Pinnacle Systems NewsCutter - 6.x User's Guide

Avid® NewsCutter® Products

Input and Output 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; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Other patents are pending.

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

their TIFF library:

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

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

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

The following disclaimer is required by the Independent JPEG Group:

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

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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

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

The following disclaimer is required by Videomedia, Inc.:

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

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

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

The following disclaimer is required by Ultimatte Corporation:

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

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

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

Attn. Government User(s). Restricted Rights Legend

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

Trademarks

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

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

Aaton is a registered trademark of Aaton S.A. Abekas is a registered trademark of Accom, Inc. Acrobat, Acrobat Reader, Adobe, After Effects, and Photoshop are either registered trademarks or trademarks of Adobe Systems, Incorporated in the United States and/or other countries. Inc. Apple, FireWire, and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Betacam, Betacam SP, HDCAM, Hi8, I-LINK, and Sony are trademarks and/or service marks of Sony Corporation. DVCPRO HD is a registered trademark of Matsushita Electric Corporation of America. DVDit! is a trademark of Sonic Solutions. Express, V-LAN, and VLXi are registered trademark of Videomedia, Inc. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. IEEE is a registered trademark of the Institute of Electrical and Electronics Engineers, Inc. Ikegami is a registered trademark and Editcam is a trademark of Ikegami Tsushinki Co., LTD. Microsoft, Windows, and Windows Media, are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Panasonic is a registered trademark of Matsushita Electric Industrial Company, Limited. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. RealSystem is either a registered trademark or trademark of Real Networks, Inc. in the United States and/or other countries. Silicon Graphics is a registered trademark of Silicon Graphics, Inc. Sound Forge is a registered trademark of Sonic Foundry, Inc. 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. 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 Input and Output Guide • 0130-06889-01 • March 2005

Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Chapter 1 Planning a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Working in a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Capturing with Advanced Pulldown . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Project Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Working with Mixed-Resolution Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

NTSC and PAL Image Sizes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Software-Only Avid Editing Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Sample Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Chapter 2 Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Logging Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Logging Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Logging Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Double-Checking the Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Adding a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Preparing Logs for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . . . . . 47

Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . 48

Using Drag-and-Drop Conversion for Log Files . . . . . . . . . . . . . . . . . . 52

Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Logging Directly to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Logging with an Avid-Controlled Camera or Deck. . . . . . . . . . . . . . . . . 55

Pausing a Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Logging with a Non-Avid-Controlled Camera or Deck. . . . . . . . . . . . . . 60

Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . . . . 61

The Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Options for Modifying Bin Information . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Modifying in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Chapter 3 Preparing to Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Understanding Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

What Is IEEE Standard 1394?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

What Is OHCI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Preparing the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Selecting Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Using General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

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

Creating a GPI Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Deleting a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Editing an Existing GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Deleting Deck Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Setting Deck Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Understanding Drop-Frame and Non-Drop-Frame Timecode. . . . . . . . . . . . 85

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

Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Changing the Power Scheme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Selecting Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Saving a Custom Default Setting for the Video Input Tool . . . . . . . 88

Selecting Audio Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Detecting Valid or Locked Capture Input . . . . . . . . . . . . . . . . . . . . . . . . 94

Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . 95

Selecting a Format in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . 96

Setting Media Creation Resolutions and Selecting Drives . . . . . . . . . . . 96

Selecting a Media Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Disabling Editor Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Selecting a Draft Resolution for DV Media. . . . . . . . . . . . . . . . . . . . . . 101

Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Targeting Separate Drives for Audio and Video . . . . . . . . . . . . . . 103

Interpreting the Time Remaining Display . . . . . . . . . . . . . . . . . . . . . . . 105

Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Capturing Across Timecode Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . . . . . . 113

Checking for a Valid Digital Sync Signal . . . . . . . . . . . . . . . . . . . . . . . 114

Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Configuring the Sound Card (Software-Only Systems) . . . . . . . . . . . . 115

Sound Card Configuration with Surround Sound Capabilities

(Software-Only Systems) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Resizing the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Adjusting the Reference Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Selecting a Peak Hold Option. . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Calibrating Input Channels for the Audio I/O Device . . . . . . . . . . 124

