . . . . . 166

Configuring Avid Editing Systems to Work with the

Interplay Engine and Interplay Transfer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Using Avid Editing Systems in an Avid Workgroup Environment . . . . . . . . . . 167

Using Avid Editing Systems in an Avid Unity LANshare Workgroup. . . . . . . . 167

Viewing Media with a 100Base-T Connection to Avid Unity ISIS . . . . . . . . . . 168

Mounting and Unmounting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Unmounting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Mounting All Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Basic Media Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Using the Media Tool in an Avid Interplay Environment. . . . . . . . . . . . . . . . . . 171

Opening the Media Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Deleting Media Files with the Media Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Understanding the Consolidate Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Using the Consolidate Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Consolidate Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Using the Transcode Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Transcode Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Refreshing Media Directories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Deleting Unreferenced Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Chapter 7 Viewing and Marking Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Viewing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Customizing the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Resizing Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Resizing the Source/Record Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Expanding the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Hiding the Video in a Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Using the 16:9 Display Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Displaying a Second Row of Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Displaying Tracking Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Playing Video to the Client Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Selecting the Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Playing Video to a Full-Screen Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Loading Clips or Sequences into Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Resizing Pop-up Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Switching Between Loaded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Clearing Clips from Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Using Position Bars and Position Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Using Buttons to Control Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Stepping Forward and Backward by Field. . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Using the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Playing Footage with the J-K-L Keys (Three-Button Play) . . . . . . . . . . . . 206

Navigating with Home, End, and Arrow Keys. . . . . . . . . . . . . . . . . . . . . . 208

Playing Back to a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Optimizing Your Playback Performance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Understanding Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Setting the Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Marking IN and OUT Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Subclips and Audio Sync for 24p and 25p Projects. . . . . . . . . . . . . . . . . . . . . 217

Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Finding Frames, Clips, and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Searching for a Clip or Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Understanding Match Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Selecting Tracks for Matching Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Finding a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Locating a Master Clip from a Subclip in a Sequence. . . . . . . . . . . . . . . . . . . 223

Chapter 8 Creating and Editing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Changing the Name and Timecode for a Sequence . . . . . . . . . . . . . . . . . . . . 227

Understanding Track Display for a New Sequence. . . . . . . . . . . . . . . . . . . . . 228

Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Performing an Insert or Splice-in Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Performing a Replace Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Preserving Clipboard Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Recovering Material from the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Playing Back a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Managing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Editing to Avoid Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Displaying Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Fixing Sync Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Chapter 9 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Enlarging and Reducing Timeline Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Highlighting Offline Media Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Highlighting Clips in a Mixed-Format Timeline . . . . . . . . . . . . . . . . . . . . . . . . . 250

Saving a Customized Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Replacing a Timeline View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Navigating in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Using the Timeline Scroll Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Setting the Scroll Option for the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Displaying Detail in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Zooming In and Out in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Using Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Selecting and Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Guidelines for Selecting and Lassoing Segments. . . . . . . . . . . . . . . . . . . . . . 258

Performing Segment Mode Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Maintaining Sync in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Extracting/Splicing Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Lifting/Overwriting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Deleting Segments in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Marking Clips and Sequences in Segment Mode. . . . . . . . . . . . . . . . . . . 261

Cutting, Copying, and Pasting in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . 262

Working with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Understanding the Track Selector Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Monitoring and Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Understanding Track Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Performing an Alternate Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Patching Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Locking and Sync Locking Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Adding a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Understanding Backtiming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Backtiming Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Chapter 10 Working in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Understanding Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Small Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Quick Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Big Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Trim Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Entering and Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Switching Between Quick Trim Mode and the Record Monitor . . . . . . . . . . . . 280

Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Selecting Video Tracks in Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Audio Solo in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Reviewing Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Reviewing an Edit with the Play Loop Button . . . . . . . . . . . . . . . . . . . . . . 285

Reviewing an Edit with the Edit Review Button. . . . . . . . . . . . . . . . . . . . . 285

Trimming with the J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Chapter 11 Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Overview of Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Accessing Audio Effect Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Audio Editing Aids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Using Audio Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Understanding Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Selecting Tracks for Audio Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Understanding Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Performing Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Soloing Audio Tracks in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Using Audio Meters in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Adjusting Volume Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Adjusting Buffer Size (Software-only Models) . . . . . . . . . . . . . . . . . . . . . . . . . 301

Identifying the Sample Rate by Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Muting the Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Accessing the Audio Mixer and Audio Mixer Modes . . . . . . . . . . . . . . . . . . . . 303

Understanding Audio Mixer Tool Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Resizing the Audio Mixer Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Selecting Tracks in the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Using the Track Solo and Track Mute Buttons . . . . . . . . . . . . . . . . . . . . . . . . 307

Interpreting Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Using Clip Gain and Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Adjusting Clip Gain and Pan for Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . 309

Using the Audio Mixer Fast Menu in Clip Gain and Pan Mode . . . . . . . . . . . . 312

Modifying Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Modifying How the System Interprets Pan . . . . . . . . . . . . . . . . . . . . . . . . 313

Using the Center Pan Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Using Automation Gain and Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Using Automation Gain and Pan in the Timeline. . . . . . . . . . . . . . . . . . . . . . . 315

Deleting Automation Gain or Automation Pan Keyframes in the Timeline . . . 317

Understanding Automation Gain and Pan Mode. . . . . . . . . . . . . . . . . . . . . . . 318

Recording Automation Gain or Automation Pan Information. . . . . . . . . . . . . . 319

Using the Audio Mixer Tool Sliders for Automation Gain and Pan. . . . . . 319

Using the Audio Mixer Fast Menu in Automation Gain

and Pan Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Using Keyboard Shortcuts with Audio Keyframes . . . . . . . . . . . . . . . . . . 322

Using Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Using an External Controller in Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . 324

Using Live Mix Mode Without an External Controller . . . . . . . . . . . . . . . . . . . 326

Switching Between Live Mix Mode and Other Audio Mixer Modes . . . . . . . . . 326

Using the Audio Mixer Mode Fast Menu in Live Mix Mode . . . . . . . . . . . . . . . 326

Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Converting the Audio Sample Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Changing the Audio Sample Rate for Sequences and Audio Clips . . . . . . . . . 333

Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Chapter 12 Working with Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Effects Creation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Real-Time Effects and Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . 340

Effects and Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

AVX Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Understanding the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Displaying and Adjusting the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Applying Effects From the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Using the Fade Effect Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Using the Quick Transition Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Deleting Effects in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Sizing Effects to Fit the Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Adjusting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Entering Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Understanding Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Making Basic Effect Adjustments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Moving Through an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Working with Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Saving an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Applying an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Understanding Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Adding a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Selecting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Moving a Standard Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Changing a Standard Keyframe’s Parameters. . . . . . . . . . . . . . . . . . . . . . . . . 360

Copying and Pasting Standard Keyframe Parameters. . . . . . . . . . . . . . . . . . . 361

Deleting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Playing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Playing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Playing Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Understanding Render On-the-Fly for Effect Preview . . . . . . . . . . . . . . . . . . . 364

Using Render On-the-Fly for Effect Preview . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Real-Time Playback of Video Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Understanding Real-Time Effects Processing. . . . . . . . . . . . . . . . . . . . . . . . . 365

Understanding Real-Time Playback Information in the Timeline. . . . . . . . . . . 366

Turning Playback Performance Indicators On or Off. . . . . . . . . . . . . . . . . . . . 367

Controlling Real-Time Effects Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Choosing Bit Depth for Effects Processing. . . . . . . . . . . . . . . . . . . . . . . . 369

Prefilling the Video Display Buffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Selecting the OpenGL Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Limiting the Number of Real-Time Streams . . . . . . . . . . . . . . . . . . . . . . . 371

Playing Effects Back at Different Video Qualities . . . . . . . . . . . . . . . . . . . . . . 372

Basics of Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Understanding Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Rendering a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Rendering Effects at Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Rendering Effects Between IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . 376

Rerendering Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Understanding ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Using the ExpertRender Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Using the ExpertRender Command After a Real-Time

Playback Attempt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Modifying ExpertRender Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Considerations When Using ExpertRender . . . . . . . . . . . . . . . . . . . . . . . 386

Chapter 13 Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Opening the Title Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Using Marquee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Workflow for Creating Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Understanding the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Previewing Titles with Anti-Aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Displaying Safe Title and Safe Action Guidelines in the Title Tool. . . . . . . . . . 394

Selecting a Background for Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Creating Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Sizing and Positioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Formatting Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Setting Default Text Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Selecting a Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Changing Point Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Making Text Bold or Italic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Justifying Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Understanding Kerning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Kerning Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Adjusting Leading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Modifying and Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Saving a Title and Exiting the Title Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Saving Multiple Titles in a Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Using a Keyboard Shortcut to Save a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Using the Fast Save Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Title Effect Clips in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Setting Marks in a Rolling Title or a Crawling Title. . . . . . . . . . . . . . . . . . . . . . 413

Splicing or Overwriting a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . 413

Dragging a Marked Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Dragging an Unmarked Title into a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . 416

Trimming the Duration of Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . 417

Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Replacing a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Chapter 14 Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

How Avid Color Correction Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Color Correction Mode Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Entering and Leaving Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 423

Understanding Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Monitor Buttons in Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

The Client Monitor in Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 425

Color Correction Tool Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Making Basic Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Correcting Color Automatically Using the Color Correction Effect . . . . . . . . . 426

Correcting Color Automatically in the Hue Offsets Tab. . . . . . . . . . . . . . . . . . 428

Color Match Corrections in the Curves Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Safe Color Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Managing Safe Color Warnings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Safe Color Warnings in the Monitor Window. . . . . . . . . . . . . . . . . . . . . . . . . . 431

Chapter 15 Exporting and Transferring Material . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Understanding Export. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Exporting Frames, Clips, or Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Using the Drag-and-Drop Method for Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Using Avid Interplay Media Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Transferring Project and Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Methods for Transferring Files Between Avid Editing Systems. . . . . . . . . . . . 441

Using Nonshared Storage to Transfer Project and Media Files . . . . . . . . . . . 443

Chapter 16 Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Selecting the Device for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Selecting the Sync Source for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Selecting Sync for HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Using LTC Timecode for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Selecting a Video Output Signal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Calibrating for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Using the Factory Preset Buttons in the Video Output Tool . . . . . . . . . . . 451

Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Adjusting Phase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Preparing for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Calibrating Global Output Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Setting Audio Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Frame-Accurate Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Using ExpertRender to Prepare Effects for a Digital Cut . . . . . . . . . . . . . . . . . 461

Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Selecting a Deck in the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . . . . . . . . . . . 466

Crash Recording Through Remote Deck Control. . . . . . . . . . . . . . . . . . . . . . . 468

Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . . . . . . . . . . . 469

Understanding Passthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Chapter 17 Using the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Configuring the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Configuring the ENPS Server for Avid Clients . . . . . . . . . . . . . . . . . . . . . . . . . 472

Configuring the NRCS Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Starting the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Understanding the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Using the Directory Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Opening a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Creating a Shortcut to a Directory (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . 482

Removing a Shortcut to a Directory (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . 483

Deleting a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Changing the Text Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Editing Story Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Rearranging Text in a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Marking Text As Presenter Instructions (iNEWS Only) . . . . . . . . . . . . . . . . . . 485

Marking Text As Closed Caption (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . 485

Adding a Production Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Deleting a Production Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Marking Text As Machine Control (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . 487

