Pinnacle Systems NewsCutter - 7.0, NewsCutter - 6.7 Advanced Guide

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Avid® NewsCutter® Products

Advanced Guide

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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 Advanced Guide • 0130-07610-01 • March 2007

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Chapter 1 Working with the Project Window: Advanced. . . . . . . . . . . . . . . . . . . . . 35

Working with User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Managing User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Guidelines for Project Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Managing Bins and Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Viewing Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Customizing the Appearance of the Avid User Interface . . . . . . . . . . . . . . . . . . . . . 44

Changing Interface Component Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Changing Button and Toolbar Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Customizing Your Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Sharing Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . . . . . 53

Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Sharing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Working with Locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Overriding the Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . 57

Restrictions and Limitations for Locked Bins . . . . . . . . . . . . . . . . . . . . . . . 57

Suggestions for Improving Performance When Working with Shared Bins. . . . 58

Shared Bin and Project Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Shared Bin Lock Icon Limitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Drive Filtering in Networked Workflows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Chapter 2 Using Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Using the Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Using the Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Understanding Button Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Mapping User-Selectable Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Mapping Modifier Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Activating Commands from the Command Palette . . . . . . . . . . . . . . . . . . . . . . 69

Using the Avid Calculator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Using the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Displaying System Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Getting Information with the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Using the Console Window to Access Network Drives . . . . . . . . . . . . . . . . . . . 72

Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Using External Controllers as Editing Control Surfaces. . . . . . . . . . . . . . . . . . . . . . 73

Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Preparing Log Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Converting Log Files with Avid Log Exchange. . . . . . . . . . . . . . . . . . . . . . . . . . 76

Using Drag-and-Drop Conversion for Log Files . . . . . . . . . . . . . . . . . . . . . . . . 79

Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Data Entries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Double-Checking Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Tips for Logging Preroll, Logging Timecode, and Naming Tapes . . . . . . . . . . . 91

Logging with Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Logging with Non-Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Exporting Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Chapter 4 Capturing Media: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Advanced Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Capturing Across Timecode Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

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

General Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Settings for Film and 24p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Disabling Video Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Understanding Drop-Frame and Non-Drop-Frame Timecode . . . . . . . . . . . . . . . . 113

Preparing for Audio Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Creating Tone Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . 115

Changing an Audio Level in the Passthrough Mix Tool . . . . . . . . . . . . . . 116

Adjusting Pan Values in the Passthrough Mix Tool . . . . . . . . . . . . . . . . . 117

Changing the Audio Hardware Calibration Setting . . . . . . . . . . . . . . . . . . . . . 117

Calibrating Audio Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Calibrating Audio Output Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Using the Console Window to Check Audio Levels. . . . . . . . . . . . . . . . . . . . . 119

Preparing for Video Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Limitation When Using Consumer Decks or Decks

Without Time-Base Correctors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . . . . . . . 122

Adjusting Video Levels for Tapes Without Color Bars. . . . . . . . . . . . . . . . . . . 122

Using Function Keys When Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Special Capture Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Logging Errors to the Console Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Creating Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Creating Timed Subclips While Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Working in Quick Record Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Adding Extra Text Fields in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . 131

Mapping the Record Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Returning to the Previous Place in the Select Tape Dialog Box . . . . . . . . . . . 134

Understanding DV Capture Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Capturing DV Material with Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Delaying Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Capturing in Satellite Mode or No Device Control. . . . . . . . . . . . . . . . . . . . . . . . . . 137

Setting a Timed Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Selecting Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . 146

Enabling Remote Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Enabling Remote Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Setting up Your System for Remote Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . 149

Avid Serial Driver and Remote Play and Capture . . . . . . . . . . . . . . . . . . . . . . 151

Modifying the Pulldown Phase After Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

DV and HDV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Setting Up DV and HDV Scene Extraction Before Capturing. . . . . . . . . . . . . . 154

Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . . . . . . . . 155

Support for Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Chapter 5 Importing Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Example of Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . . 159

Support for Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . . 161

Preserving Layer Effects in Multilayered Photoshop Graphics . . . . . . . . . 162

Importing Multilayered Photoshop Files . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Importing Media from XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Connecting the XDCAM Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Working with XDCAM HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Playing XDCAM Media on an Avid Symphony. . . . . . . . . . . . . . . . . . . . . . . . . 167

Setting the XDCAM Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Importing XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Automatically Importing Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Importing All Proxy Media from an XDCAM Disc . . . . . . . . . . . . . . . . . . . 170

Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . . . . . . . 171

Manually Importing XDCAM Media from the XDCAM Disc . . . . . . . . . . . . 172

Importing Essence Marks as Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Editing the Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Batch Importing High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Editing and Finishing High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . 179

Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Importing Sequences from Pro Tools through Interplay. . . . . . . . . . . . . . . . . . . . . 181

Chapter 6 Working with Bins: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Advanced Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Displaying Custom Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Saving a Custom Bin View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Sifting Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Selecting Unreferenced Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Using Text View: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Manipulating Bin Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Duplicating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Adding Customized Columns to a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Changing a Custom Bin Column Heading. . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Moving Within Column Cells. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Modifying Data Directly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Using the Modify Command to Modify Data . . . . . . . . . . . . . . . . . . . . . . . 198

Copying Information Between Columns . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Copying Information from Another Cell in a Custom Column. . . . . . . . . . 201

Selecting a Film Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Tracking 3-Perf Counts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Selecting an Edgecode Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Displaying Timecodes in a 24p or 25p Project. . . . . . . . . . . . . . . . . . . . . . . . . 205

Frame Counting for Timecodes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . 205

Adding Timecode Values to the Timecode Columns. . . . . . . . . . . . . . . . . 206

Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Working with Restricted Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Displaying or Outputting Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Disassociating Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Viewing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Changing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Searching the Database for Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Preparing Digital Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Chapter 7 Managing Media Files: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Using Panasonic DVCPRO P2 Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Panasonic P2 Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

P2 Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Workflow for Editing with P2 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Installing the Panasonic P2 Drivers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Preparing to Mount P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Mounting P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Copying P2 Files to a FireWire or Network Drive . . . . . . . . . . . . . . . . . . . 222

Copying P2 Files to a Local Media Drive. . . . . . . . . . . . . . . . . . . . . . . . . . 222

Changing P2 Cards in the Card Reader . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Importing P2 Clips and Media Directly from a P2 Card or a Copy

of a P2 Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Dragging P2 Master Clips from the Media Tool to a Bin . . . . . . . . . . . . . . 224

Working with Spanned Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Sharing P2 Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Exporting Your Clip or Sequence to a P2 Card. . . . . . . . . . . . . . . . . . . . . . . . 228

Deleting P2 Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Relink Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Relinking Clips to a New Project Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Relinking by Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Relinking Consolidated Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Relinking Moved Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Using Videotapes for Archiving and Restoring Media Files . . . . . . . . . . . . . . . . . . 239

Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Restoring an Archive from Videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Chapter 8 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Lined Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Explanation of Symbols. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Script Window Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Selecting Text Encoding for Scripts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Opening, Closing, and Saving the Script Window. . . . . . . . . . . . . . . . . . . . . . 255

Displaying Clip and Sequence Information in a Script Window. . . . . . . . . . . . 256

Exploring the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Manipulating Script Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Changing the Font of the Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Selecting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Cutting, Copying, and Pasting Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Removing Script Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Using Page and Scene Numbers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Adding a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Changing a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Deleting a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Searching for a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Conducting a Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Manipulating Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Resizing Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Holding Slates On Screen in the Script Window . . . . . . . . . . . . . . . . . . . . . . . 266

Hiding Slate Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Showing One Take Per Slate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Manipulating Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Changing the Representative Frame for a Take . . . . . . . . . . . . . . . . . . . . . . . 270

Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Playing Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Indicating Off-Screen Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Using Color Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Using Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Using Real-Time Screening and Marking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Marking with ScriptSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Moving a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Finding Clips and Bins from the Script Window. . . . . . . . . . . . . . . . . . . . . . . . 282

Editing with the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Assembling a Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Interactive Screenings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Chapter 9 Viewing and Marking Footage: Advanced . . . . . . . . . . . . . . . . . . . . . . . 287

Displaying the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Displaying Timecode in the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Playing Selected Clips in a Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Finding Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Editing Locator Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Marking an Area Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Moving to the Previous or Next Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Using the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Viewing Locators in the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . 298

Working in the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Exporting and Importing Locators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Creating a Locator Text (.txt) File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Copying and Pasting Locators Using the Locators Window. . . . . . . . . . . 301

Printing the Contents of the Locators Window . . . . . . . . . . . . . . . . . . . . . 302

Chapter 10 Creating and Editing Sequences: Advanced. . . . . . . . . . . . . . . . . . . . . 305

Playback Performance Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Understanding Autosyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Creating an Autosynced Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Managing Sync with Multiple Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Using Sync Lock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Synchronizing Metadata Using MetaSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Chapter 11 Using the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Timeline Views: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Displaying the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 317

Displaying Local and Source Colors in the Timeline . . . . . . . . . . . . . . . . . . . . 317

Changing the Timeline Background Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Showing Locators in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Navigating in the Timeline: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Using Advanced Timeline Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Bin Editing into the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Bin Editing Directly into a Sequence Using the Keyboard . . . . . . . . . . . . . . . . 322

Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Editing in Heads or Heads Tails View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Performing a Quick Edit Using the Top and Tail Commands. . . . . . . . . . . . . . 324

Adding an Edit (Match Framing). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Adding Edits to Filler Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Removing Match-Frame Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Detecting Duplicate Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Adjusting Handle Length in Dupe Detection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Chapter 12 Working in Trim Mode: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Adding Black When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Trimming with Sync-Locked Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Selecting Segments for Slip or Slide Trimming . . . . . . . . . . . . . . . . . . . . . . . . 339

Slipping or Sliding Segments in a Four-Frame Display. . . . . . . . . . . . . . . . . . 339

Performing the Slip or Slide Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Chapter 13 Working with Audio: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . 344

Rendering and Unrendering Order for Audio Effects. . . . . . . . . . . . . . . . . . . . 345

Viewing Clip Gain and Automation Gain Values . . . . . . . . . . . . . . . . . . . . . . . 346

Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

About Adjusting Volume While Playing a Clip Gain Effect . . . . . . . . . . . . . . . 346

Adjusting Volume While Playing a Clip Gain Effect . . . . . . . . . . . . . . . . . 347

Improving Response Time When Adjusting Volume . . . . . . . . . . . . . . . . 348

Using External Fader Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Adjusting the Volume of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . . . 351

Adjusting the Pan of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Using an External Fader Controller or Mixer to Record Automation Gain. . . . 352

Using the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Using the Digi 002 with Avid DNA Hardware (Windows Only) . . . . . . . . . . . . 354

Using the Command|8 with Your Avid Editing System . . . . . . . . . . . . . . . . . . 356

Configuring the Digi 002 or Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Mapping Buttons and Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Button Layouts on the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . . 360

Using Buttons to Change Focus in the Avid Editing

Application Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Using a Foot Pedal as a Foot Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Switching Between the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . 362

