Pinnacle Systems NewsCutter - 9.5, Media Composer - 5.5 User Manual

Download

Avid® Media Composer®, NewsCutter®,

and Symphony

™

Supporting Applications Guide

Legal Notices

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

This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.

Avid products or portions thereof are protected by one or more of the following United States Patents: 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,724,605; 5,726,717; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,986,584; 5,987,501; 5,999,406; 6,016,152; 6,018,337; 6,023,531; 6,038,573; 6,058,236; 6,061,758; 6,069,668; 6,091,778; 6,105,083; 6,118,444; 6,130,676; 6,134,607; 6,141,007; 6,141,691; 6,198,477; 6,201,531; 6,211,869; 6,223,211; 6,249,280; 6,269,195; 6,330,369; 6,353,862; 6,404,435; 6,407,775; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,596,031; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,763,523; 6,766,063; 6,766,357; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191; 6,928,187; 7,043,058; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; 7,403,561; 7,433,519; 7,512,885; 7,545,957; 7,671,871; 7,684,096; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Other patents are pending.

Avid products or portions thereof are protected by one or more of the following European Patents: 0506870; 0635188; 0674414; 0752174; 0857293; 0976108; 0988756; 1068723; 1068734; 1111910; 1173850; 1629675. Other patents are pending.

This document is protected under copyright law. An authorized licensee of 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 . 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.

The following disclaimer is required by Apple Computer, Inc.:

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

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

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

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

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

The following disclaimer is required by the Independent JPEG Group:

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 Nexidia Inc.:

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

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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

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

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

003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, Archive II, Assistant Station, AudioPages, AudioStation, AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS Assist Station, Avid Liquid, Avid Media Engine, Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, Axiom, Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Boom, Bruno, C|24, CaptureManager, ChromaCurve, ChromaWheel, Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|24, Command|8, Conectiv, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE, Dazzle, Dazzle Digital Video Creator, D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 003, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Development Partners, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, EveryPhase, Expander, ExpertRender, Fader Pack, Fairchild, Fastbreak, Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDPack, Home-to-Hollywood, HYBRID, HyperControl, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Image Independence, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, ISIS, IsoSync, iS9, iS18, iS23, iS36, ISIS, IsoSync, KeyRig, KeyStudio, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, Luna, MachineControl, Magic Mask, Make Anything Hollywood, make manage move | media, Marquee, MassivePack, Massive Pack Pro, M-Audio, M-Audio Micro, Maxim, Mbox, Media Composer, MediaDock, MediaDock Shuttle, MediaFlow,

MediaLog, MediaMatch, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MicroTrack, MIDI I/O, Midiman, Mix Rack, MixLab, Moviebox, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, Nitris, NL3D, NLP, Nova, NRV-10 interFX, NSDOS, NSWIN, Octane, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Ozone, Ozonic, Painterly Effects, Palladium, Personal Q, PET, Pinnacle, Pinnacle DistanTV, Pinnacle GenieBox, Pinnacle HomeMusic, Pinnacle MediaSuite, Pinnacle Mobile Media, Pinnacle Scorefitter, Pinnacle Studio, Pinnacle Studio MovieBoard, Pinnacle Systems, Pinnacle VideoSpin, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, Pro Tools, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, Scorefitter, ScriptSync, SecureProductionEnvironment, Serv|LT, Serv|GT, Session, Shape-to-Shape, ShuttleCase, Sibelius, SIDON, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, Solaris, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, Strike, Structure, Studiophile, SubCap, Sundance Digital, Sundance, SurroundScope, Symphony, SYNC HD, Synchronic, SynchroScope, SYNC I/O, Syntax, TDM FlexCable, TechFlix, Tel-Ray, Thunder, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Torq, Torq Xponent, Transfuser, Transit, TransJammer, Trigger Finger, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Velvet, Video the Web Way, VideoRAID, VideoSPACE, VideoSpin, VTEM, Work-N-Play, Xdeck, X-Form, Xmon, XPAND!, Xponent, X-Session, and X-Session Pro are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

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

Footage

Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. "The Big Swell" — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions.

Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Ice Island — Courtesy of Kurtis Productions, Ltd. Tornados + Belle Isle footage — Courtesy of KWTV News 9. WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA. Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.

Avid Media Composer, NewsCutter, and Symphony Supporting Applications Guide • 0130-30393-01 • June 2010

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Avid MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chapter 1 Understanding Avid MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

How to Use Avid MediaLog?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

How Does Avid MediaLog Work? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

What Are the Basic Logging Steps? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Chapter 2 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Setting Up the Hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Turning on Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Avid MediaLog Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Starting Avid MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Ending a Work Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Overview of the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Using the Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

The Format, Info and Usage Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Other Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Chapter 4 Logging Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Using Avid MediaLog for Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Deck Configuration and Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Understanding Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Prepare to Log Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Modify Clip Information After Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Create Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Import Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Chapter 5 Organizing with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Preparing to Work with Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Bin Display Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Basic Bin Procedures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Working with Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Displaying Timecodes in a 24p or 25p Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . . . . . . . 104

Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Adding Timecode Values to the Timecode Columns . . . . . . . . . . . . . . . . . . . . . . . 104

Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Chapter 6 Creating MediaLog Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Transferring MediaLog Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Exporting Projects and Bins Using AFE Files (Windows Only) . . . . . . . . . . . . . . . 112

Chapter 7 Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Global Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Column Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Chapter 8 Working with a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Film and 24P Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Logging Film Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Avid MetaFuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chapter 9 Using Avid MetaFuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Film and High-Resolution Workflows using MetaFuze . . . . . . . . . . . . . . . . . . . . . . 139

Opening a Project in MetaFuze. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Customizing the MetaFuze Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Scanning your Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Transcoding your Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Configuring the MetaFuze Transcoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Using LUTs in MetaFuze. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Transcoding your Files in a Batch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Exporting an ALE from MetaFuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Importing MXF Files into Avid Media Composer. . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Chapter 10 Avid MetaFuze Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Scan Folders Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Group View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Detail View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Details of a group... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Details of a file... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Details of a transcode job.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Details of a stereoscopic group or transcode job... . . . . . . . . . . . . . . . . . . . . . . . . . 176

Details of R3D groups or transcode jobs... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Create XML Batch Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Burn-in Editor Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Transcode Configuration Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Avid MetaSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Chapter 11 MetaSync Overview and Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Understanding MetaSync Enhancements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Overview of MetaSync Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Installing MetaSync Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Understanding MetaSync XML and DTD Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

XML Information in the MetaSync Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

MetaSync Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

MetaSync DTD Files Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Chapter 12 Using MetaSync Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Opening and Closing MetaSync Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Using MetaSync Manager Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Exploring the MetaSync Manager Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Creating, Saving, and Closing an Enhancements File. . . . . . . . . . . . . . . . . . . . . . 198

Opening an Enhancements File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Creating an Enhancement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Enhancement Attributes Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Additional Enhancement Attributes in Spreadsheet. . . . . . . . . . . . . . . . . . . . . . . . 201