Calibrating Output Channels for the Audio I/O Device . . . . . . . . . 125

Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . 127

Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . 128

Changing an Audio Level in the Passthrough Mix Tool . . . . . . . . 129

Adjusting Pan Values in the Passthrough Mix Tool . . . . . . . . . . . 129

Audio Meters in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Using the Meter Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Adjusting Volume Control in the Timeline . . . . . . . . . . . . . . . . . . . . . . 132

Using the Console Window to Check Audio Levels. . . . . . . . . . . . . . . 133

Calibrating for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Manually Calibrating for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Limitations When Using Consumer Decks or Decks Without

Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Capturing from Unstable Time-Base Sources . . . . . . . . . . . . . . . 139

Green Line in VHS Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . 142

Adjusting Video Levels Without Color Bars. . . . . . . . . . . . . . . . . . . . . 143

Chapter 4 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Before You Begin Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . . . . . . . 147

Adding Extra Text Fields in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . 147

Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Creating Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

DV Capture Offset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Capturing DV 50 and DVCPRO HD Media Directly from a DV Device . . . . 155

Delaying Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . 157

Capturing from One Point to Another . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Capturing from an IN Point to an OUT Point . . . . . . . . . . . . . . . . . 158

Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Capturing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Autocapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Capturing with Time-of-Day Timecode. . . . . . . . . . . . . . . . . . . . . . . . . 166

Capturing in Satellite Mode or No Device Control . . . . . . . . . . . . . . . . 166

Remote Play and Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Selecting Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . 171

Enabling Remote Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Enabling Remote Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Changing the Serial Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Setting a Timed Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Capturing Audio from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . 180

Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Batch Capturing Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . 184

DV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Setting Up DV Scene Extraction Before Capturing . . . . . . . . . . . . . . . 187

Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . 189

Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Recapturing Master Clips and Subclips. . . . . . . . . . . . . . . . . . . . . . . . 190

Recapturing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Saving Two Versions of a Sequence When Recapturing. . . . . . . 191

Using Decompose When Recapturing . . . . . . . . . . . . . . . . . . . . . 191

Recapturing the Sequence Without Using Decompose . . . . . . . . 193

Other Capture Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Working in Quick Record Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . 197

Changing Function Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . 198

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

Returning to the Previous Place in the Select Tape Dialog Box . . . . . 199

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

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

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

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

Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . 208

Importing Photoshop Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Importing Single-Layer Photoshop Graphics. . . . . . . . . . . . . . . . . . . . 209

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

Understanding Multilayered Graphics Import . . . . . . . . . . . . . . . . 210

Importing Multilayered Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Importing Media from XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Connecting the XDCAM Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Setting the XDCAM Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Importing XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Automatically Importing Proxy Media . . . . . . . . . . . . . . . . . . . . . . 220

Importing All Proxy Media from an XDCAM Disc . . . . . . . . . . . . . 222

Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . 223

Manually Importing XDCAM Media from the XDCAM Disc . . . . . . 224

Importing Essence Marks as Locators . . . . . . . . . . . . . . . . . . . . . . . . . 225

Editing the Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Batch Importing High-Resolution Media. . . . . . . . . . . . . . . . . . . . . . . . 228

Editing and Finishing High-Resolution Media. . . . . . . . . . . . . . . . . . . . 231

Importing Editcam Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

The Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Selected Clips Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Import Target Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Import Options Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Chapter 6 Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Selecting Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Selecting Sync for HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Using LTC Timecode for Output . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 243

Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Using Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Adjusting Phase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Calibrating the System with Passthrough Signals . . . . . . . . . . . . . 250

Preparing for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Calibrating for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . . . . . . 253

Adjusting Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Frame-Accurate Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Recording Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Crossconverting and Downconverting for HD Projects . . . . . . . . . . . . 259

Using the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . 261

Using ExpertRender to Prepare Effects for a Digital Cut. . . . . . . . . . . 262

Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Outputting DV 50 DVCPRO HD Media Directly to a DV Device . . . . . 265

Selecting Output and Timecode Formats for 23.976p and

25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Selecting Output Formats for 23.976p and 25p Projects . . . . . . . 266

Selecting Output Formats for 23.976p Projects . . . . . . . . . . . . . . 268

Selecting the Timecode Format for Output. . . . . . . . . . . . . . . . . . 268

Outputting Drop-Frame and Non-Drop-Frame Timecode

Simultaneously for Downstream Encoding . . . . . . . . . . . . . . . . 269

Indicating the Destination Timecode Rate . . . . . . . . . . . . . . . . . . 269

Performing a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . . . . 270

Crash Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Performing a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . . . . 275

Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Output Mode Resolutions with Progressive Projects . . . . . . . . . . 280

DV Digital Cut Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Understanding Passthrough. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Chapter 7 Exporting and Exchanging Material . . . . . . . . . . . . . . . . . . . . . . 285

Exporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Using the Drag-and-Drop Method for Export . . . . . . . . . . . . . . . . . . . . 291

Using Distributed Media Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

ProEncode Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Media Browse Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Configuring a DMS Broker Client on an Avid Editing Application. . . . . 294

Using the DMS Broker Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Additional Tasks Performed by the Media Browse Services . . . . . . . . 296

Using ProEncode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Improving Workflow Using Send To . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Send To Digidesign Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Send To DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Send To Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Send To Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Send To Third-Party Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Preset Export Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Exporting Through OMF Interchange. . . . . . . . . . . . . . . . . . . . . . . . . . 315

Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . . . . 316

Exporting OMFI or AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Exchanging Titles in OMFI Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Exporting as a QuickTime Reference Movie . . . . . . . . . . . . . . . . . . . . 320

Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Using the Avid Codecs for QuickTime. . . . . . . . . . . . . . . . . . . . . . . . . 327

Exporting with Avid QuickTime Codecs . . . . . . . . . . . . . . . . . . . . 328

Exporting As an AVI File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Installing an Avid Codec on Other Systems . . . . . . . . . . . . . . . . . . . . 334

Copying an Avid Codec for QuickTime to a Windows System . . . 334

Exporting from a Third-Party Application. . . . . . . . . . . . . . . . . . . . . . . 335

Exporting as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Exporting Using an Avid Supplied Template . . . . . . . . . . . . . . . . . . . . 336

Exporting Using an Existing Windows Media Profile. . . . . . . . . . . . . . 338

Exporting Using a Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Creating a Custom Video Profile . . . . . . . . . . . . . . . . . . . . . . . . . 340

Creating a Custom Audio Profile . . . . . . . . . . . . . . . . . . . . . . . . . 342

Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Exporting As a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Transferring a Project Between Systems . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Methods for Transferring Files Between Avid Editing Systems. . . . . . 347

Compatibility Requirements for Transfer . . . . . . . . . . . . . . . . . . . . . . . 347

Transferring a Project and Associated Media Files. . . . . . . . . . . . . . . 348

Transferring Projects, User Profiles, and Site Settings . . . . . . . . . . . . 349

Transferring Projects and Bins Using AFE Files . . . . . . . . . . . . . . . . . 350

Transferring Media to and from a Video Server . . . . . . . . . . . . . . . . . . . . . 352

Setting Up a Video Server. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Configuring the Video Server As a Deck . . . . . . . . . . . . . . . . . . . 353

Transferring from the Avid Editing System to the Video Server . . . . . 354

Transferring from the Video Server to the Avid Editing System . . . . . 356

Chapter 8 Using the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Configuring the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Configuring the ENPS Server for Avid Clients . . . . . . . . . . . . . . . . . . . 358

Configuring the NRCS Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Starting the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Understanding the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Using the Directory Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Opening a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Creating a Shortcut to a Directory (iNEWS Only). . . . . . . . . . . . . . . . . 369

Removing a Shortcut to a Directory (iNEWS Only) . . . . . . . . . . . . . . . 370

Deleting a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Changing the Text Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Editing Story Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Rearranging Text in a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . 372

Marking Text As Presenter Instructions (iNEWS Only) . . . . . . . . . . . . 372

Marking Text As Closed Caption (iNEWS Only) . . . . . . . . . . . . . . . . . 372

Adding a Production Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . 373

Deleting a Production Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . 374

Marking Text As Machine Control (iNEWS Only). . . . . . . . . . . . . . . . . 374

Formatting Text (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Marking Text As Normal (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . 375

Adding a Loaded Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Using a Loaded Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Deleting a Loaded Cue (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . 377

Finding the Read Time of a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Building a Sequence from a Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Script-Based IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Setting Timeline IN and OUT Points Based on Story Timing . . . . . . . . 382