Using a Digi 002 or Command|8 to Record Automation Pan . . . . . . . . . . . . . . 362

Using the Latch Mode Feature on the Digi 002 and Command|8 . . . . . . . . . . 363

Configuring USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . . . . 364

Installing USB-to-MIDI Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Testing the Fader Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Switching Between MIDI Connections on the USB-to-MIDI Converter . . . . . . 366

Troubleshooting the MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

MCS-3000X Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Using the Snap Mode Feature on the MCS-3000X . . . . . . . . . . . . . . . . . . . . . 369

Ganging Faders on the FaderMaster Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Using the Yamaha 01V/96 or the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Setting Up the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . 370

Initializing the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . 371

Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize

Control Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Starting the Avid System with the Yamaha 01V/96 or the

Yamaha 01V Attached . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Operating the Yamaha 01V/96 and Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . 373

Soloing Avid System Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Using the Audio EQ Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Audio EQ Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Removing Audio EQ Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Low Shelf Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Applying an EQ Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Creating Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Adding an EQ Template to the Audio EQ Tool Fast Menu. . . . . . . . . . . . 386

Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Connecting Voice-Over Recording Hardware . . . . . . . . . . . . . . . . . . . . . . . . . 388

Recording Voice-Over Narration Using the Capture Tool . . . . . . . . . . . . . . . . 388

Understanding the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Recording Voice-Over Narration Using Audio Punch-in . . . . . . . . . . . . . . . . . 393

Monitoring Previously Recorded Tracks While

Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Using Peak Hold While Recording Voice-Over Narration . . . . . . . . . . . . . . . . 396

Using a GPI Device with the Audio Punch-In Tool. . . . . . . . . . . . . . . . . . . . . . . . . 396

Understanding GPI Trigger Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

GPI Signal Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Example of Linking GPI Actions to Trigger Signals . . . . . . . . . . . . . . . . . 398

Connecting a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . 399

Configuring a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . 399

Working with GPI Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Creating a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Editing a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Deleting a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Displaying Audio Formats in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Using Automatic Voice-Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Chapter 14 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Understanding Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Installing AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . . . . . . . . . . 409

Using an AudioSuite Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Rendering AudioSuite Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Creating New Master Clips with AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . 412

AudioSuite Controls for Creating New Master Clips . . . . . . . . . . . . . . . . . 412

Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins. . . . . 414

Using AudioSuite Plug-ins to Create New Master Clips . . . . . . . . . . . . . . 415

Using AudioSuite Effect Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

AudioSuite Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Troubleshooting AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Chorus AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

D-Verb AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Compressor AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Limiter AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Expander-Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Gate AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

DeEsser AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

EQ AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Flanger AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Invert AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Duplicate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Delay AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Multi-Tap Delay AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Normalize AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Gain AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Ping-Pong Delay AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Reverse AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

DC Offset Removal AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Signal Generator AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Time Compression Expansion AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . 440

Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Time Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Non-Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Chapter 15 Exporting and Transferring Material: Advanced . . . . . . . . . . . . . . . . . . 451

Exporting Using Send To Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Send To DigiDelivery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Send To Digidesign Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Send to DVD Authoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Send to DVD One Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Send to Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Send To Avid DS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Send To Third-Party Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

Exporting OMFI and AAF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Exporting Through AAF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . . . . . . . . . 469

Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Guidelines for Exporting AAF Files to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 471

Exporting Projects and Bins Using AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Exporting As a QuickTime Reference Movie. . . . . . . . . . . . . . . . . . . . . . . . . . 479

Using Avid Codecs for QuickTime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Exporting As an AVI File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . 487

Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . 488

Exporting as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Exporting Using an Avid Supplied Template . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Exporting Using an Existing Windows Media Profile . . . . . . . . . . . . . . . . . . . . 491

Exporting Using a Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492

Creating a Custom Video Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492

Creating a Custom Audio Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Exporting As a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Exporting Media to XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

Exporting to XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Chapter 16 Generating Output: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Using Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Calibrating the System with Passthrough Signals . . . . . . . . . . . . . . . . . . . . . . 506

Using the Digital Cut Tool: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Output Mode Resolutions with Progressive Projects. . . . . . . . . . . . . . . . . 510

Outputting DV 50 and DVCPRO HD Media Directly to a DV Device . . . . . . . . 511

Selecting Output and Timecode Formats for 23.976p and 25p Projects . . . . . 512

Selecting Output Formats for 23.976p and 25p Projects. . . . . . . . . . . . . . 512

Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . . . . . . . 515

Outputting Drop-Frame and Non-Drop-Frame Timecode

Simultaneously for Downstream Encoding . . . . . . . . . . . . . . . . . . . . . . 516

Indicating the Destination Timecode Rate. . . . . . . . . . . . . . . . . . . . . . . . . 516

Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Understanding DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Delaying the Sequence for a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Preserving Information in the Vertical Blanking Interval . . . . . . . . . . . . . . . . . . . . . 521

Line Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Displaying and Preserving Vertical Blanking Information. . . . . . . . . . . . . . . . . 522

Editing a Sequence with VBI Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

Effects of Preserving Vertical Blanking Information on

Compressed Video Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Comparison with VBI on Meridien Systems . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Preserving HD Closed Captioning and Ancillary Data . . . . . . . . . . . . . . . . . . . . . . 527

Chapter 17 MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . 529

Creating Group Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Creating Multigroup Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532

Full-Monitor Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Quad Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Nine Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535

MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Real-time Playback in MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Limitations on Playback of MultiCamera Media. . . . . . . . . . . . . . . . . . . . . . . . 538

MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538

Switching Clips with the Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Using the Add Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Using the Group Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Using the Multi-angle View Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541

Using Match Frame in MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . 541

Selective Camera Cutting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542

Chapter 18 Using Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Selecting Another User. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Naming Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

Restoring Default Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

Copying Settings Between Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . 555

Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556

Manipulating Settings by Importing User Profiles or

Copying Files Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

24p Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Audio Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Audio Projects Settings: Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Audio Project Settings: Input Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564

Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Audio Project Settings: Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

Bin Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568

Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Capture Settings: General Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573

Capture Settings: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Capture Settings: DV Options Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575

Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575

Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576

Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576

Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Correction Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579

Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579

Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Export Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Export Settings: QuickTime Reference Options . . . . . . . . . . . . . . . . . . . . . . . 585

Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . 588

Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Export Settings: QuickTime Compression Settings. . . . . . . . . . . . . . . . . . . . . 592

Export Settings: HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594

Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594

Export Settings: OMFI, AAF, and AFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Export Settings: AVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Export Settings: AVI Video Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Export Settings: Windows Media Export Options . . . . . . . . . . . . . . . . . . . . . . 602

Windows Media Legacy Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602

Existing Windows Media Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . 602

Windows Media Options Video Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 603

Custom Profile Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Export Settings: Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608

Export Settings: Graphic Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609

P2 Export Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613

Export Settings: XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616

Grid Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Grid Settings: Coordinates Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Grid Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619

Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Import Settings: Shot Log Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Import Settings: Audio Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Import Settings: XDCAM Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Interface Settings: Appearance Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

Interplay Server Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

Interplay User Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633

Media Creation Settings: Drive Filtering & Indexing Tab . . . . . . . . . . . . . . . . . 633

Media Creation Settings: Capture, Titles, Import, and

Mixdown & Transcode Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634

Media Creation Settings: Motion Effects Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 634

Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

Media Creation Settings: Media Type Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Media Services Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Mouse Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

NRCS Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

NRCS Settings: NRCS Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

NRCS Settings: iNEWS Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

NRCS Settings: ENPS Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640

NRCS Settings: Post to Web Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

PortServer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Remote Play and Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Safe Colors Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Script Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648

Sound Card Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650

Timeline Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650

Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650

Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652

Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654

Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655

Video Output Tool Settings: SD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655

Video Output Tool Settings: HD Tab (Adrenaline Only) . . . . . . . . . . . . . . . . . 658

Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659

Chapter 19 File Format Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661

Graphics (Image) Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662

Supported Graphics (Image) File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 662

Import Specifications for Supported Graphics File Formats . . . . . . . . . . . . . . 664

Preparing Graphics Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667

Frame Size for Imported Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669

Animation Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672

BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674

BWF Information Displayed in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674

Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675

Importing and Syncing BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676

Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677

Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . . . . . . . . . . . . . 678

Chapter 20 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . 681

Compression and Avid Editing Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681

Monitor Display Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682

Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Resolution Specifications: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Resolution Specifications: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . 686

Resolution Specifications: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . 688

Resolution Specifications: Multicam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689

Resolution Specifications: Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . 689

Resolution Specifications: MPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690

Support for Uncompressed HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691

Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Resolution Groups and Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Estimating Drive Space Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Estimated Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Estimated Storage Requirements: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Estimated Storage Requirements: JFIF Interlaced . . . . . . . . . . . . . . . . . . 696

Estimated Storage Requirements: JFIF Progressive . . . . . . . . . . . . . . . . 699

Estimated Storage Requirements: DV. . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Estimated Storage Requirements: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . 703

Maximizing Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703

Managing Storage to Improve Playback Performance . . . . . . . . . . . . . . . . . . . . . . 704

Chapter 21 Film-to-Tape Transfer Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Understanding the Film-to-Tape Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . 705

Transferring 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . . . 706

Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . . . . . . . . . . 708

Maintaining Synchronized Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Stage 2: Capturing at 24 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

PAL Method 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

PAL Method 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711

How Avid Editing Applications Store and Display 24p and 25p Media . . . . . . . . . . 712

Displaying Media While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712

Displaying Media During a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

Film-to-Tape Transfer Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714

Transfer Quality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714

Additional Film Transfer Aids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Chapter 22 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

High-Definition Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Video-Based Television Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723

Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Modifying the Format of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

Converting a 23.976p NTSC Sequence to 720p/23.976 . . . . . . . . . . . . . . . . . 730

Mixing SD and HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Displaying Formats in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

Editing at 60 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

Working with True 24 FPS Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

Transcoding HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Working with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Understanding HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734

HDV Basic Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Capturing and Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Capturing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737

Playing Back HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737

Rendering and Transcoding HDV Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738

Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738

Long-GOP Splicing for HDV Encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . 738

Exporting to an HDV Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738

Outputting HDV through Avid DNA Hardware . . . . . . . . . . . . . . . . . . . . . 740

Exporting an HDV Transport Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740

Exporting HDV as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

Finishing HDV on DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742

HDV Compatibility Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743

Chapter 23 International Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745

Using a Local Language Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745

Choosing a Locale on an English Language Operating System. . . . . . . . . . . . . . . 746

Non-English Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746

Using Foreign Keyboard Mapping (Windows Only) . . . . . . . . . . . . . . . . . . . . . 750

Recommendations and Restrictions for International Character Support. . . . . . . . 751

Avid Supports English Plus One Locale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . . . . . . . . . . 751

Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . . . . . . . . . . 751

EDL Manager Does Not Save Diacritical Marks or Chinese Characters . . . . . 752

Traditional Chinese Big 5 Character Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

Rebuilding the asifont.map File (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . 753

Additional Tips and Limitations for International Character Support . . . . . . . . 753

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757

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 all the advanced task-oriented instructions and conceptual information you need to use the capture, editing, and output features of your Avid application, as well as information about file format specifications, and other supplementary information. The Basics Guide for your Avid application is a companion to this Advanced Guide. It contains all the basic task-oriented instructions and conceptual information you need to get started using the product. The contents of this guide and of the Basics guide are also available in the Help. This guide is intended for all users, from beginning to advanced. Unless noted otherwise, the material in this document applies to the Windows

XP operating system.