Verifying Enhancement Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Editing an Enhancements File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Sorting and Sifting Enhancements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Importing an Enhancements File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Displaying ITV SMPTE-363M Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Creating Enhancements File Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Setting Default Options for Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Printing an Enhancements File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Running MetaSync Manager from the Command Line (Windows Only) . . . . . . . . 210

MetaSync Manager Command-Line Syntax (Windows Only) . . . . . . . . . . . . . . . . 210

Chapter 13 Using MetaSync with Avid Editing Applications. . . . . . . . . . . . . . . . . . 211

Importing Enhancements Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Viewing Enhancements in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Working with Enhancements in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Modifying the Bin Display for Enhancements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Understanding ITV Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Viewing Enhancements in a Source Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Editing Enhancements into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Editing with Overlay Mode (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Previewing Enhancements in the Timeline (Windows Only) . . . . . . . . . . . . . . . . . 219

Using AutoSync with Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Updating (Refreshing) Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Understanding the Modify Enhancement Dialog Box . . . . . . . . . . . . . . . . . . . . . . . 222

Changing the Size and Position of the Video Image (Windows Only) . . . . . . . . . . 223

Opening an Enhancement’s Native Application . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Exporting a Sequence with Meta Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Chapter 14 Using MetaSync Publisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Using the MetaSync Publisher Window to Create XML Files . . . . . . . . . . . . . . . . . 227

MetaSync Publisher XML File Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Creating an XML File by Dragging an AAF File (Windows Only) . . . . . . . . . . . . . . 229

Running MetaSync Publisher from the Command Line (Windows Only) . . . . . . . . 230

MetaSync Publisher Command-Line Syntax (Windows Only) . . . . . . . . . . . . . . . . 230

Avid EDL Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Chapter 15 Working with EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Edit Decision List (EDL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Avid EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Starting Avid EDL Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Using Avid EDL Manager with your Avid Editing System . . . . . . . . . . . . . . . . . . . . 236

Creating an EDL from a Bin or a File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Saving an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Reading an Existing EDL from the RT-11 Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Copying an EDL between Storage Locations Using RT-11 Disks . . . . . . . . . . . . . 242

Formatting an RT-11 Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Viewing the Tape List in the Source Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Chapter 16 Customizing EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Avid EDL Manager Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Using the Avid EDL Manager Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Changing Settings in the Options Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

The Repair Notes Comment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Saving Options to a File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Changing Options in the Site Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . 270

Chapter 17 Editing and Troubleshooting EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

EDL Online Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Using a Text Editor to Edit an EDL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Removing Issues in Complex Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Locating Trouble Spots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Avoiding Problems in EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Chapter 18 Checklist for Online Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Calling Ahead to the Online Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Deciding What to Take to the Online Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Chapter 19 Creating EDLs for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Matchback Conversion in Film-to-Video EDLs. . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Creating EDLs for a Matchbacked Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Creating Audio-Only EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Chapter 20 Using Serial Transfer to Transmit EDLs . . . . . . . . . . . . . . . . . . . . . . . . 281

Connecting the Edit Controller to the Computer. . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Setting Serial Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Transferring the EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Avid FilmScribe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Chapter 21 Understanding Film Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Film List Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Understanding Cut Lists and Change Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Frame Reference Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

About Optional Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Using Icons in Lists to Represent Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Chapter 22 Working with FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

FilmScribe Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

How to Start and Quit FilmScribe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

The FilmScribe Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Working with Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

The Cut List Tool and the Change List Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

The Options Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

The List Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

How to View Sequences as QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

How to Save, Open, and Print Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Special-Purpose Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Multiple Cuts and Reels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

The Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Chapter 23 Film List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Global Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Options Common to All Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

List-Specific Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Chapter 24 Preparing Sequences for FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Enter Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Prepare Your Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Track Frames Based on File Names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Prepare and Export QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Using This Guide

This guide contains complete information on the following supporting applications for your

editing application:

Avid

• Avid MediaLog

• Avid MetaFuze

• Avid MetaSync

• Avid EDL Manager

• Avid FilmScribe

This guide is intended for all users, from beginning to advanced.

Unless noted otherwise, the material in this document applies to the Windows Mac OS on a Windows system, but the information applies to both Windows and Mac OS X systems. Where differences exist, both Windows and Mac OS X screen shots are shown.

The documentation describes the features and hardware of all models. Therefore, your

system might not contain certain features and hardware that are covered in the documentation.

X operating systems.The majority of screen shots in this document were captured

™

and

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

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.

Symbol or Convention Meaning or Action

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

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

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

(Windows), (Windows only), (Macintosh), or (Macintosh only)

Bold font Bold font is primarily used in task instructions to identify user interface

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

Courier Bold font

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

If You Need Help

If you are having trouble using your Avid product:

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

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

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

they are shipped with your application and are also available online.

This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X.

items and keyboard sequences.

Courier Bold font identifies text that you type.

mouse action. For example, Command+Option+C or Ctrl+drag.

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

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

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

the Knowledge Base at www.avid.com/readme.

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

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 Goodies Folder

Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application.

The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process. Avid is not responsible for the manufacture, support, or sales of these products. Avid is also not responsible for any loss of data or time, or any other adverse results related to the use of these products. All risks of using such products or accessing such Web sites are entirely your own. The Web sites listed in the Goodies folder are not under the control of Avid, and Avid is not responsible for their content, any changes or updates to them, or the collection of any personal data or information by the operators of such Web sites. All information and product availability is subject to change without notice.

Accessing the Goodies Folder

Avid Training Services

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

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

1 Avid MediaLog

This section provides information about Avid MediaLog, an application that lets you select and log footage. Avid MediaLog frees up your Avid editing application for editing rather than for logging footage.

This section contains the following chapters:

• Understanding Avid MediaLog

• Getting Started

• Working with the Project Window

• Logging Source Material

• Organizing with Bins

• Creating MediaLog Output

• Avid Log Specifications

• Working with a Film Project

1 Avid MediaLog

1 Understanding Avid MediaLog

Avid MediaLog is a tool to select and log footage before your edit session. Although you can log footage with Avid editing applications, using Avid MediaLog frees up your Avid editing system for editing rather than for logging footage. After logging shots (for example, on a laptop), use your Avid editing system to capture and edit the footage. In addition, you can transfer film to National Television Standards Committee (NTSC) or Phase Alternating Line (PAL) video. Use Avid MediaLog to log the material and then transfer the logged shots (also known as clips) to an Avid editing system for capturing and editing.

• How to Use Avid MediaLog?

• How Does Avid MediaLog Work?

• What Are the Basic Logging Steps?

How to Use Avid MediaLog?

You can install Avid MediaLog on a laptop or on desktop computers running the Windows or Mac OS X operating system. To log shots from a source tape, connect your computer to a deck. With Avid MediaLog, you control the deck while viewing your source tapes and selecting the shots for your log. You can also log without a deck and manually enter logging information.

For each shot that you log, Avid MediaLog saves the start and end timecodes, duration, tracks selected, and tape name.