Formatting Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Marking Text As Normal (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Adding a Loaded Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Using a Loaded Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Deleting a Loaded Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Finding the Read Time of a Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Building a Sequence from a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

Script-Based IN and OUT Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

Setting Timeline IN and OUT Points Based on Story Timing . . . . . . . . . . . . . 494

Associating a Sequence with a Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Adjusting the Story Timing (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Adjusting the Story Timing with a Time Marker (iNEWS Only) . . . . . . . . . . . . 498

Adjusting the Story Timing with a Time Pad (iNEWS Only) . . . . . . . . . . . . . . 498

Using Associated Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

Saving Changes to a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Using the Post to Web Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Processing the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Creating a Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Linking Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Using Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

The Story Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

The Text Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

The Clip Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

The Videoformat Tag. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

The Hyperclip Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Using a Template with Post to Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Posting a Story to the Web. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Sending and Receiving NRCS Mail (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . 518

Sending NRCS Tool Mail (iNEWS only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Receiving NRCS Tool Mail (iNEWS only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Disconnecting from Your NRCS Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Chapter 18 Working with the Avid Interplay Window. . . . . . . . . . . . . . . . . . . . . . . . 521

Using Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Connecting to the Avid Interplay Database . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Mounting Workspaces on an Avid Unity MediaNetwork System . . . . . . . . . . . 523

Mounting Workspaces on an Avid Unity ISIS System . . . . . . . . . . . . . . . . . . . 524

Configuring Interplay Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Opening the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Managing Remote Assets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Understanding Reservations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Understanding Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532

Reviewing Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Moving, Copying, and Deleting Avid Assets. . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Moving and Copying Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Deleting Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Creating Folders and Shortcuts in the Interplay Window . . . . . . . . . . . . . . . . . 535

Modifying the Display of the Interplay Window. . . . . . . . . . . . . . . . . . . . . . . . . 536

Media Column Headings in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . 536

Moving and Rearranging Columns in the Interplay Window . . . . . . . . . . . 537

Hiding and Showing Columns in the Interplay Window. . . . . . . . . . . . . . . 537

Adding Columns in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . 537

Creating New Columns in the Interplay Window . . . . . . . . . . . . . . . . . . . . 538

Enlarging or Reducing Column Width in the Interplay Window . . . . . . . . 539

Renaming Clips in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . 539

Adding Comments in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . 539

Using the Property Merge Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Using Custom Layouts for the Interplay Window . . . . . . . . . . . . . . . . . . . 541

Opening Multiple Tabs in the Interplay Window . . . . . . . . . . . . . . . . . . . . 542

Setting the Interplay Window Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Editing with Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Working with Avid Assets in the Interplay Database . . . . . . . . . . . . . . . . . . . . 544

Checking Avid Assets Out of the Interplay Database . . . . . . . . . . . . . . . . . . . 545

Checking Avid Assets In to the Interplay Database. . . . . . . . . . . . . . . . . . . . . 546

Automatically Checking In Avid Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Updating Remote Assets in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Working with In-Progress Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Editing with In-Progress Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Limitations When Working With In-Progress Clips . . . . . . . . . . . . . . . . . . 551

Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Overview of Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Performing Searches on Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Keeping Search Results in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . 555

Capturing Media to Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556

Chapter 19 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Understanding MultiRez and Proxy Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Creating Multiple Resolutions of a Master Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Batch Capturing Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Batch Importing Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Understanding How Clips and Media Are Associated . . . . . . . . . . . . . . . . . . . . . . 565

Single Clip, Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Multiple Clips, Multiple Resolutions, and the Affinity Model . . . . . . . . . . . . . . 567

Partial Clips, Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

MultiRez Tape Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570

Understanding Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570

Working with MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573

Using the Dynamic Relink Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . 574

Enabling Dynamic Relink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575

Applying Working Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575

Applying Target Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Dynamically Relinking to the Target Settings . . . . . . . . . . . . . . . . . . . . . . 579

Dynamic Relink Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580

Relinking in Frame Chase Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Using the Relink Dialog Box in an Avid Interplay Environment . . . . . . . . . . . . 585

Displaying Whether Media Is Available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586

Using the MultiRez Button to Show Available Media. . . . . . . . . . . . . . . . . 586

Using Clip Coloring to Show Available Resolutions . . . . . . . . . . . . . . . . . 587

Examples of MultiRez Clip Coloring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589

MultiRez Button Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593

MultiRez Bin Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Deleting MultiRez Clips and Media from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . 597

Working with Partially Online Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Consolidating and Transcoding a Portion of a Clip . . . . . . . . . . . . . . . . . . 600

Viewing a Source Clip in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Consolidating and Deleting Original Media . . . . . . . . . . . . . . . . . . . . . . . . 602

Partially Restoring from an Archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Using This Guide

Congratulations on your purchase of an Avid editing application. You can use your application to create broadcast-quality output incorporating every possible production element from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling.

This guide contains the task-oriented instructions and conceptual information you need to use the basic features of your Avid editing application. The Advanced Guide for your Avid editing application, available as a PDF document in the Online Library, is a companion to this guide. The Advanced Guide contains instructions and conceptual information for advanced features of your Avid editing application, as well as reference information. The contents of both guides are available in the Help.

This guide is intended primarily for users who are new to Avid editing products, but also contains information that is important for experienced users.

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

Using This Guide

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

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

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

Courier Bold font

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

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

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

A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.

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

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

Courier Bold font identifies text that you type.

mouse action. For example, Ctrl+drag.

If You Need Help

If you are having trouble using your Avid product:

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

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

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

they ship with your application and are also available online.

- If the latest information for your Avid product is provided as a ReadMe file, it is

supplied on your Avid installation CD or DVD as a PDF document (README_product.pdf). It is also available online.

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

Knowledge Base at www.avid.com/readme.

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

If You Need Help

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

Accessing the Online Library

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

Most Avid online libraries also include multimedia content such as tutorials and feature presentations. This multimedia content is an excellent first resource for learning how to use your application or for helping you understand a particular feature or workflow.

The Online Library for your Avid editing application is installed along with the application itself.

You will need Adobe® Reader® to view the PDF documentation online. You can download the latest version from the Adobe web site.

Using This Guide

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

t From your Avid editing application, select Help > Online Library.

t From the Windows

application] Online Library.

t Browse to the Online Library folder, and then double-click the MainMenu file.

The Online Library folder is in the same location as the application itself, for example: C:\Program Files\Avid\[Avid editing application]\Online Library

desktop, select Start > All Programs > Avid > [Avid editing

How to Order Documentation

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

Avid Educational Services

Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment.

To learn about Avid's new online learning environment, Avid Learning Excellerator (ALEX), visit http://learn.avid.com.

For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).

Chapter 1

Starting a Project

Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project. The following topics describe these and other procedures for starting your work, as well as several techniques to safeguard and restore your work if necessary:

• Turning on Your Equipment

• Working with the Desktop

• Starting Your Avid Editing Application

• Working with Projects

• Ending a Work Session

• Managing the Avid Projects and Avid Users Folders

• Backing Up Your Project Information

• Working with the Avid Attic Folder

• Using Toolsets

Turning on Your Equipment

Avid recommends that you turn on your equipment in the following order:

1. Storage devices

2. Peripheral devices (such as monitors and speakers)

3. Computer system

Chapter 1 Starting a Project

Working with the Desktop

This section describes desktop navigation features that you can use to speed your work in your Avid editing application, or customize for your convenience while editing. You can:

• Control how the Windows taskbar appears on the screen.

• Use shortcut menus (also sometimes known as context menus) to quickly access editing commands.

• Use standard operating system keyboard shortcuts to navigate and select options in dialog boxes and menus.

• Use the mouse scroll wheel for navigation and customize mouse button functions.

You also use the desktop for backups and transferring projects, as described in “Backing Up

Your Project Information” on page 47 and “Managing the Avid Projects and Avid Users Folders” on page 45.

For information on the Windows XP operating system, such as the desktop and icons, see your Microsoft

Windows XP Help.

Using the Windows Taskbar

By default, the Windows taskbar always appears on the bottom of your screen, on top of your application. You have two other choices:

• Keep the taskbar hidden behind your Avid editing application

• Set the taskbar to appear only when you drag the mouse pointer to it

If you keep the taskbar hidden while running your Avid editing application and you minimize an application such as Help, you do not see the minimized icon in the taskbar.

For more information about the taskbar, see the Windows Help.

n n

The taskbar can also be dragged to the top, bottom, or either side of the monitor.

When working in your Avid editing application, you can minimize windows (such as the Project window and bins). The icons will appear in the application window, not in the taskbar.

To see the taskbar and minimized icons:

t Minimize your Avid editing application.

To change the taskbar settings:

1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens.

2. Select the options you want: t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows”

and “Auto hide the task bar.”

t To set the taskbar to appear when you want, select “Keep the task bar on top of

other windows” and “Auto hide the task bar.”

3. Click OK.

Using Shortcut Menus

Instead of using the standard menus to find the command you need, try using the shortcut menus. Shortcut menus show the most frequently used commands for a window or a screen object.

Most shortcut menus contain a What’s This? command. Select What’s This? to access Help for the window or the object.

Working with the Desktop

To use a shortcut menu:

t Right-click a window or a screen object.

Navigating in Dialog Boxes and Menus

You can use the keys shown in the following table to navigate in many dialog boxes and menus and to select and deselect options.

Key Function

Page Up or Page Down Moves from tabbed page to tabbed page within a dialog box

Tab Moves from check box to check box or from option to

option in a dialog box

Right Arrow, Left Arrow, space bar Selects or deselects a check box or an option in a dialog box

Up Arrow or Down Arrow Moves up or down through a menu, or increments a numeric

value

Chapter 1 Starting a Project

Understanding Mouse Scroll Wheel Functions

You can use the mouse scroll wheel for navigation in your Avid editing application, as described in the following table. You can also set the speed of scrolling with the mouse wheel, and assign functions to three additional mouse buttons, as described in “Customizing

Mouse Functions” on page 34.

Scroll Wheel Function Action Result

In any window or function area with a vertical scroll bar, such as a Bin

In the Timeline t Press Ctrl + scroll wheel Moves the position bar one frame at a time.

In a tool or window containing a slider (for example, the Effect Editor).

This does not apply to

pop-up sliders.

t Press Ctrl + scroll wheel Scrolls through items.

t Press Ctrl + Alt + scroll wheel Moves the position bar 10 frames at a time

t Press Ctrl + scroll wheel Moves the slider one unit at a time.

t Press Ctrl + Alt + scroll wheel Moves the slider 10 units at a time.

Customizing Mouse Functions

Your Avid editing application allows you to set the speed of scrolling with the mouse wheel, and lets you assign functions to three additional mouse buttons. For example, mouse button 3 can have a button function assigned to it. Mouse buttons pressed along with modifier keys can also have additional assigned functions.

When mapping mouse buttons, make certain that the modifier key that you are assigning to the button and command doesn't already have an alternate function.

You cannot assign functions to the standard left and right mouse buttons.

Starting Your Avid Editing Application

To set the mouse scroll speed:

1. Double-click Mouse in the Settings list of the Project window. The Mouse Settings dialog box opens.

2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two

items at a time, and Fast scrolls four items at a time.