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

Ctrl+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 editing application:

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 in your Avid application folder as a PDF document (ReadMe.pdf) and is also available online.

You should always check online for the most up-to-date ReadMe because the online version is updated whenever new information becomes available. To

view the online ReadMe, select ReadMe from the Help menu, or visit the Knowledge Base at www.avid.com/readme.

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

If You Need Help

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

Accessing the Online Library

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

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

application] Online Library.

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

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

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

Working with the Project Window: Advanced

The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.

The following topics describe advanced features of the Project window:

• Working with User Profiles

• Managing Folders and Bins

• Using the Info Display

• Customizing the Appearance of the Avid User Interface

• Customizing Your Workspace

• Sharing Bins and Projects in an Avid Unity Environment

For basic information about the project window, see “Working with the Project Window: Basics” in the Help or the Basics Guide for your Avid editing application.

Working with User Profiles

You can establish different profiles for a single user. User profiles allow you to switch between settings without having to log out of your system and log back in under a different user name.

Understanding User Profiles

User profiles allow you to establish separate settings for different editing functions. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on.

Chapter 1 Working with the Project Window: Advanced

Each user profile is stored in settings files within a folder, as described in “Understanding the Avid Projects and Avid Users Folders” in the Help. User profile folders are kept in the following folder: drive:\Program Files\Avid\Avid editing application\Avid Users\UserName.

You can work with user profiles in the following ways (for step-by-step procedures, see

“Managing User Profiles” on page 37):

• Create new user profiles

• Switch between user profiles

• Return to the original user profile

• Import settings from another user or user profile

• Create a user profile on one system, export it to a server, and then import the same user profile from another system to the new system.

When you export a user profile, you can select either a Personal or Group profile.

- When you select Personal, the user profile performs an auto-load and an auto-save

every time you open a project. Every time the user profile is updated, it saves the new profile information. For example, you can create the user profile Jennie on one system, export it to another location (a server), and then import it to a different system. Any time you change the Jennie user profile, it updates to the server and when you open the Jennie user profile on either system, it uses the most updated Jennie user profile.

- When you select Group, the user profile auto-loads but it does not auto-save.

Changes made to the user profile only affect the system on which the changes were made. The changes do not update to the server.

When exporting User Profiles in an Avid Unity™ environment, make sure the workspace containing the user profile has the same drive letter on all systems.

Cross-platform (Macintosh to Windows or Windows to Macintosh) user profiles can not be shared.

• Update a user profile with the Update User Profile option, which lets you add user settings, such as the Send To settings options, to an existing Settings list.

For example, if you are upgrading to a version of your application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list.

Managing User Profiles

The following table describes procedures for managing user profiles.

For more information on user profiles, see “Understanding User Profiles” on page 35.

Task Procedure

Working with User Profiles

To create a user profile:

To change user profiles:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Create User Profile.

Project window title bar

User Profile Selection menu

The Create User Profile dialog box opens.

3. Type a name in the Profile Name text box, and then click OK. The new user profile appears selected in the menu, and the user profile name

appears in the Project window title bar.

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select another user profile. The new user profile name appears in the Project window title bar.

To return to the original user profile:

If you are using a user profile other than the default and you change to another project, the default user

settings are loaded, even though the Project window still displays your non-default user profile name. You must reselect the user profile you want to have active.

To import user settings from another user or user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select the default user profile.

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Import User or User Profile.

3. Navigate to the user or user profile you want to import.

Chapter 1 Working with the Project Window: Advanced

Task Procedure

To export user settings to another user or user profile:

To update user profiles:

To delete a user profile from your desktop:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Export User or User Profile.

3. Select Personal or Group.

4. Navigate to the location where you want to place the user or user profile.

5. Click OK.

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Update User Profiles. Any settings that have been added to the upgraded version of the application now

appear in the Settings list.

1. Navigate to the Avid Users folder, and then select the user folder you want to delete.

For information about the location of the Avid folders, see “Using the Avid Projects and the Avid Users Folders” in the Help.

2. Press the Delete key, then click OK in the dialog box that appears.

3. Empty the Recycle Bin to remove the files from the system.

4. Close the windows, and restart the Avid application. The deleted user no longer appears in the Select Project dialog box.

Managing Folders and Bins

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

Guidelines for Project Organization

Although the specifics can vary depending on your production needs and habits, the basic principles of project management are as follows:

• Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene.

• Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as follows:

- Create a set of bins for the capture stage.

For example, you can create one bin for each source tape or each day’s worth of dailies transfers to be captured to avoid slowing the system with large bins and causing confusion between tapes.

- Create a second set of bins for organizing your project.

For example, you can create a separate bin for each segment of a video project or each scene of a 24p project, depending on the preferences of the editor.

- Create a third set of bins for the editing stage, including:

A current cut bin for storing each work in progress (sequence) An archive bin for keeping the original version of each cut (sequence)

Managing Folders and Bins

A selects or storyboard bin for screening selected clips or cuts gathered from the source bins

A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown

• (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each capture bin and show cut bin, or a folder to contain all shot logs to be imported.

• Save these files as templates for future productions of a similar nature.

Chapter 1 Working with the Project Window: Advanced

A sample template of bins for a project is shown below.

Project folder

Folders containing bin files

Bin files

Settings file Project file

This hierarchy allows you to have one set of bins available in the Project window during capture and organizing, and another set of bins available during editing to reduce clutter.

Creating a Folder in a Project

To create a folder in a project:

1. Click the Bins tab in the Project window.

2. Click the Fast menu button, and select New Folder. A new untitled folder appears.

3. Click the untitled folder name in the Bins list and rename it.

Managing Bins and Memory

System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance.

In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%. If you exceed the recommended usage, a dialog box opens informing you that your memory usage is high and recommending that you should close some bins and save your project.

Managing Folders and Bins

If your system is running low on memory and you need to free up memory, you can either close your bins or use the Clear Memory button. If you close your bins, some of your memory remains unavailable until you exit the application because the online master clips remain in memory. The Clear Memory button, however, closes and saves all of your open bins and clears out any cached data of the online master clips.

To free up memory:

1. Click the Info tab of the Project window.

2. Click the Clear Memory button. A dialog box opens asking if you want to close and save all opened bins.

3. Click OK.

This operation deletes cached data for the online master clips only. Memory might also be used by other parts of the application and will not be reduced by using the Clear Memory button.

Bins containing sequences use more memory than bins containing master clips. For bins that contain a large number of sequences, you can free up memory and still keep your old sequences. Create an archive bin and move older sequences that you do not use anymore to the archive bin. Keep the archive bin closed.

Saving Bins Automatically

Your Avid editing application automatically saves changes to your work on a regular basis during each session. You can modify the frequency of the automatic backups by using the Bin settings in the Project window Settings list.

When you are working with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin are not saved. After you save the bin, the asterisk is removed.

When autosave occurs:

• Any open bins are updated with changes made since the last autosave.

• Copies of these bins are placed in the project’s backup bin folder: drive:\Program Files\Avid\Avid editing application\Avid Attic folder\bin_name

The system automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder. The procedure for recovering bin files from the Avid Attic folder is described in “Retrieving Files from the Attic Folder” in the Help.

Chapter 1 Working with the Project Window: Advanced

For added security, you can save bins manually — for example, immediately after an important edit. For more information, see “Saving Bins Manually” in the Help.

To adjust the frequency of automatic saves:

1. In the Project window, click the Settings tab, and then double-click Bin. The Bin Settings dialog box opens.

2. Type a number in the Auto-Save interval text box.

3. Click OK.

Setting to zero the maximum number of files stored in the Avid Attic folder as well as the maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved. For more information about backup options, click the Bin Settings dialog box and press F1, or see “Bin Settings” on

page 568.

Using the Info Display

The Info display in the Project window allows you to view system memory information and access the Hardware tool.

To open the Info display:

t Click the Info tab in the Project window.

Viewing Memory

The items listed in this view are for information only and cannot be changed.

Info tab

You can display system memory information in the Info tab of the Project window.

You can view additional memory information through the Windows Task Manager and Performance Monitor tools. You can view information about system activities, such as driver messages, through the Windows Event Viewer. For information on these tools, see the Windows Help.

Using the Info Display

You can improve the performance of large projects by reducing the number of objects. To do this, close unused bins, unmount unneeded media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then quit and restart your Avid editing application. If performance is still slow, restart your system.

To display system memory information:

t Click the Info tab in the Project window, and then click the Memory button.

The Memory window opens.

The following table describes the information your Avid editing application displays in the Memory window:

Item Description

Objects

Total physical memory

Available physical memory

The total number of memory handles currently used by your Avid editing application. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project.

The total number of bytes of RAM (random-access memory).

The amount of RAM available for allocation by the Windows system.

Total page file

Available page file

Working set (minimum and maximum)

The total number of bytes stored in the paging file. The paging file is used as virtual memory by the Windows system.

The total number of bytes available in the paging files.

The set of memory pages currently available to the application in RAM.

Accessing the Hardware Tool

The Hardware tool gives a visual representation of usage for each drive and provides operating system information.

To open the Hardware tool, do one of the following:

t Click the Info tab in the Project window, and then click the Hardware button. t Select Tools > Hardware.

The Hardware tool opens.

For more information about the Hardware tool, see “Using the Hardware Tool” on page 73.

Chapter 1 Working with the Project Window: Advanced

Customizing the Appearance of the Avid User Interface

The Appearance tab in the Interface Settings dialog box provides you with controls for customizing the colors and button style of the Avid user interface. You can also change the font and point size of the type in the various windows.

For complete reference information on the Interface Settings dialog box, see “Interface

Settings” on page 627.

Changing Interface Component Colors

You can use a color selection grid to change the color of interface components.

To set the color of an interface component:

1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens.

2. Click the Appearance tab. The Interface components whose colors you can change are listed in the top half of the

Appearance tab, as shown in the following illustration.

Check box

Color boxes

Interface component list

3. Click in the color box next to the interface component that you want to customize. A color selection grid opens.

4. Click the color to which you want to set your interface component.

Customizing the Appearance of the Avid User Interface

The color selection grid disappears. The color you selected appears in the color box. A check mark appears in the check box to show that you want your new color attribute for this component to take effect.

If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value.

5. Do one of the following: t Click Apply to apply the changes you selected.

If you click Cancel after you click Apply, interface components retain the colors you applied.

t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box.

The changes you selected but did not apply do not take effect.