Avid MediaLog also lets you add new categories of information to your log, so you can record the scene, take, location, or any other comments that can help you identify the footage.

Once you have created a log, the Avid MediaLog Sort command orders your shots according to criteria you specify. The Sift command uses your criteria to pick out specific footage, such as all the product shots or all shots from a certain location.

You can also use Avid MediaLog to output an AFE file. AFE files are designed to transfer project information between Avid editing systems.

1 Understanding Avid MediaLog

How Does Avid MediaLog Work?

The Avid MediaLog system uses clips, bins, and projects to organize your work.

Avid MediaLog clips and bins are a lot like their film counterparts. Just as film editors pull clips from their raw footage and store the clips in bins for the editing session, Avid MediaLog lets you select shots from your tapes and store information about the shots in bins.

A clip corresponds to a shot you select from a tape. Clips contain information about your footage such as the start and end timecodes and the number of video and audio tracks. Clips are stored in bins that have built-in database capabilities to help you easily find a specific shot.

Each time you log clips, you open a bin and use Logging Tool controls to play your tapes, mark the shots, and add the clips to the open bin.

A bin is open while you log clips to it.

How Does Avid MediaLog Work?

Deck and log controls are in the Logging tool.

Logging tool, with Deck controls on the bottom left and Log controls on the bottom right

If you have a log sheet, you can log clips without using a deck. You type the start and end timecodes for each clip, and then add them to the bin.

Avid MediaLog uses a project file to organize all the work you do on a single job. You must always create a new project or open an existing project before you can open a bin and log your shots.

As you work on a project, Avid MediaLog remembers the name of each bin you open and displays a list of bin names in the Project window. The list is useful for helping you to quickly access bins.

1 Understanding Avid MediaLog

Project Window displaying two bins

What Are the Basic Logging Steps?

To perform a logging session:

1. Start your computer and the Avid MediaLog program.

2. Create a new or open an existing project.

3. Create a new or open an existing bin.

4. Prepare to log:

a. Select a video format.

b. Enter Logging mode.

c. Select a source name.

5. Select the tracks you want to log from the tape.

6. Log the clips.

7. Save and organize the bin.

8. Quit the Avid MediaLog application, and (optionally) shut down the computer.

2 Getting Started

This chapter describes how to set up the hardware and run Avid MediaLog sessions.

• Setting Up the Hardware

• Turning on Your Equipment

• Avid MediaLog Installation

• Starting Avid MediaLog

• Understanding User Profiles

• Backing Up Your Project Information

• Ending a Work Session

Setting Up the Hardware

For information on supported hardware for your system, including supported decks, see the ReadMe documentation that came with your Avid editing application. To view the latest ReadMe, select ReadMe from the Help menu, or visit the Knowledge Base at

www.avid.com/readme.

For information on setting up your hardware, see “Using Avid Input/Output Hardware” in the Help for your Avid editing application.

For information on connecting a deck to your editing system, see “Connecting Cameras, Decks, and Monitors” in the Help.

2 Getting Started

Turning on Your Equipment

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

1. Storage devices.

2. Peripheral devices (such as monitors and speakers).

3. Computer system.

4. Avid input/output hardware device.

Do not disconnect devices while you run your Avid editing application. Before you start your

Avid editing application, make sure you connect all your devices first.

Avid MediaLog Installation

You can find instructions for installing Avid software in the ReadMe that came with your Avid editing application. You can also refer to “Installing the Software” in the Installation Guide for Avid Editing Applications.

c c

Do not install the Avid MediaLog application on disks where you store media.

If you install Avid MediaLog on an Avid editing system, make sure the Avid MediaLog application is in a folder separate from your Avid editing application. Each application has its own preferences.

Starting Avid MediaLog

To start Avid MediaLog:

1. Turn on the capture device.

2. If you are using a deck, set the REMOTE/LOCAL switch on the deck to REMOTE.

3. Turn on the computer.

Starting Avid MediaLog

Do not run any other Avid editing application on the computer at the same time as the Avid MediaLog application. The two applications conflict with each other.

4. Do one of the following:

t (Windows) Click Start > All Programs > Avid > MediaLog.

t (Macintosh) Select Go > Applications, and then double-click the Avid MediaLog

folder. Then double-click the Avid MediaLog application icon to start Avid MediaLog.

The Select Project dialog box appears.

Your login name is selected as the user. You can change users by logging in through a different name. You can also establish user profiles.

Project Types

The following table lists the format options available. Depending on the model of your Avid editing application, your format options might not include all items listed here.

Project Type Source Footage Transfer Color Space

23.976p NTSC For film-originated or video-originated footage that has been shot at

23.976 fps or film-originated footage transferred on digital videotape (such as Digital Betacam

™

)

YCbCr

25i PAL For PAL video-originated footage (25 fps) YCbCr

25p PAL For 25-fps film footage transferred to PAL videotape YCbCr

30i NTSC For NTSC video-originated or other 30-fps footage transferred to NTSC

videotape

720p/23.976 For film-originated material transferred to videotape. YCbCr

720p/25 For video-originated material that can be captured, edited and output for

HD broadcast. It can also be captured in DVCProHD format.

720p/50 For HDV broadcast (European broadcast). YCbCr

720p/59.94 For video-originated material. Can be directly captured, edited, and output

for HD broadcast.

1080p/23.976 For film footage transferred to videotape, or high-resolution files from

digital film cameras.

YCbCr

YCbCr RGB

2 Getting Started

Project Type Source Footage Transfer (Continued) Color Space

1080p/24 For film footage transferred to videotape, or high-resolution files from

digital film cameras. True 24-fps editing.

1080p/25 For film footage transferred to videotape, or high-resolution files from

digital film cameras.

1080i/50 For video-originated material, or high-resolution files from digital film

cameras. Can be directly captured, edited, and output for HD broadcast.

1080i/59.94 For video-originated material, or high-resolution files from digital film

cameras. Can be directly captured, edited, and output for HD broadcast.

Some older versions of Avid editing applications provided HD project types based on HDV

requirements. In current versions of Avid editing applications, these are replaced by standard HD projects that let you specify the raster dimensions for editing and playback.

Creating a New Project

You can open a project in any format. The settings you choose for your project will dictate the format and settings for all sequences within this project.

To create a new project:

1. Start your Avid editing application.

The Select Project dialog box opens.

YCbCr RGB

2. In the Select Project dialog box, select the folder in which you want to create the project: Private, Shared, or External.

3. Click New Project.

The New Project dialog box opens.

4. Type the name of your new project in the text box.

5. Click the Format menu and select a project type.

Your options might change depending on the project type you choose.

Starting Avid MediaLog

Example of the New Project dialog box

6. Set the following additional option(s), where applicable:

Option SD HD

Aspect Ratio Select either

4:3 or 16:9

The project uses the aspect ratio setting to determine the display setting in the monitors, and as a factor in determining whether material requires resizing or repositioning in sequences.