Adjusting the Story Timing (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . . . . . 384

Adjusting the Story Timing with a Time Marker (iNEWS Only) . . . . . . 385

Adjusting the Story Timing with a Time Pad (iNEWS Only) . . . . . . . . 386

Using Associated Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Saving Changes to a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . 390

Using the Post to Web Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Processing the Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Creating a Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Linking Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Using Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

The Story Tag. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

The Text Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

The Clip Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

The Videoformat Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

The Hyperclip Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Using a Template with Post to Web . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Posting a Story to the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Sending and Receiving NRCS Mail (iNEWS Only) . . . . . . . . . . . . . . . . . . 408

Sending NRCS Tool Mail (iNEWS only) . . . . . . . . . . . . . . . . . . . . . . . 408

Receiving NRCS Tool Mail (iNEWS only) . . . . . . . . . . . . . . . . . . . . . . 408

Disconnecting from Your NRCS Server . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Appendix A Working with HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

High-Definition Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Video-Based Television Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Starting an HD Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Capturing HD Video and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

HD Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

HD Video and Audio Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Video Input Tool for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

True 24 FPS Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Playback Modes for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Video Color Space for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Modifying the Format of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Mixing SD and HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Displaying Formats in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Displaying 16:9 HD Video in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . 434

Editing at 60 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Transcoding HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Setting Video Output for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Output Menu (HD Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

HD Crossconvert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

SD Downconvert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Test Patterns for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

OutputLock for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Recording a Digital Cut for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Video Import and Export for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Tables

Supported Resolutions and Hardware Configurations . . . . . . . . . . . . . . . . . . 30

Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Options for Modifying Bin Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

GPI Node Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Audio Tool Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Audio Meter Menu Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Luminance Settings for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Video Level Adjustment Criteria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Scheduled Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Quick Record Condition Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Support for Photoshop Layer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Support for Photoshop Special Layer Types . . . . . . . . . . . . . . . . . . . . . . . . 213

XDCAM Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Output Sync Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Video Format Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Luminance Settings for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

DV 50 and DVCPRO HD Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

23.976p and 25p Project Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Audio Play Rates for 23.976p and 25p Projects. . . . . . . . . . . . . . . . . . . . . . 267

Audio Play Rates for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Progressive Project Output Mode Resolution Options . . . . . . . . . . . . . . . . . 281

Devices for Transferring Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Default Folder and File Locations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

NRCS Tool Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Supported HDTV Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

HD Online Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

HD Resolutions: 1080 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

HD Resolutions: 720 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Avid HD Formats and Other HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Choices for Modifying Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Output Sync Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Using This Guide

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

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

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

> This symbol indicates menu commands (and

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

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

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

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

Using This Guide

Symbol or Convention Meaning or Action

Margin tips

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

Courier Bold font

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

If You Need Help

If you are having trouble using your Avid editing system, you should:

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

2. Check for the latest information that might have become available after the documentation was published in one of two locations:

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

In the margin, you will find tips that help you perform tasks more easily and efficiently.

indicate variables.

Courier Bold font identifies text that you type.

key or perform the mouse action. For example, Ctrl+drag.

- If release notes are available, they ship with your application.

- If ReadMe files are available, they are supplied in your Avid

application folder. ReadMe files are also available from the Help.

Release notes and ReadMe files are also available on the Avid Knowledge Base.

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

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

Accessing the Online Library

You will need Adobe® Reader® installed to view the documentation online. The Acrobat folder on the CD-ROM contains an installer for Acrobat Reader. The [tutorial and the] effects reference guide require[s] Apple’s QuickTime application to view the QuickTime movies. You can download the latest version of QuickTime from the Apple

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

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

2. Double-click the Mainmenu file.

To access the online library from the Help:

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

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

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.

Web site.

Avid Educational Services

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).

Using This Guide

Chapter 1

Planning a Project

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

• Types of Projects

• Project Resolutions

• Working with Mixed-Resolution Projects

• NTSC and PAL Image Sizes

• Software-Only Avid Editing Systems

• Sample Workflow

Types of Projects

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

• 23.976p NTSC: For footage that has been shot at 23.976-fps with advanced pulldown, or for film-originated footage in which you want to use digital audio. See “Working in a 23.976p NTSC Project” on page 26 and “Capturing with Advanced Pulldown” on page 27.