Changing Button and Toolbar Styles

You can control the shading style and depth of buttons and toolbars. You can also change the shape of buttons and the way buttons are spaced in Monitors and in the Timeline.

To set the style of buttons and toolbars:

1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens.

2. Click the Appearance tab. The interface component style controls appear in the bottom half of the Appearance tab,

as shown in the following illustration.

3. Select from one or more of the menus, as described in the table following this procedure.

Chapter 1 Working with the Project Window: Advanced

4. Do one of the following:

t Click Apply to apply the changes you selected.

If you click Cancel after you click Apply, your editing application retains the selections you applied.

t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box.

The changes you selected but did not apply do not take effect.

Interface Component Style Controls

Control Description Options Examples

Shading Style Controls the graphic style

used to shade buttons and toolbars.

Shading Depth Controls the three-

dimensional “rounding” of the buttons and toolbars

Convex Dim Radial Convex Radial Bright Radial

Percentage values

Shading depth 5% Shading depth 50%

Convex

Dim Radial

Convex Radial

Bright Radial

Monitor Button Separation

Timeline Button Separation

Controls the spacing between the Monitor buttons and between the Timeline buttons

Maximum Moderate None

Maximum button separation

Moderate button separation

No button separation

Customizing the Appearance of the Avid User Interface

Interface Component Style Controls (Continued)

Control Description Options Examples

Button Style Controls the shape of

buttons.

Changing Font and Point Size

You can change the default font and point sizes of the Project, Bin, Source/Record monitor, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt.

The following table describes the windows you can change, and where these changes are saved.

Window Location of Changes

Project Changes the font and point size of the text in the Project window; saved as a

Project setting.

Oval Octagonal Rounded Square Swoosh Antique

Oval

Rounded

SquareOctagonal

Swoosh

Antique

Bin Changes the font and point size of the text in the Bin window; saved as a Bin

setting (not a Bin View setting).

Source/Record monitor

Timeline Changes the font and point size of clip text; saved as a Timeline View setting.

To change the font displayed in the Project, Timeline, Source/Record monitor, or Bin window:

Changes the font and point size of the sequence or source clip name text.

1. Click the Project, Timeline, Source/Record monitor, or Bin window to make it active.

2. Select Edit > Set Font. The Set Font dialog box opens.

3. Click the Font menu, and select a font.

Chapter 1 Working with the Project Window: Advanced

Any font installed on the Avid system appears in the list. For information on adding fonts to your system, see the documentation for your operating system.

4. Type another point size for the font in the Size text box.

5. Click OK. The new font and point size appear in the active window.

When you close the window, the last font and point size applied are saved with the window.

Customizing Your Workspace

A workspace is the arrangement and size of tool windows displayed in your Avid editing application. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button.

For example, during capture you might want to display the Capture tool and Video Input tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in particular locations and sizes. For information on switching between workspaces, see “Switching Between Workspaces” on page 51.

While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either:

• The arrangement from the last time you left the workspace

• The arrangement you set for the workspace, regardless of any changes you made

You can select your preference in the Workspace Settings dialog box. For more information, see “Creating a New Workspace Setting” on page 49.

You can assign up to eight buttons that allow you to switch between user-customized workspaces. This is useful if there is more than one user accessing the same Avid system. Each user can assign up to eight workspaces by using the workspace buttons. The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth. For more information, see “Assigning a Workspace Button” on page 52.

You cannot assign certain tool windows to a workspace, such as the Hardware tool, the Communication (Serial) Ports tool, and the Media tool.

Creating a New Workspace Setting

To create a new workspace setting:

1. Click the Settings tab in the Project window. The Settings list appears.

2. Scroll to the bottom of the Settings list, and select Workspace.

3. Select Edit > Duplicate. A new workspace setting appears in the Settings list.

Customizing Your Workspace

New workspace

Custom name column

If you are duplicating a previously named workspace setting, a .1 appears at the end of the new name.

4. Click to the left of the new workspace you want to set. A check mark appears next to the workspace.

5. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text cursor and

box. Make sure you click the Custom name column and not the Setting name.

b. Type a name for the new custom workspace; (for example, Logging). c. Press Enter. d. Open the windows and tools with which you want to associate the workspace.

Resize and move the windows to the location you want them to appear on the monitors.

6. Double-click the custom workspace setting. The Workspace Settings dialog box opens.

Chapter 1 Working with the Project Window: Advanced

7. Select or deselect the following options, depending on your preference for the behavior of the workspace:

- Activate Settings Linked By Name: This setting allows you to link other settings

to the workspace. For more information, see “Linking User Settings and

Workspaces” on page 50.

- Continually Update This Workspace: This setting automatically preserves the

workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.

- Manually Update This Workspace: This setting saves the workspace in its current

arrangement when you click Save Workspace Now. Future changes to the arrangement of the tool windows are disregarded.

8. Click OK.

Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name.

For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays). You can also link this workspace to a Settings dialog box with customized options selected. You do this by creating a setting and giving it the same name in the Settings list in the Project window as the name of the workspace.

To link user settings and a workspace:

1. Create a new workspace setting. For more information, see “Creating a New Workspace Setting” on page 49.

2. Give the workspace a custom name.

3. Click a setting in the Settings list that you want to link to the new workspace. For example, click Timeline View. Adjust the Timeline to how you want it displayed (enlarged tracks, audio waveform, and so forth).

4. Give this Timeline View setting the same name you gave the workspace in step 2. For information on naming a Timeline view, see “Saving a Customized Timeline View”

in the Help.

5. Double-click another setting, (for example, Audio). Select the new options, (for example, Default Pan), and close the dialog box.

Linked setting

Linked workspace

Customizing Your Workspace

6. Give this setting the same name you gave the workspace in step 2.

7. Double-click the workspace you just created. The Workspace Settings dialog box opens.

8. Click Activate Settings Linked By Name.

9. Click OK. All the settings and the new workspace you created are activated.

Switching Between Workspaces

To switch from one workspace to another:

1. Click the Settings tab in the Project window. The Settings list appears.

2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace.

You can also switch between workspaces by using the workspace buttons. To assign workspace buttons, see “Assigning a Workspace Button” on page 52.

Chapter 1 Working with the Project Window: Advanced

Deleting a Workspace

To delete a workspace:

1. Select the workspace you want to delete from the Settings list in the Project window. The workspace is highlighted.

Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace.

2. Press the Delete key. The selected workspace is removed from the Settings list.

Assigning a Workspace Button

To assign a workspace button:

1. If you want to assign a workspace button to a palette (for example, the Tool palette from the Fast menu) or the Keyboard, open the palette or Keyboard setting.

2. Select Tools > Command Palette.

W1 button

More tab

3. Click the More tab.

4. Select Button to Button Reassignment.

5. Click a workspace button (W1 – W8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting.

The workspace button appears in the new location.

Sharing Bins and Projects in an Avid Unity Environment

The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth.

Your Avid editing application sorts the workspaces alphabetically. The workspace button assignments might change if you add workspaces. To keep a designated order, name the workspaces with a number preceding the first letter (for example, 2editing).

6. Click the W1 button to display the first workspace that appears in the Settings list. When you open the windows associated with the first workspace, they open in the

assigned locations.

Sharing Bins and Projects in an Avid Unity Environment

The following topics describe how to work in an Avid Unity environment that does not use an asset manager or Avid Interplay Transfer. If you are using an asset manager or Avid Interplay Transfer, see the Avid Interplay Administration Guide and the Avid Interplay Transfer Setup and User’s Guide.

Understanding Avid Unity

Avid Unity MediaNetwork and Avid Unity ISIS allow you to share bins and projects across the network. When you place your bins and projects on Avid Unity workspaces (drive volumes), several users can work on the same project at the same time.

For example, an editor can create sequences in one bin while an assistant recaptures media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.

Each user can perform tasks from his or her own computer. Your Avid editing application provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin.

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

In an Avid Unity environment, your Avid editing application creates and stores projects and bins on the client’s internal drive. If a user moves or saves these projects and bins to the workspace, only one client can work on the project at a time. If two or more users are working simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them.

Chapter 1 Working with the Project Window: Advanced

For information on managing workspaces, see the clients’ Quick Start cards. For details on Avid Unity, see the Avid Unity MediaNetwork Management Guide or the Avid Unity ISIS Administration Guide.

Sharing Methods

Before you begin copying or creating bins and projects on an Avid Unity workspace, determine the sharing method you are using for the project. You can either share bins alone or you can share bins and projects.

Shared Bins

When you use shared bins, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows:

• Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.

• Displays a second column of information for the bin that identifies the computer that currently has the bin locked.

• Uses bold text to identify bins that are locked by another user.

Shared Bins and Projects

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). Your Avid editing application identifies information from each computer using the shared workspace as follows:

• Creates a project folder for each computer that accesses the project. Your Avid editing application adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data for other users.

The folder is similar to the folder created when you select New Folder from the Project Window Fast menu. For more information, see “Managing Folders and Bins” on

page 38.

• Displays an extra column in the Project window that identifies the computer that has the bin locked.

• Uses bold text to identify bins that are locked by other users.

• Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.

Sharing Bins and Projects in an Avid Unity Environment

Depending on the number of users sharing a workspace, you might want to increase the number of files that your Avid editing application stores in the Unity Attic folder (using the Bin Settings dialog box).

The following illustration shows the Project window for a shared project.

Bold bins are locked for editing but can be viewed.

Project folders for each user

The following illustration shows the contents of a shared workspace at the desktop level.

Shared projects

Shared media files Unity Attic

Computer that currently has the bin locked

Opening a Shared Project

To open an existing project on the shared volume:

1. Start your Avid editing application.

2. In the Select Project dialog box, navigate to the project on Avid Unity. The Project window opens. For a description of the elements specific to Avid Unity in

the Project window, see “Sharing Methods” on page 54.

Chapter 1 Working with the Project Window: Advanced

3. Open one of the bins by double-clicking the Bin icon. The bin appears with a Bin Lock Status button. You can click the red (locked) or green

(unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications.

The following illustration shows locked and unlocked bins.

Unlocked bin

Locked bin

When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 57.

The Bin Lock Status button does not appear if the bin is not on Avid Unity.

Working with Locks

Your Avid editing application uses a locking mechanism to help you keep track of who is currently working in a shared bin. This allows one user to write to a bin; multiple users can read the files in that bin.

Default Locking Mechanism

The user who opens the bin first gets the lock and obtains write access to the bin. Your Avid editing application uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock.

If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.

You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.

To open a bin without taking the lock:

t Alt+double-click the bin in the Project window.

Overriding the Default Locking Mechanism

You can instruct your Avid editing application to keep a bin locked even after you close it.

To permanently lock a bin:

1. Select one or more bins in the Project window.

2. Right-click the Bin icon, and select Lock Project Bin. An asterisk appears next to the user name in the Project window. In this case, the bin

remains locked even after you close it.