Raster Dimension

Color Space N/A Specifies the color space for some HD project types, either RGB 709

Film Gauge Available for 23.976p, 24p, 25p, 720p, and 1080p film projects.

N/A The Raster Dimension menu appears only for HD projects on a

Always uses the 16:9 aspect ratio.

supported system. For more information,

or YCbCr 709. For more information, see

Click the Film button and select a format for film gauge tracking from the Default Film Type menu.

2 Getting Started

Option SD HD

Audio Transfer Rate

Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only. Select

Matchback, then click the Film button and select a format for film gauge tracking from the Default Film Type menu. The Matchback item appears only if your Avid editing application includes the Matchback option

Available for 24p PAL projects.

7. Click OK.

Your Avid editing application creates the new project files and folder, and then returns to the Select Project dialog box. The project name is highlighted in the Projects list.

8. Double-click the project name in the Projects list to open the project or click OK with the project name highlighted.

The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

Project name and user name in the title bar (left) and Close button (right) in the Project window

Setting Film Preferences

If you are logging 24p or 25p footage for a film project, set film preferences in the Film Settings dialog box immediately after you create a project. These settings provide the system with important information about the type of film and audio transfer you used for your job. For more information, see “Working with a Film Project” on page 125.

Opening and Closing Projects

You can open a project from the Select Project dialog box, and navigate from the Select Project dialog box to find any project on your system.

If you have already created a project, when you enter your Avid editing application you can bypass the Select Project dialog box and have your last project open automatically.

If you choose to install the sample startup project and media when you install your Avid editing application, you can open this project from the Select Project dialog box. The startup project, called Avid Boston Project DV25, contains a complete sequence with rendered effects and titles, as well as all the video and audio clips used in the sequence.

Use the startup project to learn how to edit with your Avid editing application, before you capture any media of your own. You can explore the sequence in the Timeline to learn how it is assembled, and use the clips to practice viewing and editing techniques described in this guide.

If a sequence that was created in an older version of an Avid editing application contains

effects or color corrections, you might need to update the sequence. If a sequence requires updating, the Update Sequence dialog box might open when you load the sequence. For more information, see “Updating and Reverting Existing Effects in Sequences” in the Help.

Starting Avid MediaLog

To open an existing project:

1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External.

2. Do one of the following:

t Select a project in the Select Project dialog box, and then click OK.

t Double-click a project name in the Projects list.

The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

To browse for a project in a location other than the default Shared and Private folders:

1. Start your Avid editing application.

The Select Project dialog box opens.

2 Getting Started

Browse button in the Select Project dialog box

2. Click the Browse button.

The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.

Starting Avid MediaLog

3. Navigate to the folder that contains the project you want.

4. Click OK (Windows) or Choose (Macintosh).

5. Select a project in the Projects list.

6. Click OK.

The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

The next time you open the Select Project dialog box, the path you selected will be displayed when you click the External button.

To open a project automatically:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click any Interface setting.

The Interface Settings dialog box opens.

3. Click the General tab, select “Automatically Launch Last Project at Startup,” and then click OK.

The next time you start your Avid editing application, it opens your last project.

To turn off the automatic opening of projects so that you can select another project when you start your Avid editing application:

1. Deselect “Automatically Launch Last Project at Startup,” and then click OK.

2. Quit your Avid editing application and restart it.

The Select Project dialog box opens.

3. Select a project and click OK.

To open the startup project:

1. In the Select Project dialog box, click the Shared folder button.

2. Double-click Avid Boston Project DV25 in the Project list.

The Avid Boston Project DV25 project opens.

The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio. To view the

footage correctly in monitors, click the Format tab in the Project Window and set aspect ratio to 16:9.

3. In the Format tab of the Project window, ensure that Aspect Ratio is set to 16:9.

The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio.

2 Getting Started

4. Use the Bins tab in the Project window to open one or both of the bins in the project:

- Boston Seq DV25 contains a complete sequence

- Boston Project source contains all the video and audio clips in the project

To close the current project, do one of the following:

t With the Project window active, select File > Close Project.

t Click the Close button in the Project window.

Understanding User Profiles

User profiles let you switch between settings without having to log out of your system and log back in under a different user name.

User profiles let you 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.

User profile folders are kept in the following folder:

Windows XP drive:\Documents and Settings\All Users\Shared Documents\Avid editing

application\Avid Users\UserName

Windows Vista and Windows 7

Macintosh /Users/Shared/Avid editing application/Avid Users/UserName

drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName

You can do the following with user profiles:

• 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.

Backing Up Your Project Information

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 where you made the change. The changes do not update to the server.

When you export User Profiles in an Avid Unity™ environment, make sure the workspace

containing the user profile has the same drive letter on all systems.

You can not share user profiles across platforms (Macintosh to Windows or Windows to

Macintosh).

• Update a user profile to add user settings to an existing Settings list.

For example, if you upgrade to a version of your Avid editing 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.

Backing Up Your Project Information

Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently. Because the storage requirements are minimal, you can back up these files to a variety of storage devices, such as:

•USB (thumb) drive

• CD-ROM or DVD-ROM

• Network storage device (such as a file server)

• Mass-storage device

To back up the larger media files created when you capture footage, use a high-capacity

storage device

2 Getting Started

To save your work on a drive or on removable media:

1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM).

2. (Windows only) From the Windows desktop, double-click the My Computer icon.

3. Double-click the icon for the destination storage drive or storage media to open it. Double-click any additional folders to target the appropriate storage location.

4. Navigate to the folder that contains the project folder or the user folder you want to save.

5. Drag a project folder or a user folder to the targeted storage location.

6. When the system finishes copying the files, unmount the drive or eject the media and store it.

To restore a project or user information from a backup storage device:

1. Mount the drive or insert the removable media that contains the backup copies you want to restore.

2. From the desktop, double-click the icons for the drive or storage media and for the internal hard drive (Windows) or for the Macintosh HD (Macintosh).

3. Drag the copies from the storage device to the appropriate folder on the internal hard drive (Windows) or

When you start your Avid editing application, the restored project and user profile appear in the Select Project dialog box.

Macintosh HD/Users/Shared

(Macintosh).

Ending a Work Session

To end the work session, you must first quit Avid MediaLog, and then turn off your equipment in the correct order.

Quitting Avid MediaLog

There are two ways to quit Avid MediaLog, depending upon whether you have a project open or you are between projects:

t If you are working on an open project and want to quit Avid MediaLog quickly, select

File > Exit (Windows) or File > Quit MediaLog (Macintosh).

The project closes and Avid MediaLog quits.

t If you are between projects, from the Select Project dialog box:

a. Click the Quit button.

A message box opens, asking if you want to leave Avid MediaLog.

b. Click Leave to quit Avid MediaLog. Click Cancel to return to the Select Project

dialog box, and select another project.