To assign functions to additional mouse buttons:

1. Double-click Mouse in the Settings list of the Project window. The Mouse Settings dialog box opens.

2. Select Tools > Command Palette. The Command palette opens.

3. Select Button to Button Reassignment at the bottom of the Command palette.

4. Click the tab from which you want to select a user-selectable button.

5. Click the mouse, and drag the button from the Command palette to a button location on the Mouse Settings dialog box.

Starting Your Avid Editing Application

Your Avid editing application is located by default in the following folder:

drive:\Program Files\Avid\Avid editing application

The installation process adds a desktop icon and a pointer to your Avid editing application in the Start menu. For most users, these provide the easiest way to start the application.

Chapter 1 Starting a Project

Your Avid editing application does not start properly if the application file is moved from the Avid editing application folder.

If you install your Avid editing application on a laptop computer, a dialog box might open with a message about incompatible power management schemes. Avid recommends you use the “Always On” power scheme when working with Avid applications. Other power schemes might affect performance of editing functions (for example, capture and digital cuts). For information on changing power schemes, see the Windows documentation.

To start your Avid editing application, do one of the following:

t Click the Start button, and select All Programs > Avid > Avid editing application. t Double-click the Avid editing application desktop icon.

After the application starts, the Select Project dialog box opens. For more information on the Select Project dialog box, see “Working with Projects” on page 36.

Working with Projects

This section describes basic methods for working with projects.You can:

• Create a new project and save it to your choice of folder locations on your system. Some of the available folder locations use your operating system’s security features to limit access to the project.

• Use the Select Project dialog box to find, open, or delete a project.

• Instruct your Avid editing application to automatically open your last project when you start the application.

•.

• Close an open project and return to the Select Project dialog box.

You should also back up your project information regularly to a separate storage device, as described in “Backing Up Your Project Information” on page 47.

For information on the files and folders that your Avid editing application creates as part of a project, see “Understanding the Avid Projects and Avid Users Folders” on page 45.

Understanding the Select Project Dialog Box

After you start your Avid editing application, the Select Project dialog box opens. The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles. You can also choose to have your last project open automatically, as described in

“Opening a Project Automatically” on page 42.

User name Folder name

User profile list

Project list

Working with Projects

Browse button

Folder buttons

New Project button

The following table describes the elements of the Select Project dialog box:

Element Description

User

Folder

You cannot type into the User or Folder text boxes.

Browse button

User Profile

Displays the login name of the user currently logged into the system. To change to a different user, you need to log out and log in as that user. For more information, see the documentation for your operating system.

Displays the path of the current folder. This path determines which projects appear in the project list and where a new project is created.

Click to navigate to a different folder. The projects in this folder appear in the project list. See “Browsing for a Project” on page 41.

Displays the name associated with the current settings. By default your Avid editing application uses the login name. Click the list button to change profiles or create a new one. For more information, see “Using User Profiles” in the Help.

Chapter 1 Starting a Project

Element Description

Project list

Folder buttons

New Project button

Displays a list of the Avid projects in the currently selected folder. Double-click a project to open it.

Select a button to set the path for the project folder:

• Click Private to display any projects in the folder for the user logged into the system. Private projects use the security provided by your system’s user login. By default, this path is

drive:\Documents and Settings\Windows login name\My Documents\Avid Projects

• Click Shared to display any projects in the folder for all users logged into the system. By default, this path is:

drive:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects

• Click External to display the projects in a folder other than the Private or Shared folder. Set the path for the External folder by using the Browse button.

Click this button to open the New Project dialog box and create a new project.

Creating a New Project

To create a new project:

1. Start your Avid editing application.

The Select Project dialog box opens.

2. In the Select Project dialog box, select the folder in which you want to create the project: Private, Shared, or External. For more information, see “Understanding the

Select Project Dialog Box” on page 37.

3. Do one of the following: t To create a new project using the video format previously selected as your default

project format, click New Project.

t To create a new project using a video format other than the format previously

selected as your default project format, Alt+click New Project.

The New Project dialog box opens.

4. Type the name of your new project in the text box.

Working with Projects

If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when naming projects, bins, and users. Bin and project names are limited to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name.

5. Click the Format menu, and select a project type based on your source footage and the capabilities of your Avid editing application:

- If your Avid editing application does not include support for 24p projects or 25p

projects, make a selection based on the source footage: NTSC or PAL.

- If your Avid editing application includes support for 24p projects or 25p projects,

make a selection based on the source footage or the type of film-to-tape transfer with which you are working.

The following table lists the format options available. Depending on the model of your Avid editing application, your format options might not include all items listed here.

Project Type Source Footage Transfer

23.976p NTSC For film-originated or video-originated footage that has been shot at

23.976 fps or film-originated footage transferred on digital videotape (such as Digital Betacam

30i NTSC For NTSC video-originated or other 30-fps footage transferred to

NTSC videotape

)

25p PAL For 25-fps film footage transferred to PAL videotape

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

720p/23.976 For film-originated material transferred to videotape.

720p/29.97 HDV For video-originated material. Can be directly captured, edited, and

output as HDV.

720p/59.94 For video-originated material. Can be directly captured, edited, and

output for HD broadcast.

1080p/23.976 For film-originated footage transferred to videotape.

1080p/24 For film-originated footage transferred to videotape. True 24-fps

editing.

1080p/25 For film-originated footage transferred to videotape.

1080i/50 For video-originated material. Can be directly captured, edited, and

output for HD broadcast.

Chapter 1 Starting a Project

Project Type Source Footage Transfer

1080i/50 HDV For video-originated material. Can be directly captured, edited, and

1080i/59.94 For video-originated material. Can be directly captured, edited, and

1080i/59.94 HDV For video-originated material. Can be directly captured, edited, and

6. Click OK. Your Avid editing application creates the new project files and folder, and then returns to

the Select Project dialog box. The project name is highlighted in the Projects list.

7. Double-click the project name in the Projects list to open the project. The Project window, the Source/Record monitor, and the Timeline open with the User

settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

Project name User name

output as HDV.

output for HD broadcast.

output as HDV.

Opening an Existing Project

To open an existing project:

1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External. For more information, see “Understanding the Select Project

Dialog Box” on page 37.

2. Do one of the following:

t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list.

The Project window, the Source/Record monitor, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

Close button

Browsing for a Project

To browse for a project in a location other than the default Shared and Private folders:

1. Start your Avid editing application. The Select Project dialog box opens.

Working with Projects

Browse button

2. Click the Browse button. The Browse for Folder dialog box opens.

3. Navigate to the folder that contains the project you want.

4. Click OK.

5. Select a Project in the Projects list.

6. Click OK. The Project window, the Source/Record monitor, and the Timeline open with the User

settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

The next time you open the Select Project dialog box, the path you selected will be displayed when you click the External button.

Chapter 1 Starting a Project

Opening a Project Automatically

If you have already created a project, when you enter your Avid editing application you can bypass the Select Project dialog box and have your last project open automatically.

To open a project automatically:

1. Click the Settings tab in the Project window. The Settings list appears.

2. Double-click any Interface setting. The Interface Settings dialog box opens.

3. Click the General tab, select Automatically Launch Last Project at Startup, and then click OK. For more information, see “Interface Settings” in the Help.

The next time you start your Avid editing application, it opens your last project.

To select another project:

1. Deselect Automatically Launch Last Project at Startup, and then click OK.

2. Quit your Avid editing application and restart it. The Select Project dialog box opens.

3. Select a project and click OK. The Project window, the Source/Record monitor, and the Timeline open with the User

settings loaded.

Closing a Project

When you close the current project, you return to the Select Project dialog box.

To close the current project, do one of the following:

t With the Project window active, select File > Close Project. t Click the Close button in the Project window.

Deleting a Project

You can delete a project from within your Avid editing application.

Deleting a project also deletes any bins that are in that project.

Captured media related to a deleted project is not deleted with the project folder. For more information on deleting media files, see “Deleting Bin Items” on page 157 and “Deleting

Media Files with the Media Tool” on page 173.

To delete a project:

1. Start your Avid editing application. The Select Project dialog box opens.

2. Click the project you want to delete.

3. Press the Delete key. You see a message asking if you want to delete the selected project and associated bins,

4. Click OK. The deleted project no longer appears in the Select Project dialog box.

Ending a Work Session

To end the work session, you must first quit your Avid editing application, and then turn off your equipment in the order.

Quitting Your Avid Editing Application

There are two ways to quit your Avid editing application. You can quit directly to the desktop, or you can close the open project and then quit from the Select Project dialog box.

Ending a Work Session

If you are working in an Avid Unity™ environment, your Avid editing application writes a media database file (.mdb) to the workspace in which you were working when you quit. Before quitting your application, make sure that the workspace has approximately 50 MB of storage space available. Ask your Avid Unity administrator to increase the space if you need more storage.

To quit your Avid editing application and leave the application immediately:

t Select File > Exit.

The project closes and your Avid editing application quits, returning to the desktop.

To quit your Avid editing application and view the Select Project dialog box:

1. Click the Close button at the far right of the Project Window title bar. The Select Project dialog box opens.

2. Click Quit. A message box opens.

3. Do one of the following:

t Click Leave to quit your Avid editing application. t Click Cancel to return to the Select Project dialog box and select another project.

Chapter 1 Starting a Project

To view remaining storage on your media drives:

1. Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens.

2. Click the appropriate drive tab.

For more information, see “Using the Hardware Tool” in the Help.

Turning Off Your Equipment

When you finish using your system and want to turn it off completely, follow these steps to avoid damaging your system or media storage drives. Quit your Avid editing application before turning off your equipment. For more information, see “Quitting Your Avid Editing

Application” on page 43.

To turn off your equipment:

1. Turn off the system by doing the following: a. Click the Start button, and select Shut Down.

The Shut Down Windows dialog box opens.

b. Click the menu, and select Shut down.

c. Click OK.

2. Turn off peripheral devices (such as monitors and speakers).

3. Turn off external storage devices.

Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives.

4. Turn off all other hardware.

Managing the Avid Projects and Avid Users Folders

Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems.

Avid Projects and Avid Users folders allow you to move entire projects or selected Project and User settings between systems by copying and moving files on your desktop.

For more information about moving projects, see “Transferring Project and Media Files” on

page 441.

For information about using and transferring site settings, see “Using Site Settings” in the

Help.

Understanding the Avid Projects and Avid Users Folders

When you create a new project or user profile, your Avid editing application creates files and folders in the Avid Projects and the Avid Users folders.

Locations of Avid Projects and Avid Users Folders

Two Avid Projects folders are installed by default:

• Private Projects — drive:\Documents and Settings\Windows login name\My

Documents\Avid Projects

• Shared Projects — drive:\Documents and Settings\

Avid Projects

For an explanation of the difference between private projects and shared projects, see

“Understanding the Select Project Dialog Box” on page 37.

The Avid Users folder is located in the application folder:

• drive:\Program Files\Avid\Avid editing application\Avid Users

The location of the Avid Users folder depends on the installation path for your Avid editing application.