To unlock the bin:

t Right-click the bin in the Project window, and select Unlock Project Bin.

Sharing Bins and Projects in an Avid Unity Environment

Restrictions and Limitations for Locked Bins

The Lock Project Bin and Unlock Project Bin commands are also available from the Clip menu.

The following restrictions apply to bins that are locked by another user:

• You cannot select a locked bin for operations such as capture, title creation, and importing. This helps to minimize the problems of modifying a locked bin.

• You cannot drag an item to a locked bin.

• If you drag an item from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin.

• You cannot move a bin that is locked by another user.

• If you modify a locked bin, your Avid editing application does not let you save the bin to the same name, but it allows you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The application sees the duplicate contents of these bins and resolves the conflicts by newest modifications (this might not be desirable behavior).

Try to avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin.

Chapter 1 Working with the Project Window: Advanced

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Suggestions for Improving Performance When Working with Shared Bins

The following information is provided to improve performance when working with shared bins in an Avid Unity environment.

•Do not use the same name for your editing system machine name and your user name. In fact, do not use the same name for security objects such as machine names, user names, group names, and domain names. If any two security objects have the same name, Windows might become confused and sharing might not work properly.

•Do not use the same prefix for machine names in a shared environment. No full name can be a prefix of another name. If one of the systems has a machine name that is the full name, and others in the environment have the prefix as part of their machine name, problems can occur. For example, if an editing system has a machine name ABC and additional editing systems in the shared environment have machine names ABCnn, ABCxx, the following problems could occur:

- When the system with the machine name ABC is writing to a directory, the systems

whose machine names have the same prefix (ABCnn and ABCxx) might not be able to access the directory.

- When the system with the machine name ABC is rendering, systems whose

machine names have the same prefix (ABCnn and ABCxx) might be unable to launch.

Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.).

• Avoid using Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when editors are using those files or folders. If you do, editors attempting to access those shared bins or projects may experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),” where MESSAGE is replaced by a specific message identifying the action that is being retried.

If the busy condition persists, and the retries are exhausted, a failure message appears. When that happens, ensure that Windows Explorer is not being used on the shared bins you are trying to access, and then try the operation again.

• When you have an environment where more than five users are sharing bins on Avid Unity, Avid recommends using an Avid Interplay server in the workgroup environment.

• When an Avid Interplay server is available in an Avid Unity system in the workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Remote Assets feature to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid Unity client software installed. The Media Tool might become unreliable if an editor in the Avid Unity workgroup environment does not have the Avid Unity client software installed.

Shared Bin and Project Limitations

If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately. If an editor tries to play that file, “media file not found” messages might appear in a monitor window, and access violation errors might occur.

Each editing application maintains a PMR file in its machine name folder inside the OMFI MediaFiles folder or the Avid MediaFiles folder. The PMR file lists all the online media files. Every editing application consults all the PMR files in all the machine name folders to find out which media files are online. Whenever a media file is created, its name is immediately added to the creating editor application's PMR file, and whenever a media file is deleted by its creator, its name is immediately removed from the PMR file.

However, if an editing application other than the creator deletes a media file, the PMR file that contains the deleted file is NOT updated immediately. Once the creating editor encounters an event that causes its PMR to be updated, then all editing systems know that the deleted media file has gone offline.

Sharing Bins and Projects in an Avid Unity Environment

There are several ways to force an editing application to update its PMR. The simplest is to switch to the desktop and back.

Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.

Shared Bin Lock Icon Limitation

Occasionally, when two editors attempt to open a shared bin at the same time, both editors get the green lock icon. However, only one editor really has the lock, and that editor's machine name appears beside the bin name in both Project windows.

Both editors can modify their copies of the bin, but only the editor that holds the lock, as indicated in the Project window, can save that bin. The other editor is warned that the bin is locked but is allowed to save a copy of the changed bin.

Avid recommends that you use the “Save Bin Copy As...” button and continue working.

Chapter 1 Working with the Project Window: Advanced

Drive Filtering in Networked Workflows

The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options:

• Filter by Resolution

• Filter by System Drive

• Filter by Launch Drive

For Symphony Nitris and for current versions of Avid Media Composer and Avid NewsCutter Avid Media Composer and Avid NewsCutter enabled, Filter by System Drive disabled, Filter by Launch Drive disabled. This caused breakages with the networked workflows as media in new projects were being created on the C: drive instead of the shared storage when using the default Media Creation Settings. To fix this, all three drive filtering options are enabled by default.

Avid Xpress products and Avid Free DV default to Filtering off because these products might not have additional drives available, especially if you are working on a laptop.

Any project brought into a networked workflow that was created with any of the filtering selections off might have problems with networked media creation, such as “Audio and/or Video Mixdown” and “SendToPlayback,” because their Media Creation Settings are still configured for standalone usage.

There are several ways for you to work around this issue. First, adjust the drive filtering settings when switching environments, either by opening the Media Creation Setting and switching the drive filtering settings or by creating multiple Media Creation Settings and switching the active setting whenever you shift environments. If you always work in an environment that differs from the defaults (for example, an Avid Xpress product always connected to shared storage), you can create a Media Creation setting that fits your workflow and add it to your Site Settings so new projects are created with the desired defaults. For more information, see “Using Site Settings” on page 556.

products, these three options are selected by default. Some older versions of

products shipped with Filter by Resolution

Sharing Bins and Projects in an Avid Unity Environment

The default values for Filter by Resolution, Filter by System Drive, and Filter by Launch Drive are as follows:

Drive Filtering Default Values

Product Filter By Resolution Filter by System Drive Filter by Launch Drive

Symphony Nitris Yes Yes Yes

Media Composer products

NewsCutter products Yes Yes Yes

Media Station PT Yes Yes Yes

Avid Xpress ProNoNoNo

Avid Xpress DV No No No

Free DV No No No

Ye s Yes Ye s

Chapter 1 Working with the Project Window: Advanced

Chapter 2

Using Tools

The Tools menu in your Avid editing application provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage. These tools are described in the following sections:

• Using the Tools Menu

• Using the Deck Controller

• Using the Command Palette

• Using the Avid Calculator

• Using the Console Window

• Using the Hardware Tool

• Using External Controllers as Editing Control Surfaces

Using the Tools Menu

You can open any of the most frequently used system tools from the Tools menu.

To open a tool:

t Select Tools > tool name.

Using the Deck Controller

The deck controller provides direct serial or VLXi® V-LAN® control of an Avid-compatible tape deck at any time during editing. This allows you to cue and screen footage from source tapes in various edit modes or when recording a digital cut, without opening the Capture tool.

Chapter 2 Using Tools

To open a deck controller:

t Select Tools > New Deck Controller.

The Avid Deck Manager program is initialized, and a new Deck Controller window opens.

Timecode display

Deck controls

Deck Selection menu

Tape Name button

Each deck controller includes the following elements:

• The Timecode display provides information about the control status of the tape deck, as

Timecode indicator

Eject

Logging controls

Mark IN

Mark OUT

Close button Timecode display Delete Mark IN Delete Mark OUT

Clear Memory button

Go To Memory button

follows:

- If the deck is properly connected and power is on, the deck controller displays timecode when a tape is mounted.

- If a deck is not properly connected to the system or power is off when you open the controller, the indicator displays the message “NO DECK.”

- If you turn the deck power off with the deck controller already open, the indicator displays the message “Power Off.”

- If you switch the deck control to Local on the VTR, the indicator displays the message “Local.”

Information on connecting decks and cabling varies depending on the Avid DNA device you use. See the appropriate ”Connecting Peripheral Equipment” topic for your Avid DNA device in the Help, within the “Using the Avid Adrenaline,” “Using the Avid Mojo,” or “Using the Avid Mojo SDI” sections.

• The Timecode indicator flashes green during playback or capture to indicate that the system is receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode.

• The deck controls provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step backward and step forward, pause, and eject.

• The Deck Selection menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see

“Deck Configuration Settings” on page 579.

• The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Source Tape” in the Help.

• Logging controls allow you to log IN and OUT marks while cueing your tape. For more information on logging, see “Logging Directly into a Bin” on page 90. Marks you set with the deck controller are temporary and allow you to return to

timecode locations entered in the window while screening and cueing a tape. If the Capture tool is open, however, timecodes logged in the deck controller also appear in the Capture tool and can be entered into an open bin.

Using the Command Palette

The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse.

Using the Command Palette

The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed in each tab. The functions are Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam (MultiCamera), Other, and More.

Chapter 2 Using Tools

You can use the Command palette to:

• Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable

Buttons” on page 67.

• Map menu commands to various buttons and keys. See “Mapping Menu Commands” on

page 68.

• Directly activate a command. See “Activating Commands from the Command Palette”

on page 69.

For information about each button in the Command palette, right-click a button and select What’s This?

For more information on logging with the Capture tool, see “Logging Directly into a Bin”

on page 90.

Understanding Button Mapping

Mapping user-selectable buttons allows you to reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs.

When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.

The following are a few examples of mapping buttons:

• Subcataloging clips: You can map the Make Subclip button and other clip management buttons.

Make Subclip Find Bin Add Locator

• Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, Fade Effect, Render Effect, Cycle Picture/Sound, Quick Transition, and Grid (which displays Safe Title overlays).

Motion Effect Remove Effect Grid

Fade Effect Render Effect Cycle

Picture/Sound

Quick Transition

Using the Command Palette

• MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang

buttons.

Quad Split Swap Cam Bank Gang

When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes.

For more information on multiple settings, see “Working with Multiple Settings” on

page 552.

Your Avid editing application saves button configurations as follows:

• Changes to the Keyboard palette are saved in the Keyboard settings.

• Changes to the Tool palette are saved in the Interface settings.

You can change the appearance of the buttons in the Tool palette by using the Interface settings from the Settings list in the Project window. For more information, see

“Customizing the Appearance of the Avid User Interface” on page 44. You can choose to

identify a button’s function with only an icon or with an icon and letters. For more information, see “Interface Settings” on page 627.

Mapping User-Selectable Buttons

To map buttons or keys on the keyboard by using the Command palette:

1. Open a window that has a user-selectable button palette by doing one of the following:

t Activate the Playback, Source, or Record monitor in the Composer window. t Click a Fast Menu button, and drag the Tool palette to open it. t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu

button, and drag to tear off the Tool palette.

t Open a clip in a pop-up monitor. t Enter Trim mode in the Composer window. t Open the Keyboard palette from the Settings list in the Project window.

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

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

Chapter 2 Using Tools

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

5. Drag the button from the Command palette to a button location on the other palette.

Using the Blank Button

The Blank button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button.

For more information on mapping the Blank button to a new location, see “Mapping User-

Selectable Buttons” on page 67.

Mapping Modifier Keys

You can add modifier keys to functions already associated with keys and buttons. The Other tab in the Command palette contains the Add Alt Key key button.