Quitting and Turning Off Equipment

To turn off your equipment:

1. Turn off the system by doing the following:

For a Windows system:

Ending a Work Session

a. Click the Start button, and select Shut Down.

The Shut Down Windows dialog box opens.

b. Click the menu, and select Shut down.

c. Click OK.

For a Macintosh system:

t Select Apple menu > Shut Down.

2. If you have an Avid input/output device attached to your system, turn it off.

3. Turn off peripheral devices (such as monitors and speakers).

4. Turn off external storage devices.

Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives.

5. Turn off all other hardware.

2 Getting Started

3 Working with the Project Window

The Project window provides controls for structuring and viewing important information about your current project.

This chapter covers the following topics:

• Overview of the Project Window

• Using the Bins Tab

• Project Settings

• The Format, Info and Usage Displays

• Other Tools

This chapter refers to the installation default directory path for the various Avid folders. If

you selected a different directory path during the installation, you must substitute that path when using this chapter.

Overview of the Project Window

The Project window is a central location for important information and tools that you need as you work on your project.

3 Working with the Project Window

Project window information is organized in tabs.

Tab Function

Bins Lets you create and open bins.

Settings Lets you view and modify settings.

Effects Lets you access a library of effects.

Format Lets you view information about the format of the project.

Info Lets you view information about system memory usage and system hardware

configuration.

Using the Bins Tab

When you create a project, your Avid editing application automatically creates a bin with the name of the new project, which displays in the Bins tab. You can rename this bin and create additional bins as you work in your project.

The word bin is a movie industry term that refers to a container that holds pieces of film. In your Avid editing application, bins contain master clips that are created when you capture source material. Bins also contain the sequences, subclips, group clips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins that you create for other projects.

Viewing a List of Bins

You can view a list of bins in the Project window. The Bins list displays the number, names, sizes, and location of the bins. Bins from other projects appear in the Project window in italic.

To view a list of bins associated with the project:

t Click the Bins tab in the Project window.

Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window.

Creating a New Bin

To create a new bin from the Project window:

1. Do one of the following:

t Select File > New Bin.

Using the Bins Tab

t Click the New Bin button in the Project window.

A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list in the Project window with a default name highlighted and a number appended to it.

2. Type the name of the new bin, and press Enter (Windows) or Return (Macintosh).

A corresponding bin file is placed in the Avid Projects folder, and a backup copy is placed in the Avid Attic folder.

To place a bin in a folder:

t Drag the bin to the folder icon.

Renaming a Bin

Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally.

If you plan to move bins and projects from one platform to another, do not use the characters

/ \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user. Bin and project names are limited to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name.

3 Working with the Project Window

(Macintosh only) You can set the Use Windows compatible File Names option in your Avid

editing application’s General Settings dialog box to prevent your Avid editing application from accepting these restricted characters in a bin, project, or user name. If you use your Avid editing application as a standalone editing application (and don’t plan to move your bins or projects to another platform), you have the option to extend bin and project names to 31 characters.

To change the name of a bin:

1. Click the bin name in the Bins list.

2. Type a new name.

Project name in title bar (top) and default bin name based on Project name (bottom) in the Bins tab of the Project window.

Opening and Closing Bins

You can open a single bin or open multiple bins at once. You can also open a bin from another project.

Never open a bin that is stored on a removable disk or equivalent device; otherwise, your Avid editing application cannot save your work. Always copy the bin to a project folder on the system drive before you open it.

To open a bin directly:

1. Click the Bins tab.

2. Double-click the Bin icon next to the bin name.

The bin opens in a separate window. The Bin icon appears dimmed in the Bins list, indicating the bin is open.

To open several bins at once from the Project window:

1. Click a Bin icon in the Bins list.

2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional bin you want to open.

3. Select File > Open Selected Bins.

Using the Bins Tab

To open a bin from another project:

1. Select File > Open Bin.

The Open a Bin dialog box opens.

2. Find and select the bin you want.

Bins have the file name extension .avb.

3. Click Open.

The bin appears in the Bins list in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window.

The Other Bins folder disappears from the Bins list when you delete all the bins in the Other

Bins folder. Deleting bins from the Other Bins folder does not remove the bins from your system; only the pointers to the bins are removed.

To close a bin, do one of the following:

t Click the Close button.

t Select File > Close Bin.

Displaying Folders of Bins in the Bins List

You can add folders to the Bins list to help organize your project. You can drag bins into folders or drag folders into folders.

Fast Menu button (top), folders and folder arrows (center), and the Trash icon (bottom) in the Bins tab of the Project window.

3 Working with the Project Window

To create a folder in a project:

1. Click the Fast menu button, and select New Folder.

A new untitled folder appears.

2. Click the untitled folder name in the Bins list and rename it.

To show or hide the folder’s contents in the Bins list in the Project window:

t Click the arrow next to a folder icon.

To view a list of only the folder contents and not the folders:

t Click the Fast Menu button, and select Flat View.

The Trash icon and its contents disappear until Flat View is deselected.

Creating a Folder

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.

Deleting a Bin or Folder

You can delete bins and folders along with their contents from the Bins list. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash.

Only bins and folders appear in the Trash. If you select a clip, subclip, or effect directly in a bin and press the Delete key, the item is permanently deleted and does not appear in the Trash.

To delete a bin or folder from the Project window:

t Select the bin or the folder you want to delete in the Bins list, and do one of the

following:

- If the SuperBin is not enabled, press the Delete key.

- If the SuperBin is enabled, right-click the bin name and select Delete Selected Bins.

A Trash icon appears in the Bins list in the Project window. The Trash contains the deleted item.

The Trash is not visible in the Project window until you delete your first item.

Viewing and Emptying the Trash

If you need to view the contents in the Trash or decide you do not want to delete those items, you must first move the bins and folders from the Trash.

Using the Bins Tab

Emptying the trash permanently removes the bins or folders from the drive.

If you change the name of the Trash icon, you cannot empty the Trash.

To view items in the Trash:

1. Click the arrow next to the Trash icon in the Bins list.

2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window.

3. Double-click the bin or folder to view it.

To empty the Trash in the Bins list:

1. Click the Fast Menu button, and select Empty Trash.

A message box opens.

2. Click Empty Trash to delete the bins or folders from the Trash and from your hard drive.

Saving Bins

Your Avid editing application automatically saves changes to your work on a regular basis. You can modify the frequency of the automatic backups.

You can also manually save a specific bin, selected bins, or all bins. You might want to do this immediately after performing an important edit.

When you work with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar. The asterisk or diamond indicates that the changes to the bin have not been saved. After you save the bin, your Avid editing application removes the asterisk or diamond.

When an autosave occurs, any open bins update with changes made since the last autosave, and copies of these bins are placed in the project’s backup bin folder:

Windows XP drive:\Documents and Settings\All Users\Shared Documents\Avid editing

application\Avid Attic folder

Windows Vista and Windows 7

Macintosh /Users/Shared/Avid editing application/Avid Attic folder

drive:\Users\Public\Public Documents\Avid editing application\Avid Attic folder

3 Working with the Project Window

Your Avid editing application 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.