All Users\Shared Documents\Shared

Chapter 1 Starting a Project

Files and Folders Created For Projects

When you create a new project, your Avid editing application creates a folder for the project and three files that are stored within the project folder:

• A project file (.avp)

• A project settings file (.avs)

• A bin file (.avb)

The project folder and the three files all use the project name you provide. The project folder is stored in the Avid Projects folder.

Your settings are initially set to the default values. As you work, the files maintain current settings. As you create additional bins for the project (see “Creating a New Bin” on

page 58), additional bin (.avb) files are added to the project folder.

Files and Folders Created For User Profiles

When you create a new user profile, your Avid editing application creates a folder for the user and two files that are stored within the user folder:

• A user profile file (.ave)

• A user settings file (.avs)

The user folder and the two files all use the user profile name you provide. The new folder is stored in the Avid Users folder.

Changing Project and User Names

You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before starting your application. For information about the location of the Avid Projects and Avid Users folders, see “Understanding the Avid

Projects and Avid Users Folders” on page 45.

When you change a user name or a project name, make sure you change the name of the folder and all the files in the folder that have the old name. Your Avid editing application does not automatically change the names of corresponding files in the folder.

Backing Up Your Project Information

To change a project name or user name:

1. Navigate to the Avid Projects or Avid Users folder, and then double-click the folder to open it.

2. Click the name of the folder you want to change. The name is highlighted for text entry.

3. Type the new name of the folder.

4. Double-click the folder with the new name to open it. The folder contains profile, settings, and project files with the old name.

5. Change the old name of each file to the new name.

Do not change the name of the file MCState.avs in the Avid Users folder.

6. Close the windows, and restart your Avid editing application. The new project name or user name appears in the Select Project dialog box.

Backing Up Your Project Information

Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently to avoid losing any of your work if your hard drive fails. Because the storage requirements are minimal, you can back up these files to a variety of storage devices, such as:

•USB (thumb) drive

• CD-ROM or DVD-ROM

• Network storage device (such as a file server)

• Mass-storage device

To back up the larger media files created when you capture footage, use a high-capacity storage device. For information on backing up media files, see “Backing Up Media Files”

on page 188.

Chapter 1 Starting a Project

Saving Your Project Information on a Drive or on Removable Media

To save your work on a drive or on removable media:

1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM) as appropriate.

2. From the Windows desktop, double-click the My Computer icon.

3. Double-click the icon for the destination storage drive or storage media to open it. Double-click any additional folders to target the appropriate storage location.

4. Navigate to the folder that contains the project folder or the user folder you want to save. For information about the location of these folders, see “Understanding the Avid

Projects and Avid Users Folders” on page 45.

5. Drag a project folder or a user folder to the targeted storage location.

6. When the system finishes copying the files, unmount the drive or eject the media and store it where appropriate.

Restoring from a Backup

To restore a project or user information from a backup storage device:

1. Mount the drive or insert the removable media that contains the backup copies you want to restore.

2. Double-click the icons for the drive or media and for the internal hard drive.

3. Drag the copies from the storage device to the appropriate folder on the internal hard drive.For information about these folders, see “Understanding the Avid Projects and

Avid Users Folders” on page 45.

When you start your Avid editing application, the restored project and user profile appear in the Select Project dialog box.

If you are restoring an individual bin or bins, you must relink them to the project from within the Project window. For more information, see “Opening and Closing Bins” on page 59.

Working with the Avid Attic Folder

Your Avid editing application uses a special folder on your system, the Avid Attic folder, to store backup files of each bin in a project.

You can use settings to control how your application saves backups, and you can retrieve files from the Attic folder in the following circumstances:

• When you want to replace current changes to a sequence or clip with a previous version

• When the current bin file becomes corrupted

Understanding the Avid Attic Folder

The Avid Attic folder contains backup files of each bin in a project. You retrieve files from the Avid Attic folder in the following circumstances:

• When you want to replace current changes to a sequence or clip with a previous version

• When the current bin file becomes corrupted

For information on setting automatic save features, see “Saving Bins Automatically” in the Help.

Working with the Avid Attic Folder

The Avid Attic folder contains a folder for each project. Each project folder contains a Bins folder. When a bin is saved, a folder with the bin’s name is created in the Bins folder and a copy of the bin file is stored in the folder with the bin name. The system adds the file name extension .bak plus a version number to the bin’s file name. The bin file with the highest version number represents the latest copy of the bin file.

When you view a bin folder in Details view, you can also identify the most recent backup file based on the timestamp of creation displayed in the Modified column.

The oldest backup file is overwritten only if the second-oldest backup file is more than 2 hours old.

Retrieving Files from the Avid Attic Folder

To retrieve a file from the Avid Attic folder:

1. Minimize your Avid editing application. For information on minimizing, see the Windows documentation.

2. From the desktop, double-click the Avid Attic folder, located in drive:\Program Files\Avid\Avid editing application.

Chapter 1 Starting a Project

The Avid Attic folder is usually located in the same folder as your Avid editing application.

The Avid Attic folder opens and displays a folder for each project.

3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project.

4. Double-click the folder for the bin you want to retrieve.

5. If the bin folder is not already in the Details view, Select View > Details. The bin folder displays the backup bin files and their creation dates. A backup bin file

has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2.

6. Select the backup bin file or files you want to retrieve.

7. Ctrl+drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder.

To copy backup files to a new bin:

1. Click the taskbar item for your Avid editing application to restore it.

If the taskbar is hidden, see “Using the Windows Taskbar” on page 32.

2. Click the Project window to activate it, and click the Bins tab to display the Bins list.

Working with the Avid Attic Folder

3. Select File > Open Bin.

4. From the Files of Type list, select All Files (*.*).

5. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens.When you open a backup bin, a link to the backup bin on the

desktop is created in the Other Bins folder.

Your Avid editing application does not allow a bin and a copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time.

6. Create a new bin. For example, if you are retrieving clips from a backup bin called Source Clips.2, you can call the new bin Source Clips New.

7. Select the material you want to keep from the backup bin, and drag the files to the new bin.

8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop.

9. Select and delete the backup bins in the Other Bins folder.

10. Drag the backup bin files on the desktop to the Recycle Bin.

Chapter 1 Starting a Project

Using Toolsets

You can use predesigned work environments (toolsets) that are suited to your most common tasks:

•NRCS

•Capture

•Edit

• Effects Editing

• Audio Editing

• Color Correction

The Toolset menu provides you with several environments, or special-purpose workspaces, that include the following:

• Tools appropriate for the task

• A screen optimized for the task, screen resolution, and number of monitors

• A neatly organized workspace without overlapping windows

You can change the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme. You can also customize the NRCS toolset.

Opening Toolsets

To open a toolset, do one of the following:

t Select Toolset > toolset. t Press one of the following key combinations:

Press To view

Shift+F8 NRCS toolset

Shift+F9 Capture toolset

Shift+F10 Edit toolset

Shift+F11 Effects Editing toolset

Shift+F12 Audio Editing toolset

Any open tools close, and the screen changes to display windows appropriate to the toolset task.

Customizing Toolsets

To customize the toolset workspace:

1. For the toolset you want to customize, select Toolset > toolset).

2. Open other tools with which you want to work, and position them where you want them.

3. Select Toolset > Save Current. The next time you select the customized toolset, it appears with your changes.

To remove your customizations:

t Select Toolset > Restore Current to Default.

Linking Toolsets to Other Settings

You can link the current toolset to custom User settings.

To link a toolset to another setting:

1. For the toolset you want to link, select Toolset > toolset.

Using Toolsets

2. Select Toolset > Link Current to. The Link Toolset dialog box opens.

3. Click the Links to Current Toolset menu, and select Link to Named Settings.

4. Type the name of the other setting to which you want to link the toolset. For more information about creating and naming custom settings, see “Working with Settings” in the Help.

You can link toolsets only to User settings.

5. Click OK. The active toolset is linked to the custom setting you specified.

You might want to link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting.

To link a toolset to an unnamed setting:

1. For the toolset you want to link, select Toolset > toolset.

2. Select Toolset > Link Current to. The Link Toolset dialog box opens.

Chapter 1 Starting a Project

3. Click the Links to Current Toolset menu, and select Link to Unnamed Settings.

4. Click OK. The active toolset is linked to all the unnamed settings in the Settings list.

Chapter 2

Working with the Project Window

The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects. The following topics provide basic information about the Project window:

• Understanding the Project Window

• Controlling Project Window Display

• Using the Bins Tab in the Project Window

• Using the Settings Tab in the Project Window

• Using the Format Tab in the Project Window

For advanced information about the Project window, see “Working with the Project Window: Advanced” in the Help or in the Advanced Guide for your Avid editing application.

This chapter refers to the installation default directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter.

Chapter 2 Working with the Project Window

Understanding the Project Window

The Project window is a central location for important information and tools that you need as you work on your project.

Project window information is organized in tabs.The following table describes the display tabs available in the Project window:

Tab Function

Bins Allows you to create and open bins. See “Using the Bins Tab in the Project

Window” on page 57.

Settings Allows you to view and modify settings. See “Using the Settings Tab in the Project

Window” on page 63.

Effects Allows you to access a library of effects. See “Working with Effects” on page 335.

Format Allows you to view information about the format of the project. See “Using the

Format Tab in the Project Window” on page 64.

Info Allows you to view information about system memory usage and system hardware

configuration. See “Using the Info Display” in the Help.

Controlling Project Window Display

The Project window opens automatically when you select a project in the Select Project dialog box. For more information, see “Working with Projects” on page 36. You can use the Project window’s tab to change the display of information in the window.

The Project window remains open the entire time you are working in a project; however, it might become hidden behind open bins or tools. If this occurs, you can redisplay the Project window.

Using the Bins Tab in the Project Window

When you close the Project window, you return to the Select Project dialog box.

To change the information display in the Project window:

t Click one of the tabs.

To locate and redisplay the Project window, do one of the following:

t Select Tools > Project. t Click in an unobstructed area of the Project window to bring it forward.

To close the Project window, do one of the following:

t With the Project window active, select File > Close Project. t Click the Close button in the Project window.

The Select Project dialog box opens.

Using the Bins Tab in the Project Window

When you create a project, your Avid editing application automatically creates a bin with the name of the new project, which is displayed in the Bins tab of the Project window. You can rename this bin and create additional bins as you work in your project.

The word bin is a movie industry term that refers to a container that holds pieces of film. In your Avid editing application, bins contain master clips that are created when you capture source material. Bins also contain the sequences, subclips, group clips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins created for another project.

Viewing a List of Bins

You can view a list of bins in the Project window. From the Bins list, you can examine the number, names, sizes, and location of the bins. Bins from other projects appear in the Project window in italic.

For more information on working with bins, see “Working with Bins” on page 145.

Chapter 2 Working with the Project Window

To view a list of bins associated with the project:

t Click the Bins tab in the Project window.

Bins tab Fast Menu

button

Bin icon

Creating a New Bin

To create a new bin from the Project window:

1. Do one of the following:

t Select File > New Bin. t Click the New Bin button in the Project window.