For example, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.

After you modify a key or button with a modifier key button, you can use the default function of the key or button by pressing and holding the appropriate modifier key while pressing the key, or by pressing and holding the modifier key while clicking the button.

Mapping Menu Commands

[i’ve copied in, but commented out, the NCP paragraph here - check the functionality, but I suspect the NCP wording is too narrow, since it implies that you

You can map menu commands displayed in the menus in your Avid editing application menu bar directly onto any mappable button location or onto the keyboard. In some cases, you can avoid using the menus altogether.

Before you can map some commands, you must first establish the condition that enables the command. For example, before you can map the Render In/Out command from the Clip menu, you must first mark IN and OUT points in the Timeline so that the menu command appears.

Using the Command Palette

To map menu commands:

1. Open a window that has user-selectable buttons by doing one of the following: t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu

button, and drag to tear off the Tool palette.

t Open the Keyboard palette from the Settings list in the Project window.

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

3. Select Menu to Button Reassignment.

4. Click a target button

on the Keyboard palette or the Tool palette.

The pointer changes to a small white menu.

5. Select the menu command you want to map to the target button. The initials for the menu command appear on the target button.

Menu command mapped to a button

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor.

To activate a command from the Command palette:

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

2. Select Active Palette at the bottom of the Command palette.

3. Click the tab from which you want to select a command function.

4. Click the button in the Command palette for the function you want to perform.

Chapter 2 Using Tools

Using the Avid Calculator

The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats.

For example, you can:

• Convert drop-frame to non-drop-frame timecode values.

• Convert timecode durations between 30-fps and 25-fps projects.

• Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film.

To use the Avid Calculator:

1. Select Tools > Calculator. The Avid Calculator opens.

2. Click the Format menu, and select a format.

3. Make calculations in one of the following ways:

t Click numbers and functions in the Avid Calculator. t Enter numbers and functions using the numeric keypad. t Enter numbers and functions using the top row of numbers on the keyboard.

You do not need to enter leading zeros, colons, or semicolons for timecode.

To convert your totals at any time to another format:

t Click the Format menu, and select a different frame code or key number format.

If drop-frame timecode is entered into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa).

Using the Console Window

The Console window provides a number of features, including:

• Current system information, including your system ID number

• A log of error messages

• Detailed information about sequence segments in the Timeline or about objects in a bin

• A command to display networked drives for use as media drives

• Information after you capture or import

Using the Console Window

Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.)

Displaying System Information

To display current system information:

1. Select Tools > Console. The Console window opens.

2. Scroll in the Console window to view your system information and ID. Your system ID is on a line beginning

This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support.

Reviewing a Log of Errors

To review errors logged to the Console window:

1. When an error occurs, close the message box and select Tools > Console.

2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support.

System ID:

Getting Information with the Console

The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin including hidden items. You can also use the Console window to display information about a clip, segment, or sequence in the Timeline.

To get information with the Console window:

1. Select Tools > Console. The Console window opens.

2. Select the item about which you want information, for example:

t In the Timeline, move the position indicator to the selected clip or segment. t In the bin, select an object or Ctrl+click multiple objects.

3. Select File > Get Bin Info or File > Get Position Info. Information about the clip appears in the Console window.

Chapter 2 Using Tools

Using the Console Window to Access Network Drives

Your Avid editing application can access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing the appropriate console command displays the mapped drive letter in the appropriate tools in the Avid editing application.

n n

For information about mapping drives to your computer, see your Windows documentation.

You do not need to use this feature to access Avid Unity shared network drives.

When the feature is turned on, the mapped drive letter appears in the Target Drive menu. When you turn the feature off, the mapped drive letter is dimmed. If you quit and restart your application, the mapped drive letter does not appear in the Target Drive menu.

To make your mapped network drives available:

1. Open the Console window by selecting Tools > Console.

2. In the Console command line, type:

alldrives 1

3. Press Enter. Network drives are now visible in your Avid editing application.

Typing restores the default behavior where only media drives are available.

By default, network drives are filtered by resolution when the option Filter Network Drives Based on Resolution option is selected in the Media Creation settings. For more information, see “Media Creation Settings” on page 633.

alldrives

in the console window turns this feature on and off. Typing

alldrives 2

Using the Hardware Tool

The Hardware tool provides the following information about the system’s hardware configuration:

• The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.

Using the Hardware Tool

If your system is connected to an Avid Unity network, you see two drives tabs, Local Drives and Avid Unity Drives.

• The System tab lists the operating system, its version, service pack, and build, and the physical memory.

To check the hardware configuration of your Avid system, do one of the following:

t Select Tools > Hardware. t Click the Info tab in the Project window, and then click Hardware.

The Hardware tool opens.

Using External Controllers as Editing Control Surfaces

Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing footage. Avid supports the following controllers for this purpose:

• Digidesign Command|8

• Digidesign Digi 002

For information about connecting these controllers, see “Connecting Serial and MIDI Port Devices” in the Help. For information about configuring these controllers and using them as editing control surfaces, see “Using the Digi 002 and Command|8” on page 353.

™

Chapter 2 Using Tools

Chapter 3

Logging: Advanced

When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project. The following topics provide advanced information for preparing log information:

• Preparing Log Files for Import

• Understanding Avid Log Specifications

• Creating Avid Logs

• Double-Checking Log Files

• Logging Directly into a Bin

• Setting the Pulldown Phase

• Modifying Clip Information Before Capturing

• Exporting Shot Log Files

For more information, see “Importing Shot Log Files” in the Help or the Basics Guide for your Avid editing application.

Preparing Log Files for Import

Log files need to conform to the Avid Log Exchange (ALE) format to be imported into your Avid editing application. You can use the ALE utility included with your system to quickly convert shot log files.

Chapter 3 Logging: Advanced

The ALE utility allows you to:

• Modify the text in a log file.

• Convert log files of different formats to ALE files. See “Compatible Log Formats” on

page 80.

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

Any options you set in the ALE utility are saved each time you close the ALE utility.

When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale, and so on. The converted output files are stored in the folder containing the original input file.

Converting Log Files with Avid Log Exchange

To convert a log file to an ALE file:

1. Click the Start button, and select All Programs > Avid > Avid Log Exchange. The Avid Log Exchange window opens.

2. Do one of the following:

t If the log file is a Final Cut Pro

, Cinema Tools™, or a Tabbed shot log file, select

File > Import > file type. t If the log file is another file type, such as .flx or .atn, select File > Open. The Open dialog box opens.

3. Double-click the file you want to convert. The Import Header Options dialog box opens.

4. Select the information you want to appear in the global settings of the .ale file. The global settings appear at the top of the .ale file.

5. Click OK.

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

- If the file type is recognized by the ALE utility, the file appears in the Avid Log

Exchange window.

Preparing Log Files for Import

- If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens. Select an option from the following table.

Option Description

Display & Save Opens the file in the Avid Log Exchange window and changes the file to the

Windows format.

Display Only Opens the file in the Avid Log Exchange window, but does not change the file.

Ignore Displays the file as is without changes.

The file appears in the Avid Log Exchange window.

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

The file appears in the Avid Log Exchange window.

For specific information on the various file types, see “Compatible Log Formats” on

page 80.

7. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2.

After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.

The Track selection only works on non-ALE files being converted to ALE format. When ALE is the incoming format, Track selection does not work.

Chapter 3 Logging: Advanced

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

When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event.

9. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default.

For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour, the first half of the film has 24 hours, and the second half has 0 hours.

10. Select Convert > ALE. The default output selection is the ALE format. This is the required format for import

into an Avid bin. The Avid Log Exchange window displays the converted ALE file. The converted file has

the same file name as the original file, except the file name extension matches the converted file format.

11. (Option) Select the original file from the Window menu if you want to convert the file again using different options.

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

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

Using Drag-and-Drop Conversion for Log Files

Use this shortcut to convert files into an ALE file.

Preparing Log Files for Import

If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log

Exchange” on page 76 to convert files of this type.

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

1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid

Log Exchange” on page 76. The current options are used when you perform

drag-and-drop conversion.

2. Create a shortcut for the ALE utility.

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

4. Select the files you want to convert.

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

6. Depending on the type of files you are converting, one of the following occurs:

- If the file type is recognized by the ALE utility, a message box opens, indicating the

conversion was successful.

- If the file type is not recognized, the Select File Type dialog box opens. Select the

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

Chapter 3 Logging: Advanced

- If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK.

A message box opens, indicating the conversion was successful.

7. Click OK to close the message box. The converted files have the same file names as the original files, except the file name

extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid

format. The converted files are stored in the folder containing the original log files.

Compatible Log Formats

The following table lists the log formats that can be imported directly or converted for import using Avid Log Exchange (ALE).

Compatible Log Formats

Log Format Requirements File Name Extension

AatonBase Conversion required .atn or .atl

Avid Log Import directly .ale

Cinema Tools Conversion required .txt

CMX EDL Conversion required .cmx

Evertz

Excalibur Conversion required .ale or .flx

Final Cut Pro Conversion required .txt

FLEx™ Conversion required .flx

Keyscope Conversion required .ksl

Log Producer™ Conversion required .llp

Log right Import directly .ale

OLE Conversion required .odb

Shotlister Import directly .ale

Tab Delimited Conversion required .txt

Conversion required .ftl

Understanding Avid Log Specifications

You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor. You can use the file name extension .txt, but it is not required.

To ensure accuracy, you must follow the Avid log specifications described in this section.

An Avid log is composed of three sections, in this order:

• Global headings

• Standard and custom column headings

• Data headings

When you create an Avid log, you must follow the order precisely. The tables in these topics follow this order.

For an example of a simple log file, see “Sample Avid Log” on page 89.

Avid Log Specifications

The following topics contain tables that show how to enter headings and data to create an Avid log.

The tables use the following conventions:

• A heading appears in the first column, without angled brackets or square brackets. For example, FIELD_DELIM is the first global heading.

• A <supported value> is surrounded by angled brackets. <Alternative supported values> appear underneath, also in angled brackets. You must enter one of these values. For example, <29.97> is one of the supported values for the FPS heading; to specify that

29.97

value, type

• A <variable data value> is also surrounded by angled brackets, but it is italicized. For example, <timecode> is the data entry for the Start heading; type the correct timecode, in the format

• [Tab] and [Enter] keys are surrounded by square brackets.

• A column contains the word “Required” if the heading must be included in the log.

• The final column contains notes about the heading or values.

You can decide not to display a defined heading (including a required heading), except for Name. Name must always be displayed.

08:19:10:00

(or

08;19;10;00

, for drop-frame timecode).

Chapter 3 Logging: Advanced

The maximum number of combined global, standard, and custom headings in a log file is 64.

Global Headings

The global headings must come first in an Avid log file, and you must enter one value for each heading.

The following table shows the format for the global headings and the supported values for each heading.