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.

Saving Bins Manually

To save a specific bin:

1. Click the bin to activate it.

2. Select File > Save Bin.

To save selected bins:

1. In the Bins tab, click a Bin icon to select it, and then Ctrl+click any additional bins.

2. Select File > Save All.

The system saves all the selected bins.

The Save Bin command appears dimmed if there were no changes since the last time the

active bin was saved.

To save all the bins:

1. Click the Bins tab in the Project window.

2. Select File > Save All.

The system saves all the bins for the project.

Project Settings

From the Settings scroll list in the Project window, you can view, select, open, and alter various User, Project, and Site settings.

To view the Settings scroll list:

t Click the Settings tab in the Project window.

Understanding Settings

Three types of settings appear in the Settings scroll list in the Project window: User, Project, and Site.

The function of these settings is as follows:

• User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in your Avid editing application. Individual User settings are stored in each user folder.

• Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder. Project folders are stored in the following locations, which depend on whether your project is private or shared:

Platform Private Projects Shared Projects

Project Settings

Windows C:\Documents and Settings\Windows

Macintosh Macintosh HD/Users/Mac login

name/Documents/Avid Projects

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

Macintosh HD/Users/Shared/Avid editing application/Shared Avid Projects

• Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site (for example, specification and node settings for an external switcher). They can also include other User or Project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder.

The following table briefly describes each item in the Settings scroll list. The table also lists where you can find additional information on a particular item, and indicates whether the item has an associated dialog box (or window) that you can access from the Settings scroll list.

3 Working with the Project Window

Setting Name Description For More Information

Audio Project Sets the rate for audio input. See the editing guide for your

Avid editing system.

Bin Sets the auto-save interval; double-click

preferences for bins and other bin-related parameters.

Bin View Selects and formats the information

displayed in bins.

Communication (Serial) Ports

Deck Configuration Configures channels and decks into the

Deck Preferences Sets preferences that affect all decks

Film Sets parameters for edit play rate, ink

Import Sets parameters for file import. See “Import Logs” on page 75.

Keyboard Maps commands from the Command

Logging Allows you to enable the Pause Deck

Configures the serial ports on your system for deck control.

system.

configured into the system.

number format, and transfer rate.

palette to the keyboard.

While Logging feature, map function keys, and specify a preset duration for subclips.

See “Using the Bins Tab” on

page 40.

See “Bin Display Views” on

page 82.

See “Using the Communications

(Serial) Ports Tool” on page 54.

See “Deck Configuration and

Preferences” on page 56.

See “Deck Preferences Settings”

on page 61.

See “Film and 24P Settings” on

page 125.

See “Viewing Keyboard Settings”

on page 51.

See “Pausing a Deck While

Logging” on page 71.

Workspace Enables you to associate settings and

Defining Settings

You can use the Settings list to establish a hierarchy of settings that address the specific needs of each production phase.

For example, you can establish:

• User settings for the assistant editor: Facilitate logging, capturing, and organizing projects

• User settings for the editor: Include editing interface preferences

windows with a workspace.

See “Using the Bins Tab” on

page 40.

Project Settings

• Project settings: Reflect the specific needs of the project

• Bin View settings: Display useful columns of information for each of the bins

Never use a User settings file that was opened in an Avid editing application such as Avid Symphony, Media Composer, or NewsCutter.

By establishing these settings once, and selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template for use on similar projects.

Filtering the Settings List

You can filter the Settings list in the Project window so that it displays a more focused group of settings.

To change the Settings list display in the Project window:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Click the Fast Menu button, and select a settings group.

The selected settings group has a check mark in the Settings menu, and the Settings list displays only the settings in that group.

The following table describes the different Settings display groups.

Option Description

Active Settings Displays currently active settings.

All Settings Displays all settings available.

Base Settings Displays Project, User, and Site settings only. Does not display views.

Bin Views Displays all Bin View settings you have created.

Export Settings Displays all Export settings.

Import Settings Displays all Import settings.

Timeline Views Displays all Timeline View settings you have created.

Title Styles Displays all templates you have created for the Title tool.

Video Tools Settings Displays only the Video Input Tool and Video Output Tool settings.

3 Working with the Project Window

Option Description

Workspace Linked Displays only linked workspaces.

Workspaces Displays all Workspace settings you have created.

Working with Settings

You can view and modify most of your current settings by double-clicking them in the Settings scroll list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems.

Switching to Another Set of User Settings

User settings are not project or site specific, so you can display another set of User settings in the Project window.

To select another user:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Click the User Selection menu, and select another name.

Your Avid editing application saves the previous user’s settings, loads the new user’s settings, and displays them in the Project window.

Modifying Settings

You can alter the default options for various settings to reflect the specific needs of a project or to customize the system based on personal preferences. For details, open a settings window and press F1 (Windows) or the Help key (Macintosh).

Restoring Default Settings

To restore settings to their default values:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Click a setting to select it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional setting you want to select.

3. Right-click the selected setting (or one of the multiple selected settings), and select Restore to Default.

A message box opens.

4. Click Copy & Restore to copy the current settings before restoring the default settings, or click Restore to discard the current settings.

The system restores the default values for the selected settings.

Using Site Settings

When your Avid editing application opens a new project, it first searches the Site_Settings file and loads site settings and any other settings you have placed there. Your Avid editing application then proceeds to load any Project and User settings not included in the Site_Settings file.

Adding settings to the site settings files is useful if you need to establish global settings for all new users and projects, such as switcher settings, a specific start timecode for all sequences, or various customized features of the interface.

To load settings into the Site_Settings file:

1. Open a project with the settings you want to establish as Site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed.

2. Click a Project or User setting in the Settings list in the Project window, or Ctrl+click (Windows) or Shift+click (Macintosh) multiple settings.

Project Settings

3. Drag the selected setting to the Site Settings window.

Copies appear in the Site Settings window.

4. Close the Site Settings window.

All new users and projects opened from the Select Project dialog box use these settings as the default settings.

Viewing Keyboard Settings

Common editing commands are mapped to the MediaLog keyboard. Use the Keyboard settings to view the commands mapped to your keyboard. You cannot change the mappings in Avid MediaLog.

To view keyboard settings:

t Double-click Keyboard in the Settings scroll list of the Project window.

The Keyboard palette varies, depending on the type of keyboard attached to your Avid

system. If an Avid-supported European keyboard is attached to your Avid system, then the Keyboard palette matches that keyboard.

3 Working with the Project 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.

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 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. Workspace buttons are assigned to the workspaces in the Settings list 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.

You cannot assign certain tool windows to a workspace, such as the Hardware tool, the

Communication (Serial) Ports tool, and the Media tool.