A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list in the Project window with a default name highlighted and a number appended to it. A corresponding file is placed in the project folder in the Avid Projects folder, and a backup copy is placed in the Avid Attic folder. For more information, see “Understanding the Avid Projects and

Avid Users Folders” on page 45 and “Working with the Avid Attic Folder” on page 49.

2. Type the name of the new bin, and press Enter. For more information, see “Renaming a Bin” on page 58.

To place a bin in a folder:

Bins list

t Drag the bin to the folder icon.

Renaming a Bin

Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally.

Bin and project names are limited to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name.

To change the name of a bin:

1. Click the bin name in the Bins list in the Project window.

2. Type a new name.

Project name

Default bin name

Opening and Closing Bins

You can open a single bin from the Project window, or open multiple bins at once. You can also open a bin from another project.

Using the Bins Tab in the Project Window

If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 161.

Never open a bin that is stored on a removable disk or equivalent device; otherwise, your Avid editing application cannot save your work. Always copy the bin to a project folder on the system drive before you open it.

To open a bin directly:

1. Click the Bins tab in the Project window.

2. Double-click the Bin icon next to the bin name. The bin opens in a separate window. The Bin icon appears dimmed in the Bins list,

indicating the bin is open.

To open several bins at once from the Project window:

1. Click a Bin icon in the Bins list.

2. Ctrl+click each additional bin you want to open.

3. Select File > Open Selected Bins.

Chapter 2 Working with the Project Window

To open a bin from another project:

1. Select File > Open Bin. The Open a Bin dialog box opens.

2. Find and select the bin you want. Bins have the file name extension .avb.

3. Click Open. The bin appears in the Bins list in the Project window in a folder called Other Bins. The

name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window.

The Other Bins folder disappears from the Bins list when you delete all the bins in the Other Bins folder. Deleting bins from the Other Bins folder does not remove the bins from the drive; only the pointers to the bins are removed.

To close a bin, do one of the following:

t Click the Close button. t Select File > Close Bin.

Displaying Folders of Bins in the Bins List

You can add folders to the Bins list in the Project window to help organize your project. You can drag bins into folders or drag folders into folders. For more information, see “Managing Folders and Bins” in the Help.

Fast menu button

Arrow

Folders

Tr as h icon

To create a folder in a project:

1. Click the Fast menu button, and select New Folder. A new untitled folder appears.

2. Click the untitled folder name in the Bins list and rename it.

To show or hide the folder’s contents in the Bins list in the Project window:

t Click the arrow next to a folder icon.

To view a list of only the folder contents and not the folders:

t Click the Fast Menu button, and select Flat View.

The Trash icon and its contents disappear until Flat View is deselected.

Deleting a Bin or Folder

You can delete bins and folders along with their contents from the Bins list in the Project window. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash. For more information, see “Viewing Contents in the Trash” on page 62.

Using the Bins Tab in the Project Window

Only bins and folders appear in the Trash. If you select a clip, subclip, or effect directly in a bin and press the Delete key, the item is permanently deleted and does not appear in the Trash.

To delete a bin or folder from the Project window:

t Select the bin or the folder you want to delete in the Bins list of the Project window, and

do one of the following:

- If the SuperBin is not enabled, press the Delete key.

- If the SuperBin is enabled, right-click the bin name and select Delete Selected Bins

from the shortcut menu. For more information on using the Superbin feature, see

“Opening Bins in the SuperBin” on page 161.

A Trash icon appears in the Bins list in the Project window. The Trash contains the deleted item. The deleted item is stored in the Trash until you empty it.

The Trash is not visible in the Project window until you delete your first item.

Chapter 2 Working with the Project Window

Viewing Contents in the Trash

If you need to view the contents in the Trash or decide you do not want to delete those items in the Trash, you must first move the bins and folders from the Trash.

To view items in the Trash:

1. Click the arrow next to the Trash icon in the Bins list.

2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window.

3. Double-click the bin or folder to view it.

Emptying the Trash in the Bins List

You can empty the contents of the Trash that is located in the Bins list.

Emptying the trash permanently removes the bins or folders from the drive.

If you change the name of the Trash icon, you cannot empty the Trash.

To empty the Trash in the Bins list:

1. Click the Fast Menu button, and select Empty Trash. A message box opens.

2. Click Empty Trash to delete the bins or folders from the Trash and from your internal hard drive.

Saving Bins Manually

You can manually save a specific bin, selected bins, or all bins. You might want to do this immediately after performing an important edit.

To save a specific bin:

1. Click the bin to activate it.

2. Select File > Save Bin.

To save selected bins:

1. In the Bins tab of the Project window, click a Bin icon to select it, and then Ctrl+click any additional bins.

2. Select File > Save All. The system saves all the selected bins.

Using the Settings Tab in the Project Window

The Save Bin command appears dimmed if there were no changes since the last time the active bin was saved.

To save all the bins:

1. Click the Bins tab in the Project window to activate it.

2. Select File > Save All. The system saves all the bins for the project.

Using the Settings Tab in the Project Window

From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting includes Help that you can access directly from the setting dialog box.

Before working in your project, review the basic system settings described in the following table:

Setting Description

Bin Sets parameters for auto-save interval and other bin procedures. See “Bin Settings” in

the Help.

24p Sets parameters for controlling transfer rate and pulldown. See “24P Settings” in the

Help.

General Defines default values such as the default starting timecode. See “General Settings”

in the Help.

Interface Defines the appearance and function of the applications windows and buttons.See

“Interface Settings” in the Help.

Keyboard Defines how commands are mapped to the keyboard. See “Using the Keyboard” on

page 205.

Chapter 2 Working with the Project Window

To view the Settings list:

t Click the Settings tab in the Project window.

Settings tab

Settings list

To open a setting:

Settings type

t Double-click the setting in the Settings list.

To view Help for a setting:

t Open a setting and press the F1 key.

Using the Format Tab in the Project Window

The Format tab in the Project window allows you to view basic project information, such as the video format (NTSC, for example). The displayed information lists the options you selected in the New Project dialog box when you created the project.

Using the Format Tab in the Project Window

For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.94 HD project, you can change the project format to 30i NTSC. For more information, see “Changing the Project Format” in the Help.

For 24p PAL projects, the Format tab shows 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 24P Settings dialog box to change the audio transfer rate. For more information, see “Settings for Film and 24p Projects” in the Help.

To open the Format tab:

t Click the Format tab in the Project window.

Chapter 2 Working with the Project Window

Chapter 3

Capturing Media

Capturing is the process of creating digital media from video or audio input.When you capture, you convert source material into master clips that contain reference information and media files that contain the digital audio and video. The basic procedures you need to capture media are described in the following sections:

• Understanding Logging and Shot Logs

• Importing Shot Log Files

• Preparing the Hardware for Capture

• Selecting Settings for Capture

• Configuring Decks

• Capturing DV Media Directly from a DV Device

• Setting Up the Capture Tool

• Preparing for Audio Input

• Preparing for Video Input

• Capture Preparations Check List

• Capturing and Logging at the Same Time

• Frame Chase Capture

• Batch Capturing from Logged Clips

• Recapturing Your Material

For advanced information about logging and capturing media, see “Capturing Media: Advanced” in the Help or in the Advanced Guide for your Avid editing application.

Chapter 3 Capturing Media

Understanding Logging and Shot Logs

Logging is the process of entering information about source material into bins at the beginning of the editing workflow. A shot log is a text file that lists information about a roll of film or a videotape, usually in chronological order.

You can get information into your bins either by importing a shot log file or by entering the information directly. Logging can be done automatically or manually, before capturing or at the same time as capturing.

When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information (such as starting and ending timecodes). Your application uses this information to capture the source footage, and the information forms the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.

You can import any shot 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. For more information, see “Understanding Avid Log Specifications” in the Help.

For information on how to import a shot log file, see “Importing Shot Log Files” on page 69.

For information about logging into a bin, see “Logging Directly into a Bin” in the Help.

For information about logging and capturing at the same time, see “Capturing and Logging

at the Same Time” on page 111.

Importing Shot Log Files

You can import a shot log file into a bin to make clip information such as start and end timecode available to your Avid editing application. For more information on logging and shot logs, see “Understanding Logging and Shot Logs” on page 68.

To import shot log files into a bin:

1. If you have created Import settings for importing shot log files, select the Import setting you want to use from the Settings list. For more information, see “Creating and Using

Import Settings” on page 134.

2. Do one of the following to identify the bin in which you want to store the imported files: t Open a bin from the Project window.

For more information, see “Opening and Closing Bins” on page 59.

t Click anywhere in an open bin to select it. t Create a new bin.

For more information, see “Creating a New Bin” on page 58.

3. Select File > Import. The Select Files to Import dialog box opens.

Importing Shot Log Files

4. (Option) If you want to select options for combining events on import, click the Options button to open the Import Settings dialog box, After selecting the appropriate options from the Shot Log tab, click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box.

For information on Import settings, see “Import Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key.

5. Do one of the following:

t If you are importing an .ale file, click the Files of type menu and select Shot Log. t If you are importing a text file, click the Files of type menu and select All Files.

When batch importing multiple files and file types, you should establish global Import settings in advance. See “Creating and Using Import Settings” on page 134.

6. Use the Look in menu to locate the folder containing the source file.

7. Select the source file from the list and click the Open button. When the system finishes importing the file, the clips appear in the selected bin.

Chapter 3 Capturing Media

Preparing the Hardware for Capture

Your source material can originate from a videotape, a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration.

For information on connecting your equipment, see one of the following topics in the Help:

• Using the Avid Adrenaline

• Using the Avid Mojo

• Using the Avid Mojo SDI

• Setting Up Your Software-Only Avid Editing System

You should check the items described in the following table before capturing:

Item Description

Sync source

Audio-only input

Client monitor

16:9 format

An external sync source is not required for capturing video or audio with video. Avid recommends using an external sync source for output. For more information, see “Selecting the Sync Source for Output” on page 448.

Sync is needed for audio-only input. For more information, see “Establishing

Sync for Audio-Only Input” on page 71.

Before you begin capturing and editing, set up your NTSC or PAL Client monitor by using a color-bar generator (or house pattern) and lock in those settings, if you have not done so already. See “Connecting a Client Monitor” and “Playing Video to the Client Monitor” in the Help.

You can edit with video in the 16:9 aspect ratio for display of wide-screen images used in the high-definition television (HDTV) format. To view the footage on a Client monitor, you must have a 16:9-compatible Client monitor. For more information on the 16:9 format option, see “Using the 16:9 Display Format” in the Help.

Remote switch

DAT (digital audiotape)

Striped drives

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.

When capturing from DAT, you might need to select an appropriate sync setting. For more information, see “Establishing Sync for Audio-Only Input”

on page 71.

If you are capturing media at high resolution, you must use striped drives.

Getting Information About Striped Drives

Avid maintains a set of tables containing information about striping drives, which is available through Avid online support.

For more information, see “Formatting and Striping Media Drives” in the Help.

To get information about striped drives:

1. Go to www.avid.com/onlinesupport.

2. Search for “Drive Striping Tables.”

Establishing Sync for Audio-Only Input

When you capture audio with video, the video input signal provides the timing reference for digitizing analog audio. This ensures that the audio and video remain in synchronization.