Avid Log Global Headings

GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64.

Heading [Enter] Required This marks the start of the

global headings.

FIELD_DELIM [Tab] <TABS> [Enter] Required Enter TABS to show that the

file is Tab delimited.

VIDEO_FORMAT [Tab] <NTSC>

<PAL>

FILM_FORMAT [Tab] <16mm>

<35mm,3perf> <35mm,4perf>

AUDIO_FORMAT [Tab] <22kHz>

<24kHz> <44kHz> <48kHz>

TA PE [Ta b] < tape name> [Enter] Required Name of the videotape reel

[Enter] Required

[Enter]

[Enter] Audio sampling rate for

digitizing. You can override this for individual clips.

you are logging. If you omit this heading, the file name becomes the global tape name. You can override this for individual clips.

Understanding Avid Log Specifications

Avid Log Global Headings (Continued)

FPS [Tab] <23.98>

<24> <25> <29.97>

Column Headings

The standard column headings appear after the global headings in the Avid log file.

You do not enter the data for a column heading along with the heading. You enter the data later, in a separate data section.

You must include the five required standard column headings; they are listed first in the following table.

You can create your own custom column headings. Enter them after the standard headings (see the last heading in the following table). To create a custom heading, substitute the custom heading name for <Your_heading>. You can create several custom headings, as long as the total of global, standard, and custom headings does not exceed 64.

[Enter] Required Capture rate is 23.98 fps

(23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC.

[Enter] Press Enter a second time

after entering the FPS value. This marks the end of the global headings.

Avid Log Column Headings

COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note that the first five headings are required. Other headings are optional but might be necessary for your project. This table lists only the column headings that are relevant to shot log files. Some data, such as Creation Date, is gathered by the system. The following table does not include headings for such data. The maximum number of combined global, standard, and custom headings in a log file is 64.

Column [Enter] or

[Return]

Name [Tab] Required Heading for clip name.

Tracks [Tab] Required Heading for tracks you select for digitizing.

Start [Tab] Required Heading for video timecode of sync point — the

End [Tab] Required Heading for timecode OUT for clip. From address track

Required Indicates the start of the column headings.

timecode IN for clip. From address track of video.

of video.

Chapter 3 Logging: Advanced

Avid Log Column Headings (Continued)

Audio [Tab] Heading for the audio resolution (sample rate). If

omitted, the global entry for AUDIO_FORMAT applies.

Auxiliary Ink [Tab] Heading for a second ink number used for the clip.

Auxiliary TC1 [Tab] Heading for auxiliary timecode.

Auxiliary TC2 [Tab] Heading for auxiliary timecode.

Auxiliary TC3 [Tab] Heading for auxiliary timecode.

Auxiliary TC4 [Tab] Heading for auxiliary timecode.

Auxiliary TC5 [Tab] Heading for auxiliary timecode.

Camera [Tab] Heading for the camera used to film this clip. This

feature is used in multicamera shoots.

Camroll [Tab] Heading for the camera roll ID containing this clip.

Duration [Tab] Heading for timecode Start to timecode End, the length

of the video clip.

FPS [Tab] Heading for video frames per second rate for digitizing

the individual clip. If omitted, the global entry applies.

Film TC [Tab] Heading for the timecode used on the film.

Ink Number [Tab] Heading for the ink number used for the clip.

KN Duration [Tab] Heading for the length of the clip, expressed in feet and

frames.

KN End [Tab] Heading for the ending key number for the clip.

KN Start [Tab] Heading for the starting key number for the clip.

Labroll [Tab] Heading for the lab roll ID for the clip. Lab rolls are a

combination of several camera rolls.

Perf [Tab] Heading for the film-edge perforations format used for

3-perf projects.

Pullin [Tab] Heading for the telecine pulldown of the first frame of

the clip (pulldown phase). Pullin can have the values A, B, C, or D.

Pullout [Tab] Heading for the telecine pulldown of the last frame of

the clip (pulldown phase). Pullout can have the values A, B, C, or D.

Understanding Avid Log Specifications

Avid Log Column Headings (Continued)

Reel # [Tab] Heading for the source reel number.

Scene [Tab] Heading for the scene number of the clip.

Shoot date [Tab] Heading for the date the footage was shot.

Sound TC [Tab] Heading for Nagra timecode, Arri

code, and so on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps.

Soundroll [Tab] Heading for sound roll ID for clip.

TC 24 [Tab] Heading for 24-fps timecode.

TC 25P [Tab] Heading for 25-fps timecode with pulldown.

TC 25 [Tab] Heading for 25-fps timecode.

TC 30 [Tab] Heading for 30-fps timecode.

Take [Tab] Heading for take ID for clip.

Tape [Tab] Heading for source tape ID for the individual clip. If

omitted, the global entry applies.

DESCRIPT [Tab] Heading for description of clip.

COMMENTS [Tab] Heading for comments about clip.

<Your_heading> [Tab] Add any category of information you want. Add as many

headings as you want, but do not use more than a total of 64 global and column headings in the file. Press the Tab key between each heading. Do not press the Tab key after the last heading.

[Enter] or [Return]

[Enter] Press [Enter] twice (do not press Tab) after the last

heading.

Chapter 3 Logging: Advanced

Data Entries

The data entries come after the Custom column headings. The following table shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the

Data

data section for each clip with the word

[Enter].

Avid Log Data Headings

DATA HEADINGS: The word Data marks the start of the data for each clip.

Data [Enter] Required Enter the word Data to mark the start of the logged clip

entries.

DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so it aligns with its column heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press Enter at the end of each line. Your Avid system supports up to four audio tracks in imported and exported logs.

<clip name> [Tab] Required Under Name heading. Enter a clip identifier (32 characters

maximum).

<timecode> [Tab] Required Under Start heading. Enter the video timecode for the sync

<timecode> [Tab] Required Under End heading. Enter the video timecode for the last

<22kHz> <24kHz> <44kHz> <48kHz>

<inknumber> [Tab] Under Auxiliary Ink Number heading. Identify a second

[Tab] Required Under Tra cks heading. Enter the tracks you want captured

for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound.

point, the first frame of the clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02).

frame of the clip.

[Tab] Under Audio heading. Enter the audio sampling rate for

this clip only. If omitted, global entry applies.

ink number for the start of the clip.

Understanding Avid Log Specifications

Avid Log Data Headings (Continued)

<timecode>[Tab] Under Auxiliary TC heading. Enter a Nagra timecode,

Arri code, and so on, for the sync point. Syncs with the Start timecode.

<camera ID>[Tab] Under Camera heading. Identify the camera, using letters

or numbers. For multicamera shoots.

<camera roll ID>[Tab] Under Camroll heading. Identify the camera roll, using

letters and numbers.

<timecode>[Tab] Under Duration heading. Enter the length of the video

clip, Start to End.

<23.98> <24> <25> <29.97>

[Tab] Under FPS heading. Enter the video capture rate for this

clip only. If omitted, the global entry applies. Use 23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC.

<timecode>[Tab] Under Film TC heading. Identify the timecode used for the

film, usually at 24 fps.

<inknumber>[Tab] Under Ink Number heading. Identify the ink number for

the start of the clip.

<keynumber>[Tab] Under KN Start heading. Identify the complete key

number for the start of the clip, for example, KU 31 26368903&12.

<keynumber>[Tab] Under KN End heading. Identify the key number for the

end of the clip. You need to identify only feet and frames, for example, 0342&07.

<keynumber>[Tab] Under KN Duration heading. Identify the length of the

clip, in feet and frames.

<lab roll ID>[Tab] Under Labroll heading. Identify the lab roll, using letters

and numbers.

<1>

[Tab] Under Perf heading. Edit the perf for this clip only.

<2> <3>

<A> <B> <X> (matchback only) <C> <D>

[Tab] Under Pullin heading. Identify the telecine pulldown of the

first frame of the clip (pulldown phase). NTSC only.

Chapter 3 Logging: Advanced

Avid Log Data Headings (Continued)

<A> <B>

[Tab] Under Pullout heading. Identify the telecine pulldown of

the last frame of the clip. NTSC only. <X> (matchback only) <C> <D>

<reel ID>[Tab] Under Reel # heading. Identify the reel, using numbers.

<scene ID> [Tab] Under Scene heading. Identify the scene, using letters and

numbers.

<shoot date>[Tab] Under Shoot Date heading. Identify the date the footage

was shot, in numbers or in letters and numbers.

<timecode>[Tab] Under Sound TC heading. Identify the sound timecode at

the sync point. Syncs with the Start timecode.

<sound roll ID> [Tab] Under Soundroll heading. Identify the sound roll, using

letters and numbers.

<timecode>[Tab] Under TC 24 heading. Identify the start of the clip for 24p

timecode.

<timecode>[Tab] Under TC 25p heading. Identify the start of the clip for 25p

timecode (PAL pulldown).

<timecode>[Tab] Under TC 25 heading. Identify the start of the clip for

25-fps timecode (PAL).

<timecode>[Tab] Under TC 30 heading. Identify the start of the clip for

30-fps timecode.

<take ID> [Tab] Under Ta ke heading. Identify the take, using letters and

numbers.

<source tape ID> [Tab] Under Tap e heading. Enter the source videotape ID for this

clip only.

<clip description> [Tab] Under DESCRIPT heading. Describe the clip.

<clip comments> [Tab] Under COMMENTS heading. Comment on the clip.

<information

>[Tab] Under the headings you created yourself, type the

appropriate information.

[Enter] Press Enter after the last entry for the clip.

Do not press Tab after the last entry for the clip.

Enter an additional line of data for each remaining clip.

Sample Avid Log

This section contains a sample Avid log for an NTSC video project.

Formatting keys (such as [Tab] and [Enter]) are shown in square brackets.

Heading [Enter] FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44kHz [Enter] TAPE [Tab] 001 [Enter] FPS [Tab] 29.97 [Enter] [Enter] Column [Enter] Name [Tab] Tracks [Tab] Start [Tab] End [Enter] [Enter] Data [Enter] CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter] CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Enter]

Creating Avid Logs

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

Windows systems ship with a text editor called WordPad.

To open WordPad:

t Click the Start button, and select All Programs > Accessories > WordPad.

Mac OS

To open Text Edit:

t Select Go > Applications, and double-click TextEdit.

To create a text document in TextEdit:

t Select Format > Make Plain Text.

X systems ship with a text editor called TextEdit.

Chapter 3 Logging: Advanced

When logging manually, you should do the following:

• Identify the source tape for each shot.

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

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

To create an Avid Log by using a word processor or text editor:

1. Enter shot log information according to the specifications described in “Avid Log

Specifications” on page 81.

2. Save your file as a text file in the Save As dialog box. You can use the file name extension .txt, but it is not required.

The Avid editing application only accepts text files (ASCII format).

After you double-check the log, import it into your Avid editing application. For more information, see “Importing Shot Log Files” in the Help.