The Format, Info and Usage Displays

The following types of information are also available on the Project window:

• The Format display allows you to view the video format selected in the New Project dialog box.

• The Info display allows you to view basic project information. The displayed information lists the options you selected in the New Project dialog box when you created the project. You can also view system memory information from the Info display.

• The Usage display shows information on system usage. You can use this information to support business functions such as resource management. For more information, see the editing guide or user’s guide for your Avid editing system.

Opening the Format, Info or Usage Display

To open the Format, Info, or Usage display:

t Click the Format, Info, or Usage tab in the Project window.

The items listed in this view are for information only and cannot be changed.

Other Tools

The Avid MediaLog application provides access to the Avid Calculator, the Communications (Serial) Ports tool, and the Console window for use while logging clips.

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.

Other Tools

• 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 you enter drop-frame timecode 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).

3 Working with the Project Window

Using the Communications (Serial) Ports Tool

The Communications (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without quitting Avid MediaLog or shutting down the computer.

To access the Communications (Serial) Ports tool:

1. Double-click Communications (Serial) Ports in the Settings scroll list of the Project window.

If you have not yet configured a deck, the window is empty.

2. View or change the port for one or more decks.

You configure the deck and port in the Deck Configuration dialog box (see “Deck

Configuration and Preferences” on page 56). You can change the port in the

Communications (Serial) Ports tool, but whenever Avid MediaLog starts it uses the port selected in the Deck Configuration dialog box.

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

Do not use the programming features of the Console window without guidance from Avid professionals. Contact your local Avid Reseller (in North America, you can contact Avid Customer Support).

To display current system information:

1. Select Tools > Console to open the Console window.

2. Scroll to the top of the Console window to view your system information and ID. This feature is especially useful for finding the system ID before you contact your Avid Reseller or Avid Customer Support.

4 Logging Source Material

You use Avid MediaLog to log your clips in preparation for capturing later when using Avid editing applications.

This chapter covers the following topics:

• Using Avid MediaLog for Logging

• Deck Configuration and Preferences

• Understanding Timecode

• Prepare to Log Material

• Logging

• Modify Clip Information After Logging

• Create Avid Logs

• Import Logs

Using Avid MediaLog for Logging

Avid MediaLog requires that you name the clips that you log, the tapes they came from, and their start and end timecodes. Many editors prefer to log all their clips (shots) first and then batch capture their material later in your Avid editing application.

There are three basic methods for producing a bin or log that you can use later for batch capturing:

• Logging directly to a bin

• Importing standard log files to a bin

• Creating Avid logs

The Avid MediaLog tools automate the process of recording each clip’s start and end timecodes, track selection, and other important data. You do not need to enter information manually. However, if a source deck is unavailable, or if you already logged the data on paper, you can manually record clip data in a bin.

4 Logging Source Material

You can access some of the logging tools provided in Avid MediaLog in other Avid editing system products. Bins that you create with Avid MediaLog are completely compatible with your Avid editing application — you can copy Avid MediaLog bins to the Avid editing system to begin working with the logged footage.

Deck Configuration and Preferences

Avid MediaLog provides a feature that automatically configures your attached deck. Avid MediaLog saves your the deck configuration settings when you quit. If you connect the deck to a different port, or attach a new deck, run the automatic deck configuration feature again.

If Avid MediaLog does not automatically recognize your attached deck, you must manually configure the deck.

Avid MediaLog does not override the manually specified configurations.

Configuring Decks Automatically

Use the automatic configuration feature before manually trying to configure any attached deck. If the automatic feature does not recognize your attached deck, see “Manual Deck

Configuration” on page 56.

To automatically sense the attached deck:

t Select Special > Autoconfigure All Ports.

Avid MediaLog searches the system ports and configures the attached decks.

Manual Deck Configuration

Avid MediaLog offers an alternative method of configuring your deck if it cannot be automatically configured. You can manually configure single or multiple decks even if you have not yet attached the decks to the system. You can also delete stored deck configurations.

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

Deck Configuration settings and global deck control preferences appear as separate items in the Settings list of the Project window.

For information on setting Deck Preferences, see “Deck Preferences Settings” on page 61.

Configuring a Deck or Multiple Decks

To configure a deck or multiple decks:

1. Verify that you have manually configured the appropriate hardware connections for the deck or decks.

2. Double-click Deck Configuration in the Settings list in the Project window.

The Deck Configuration dialog box opens.

Deck Configuration and Preferences

3. Click the Add Channel button.

The Channel dialog box opens.

Channel refers to the signal path for deck control, whether directly through a serial port,

through a V-LAN connection. A direct serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system allows multiple decks.

VLXi system connected to a serial port, or through a FireWire®

4 Logging Source Material

4. Click the Channel Type menu, and select one of the following items, depending upon your system configuration:

Option Description

FireWire Use if you are controlling a DV camera or deck through a FireWire connection.

Direct Use if you are controlling a deck through an RS-422 connection to the serial

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

5. Click the Port menu, and select one of the following items:

Option Description

port.

Avid DNA or OHCI

COM1 Use if you selected Direct or VLAN VLX for the channel.

Use if you selected FireWire for the channel.

Avid DNA refers to the FireWire (IEEE-1394) connection on the Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware and is only an option if you are using one of these devices. OHCI refers to a FireWire connection on the computer (Host 1394).

6. Click OK to close the Channel dialog box.

A dialog box asks if you want to automatically configure the channel now.

7. Click Yes if you want to automatically configure the channel.

A new channel appears in the display area of the Deck Configuration dialog box, along with the autoconfigured deck.

Do not autoconfigure a DV camera or deck. Not all DV devices respond to the

Auto-configure command. Due to this limitation, Auto-configure selects only a generic device template. When a digital camera is attached to your system, click the Deck Type menu, and select the proper device (described later in this procedure). When a deck is attached, click the Deck Type menu, and select the applicable deck.

Deck Configuration and Preferences

Example of a channel (left) and a deck (right) in the display area of the Deck Configuration dialog box

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

channel box in the Deck Configuration dialog box.

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

9. Click the Add Deck button to open the Deck Settings dialog box.

When a deck is already connected to the system, you can click the Auto-configure button to

bypass the Deck Settings dialog box and automatically configure a deck with the default settings.

4 Logging Source Material

10. Select the manufacturer and model number of your deck or other device.

Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device.

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

You can reopen the Deck Settings dialog box to change the options at any time by

double-clicking the deck box in the Deck Configuration dialog box.

12. Repeat the channel and deck setup process for each additional channel or deck you want to configure.

13. (Option) If you want your Avid editing application to check the deck configuration against the decks physically connected to the system, select “Verify configuration against actual decks.”

Your Avid editing application checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start a work session. A message box warns you if the configuration does not match the deck.

14. Type a name in the Configuration name text box to name the deck configuration.

The new deck configuration appears in the Settings list in the Project window.

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

16. Double-click Deck Preferences in the Settings list in the Project window to review and if necessary adjust global deck control options.