When you capture audio only, the audio timing reference is taken from the same source as the video output timing. You set the sync source for capture and output timing through the Video Output tool. For more information about connecting a reference signal, see “Selecting

the Sync Source for Output” on page 448.

Preparing the Hardware for Capture

If you are capturing audio only, and the material being captured must be resynchronized with video, you must make sure that the audio captured remains synchronized with the associated video. There are several cases to consider:

• Analog audio input (XLR and RCA)

• Digital audio input (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio)

Analog Audio Input

If you are capturing audio-only from an analog source, sync is taken from the sync source, either black burst or tri-level, as selected in the Video Output tool. If no sync source is connected, sync is generated from internal timing.

If you need to synchronize audio with video clips captured separately, Avid recommends that you connect a sync source to both the Avid DNA device and the audio deck. Otherwise you might experience drifting of the audio during editing.

Digital Audio Input

Digital audio inputs (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio) provide their own timing reference. No other connections are required to achieve sync, so long as the source deck is genlocked.

Chapter 3 Capturing Media

When using the AES/EBU inputs, the lowest numbered channel that is enabled for input in either the Capture tool or the Audio tool is used as the timing reference. It is important that all AES/EBU inputs that are used simultaneously be locked to the same timing reference.

Selecting Settings for Capture

Several settings directly affect the capturing process. This section includes information on Media Creation and GPI settings. For other settings, see the following topics in the Help:

• Capture Settings

• Capturing Across Timecode Breaks

• General Settings

• Settings for Film and 24p Projects

• Advanced Capture Settings

For information about locating and modifying settings, see “Using the Settings List” in the Help.

You can also view information about settings by clicking a window or dialog box and pressing the F1 key.

You might also use GPI (general-purpose interface) triggers to control capture using a VLAN VLXi (GPI) controller. For more information, see “Working with GPI Settings” in the Help.

In the MXF Media Type tab or the OMF Media Type tab of the Capture Settings dialog box, review the setting for “Maximum (default) capture time.” This setting limits the length of capture-on-the-fly and capture from an IN point without an OUT point. The default setting is 30 minutes. For more information, see “Capture Settings” in the Help.

Understanding Video Resolutions

Video resolution refers to the dimensions and the amount of compression in a video media file. The resolutions you can select depend on your project format.

• For 25-fps and 30-fps projects, the Video Resolution list shows single-field resolutions, two-field interlaced resolutions, and DV.

• For 24p and 25p projects, the list shows progressive, full-frame resolutions. Select 1:1 for uncompressed media.

Selecting Settings for Capture

• For HD projects, the list shows 1:1 (not available for capture), Avid DNxHD™ resolutions, and DVCPRO HD, depending on your video input. For more information, see “Capturing DV Media Directly from a DV Device” on page 82.

• For HDV projects, no video resolutions are available for capture, because your Avid editing application automatically selects the correct resolution. For 720p HDV projects, Avid DNxHD and DVCPRO HD resolutions are listed for other media creation. For 1080 HDV projects, DNxHD-TR resolutions are available for other media creation.

Resolutions use either the OMF or the MXF media format. For more information, see “File Format Specifications” in the Help.

DNxHD resolutions are available in 10-bit and 8-bit versions. 10-bit compressions are indicated by an X, such as DNxHD 220 X. DNxHD resolutions use the MXF media format. JFIF, MPEG, DV 25, and DV 50 resolutions are not available in HD projects.

For more information about resolutions, see “Resolution Specifications” in the Help.

If you are using Avid Unity LANshare or Avid Unity PortServer Pro, make sure to specify a supported resolution. For information on supported resolutions, see the LANshare or PortServer Pro documentation.

Selecting Video Resolutions and Media Drives

The Media Creation dialog box allows you to set the video resolution and to select drives for capturing, creating titles and motion effects, importing, and performing audio and video mixdowns.

For more information on video resolutions, see “Understanding Video Resolutions” on

page 72.

You can also select a video resolution and select drives directly in the Capture tool, the Save Title dialog box, the Select Files to Import dialog box, the Audio Mixdown dialog box, and the Video Mixdown dialog box. The Media Creation settings automatically change to the resolution and drives you select.

Chapter 3 Capturing Media

To select a video resolution and media drives:

1. Do one of the following:

t Double-click Media Creation in the Settings list. t Select Tools > Media Creation.

The Media Creation dialog box opens.

2. Click the Media Type tab, and select either OMF or MXF file format.

If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default.

3. Click the Capture tab.

Video Resolution menu

4. Click the Video Resolution menu, and select a video resolution.

The Video Resolution menu contains a list in the available resolutions.

Avid editing applications have the ability to play back and edit media that has been captured using a Meridien-based Avid editing system or an Editcam workgroup. For more information on supported resolutions, see “Resolution Specifications” in the Help.

Clicking Apply to All sets your selected video resolution for all applicable tabs in the Media Creation dialog box. Your settings are not saved until you click OK.

™

when in a shared storage

Selecting Settings for Capture

5. Select a video drive and an audio drive. To select the same drive for both video and audio, click the Single/Dual Drives Mode button until only a single drive menu opens.

The drive that appears in boldface type has the most available space.

6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and select Change Group. For more information on selecting a drive group, see

“Targeting a Drive Group” on page 95.

Because there is no audio associated with titles or motion effects, you can select only a video drive in the Titles or the Motion Effects tab of the Media Creation dialog box.

7. To apply your drive selection to all the Media Creation tabs and the rest of the application, click Apply to All.

This sets your selected video and audio drives for all the Media Creation tabs. It also sets them for any place in the application where you select drives.

Your settings are not saved until you click OK.

8. Click OK to save your settings.

For more information about options, see “Media Creation Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key.

Setting Drive Filtering

Your Avid editing application lets you select any drive on your system to use for media storage. However, high-quality resolutions require striped drives.For more information, see

“Getting Information About Striped Drives” on page 71.

Because media files are very large, you can remove from the list of available drives the drive where the operating system is located, the drive where your Avid editing application is located, and network drives that do not support the resolution you select. Filtering drives in this way provides you with a convenient way to store media only on drives with sufficient space.

Your Avid editing application does not prevent you from using non-Avid drives, but their reliability cannot be assured.

Chapter 3 Capturing Media

If you are working in a network environment, see “Drive Filtering in Networked Workflows” in the Help.

To set drive filtering in the Media Creation dialog box:

1. Do one of the following:

t Double-click Media Creation in the Settings list. t Select Tools > Media Creation.

The Media Creation dialog box opens.

2. (Option) Click the Drive Filtering & Indexing tab.

Options for indexing local drives apply only in an Avid Interplay™ environment. For more information, see the Avid Interplay Software Installation Guide.

3. Select a drive to filter out: t Select Filter Network Drives Based on Resolution to remove those network drives

that cannot support the selected resolution, or cannot handle playback of the selected resolution.

t Select Filter Out System Drive to remove from the list the drive on which the

operating system resides.

t Select Filter Out Launch Drive to remove from the list the drive on which the Avid

editing system resides.

Configuring Decks

The drive or drives you filter out do not appear in the other Media Creation tabs as possible locations where you can store media. They also do not appear in other drive selection menus in the application except for the Import, Export, and Relink dialog boxes.

Your settings are not saved until you click OK.

4. Click OK to save your settings.

For more information about options, see “Media Creation Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key.

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 control preferences appear as separate items in the Settings list in the Project window.

Deck control settings

For information on setting Deck Preferences, see “Deck Preferences Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key.

Chapter 3 Capturing Media

Configuring a Deck or Multiple Decks

You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect.

To configure a deck or multiple decks:

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

2. Click the Add Channel button to add a new channel box on the left side of the Deck Configuration dialog box and to automatically open a Channel dialog box.

Channel refers to the signal path for deck control, whether directly through a serial port, through a V-LAN connection. A direct serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system allows multiple decks.

VLXi system connected to a serial port, or through a FireWire®

Configuring Decks

3. Click the Channel Type menu, and select one of the following items, depending upon your system configuration:

- FireWire if you are controlling a DV camera or deck through a FireWire

connection.

- Direct if you are controlling a deck through an RS-422 connection to the serial port.

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

4. Click the Port menu, and select one of the following items:

- Avid DNA or OHCI if you selected FireWire for the channel. Avid DNA refers to

the FireWire (IEEE-1394) connection on the Avid Adrenaline, Avid Mojo, or Avid Mojo SDI hardware. OHCI refers to a FireWire connection on the computer.

- COM1 or COM2 if you selected Direct or VLAN VLX for the channel.

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

5. Click OK to close the Channel dialog box. A dialog box opens with a question 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.

Chapter 3 Capturing Media

Channel boxes appear on the left side

Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Autoconfigure command. Due to this limitation, Auto-configure selects only a generic device template. When a digital camera is attached to your system, click the Deck Type menu, and select the proper device (described later in this procedure). When a deck is attached, click the Deck Type menu, and select the applicable deck.

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 in the Deck Configuration dialog box.

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

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

Configuring Decks

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

9. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device.

For more information, see “Deck Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key.

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

11. Repeat the channel and deck setup process for each additional channel or deck you want to configure.

12. (Option) If you want the system to check the deck configuration against the decks physically connected to the system, select “Verify configuration against actual decks.”

Chapter 3 Capturing Media

The system checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start your Avid editing application. A message box 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 appears in the Settings list in the Project window.

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

15. Double-click Deck Preferences in the Settings list in the Project window to review and if necessary adjust global deck control options.

For information about these controls, see “Deck Preferences Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key.

Deleting Deck Configuration Elements

You can delete deck configuration elements to remove or replace them.

To delete deck configuration elements:

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

2. Click a channel box, a deck box, or the entire configuration to select it.

3. Click the Delete button.

4. Click the Apply button to complete the changes and close the dialog box.

Capturing DV Media Directly from a DV Device

You can capture DV 25, DV 50, DVCPRO HD, and HDV media directly from a DV camera or deck (a DV device). You can also play and output directly to the DV device. To use a DV device, you must connect it your system correctly and select it in your Avid editing application.

The following topics provide more information about configuring a DV device and capturing DV media.

Connecting a DV Device

Depending on your configuration and requirements, you can connect a DV device to one of the following ports:

• The 1394 (FireWire) port on your Avid DNA hardware (Adrenaline, Avid Mojo, or Avid Mojo SDI)

• A 1394 port on your computer (Host 1394).

To use a connected DV device for capture, play, or output, you must select it in your Avid editing application, as described in “Selecting a DV Device” on page 84.

The following table describes the recommended DV connections available for each DV resolution and editing application configuration.

Capturing DV Media Directly from a DV Device

On Windows systems with an Adrenaline or an Avid Mojo, you can capture DV 50, DVCPRO, or HDV only through an optional IEEE-1394 card installed in your computer. This card must be on a bus separate from the one used by the Adrenaline or Avid Mojo. On systems with an Avid Mojo SDI, you can use the 1394 port on the Avid Mojo SDI or a 1394 port on your computer.