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

• 25p PAL: For 25-fps footage, transferred to PAL videotape

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

• 720p/59.94: For HD broadcast

Chapter 1 Planning a Project

• 1080p/23.976: For HD online editing. Film-originated material can be

• 1080p/25: For HD online editing. Film-originated material can be

• 1080i/50: For HD broadcast

• 1080i/59.94: For HD broadcast

In the 30i NTSC and 25i PAL options, the i represents interlaced frames played at 30 fps or 25 fps. An interlaced frame consists of two fields, each of which contains one-half the scan lines of the frame. Interlaced frames are standard for NTSC and PAL video media.

transferred to this format for editing and effects.

Not all project types and resolutions are available on all Avid editors. Therefore, your system might not support certain project types or resolutions that are covered in the documentation.

For more information on 23.976 projects, see “Working in a 23.976p NTSC

Project” on page 26 and “Capturing with Advanced Pulldown” on page 6.

Working in a 23.976p NTSC Project

Avid editing systems include a 23.976p NTSC project type. This project type is especially designed for capture and output of digital audio that has been transferred or recorded at 48 kHz, in sync with picture at 23.976 fps. A 23.976 project lets you maintain digital standards for all NTSC input and output at

23.976 fps. This rate can be downconverted to standard NTSC without further audio slowdown. Audio captured at 48 kHz can remain at 48 kHz throughout the project.

Select this project type for one of the following reasons:

• Your audio and video sources have been shot at a camera rate of 23.976 fps using Advanced Pulldown (see “Capturing with Advanced Pulldown”

on page 27). This frame rate, sometimes referred to as 24p by

video-equipment manufacturers, is a DV-based standard-definition format, with media being recorded and played back at 23.976 fps. Your Avid editing application takes full advantage of the high-quality progressive nature of this media, as you work in a 1:1 relationship with the frame rate at which you captured your media.

Types of Projects

• This rate is also used for film (film-based television) or 24p HD video (television or feature film). These sources can be downconverted to standard NTSC without further audio slowdown. Audio captured at 48 kHz can remain at 48 kHz throughout the project.

n n

• Your film and audio sources have been synced in the telecine process and transferred to Digital Betacam

The 23.976 fps frame rate is sometimes referred to as 23.97 fps or 23.98 fps.

The 23.976 fps frame rate is in direct proportion to the NTSC broadcast frame rate of 23.97 fps, which is used for film-to-tape transfer to the Avid editing system.

Be aware of the following considerations:

• For film projects shot at 24fps, audio must be “pulled down” or “slowed down” before it can be captured into a 23.976p project. The user does not have the choice of capturing non-pulled-down audio. Unlike 24p NTSC projects, where the audio pulldown switch can be set to 1.0 or 0.99 to support either 24 fps or 23.976 fps, 23.976p projects do not use the audio pulldown switch. These 23.976p projects can only support 48 kHz audio that is in sync with 23.976-fps picture on a 29.97-fps transfer tape.

• OMF (Open Media Framework

23.976p project look slightly different from those from a 24p project. The edit rates will show up as 23.976 fps in these files.

Because of the way project information is stored, previous versions of Avid editing systems do not recognize 23.976p projects as being different from 24p projects. You can open 23.976p projects in previous versions, however, none of the media can play because of the different internal edit rates. Projects are not corrupted by opening them in older versions of the software (unless you try to modify clips or edit sequences). If necessary, you can recapture the media in the 24p project.

or other digital videotape formats.

) and AAF files that are output from a

Capturing with Advanced Pulldown

When you capture NTSC footage with a mini-DV camera over an IEEE®1394 connection, you can choose to capture with Advanced pulldown. This allows native DV editing applications such as your Avid application to create 23.976p media. Advanced pulldown is set automatically when you capture and requires no further adjustment in your Avid editing application.

Chapter 1 Planning a Project

The following figure illustrates the difference between Standard pulldown and Advanced pulldown.

24p Standard pulldown (2:3:2:3)

24p frame capture

24p Advanced pulldown (2:3:3:2)

11 1 1 122222

A1 A2 B1 B2 B3 C1 C2 D1 D2 D3

AB CD

A1 A2 B1 B2 B3 C1 C2 C3 D1 D2

11 1 1 122222

To capture with Advanced pulldown:

t Select the Advanced pulldown setting on your mini-DV camera.