Double-Checking Log Files

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

If the system detects a discrepancy, it reports the error to the Console and does not bring the clip into the bin. The best way to ensure that clips are not discarded on import is to double-check the logs for discrepancies in duration and marks.

Open the Console by selecting Tools > Console. For more information, see “Using the

Console Window” on page 70.

Logging Directly into a Bin

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

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

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

Logging Directly into a Bin

Tips for Logging Preroll, Logging Timecode, and Naming Tapes

Observe the following important guidelines for preroll, timecode formats, and naming of tapes when logging prior to capturing.

Logging Preroll

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

You set the default preroll for tape playback by using the Preroll menu in the Deck Settings dialog box. For more information, see “Deck Settings” on page 579.

Logging Timecode

Within an NTSC project, check the timecode format of each tape (drop-frame versus non-drop-frame timecode) when you are logging without a tape in the deck. Log drop-frame timecode by using semicolons (;) between the hours, minutes, seconds, and frames. Log non-drop-frame timecode with colons (:). You can set the timecode format to use in the Deck Preferences Settings dialog box. For more information, see “Deck Preferences Settings” on

page 581.

To change the logged timecode format, select Clip > Modify. For information, see

“Modifying Clip Information Before Capturing” on page 102.

Naming Tapes

When entering tape names in the Capture tool, consider the following:

• Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include uppercase and lowercase characters. The maximum length of a name is 32 characters.

playback, and 6 seconds for DV playback.

playback,

• It is possible to have a single tape listed as several different tapes if you alter the case of the letters. For example, if you type a single name as TAPE, Tape, and tape on three different occasions, all three names appear. This can cause significant problems in keeping track of clips when batch capturing, recapturing, and generating an EDL. Select a case convention and maintain it throughout a project.

If you want your Avid system to consider master clips as coming from the exact same tape, you should try to select that tape name from the Select Tape dialog box. If you do not see the tape you are looking for, but know you have online media from that tape, you should click the Scan for Tapes button. For more information, see “Logging with Avid-Controlled Decks” on

page 92.

Chapter 3 Logging: Advanced

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

• If you are planning to generate an edit decision list (EDL) for import into an edit controller for online editing, double-check the controller’s specifications beforehand. Some edit controllers truncate source tape names to as few as six characters, while others eliminate characters and truncate to three numbers. Alterations like these at the EDL stage might cause the system to identify different source tapes with similar names in the same way, causing you to lose track of source material.

Logging with Avid-Controlled Decks

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

For information about connecting a compatible deck to your system, see “Connecting Peripheral Equipment” in the Help.

To log clips directly into a bin from an Avid-controlled deck:

1. Make sure the deck is properly connected and turned on.

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

Logging Directly into a Bin

3. Select Tools > Capture. The Capture tool opens. Playback from the deck is displayed in the Client monitor.

Capture/Log Mode button

Mark IN button

Channel Selection buttons

Deck Selection pop-up menu

Source Tape Display button

If you forget to connect and turn on the power to the deck before opening the Capture tool, you can reinitialize deck control after turning it on by clicking the Deck Selection menu, and selecting Check Decks.

4. If the Capture tool is not currently in Log mode, click the Capture/Log Mode button until the LOG icon appears.

5. Click the Deck Selection menu, and select a deck. For more information, see “Selecting a Deck in the Capture Tool” in the Help.

Chapter 3 Logging: Advanced

6. Insert your tape into the deck. The Select Tape dialog box opens. You can select the option “Show other project’s tapes” to display the tape names and

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

List of tapes

Show Tapes option

New tape name

Because the media file database does not open when you start your Avid editing application, tape names of all online media files do not appear automatically.

If the tape name you are searching for does not appear in the Select Tape dialog box, click the Scan for Tapes button. Tape and project names are listed.

7. 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 Click New if the tape is not in the list. A new tape name line appears in the dialog

box. Type the new name and click OK.

The tape name is displayed in the Capture tool.

For guidelines when naming tapes, see “Naming Tapes” on page 91.

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

Logging Directly into a Bin

8. Set either an IN point or an OUT point for the clip you want to log using one of the following methods:

t If you want to keep the deck running while you log: Start the deck. At the point

where you want to start the clip, click a Mark IN button (you can use either the Mark IN button in the upper left of the Capture tool or the Mark IN button in the lower right) or press the F4 key. The deck continues to play.

If you want to pause the deck while you enter a clip name and comments, see “Pausing the

Deck While Logging” on page 96.

t If you want to cue your source tape to the start or end point: Use the deck

controls in the Capture tool to cue your source tape to the start or end point. Click a Mark IN button or the Mark OUT button in the lower right of the Capture tool.

t If you want to log using timecode: If the footage starts at a known IN point or ends

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

After you set the mark, the Mark IN button changes to the Mark OUT and Log button or the Mark IN and Log button, depending on the first mark you set.

Mark IN and Log

For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the correct pulldown phase. See “Setting the Pulldown Phase” on page 100.

9. (Option) Enter a clip name and comment in the corresponding text boxes in the Capture tool.

10. To finish logging the clip, do one of the following:

Mark OUT and Log

t If the deck is running: Click the Mark OUT and Log button or press the F4 key.

The clip is logged into the bin and the deck continues to play.

t If you want to cue the remaining start or end point: Use the deck controls to

locate the start or end point. Set the remaining IN point or OUT point either by clicking the Mark OUT and Log button or the Mark IN and Log button. The clip is logged into the bin.

Chapter 3 Logging: Advanced

t If you want to log using timecode: Type a timecode for the clip’s IN point, OUT

point, or duration in the timecode text boxes next to the corresponding icon. Then enter the mark by pressing the Go to IN button or the Go to OUT button, which scans the tape forward to the mark, or by pressing Enter.To log the clip into the bin, click the Log Clip button in the upper left of the Capture tool.

The clip name, which is automatically named and numbered by the system, is highlighted in the bin and ready to be renamed.

11. (Option) Rename the clip by typing a new name in the highlighted area.

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

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

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

Pausing the Deck While Logging

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

To pause the deck while logging:

1. In the General tab of the Capture Settings dialog box, select the “Pause deck while logging” option.

2. Set up your deck and the Capture tool as described in “Logging with Avid-Controlled

Decks” on page 92.

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

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

5. Type a clip name and comment in the corresponding text boxes in the Capture tool.

6. Click the Log Clip button or press the F4 key. Your Avid editing application logs the clip in a bin, and the deck starts playing again.

Using a Memory Mark

You can add a memory mark to a particular location on a tape. You can then use the Go to Memory button to move through the tape to the marked location.

To use a memory mark for a particular location on a tape:

t Click the Mark Memory button in the Capture tool to mark the location. t Click the Go to Memory button to move through the tape to the marked location. t Click the Clear Memory button to clear the memory mark.

You can add one mark per tape. The memory mark is not stored on the tape. When you remove the tape from the deck and insert another tape into the deck, the mark is cleared.

Logging Directly into a Bin

Mark Memory button

Logging with Non-Avid-Controlled Decks

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

For NTSC projects, when you are logging within the Capture tool, you should leave the deck empty. If a tape remains in the deck, the system determines drop-frame or non-drop-frame from that tape whether or not it matches your tape’s timecode format.

Go to Memory button

Clear Memory button

Chapter 3 Logging: Advanced

To log clips directly into a bin from a non-Avid-controlled deck:

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

2. Double-click Deck Preferences in the Settings list of the Project window. The Deck Preferences dialog box opens.

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

4. Click OK to close the dialog box.

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

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

Mark IN button

Channel Selection buttons

Message bar

Capture/Log Mode button

Timecode display

Deck controls

Deck Selection pop-up menu

Source Tape Display button Mark OUT button Mark IN button

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

Mark IN text box

Clear OUT button

Mark OUT text box

Logging Directly into a Bin

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

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

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

11. Click OK.

12. Select the tracks you want to log, using the Channel Selection buttons in the Capture tool.

13. Type the start timecode in the Mark IN text box.

14. (Option) Enter a clip name and comment in the corresponding text boxes.

15. Type the end timecode in the Mark OUT text box.

For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the correct pulldown phase. See “Setting the Pulldown Phase” on page 100.

16. Click the Log Clip button. The clip is logged into the bin. The clip name, which is automatically named and

numbered by the system, is highlighted in the bin and ready to be renamed.

17. (Option) Rename the clip by typing a new name in the highlighted area.

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

Chapter 3 Logging: Advanced

Setting the Pulldown Phase

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

For information about the pulldown process, see “Transferring 24-fps Film to NTSC Video”

on page 706.

Set Pulldown Phase option

100

You set this relationship by selecting the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The

pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer.

Pinnacle Systems NewsCutter - 7.0, NewsCutter - 6.7 Advanced Guide

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

Working with the Project Window: Advanced

Working with User Profiles

Understanding User Profiles

Managing User Profiles

Managing Folders and Bins

Guidelines for Project Organization

Creating a Folder in a Project

Managing Bins and Memory

Saving Bins Automatically

Using the Info Display

Viewing Memory

Accessing the Hardware Tool

Customizing the Appearance of the Avid User Interface

Changing Interface Component Colors

Changing Button and Toolbar Styles

Changing Font and Point Size

Customizing Your Workspace

Creating a New Workspace Setting

Linking User Settings and Workspaces

Switching Between Workspaces

Deleting a Workspace

Assigning a Workspace Button

Sharing Bins and Projects in an Avid Unity Environment

Understanding Avid Unity

Sharing Methods

Opening a Shared Project

Working with Locks

Default Locking Mechanism

Overriding the Default Locking Mechanism

Restrictions and Limitations for Locked Bins

Suggestions for Improving Performance When Working with Shared Bins

Shared Bin and Project Limitations

Shared Bin Lock Icon Limitation

Drive Filtering in Networked Workflows

Using Tools

Using the Tools Menu

Using the Deck Controller

Using the Command Palette

Understanding Button Mapping

Mapping User-Selectable Buttons

Using the Blank Button

Mapping Modifier Keys

Mapping Menu Commands

Activating Commands from the Command Palette

Using the Avid Calculator

Using the Console Window

Displaying System Information

Reviewing a Log of Errors

Getting Information with the Console

Using the Console Window to Access Network Drives

Using the Hardware Tool

Using External Controllers as Editing Control Surfaces

Logging: Advanced

Preparing Log Files for Import

Converting Log Files with Avid Log Exchange

Using Drag-and-Drop Conversion for Log Files

Compatible Log Formats

Understanding Avid Log Specifications

Avid Log Specifications

Global Headings

Column Headings

Data Entries

Sample Avid Log

Creating Avid Logs

Double-Checking Log Files

Logging Directly into a Bin

Tips for Logging Preroll, Logging Timecode, and Naming Tapes

Logging with Avid-Controlled Decks

Pausing the Deck While Logging