DV Connections for Capture, Play, and Digital Cut

DV Resolution

DV 25 Adrenaline or

DV 50 Host 1394 Host 1394 Avid Mojo SDI or

DVCPRO HD Host 1394 Host 1394 Avid Mojo SDI or

HDV Host 1394 Host 1394 Avid Mojo SDI or

For HDV media, playback directly to an HDV device is not supported. You need to export a transport

stream. For more information, see “Outputting HDV” in the Help.

NewsCutter Adrenaline

Host 1394

NewsCutter with Avid Mojo

Avid Mojo or Host 1394

NewsCutter with Avid Mojo SDI

Avid Mojo SDI or Host 1394

Host 1394

NewsCutter Software-only

Host 1394

Chapter 3 Capturing Media

Selecting a DV Device

When you want to use a DV device for capture, play, or output, you need to select it in your Avid editing application. You can use the Special > Device menu or the DNA/1394 button in the Timeline window to select the device without disconnecting your equipment.

If your system has Avid DNA hardware attached, the system default is DNA, and when a new project is selected, the system automatically selects DNA. If your system does not have Avid DNA hardware attached, the system default is 1394 and you cannot switch to DNA.

On software-only systems, the only option available is IEEE 1394.

For information on connecting a DV device to your system, see “Connecting a DV Device”

on page 83.

To select a DV device for capture, play, or output, do one of the following:

t Click the DNA/1394 button above the Timeline to display DNA or 1394, depending on

how the DV device is connected.

DNA/1394 Button

t Select Special > Device, and then select Avid DNA or IEEE 1394, depending on how

the DV device is connected.

If you are capturing through the 1394 port on an Avid Mojo SDI, you must select IEEE 1394. The 1394 port on the Avid Mojo SDI passes the signal through to a 1394 port on your computer.

The Video Input tool, Capture tool, Video Output tool, and Digital Cut tool all reflect your device selection.

Capturing DV 25 Media

For systems with Avid DNA hardware, you can capture DV 25 through either of the following connections:

• The 1394 (FireWire) port on your Avid DNA hardware (Adrenaline, Avid Mojo, or Avid Mojo SDI)

• A 1394 port on your computer (Host 1394). For systems with an Adrenaline or Avid Mojo, this port needs to be on an optional

IEEE-1394 card installed on a bus separate from the one used by the Adrenaline or Avid Mojo.

You specify the DV input device by using the DNA/1394 button above the Timeline window or commands in the Device menu, see “Selecting a DV Device” on page 84.

DV 25 Software Codec

If you capture through the Adrenaline or Avid Mojo, you have the option of using the Avid DNA hardware codec or the DV 25 software codec.

If you capture through the Avid Mojo SDI or a separate IEEE 1394, the application automatically uses the DV 25 software codec.

Capturing DV Media Directly from a DV Device

Select the DV 25 software codec when you are in an NTSC 23.976p or 24p project capturing DV 25 from analog or SDI. The DV 25 software codec lets you capture with standard or advanced pulldown. If you do not select the DV 25 software codec, you can capture only advanced pulldown.

To select the DV 25 software codec:

1. Double-click Capture in the Settings list.

2. Click the DV Options tab.

3. Select “Use software DV 25 codec.”

4. Click OK.

Chapter 3 Capturing Media

Capturing DV 50, DVCPRO HD, or HDV Media

How you capture DV 50, DVCPRO HD, or HDV media depends on the DNA hardware connected to your system.

For Adrenaline or Avid Mojo systems, you can capture DV 50, DVCPRO HD, or HDV media only through a IEEE-1394 port on your computer. This port needs to be on an optional IEEE-1394 card installed on a bus separate from the one used by the Adrenaline or Avid Mojo.

You specify the DV input device by using the DNA/1394 button above the Timeline window or commands in the Device menu, see “Selecting a DV Device” on page 84.

For Avid Mojo SDI systems, you can use the 1394 port on the Avid Mojo SDI or a port on a separate 1394 card. In either case, select IEEE 1394 as the device input.

For information on playing back DV 50 and DVCPRO HD media, see “Playing Back to a

DV Device” on page 208.

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.

In Capture mode, the Client monitor displays the playback footage whenever the video track is selected in the Capture tool.

Deck Selection menu

Setting Up the Capture Tool

The following illustration shows the Capture tool for an HD project.

When you are working in an Avid Interplay environment, the Capture tool includes a selection for Local Bins or Remote Bins. See “Selecting a Target Bin” on page 93.

When you are ready to capture, you need to open the Capture tool and set the Capture tool up by using the following procedures:

• Opening the Capture Tool

• Changing the Power Scheme

• Selecting a Deck in the Capture Tool

• Selecting a Source Tape

• Selecting Source Tracks

• Setting the Video and Audio Input in the Capture Tool

• Detecting a Valid or Locked Sync Signal

• Selecting a Resolution in the Capture Tool

Chapter 3 Capturing Media

• Selecting a Target Bin

• Selecting the Target Drives

• Interpreting the Time-Remaining Display

• Selecting a Custom Preroll

For advanced information, such as capturing to the Timeline, see “Capturing Media: Advanced” in the Help.

Opening the Capture Tool

To open the Capture tool:

1. Make sure the deck or other playback device is properly connected to the system and is turned on.

2. Do one of the following:

t Click a bin to activate it and select Bin > Go To Capture Mode. t Select Tools > Capture. t Select Toolset > Capture.

3. Make sure you are in Capture mode. If the Capture tool is in Log mode, click the Capture/Log Mode button until the CAP icon appears.

Changing the Power Scheme

If you install your Avid editing application on a laptop computer, an Incompatible Power Scheme warning button might appear in the top right corner of the Capture tool. Some of the standard power schemes available to laptops running Windows XP might affect the performance of editing functions, including capturing media. Avid recommends you use the “Always On” power scheme when working with Avid applications. If you select “Always On,” the warning button does not appear.

You can select a new power scheme by accessing the Power Options Properties dialog box from the Control Panel. For more information on changing power schemes, see the Windows documentation.

Selecting a Deck in the Capture Tool

The Deck Selection menu in the Capture tool contains a list of any decks that were connected to the system, powered up, and initialized when you entered Capture mode.

Setting Up the Capture Tool

Device templates from Meridien-based Avid editing applications are not compatible with current Avid editing applications. Do not copy Meridien device templates to current Avid editing systems, and do not copy current Avid editing application device templates to Meridien systems.

The Deck Selection 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” in the Help.

• 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.

If the words “No Deck” appear in the Deck Selection menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 77.

If a deck name appears in italics in the Deck Selection menu, the deck has lost power or has been disconnected. Click the menu, and select Check Decks to reestablish deck control.

After deck control has been properly initialized, it remains active for all deck controllers throughout the session until you quit the application.

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.

To activate playback from an available deck:

t Click the Deck Selection menu, and select the deck.

Selecting a Source Tape

To select a source tape:

1. Do one of the following: t If a tape is already in the deck, click the Source Tape Display button in the Capture

tool.

t If there is no tape in the deck, insert a tape into the deck.

Chapter 3 Capturing Media

The Select Tape dialog box opens.

2. If you are working in an NTSC project, play the tape for a few seconds 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.

Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more information, see “Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode” in the Help.

3. Provide the system with a tape name in one of the following ways:

t Select the name of the tape from the list in the Select Tape dialog box and click OK. t Expand the list by selecting the “Show other projects” option or by clicking the

Scan for tapes button.

t Click New if the tape is not in the list. A new tape name line appears in the dialog

box. Type the new name, press Enter and click OK.

For information on tape naming conventions, see “Naming Tapes” in the Help. If you are working with MultiRez in an Avid Interplay environment, see “MultiRez Tape Management”

on page 570.

Selecting Source Tracks

You can select the tracks to capture from the source tape.

To select only those tracks you want to capture:

t Click the Channel Selection buttons in the Capture tool.

Channel Selection buttons

Setting Up the Capture Tool

When you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the system captures the timecode from the source tape. If you deselect the TC button, the system captures with time-of-day timecode. For more information, see “Capturing with

Time-of-Day Timecode” on page 118.

If you are not seeing the source video or hearing source audio in Capture mode, click the Channel Selection buttons to make sure they are not the cause.

When batch capturing, if the tracks are already logged into the bin, this selection will be made automatically, unless you deselect the option “Capture the tracks logged for each clip” in the Batch tab of the Capture Settings dialog box. For more information on Batch Capture settings, see “Batch Capturing Clips” on page 125.

Setting the Video and Audio Input in the Capture Tool

The Video and Audio menus show you the current input settings for the Video Input tool and the Input tab in the Audio Project Settings dialog box. The menus also provide a convenient way to change the settings if necessary.

The Video Input tool is not available on all models. If your model does not have the Video Input tool, the Avid editing application sets the default input options automatically.

For more information, see “Preparing for Audio Input” on page 96 and “Preparing for Video

Input” on page 104.

If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box automatically change to the settings you select.

Chapter 3 Capturing Media

Detecting a Valid or Locked Sync Signal

On systems with Avid DNA hardware, the Capture tool uses one of two icons to indicate if the sync source you are using is valid and locked. These icons are displayed in the message bar of the Capture tool.

• Video Lock icon: When you select a video track in the Capture tool, the Video Lock

icon is displayed. If the current source has a valid video signal and the Avid DNA hardware can lock to it, the icon is displayed in green. If there is no valid signal, the icon is displayed in black.

• Ref Lock icon: When you select only audio tracks (or if no tracks are selected) in the

Capture tool, the Ref Lock icon is displayed. If there is a valid reference signal and the Avid DNA hardware can lock to it, the icon is displayed in green. If there is no valid signal, the icon is displayed in black.

Ref Lock icon/Video Lock icon

The Ref Lock icon is also displayed in the Digital Cut tool.

Selecting a Resolution in the Capture Tool

The Res (Resolution) menu contains a list of the available resolutions, depending on your project and the model of your Avid editing application. You can select the resolution in the Capture tool or in the Media Creation dialog box, see “Selecting Video Resolutions and

Media Drives” on page 73. If you select a resolution in the Capture tool, the Media Creation

settings change to the resolution you selected.

To select a resolution in the Capture tool:

t Click the Res (Resolution) menu, and make a selection.

Selecting a Target Bin

You select a target bin as the destination for the master clips created when you capture and log at the same time.

In an Avid Interplay environment, the Capture tool includes an option to capture to a local bin or a remote folder.

To select a target bin:

1. (Option) In an Avid Interplay environment, do one of the following:

t If you are capturing to a local bin, select Local Bins. t If you are capturing to a remote project folder in an Avid Interplay environment,

select Interplay Folders. (For more information about capturing to an Interplay project folder, see “Capturing Media to Interplay Folders” on page 556.)

Setting Up the Capture Tool

2. In the Capture tool, click the Bin menu and make a selection. Only open bins and open Interplay folders appear in the Bin menu. (Interplay folders are available only in Avid workgroups configurations.)

- If the bin you want to use is not open, double-click it in the Project window.

- If the Interplay folder you want to use is not open, click the folder name in the

Interplay Window.

For information on opening a bin, see “Opening and Closing Bins” on page 59.