Captured fields indicated with bold lines

Project Resolutions

You must capture media to begin a project. Connect your media device to the Avid Adrenaline DNA. If you have a software-only application, you can connect a DV camera or deck directly to your Avid editing system. For information on connecting your equipment, see the documentation for your system.

Alternatively, you can use a Media Station XL system or an Avid Xdeck recorder in an Avid Unity more information about these products, contact your Avid representative or visit the Avid Web site.

™

Digital Nonlinear Accelerator (DNA) or the Avid Mojo®

™

MediaNetwork environment to capture media. For

™

Project Resolutions

Project formats are described as follows:

• Avid video projects capture and store 30i-fps NTSC or 25i-fps PAL media as digital video that conforms to the ITU-R 601 standard (SDTV or standard-definition TV).

• Avid film projects capture and store 23.976p-fps NTSC media. You do your offline editing in an Avid editing application and finishing on a

™

Symphony

or Avid DS system.

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

DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch tape to record very-high-quality digital video. The video is sampled at the

same rate as D1, D5, or Digital Betacam

video (720 pixels per scan line). The color information in DV 25 is sampled at the D1 rate 4:1:1 in 525-line (NTSC) and 4:2:0 in 625-line (PAL) formats. DV 50 is defined as 720 x 480, 50-megabit-per-second (Mb/s) 4:2:2 DV.

• MPEG 30, MPEG 40, and MPEG 50 are resolutions specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by

devices such as Sony

MPEG IMX™ VTRs.

• HD projects capture and store HD media as digital video that conforms to the ITU-R 709 standard. You can complete both offline and online editing on an Avid Adrenaline HD system.

• HD projects store HD media as digital video that conforms to the ITU-R 709 standard. Avid exiting systems let you capture and output

DVCPRO HD 8-bit DNxHD

media. Avid NewsCutter XP also lets you play and render

™

media, but you cannot capture or output DNxHD media.

Your Avid editing application provides two ways to capture and playback media. You can capture and playback through the Avid DNA hardware or you can capture and playback through a separate 1394 card. For additional information see “Capturing DV 50 and DVCPRO HD Media Directly from a

DV Device” on page 155.

Chapter 1 Planning a Project

• 10-bit resolutions are available for Render, Import, Capture,

Avid editing applications allow you to capture, edit, and play back in the resolution listed in the following table.

Some Avid editing applications support DV 50, MPEG 30, MPEG 40, and MPEG 50 media, but not all models can capture them in their native formats. To capture DV 50 or an MPEG resolution, use the Avid Adrenaline DNA. You can then share the media using an Avid Unity MediaNetwork to access and edit the media.

You can select resolutions in the Media Creation dialog box (Capturing, Titles, Import, Mixdown, Motion Effects, and Render tabs).

Consolidate/Transcode, and Video Mixdown.You must be connected to Adrenaline hardware to capture and play back 10-bit video. 10-bit resolutions are available for both standard definition (SD) and high definition (HD) projects.

When working with HD projects, the 10-bit resolutions appear as DNxHD 220X, DNxHD 185X, or DNxHD 175. When working with an SD project, the 10-bit resolution appears as 1:1 10b MXF. The 10-bit resolutions are available in MXF format, not OMF format.

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

Avid editing applications allow you to capture, edit, and play back in the resolution listed in the following table.

Supported Resolutions and Hardware Configurations

Resolution Hardware Configuration

DV 25 411 Avid Adrenaline, Avid Mojo, or separate 1394 card

DV 25p 411 Avid Adrenaline, Avid Mojo, or separate 1394 card

DV 25 420 Avid Adrenaline, Avid Mojo, or separate 1394 card

DV 25p 420 Avid Adrenaline, Avid Mojo, or separate 1394 card

DV 50 422 Separate 1394 card

+ 428 hidden pages

Pinnacle Systems NewsCutter - 6.x User's Guide

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Accessing the Online Library

How to Order Documentation

Avid Educational Services

Planning a Project

Types of Projects

Working in a 23.976p NTSC Project

Capturing with Advanced Pulldown

Project Resolutions