Selecting the Target Drives

You select a target drive as the destination for audio and video media files created when you capture.

You can capture audio and video to a single drive, or separate drives, as described in the following topics.

If you are capturing high-quality resolutions, you need to select striped drives. For more information, see “Getting Information About Striped Drives” on page 71 and “Formatting and Striping MediaDrives” in the Help.

Chapter 3 Capturing Media

You can filter some drives out of the available drive list. For more information, see “Setting

Drive Filtering” on page 75.

You can set target drives in the Media Creation dialog box. See “Selecting Video

Resolutions and Media Drives” on page 73.

Targeting a Single Drive

Targeting Separate Drives for Audio and Video

For tips on targeting media drives for effective storage and playback, see “Storage Requirements” in the Help.

By default, the Capture tool targets a single media drive volume for capturing the audio and video for each clip.

To target a single drive:

1. If the Capture tool is not already open, select Tools > Capture. The Capture tool opens.

2. Click the Single/Dual Drive Mode button to display the Single Drive icon.

3. Click the Target Drive menu, and select a drive volume. The name shown in bold in the menu has the most storage available. The time remaining

on the selected drive, displayed to the right of the menu, is calculated based on your resolution selection.

You can target separate physical drives for audio and video tracks. You might want to target separate drives for media management, such as sending audio files to a Pro Tools for audio sweetening. Capturing audio and video to separate drives is not necessary for performance.

system

To target separate drives for audio and video:

1. If the Capture tool is not already open, select Tools > Capture. The Capture tool opens.

2. Click the Single/Dual Drive Mode button to display the Dual Drive icon. Two Target Drive menus appear. The top one is targeted for video and the bottom one is

targeted for audio.

3. Click each Target Drive menu, and select separate drives for audio and video. The names shown in bold in the menus have the most storage available. The time

remaining on each selected drive, displayed to the right of each menu, is calculated based on your resolution selection.

Targeting a Drive Group

Targeting a drive group (a group of media drives) is especially useful when you are capturing long clips to multiple media files. For more information, see “Capturing to Multiple Media Files” in the Help.

After you create a drive group, it appears in the Target Drive menu for the project.

To create and target a drive group:

1. Click the Target Drive menu, and select Change Group. The Drive Group dialog box opens.

Setting Up the Capture Tool

2. Ctrl+click to select multiple drives to include in the capturing session, or click the All button to select all drives.

3. Click OK to close the dialog box and create the drive group. The group appears in the Target Drive menu. When you capture, any clip that exceeds the capacity of a drive (whether that drive is

empty or already contains media files) continues capturing onto another drive in the group.

Chapter 3 Capturing Media

Interpreting the Time-Remaining Display

The Capture tool displays the time remaining on the selected drive after you select a resolution and target drive or drives for the captured media. The time-remaining display shows the number of hours, minutes, seconds, and frames that are available for the resolution you selected.

When you select another resolution, the time-remaining display adjusts accordingly.

Time remaining on

the selected drives

For information on managing drives for storage and playback, see “Storage Requirements” in the Help.

Selecting a Custom Preroll

The Custom Preroll option and menu in the Capture tool allow you to select how many seconds the tape rolls before the capturing starts. This option overrides the global preroll setting in the Deck Settings dialog box.

Custom Preroll option

Preparing for Audio Input

Your Avid editing application provides you with a wide range of options for audio input: capturing audio with video from tape, capturing audio from a digital or analog deck, or capturing through a microphone, in various formats and at various sample rates.

The following topics provide basic information on preparing for audio input.

For advanced information on audio input, see “Preparing for Audio Input: Advanced” in the Help.

Understanding Audio Project Settings

You can use the Audio Project Settings dialog box to choose various input and output options and check the current configuration of your audio hardware. The Audio Project Settings dialog box has five tabs: Main, Input, Output, Hardware, and Effects.

Preparing for Audio Input

Selecting the Audio Sample Rate

Some options depend on the audio configuration of your system, so your system might not contain certain features and hardware that are covered in the documentation.

The values you set in the Audio Project Settings dialog box are saved as Project settings.

You can also save the Audio Project settings as Site settings so that all projects open with the same audio settings. See “Using Site Settings” in the Help.

The topics in this section describe the basic audio project settings you need for capture. For information on all Audio Project settings, see “Audio Project Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key.

Selecting the audio sample rate in the Audio Project settings dialog box sets the audio sample rate for capturing audio. It also sets the sample rate for sequences that you create in the project. You can change the sample rate for individual sequences and audio clips. For more information, see “Changing the Audio Sample Rate for Sequences and Audio Clips”

on page 333.

To select the audio sample rate:

1. In the Project window, click the Settings tab. The Settings list appears.

2. Double-click Audio Project. The Audio Project Settings dialog box opens.

3. Click the Main tab.

4. Click the Sample Rate menu, and select a sample rate.

5. Close the Audio Project Settings dialog box.

Understanding Audio Files and Formats

Audio files are created when you:

• Record audio tracks in Capture mode.

• Create tone media by using the Audio tool.

• Mix down audio tracks by using the Audio Mixdown tool.

Chapter 3 Capturing Media

• Import files by using the Import dialog box.

• Apply an AudioSuite plug-in that creates new source audio.

You select the file format that your Avid editing application uses when creating audio files by selecting from the Audio File Format menu in the Audio Project Settings dialog box.

AIFF-C and WAVE audio media files can be mixed within a project. The system default is AIFF-C (OMF) audio.

Selecting the Audio File Format

Select AIFF-C or WAVE when you need to transfer media files directly to a Pro Tools system for audio sweetening.

If you switch the audio format in the middle of a project, all new audio media files are written in the new format with the following exceptions:

• Media files written when rendering audio effects: The system uses the file type of the

A-side (outgoing audio) media for a transition. For example, if the A-side of an audio dissolve is in AIFF-C format and the B-side (incoming) is in WAVE format, the rendered file is AIFF-C.

• Audio media files written when using the Consolidate feature: Media files that are

copied or created during a consolidate procedure retain their original file types.

To select the audio file format:

1. In the Project window, click the Settings tab. The Settings list appears.

2. Double-click Audio Project. The Audio Project Settings dialog box opens.

3. Click the Main tab.

4. Click the Audio File Format menu, and select WAVE (OMF) (MXF).

, AIFF-C (OMF), or PCM

5. Close the Audio Project Settings dialog box.

For more information, see “Understanding Audio Files and Formats” on page 97 and “Audio File Formats” in the Help.

Selecting the Audio Input Source

You can connect one or more audio devices to your Avid hardware or to your computer. Use the Audio Project settings to select the device you want to use as the source for capture. The choices available depend on your system configuration. For more information, see “Audio Project Settings: Input Tab” in the Help.

Preparing for Audio Input

If you select IEEE 1394 as your input device, the input source is automatically set to Host-1394. For more information, see “Connecting a DV Device” on page 83.

To select the audio input source:

1. In the Project window, click the Settings tab.

2. Double-click Audio Project. The Audio Project Settings dialog box opens.

3. Click the Input tab.

4. Click the Input Source menu and select the source for the audio you want to capture.

5. Close the Audio Project Settings dialog box.

The source you selected is displayed in the Capture tool. You can change the source in the Audio Project Settings dialog box or in the Capture tool.

Configuring the Sound Card (Software-Only Systems)

Depending on the sound card installed on your Avid system, you might need to customize the configuration of audio input and audio output. Usually this configuration occurs automatically when you install your Avid editing application. Some sound cards, however, require further customization to ensure full compatibility between the application and the audio hardware on your system. In these cases, you can use the Sound Card Configuration dialog box to map audio input sources to specific audio output sources.

Improper configuration of your audio hardware can cause the audio input and output features of your Avid editing application to function incorrectly. Use the Sound Card Configuration dialog box only if you experience problems with your audio output.

Configuring your sound card to ensure compatibility is necessary only if your Avid application is a software-only model. If Sound Card Configuration does not appear in the Settings scroll list, you do not have to configure your sound card.

Chapter 3 Capturing Media

To customize the sound card configuration:

1. In the Project window, click the Settings tab. The Settings scroll list appears.

2. Double-click Sound Card Configuration. The Sound Card Configuration dialog box opens.

Record/Input list

Input sources

Audio device name

Playback/Output list

Output Source pop-up menus

Default button

3. For each input source in the Record/Input list that you want to map, click the matching Output Source menu from the Playback/Output list and select an output source.

You can map an input source to only one output source at a time. The options available for mapping depend on your audio hardware.

4. (Option) If you do not want an input source mapped to an output source, select <No Match> from the corresponding Output Source menu. You might need to do this, for example, if your system lists more input sources than output sources.

100

5. Click OK.

To reconfigure the sound card to the original application settings:

t Click the Default button.

Clicking the Default button applies the default settings immediately. You cannot cancel the reconfiguration once you reset the default options.

Pinnacle Systems NewsCutter - 6.7, NewsCutter - 6.5 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Accessing the Online Library

How to Order Documentation

Avid Educational Services

Starting a Project

Turning on Your Equipment

Working with the Desktop

Using the Windows Taskbar

Using Shortcut Menus

Navigating in Dialog Boxes and Menus

Understanding Mouse Scroll Wheel Functions

Customizing Mouse Functions

Starting Your Avid Editing Application

Working with Projects

Understanding the Select Project Dialog Box

Creating a New Project

Opening an Existing Project

Browsing for a Project

Opening a Project Automatically

Closing a Project

Deleting a Project

Ending a Work Session

Quitting Your Avid Editing Application

Turning Off Your Equipment

Managing the Avid Projects and Avid Users Folders

Understanding the Avid Projects and Avid Users Folders

Changing Project and User Names

Backing Up Your Project Information

Saving Your Project Information on a Drive or on Removable Media

Restoring from a Backup

Working with the Avid Attic Folder

Understanding the Avid Attic Folder

Retrieving Files from the Avid Attic Folder

Using Toolsets

Opening Toolsets

Customizing Toolsets

Linking Toolsets to Other Settings

Working with the Project Window

Understanding the Project Window

Controlling Project Window Display

Using the Bins Tab in the Project Window

Viewing a List of Bins

Creating a New Bin

Renaming a Bin

Opening and Closing Bins

Displaying Folders of Bins in the Bins List

Deleting a Bin or Folder

Viewing Contents in the Trash

Emptying the Trash in the Bins List

Saving Bins Manually

Using the Settings Tab in the Project Window

Using the Format Tab in the Project Window

Capturing Media

Understanding Logging and Shot Logs

Importing Shot Log Files

Preparing the Hardware for Capture

Getting Information About Striped Drives

Establishing Sync for Audio-Only Input

Selecting Settings for Capture

Understanding Video Resolutions

Selecting Video Resolutions and Media Drives

Setting Drive Filtering

Configuring Decks

Configuring a Deck or Multiple Decks

Deleting Deck Configuration Elements

Capturing DV Media Directly from a DV Device

Connecting a DV Device

Selecting a DV Device

Capturing DV 25 Media

Capturing DV 50, DVCPRO HD, or HDV Media

Setting Up the Capture Tool

Opening the Capture Tool

Changing the Power Scheme