Deleting Deck Configuration Elements

You can delete deck configuration elements to remove or replace them.

To delete deck configuration elements:

1. Double-click Deck Configuration in the Settings list in the Project window.

The Deck Configuration dialog box opens.

2. Click a channel box, a deck box, or the entire configuration to select it.

3. Click the Delete button.

4. Click the Apply button to complete the changes and close the dialog box.

Deck Preferences Settings

Deck Configuration and Preferences

Option Description

When the deck contains no tape or drop frame cannot be detected set timecode to

Allow assemble edit & crash record for digital cut

Stop key pauses deck Defines the function of the Stop key (space bar) on the keyboard. Select this option

Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a constant

Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when your Avid editing application cannot detect drop frame or non-drop frame. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape.

When this option is selected, you can use the assemble-edit and crash-record features in the Digital Cut tool, along with the assemble-editing and manual recording capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance while using the assemble edit feature. Select this option also if you want to operate the deck manually.

to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button.

If the videotape heads are down in “Stop key pauses deck” mode, pressing the space bar brings up the heads and pauses the deck.

The Stop button in the Capture tool always stops the decks.

speed instead of stopping when you release it.

4 Logging Source Material

Option Description

Stop any paused decks when quitting

Poll deck during digital cut

When this option is selected, any paused decks stop when you quit your Avid editing application. Selecting this option saves wear on the deck heads.

When this option is selected, your Avid editing application checks the deck for the current timecode and displays it in the timecode window of the deck controller. If you see degraded image quality on your digital cut (particularly visible as noise during black), deselect this option and record the digital cut again. When this option is deselected, the Record button does not flash and the timecode display in the deck controller does not update for the duration of the digital cut.

Understanding Timecode

Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that have elapsed in video material. For example, a timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames.

Most video formats, including PAL and HD formats, use non-drop-frame timecode, where every frame of the video material is counted in sequence.

NTSC video, however, might use either of the following two formats:

• Drop-frame timecode matches the NTSC scan rate of 29.97 frames per second (fps) by dropping two frames of timecode every minute except for the tenth minute. This does not drop any of the video frames themselves. Drop-frame timecode is indicated by semicolons between the digits, for example, 01;00;00;00.

• Non-drop-frame timecode tracks NTSC video at a rate of 30 fps and is indicated by colons between the digits, for example, 01:00:00:00. Non-drop-frame timecode is easier to work with, but does not provide accurate timing for NTSC broadcast.

For example, if you work on a 1-hour show that uses 52 minutes of video, the program ends at 01:52:00:00 (non-drop-frame). If it is broadcast at 29.97 fps, it will last 94 frames too long (approximately 3 seconds).

The following illustration compares the two types of timecode at the 1-minute mark. Remember that no frames are actually dropped when drop-frame timecode is used. Drop-frame timecode simply skips timecode numbers as necessary to match the actual NTSC scan rate.

Comparison of non-drop-frame timecode (top) and drop-frame timecode (bottom)

01:00:59:28

01:00:59:29 01:01:00:00

01:01:00:01

01:01:00:02

01;00;59;28

01;00;59;29 01;01;00;02

01;01;00;03

01;01;00;04

You set the default timecode format for logging clips in the Deck Preferences dialog box.

Prepare to Log Material

Avid MediaLog provides two special tools for logging source material:

Tool Function

Prepare to Log Material

Audio Project settings Lets you to set the audio rate

Logging tool, Lets you do the following:

• Source deck controls

• Marking and logging controls

• Active track controls

• Timecode information

• Deck, bin, and tape name information

• Comment section

• Message area

Accessing and Setting Up the Logging Tool

Once you have opened or created a bin, you can use the Logging tool to enter the name of the tape and to access deck and logging controls. You can also use the Logging tool to plan a naming scheme; to work with source tapes; and to select tracks, bins, and sources.

To access the Logging tool, do one of the following:

t Click in a Bin window to activate it, and then select Bin > Go To Logging Mode.

t Select Tools > Logging.

4 Logging Source Material

To select the appropriate source deck, source tape, and active track settings for your logged material:

1. Open or create your project and the bin in which you want to store your master clips.

For information about opening projects and bins, see “Getting Started” on page 25.

2. Select Bin > Go To Logging Mode.

The Logging tool opens.

Guidelines for Naming Tapes

Consider the following naming guidelines when you provide a name for your tape:

• Devise a naming scheme. You might prefer tapes of similar names because you can view them together and sort them easily in a bin. However, you might find it difficult to distinguish among them when you try to locate a specific tape quickly. Name the tapes based on the amount and complexity of your source material.

• Use unique names. The system cannot distinguish between two tapes with the same name and between two bins or clips with the same name. For example, if two tapes are named 001, you might encounter problems correctly associating their clips with the correct physical tapes.

• Use alphanumeric characters (A–Z, 0–9), with no spaces before the name. can include uppercase and lowercase characters. The maximum length of a name is 31 characters.

• Select a case convention and maintain it throughout a project. A single tape is listed as several different tapes if you alter the case of the letters. For example, if you type a single name as SUNSET, Sunset, and sunset on three different occasions, all three names appear. This can cause problems when keeping track of clips during the logging process.

• Be cautious when changing the tape name. After you provide a name for a tape source, any change to the name automatically changes that tape name everywhere it occurs. If you decide later to change the name of one of the tapes from 001 to 999, every reference to tape 001 changes to a reference to tape 999.

Preparing to Log

When you insert a tape in your deck, the Logging tool lets you set several options prior to logging, such as selecting a target bin.

The Logging tool also captures information about the active tracks. Avid MediaLog automatically activates the tracks that were active in the previous session.

Prepare to Log Material

In some cases, your source material might not reside on a video deck. You can also select

other source devices, such as a digital audiotape (DAT). Be sure the source material has readable timecode.

To insert a source tape in a deck to prepare for logging source material with Avid MediaLog:

1. Set the REMOTE/LOCAL switch on the deck to REMOTE.

2. Insert a tape into the deck.

3. Select Bin > Go To Logging Mode.

The Deck Controller tool opens as part of the Logging tool.

To change track selection settings:

t Click tracks in the Channel Selection area of the Logging tool to activate or deactivate

them.

To select a target bin:

t Click the Bin menu in the Logging tool and make a selection.

Only opened bins appear in the Bin pop-up menu.

To open a bin, do one of the following:

t For a bin created in the current project, double-click the bin in the Project window.

t For a bin created in a different project, select File > Open Bin, and then locate and open

the bin in the Open dialog box (Windows) or Open a Bin dialog box (Macintosh).

t Create a new bin by clicking the New Bin button in the Project window.

To select the deck where the source material is found:

t Click the Deck Name menu to display the available online decks, and then Select the

name of your source deck from the menu.

4 Logging Source Material

Identifying the Source Tape

To select a source tape:

1. Insert a tape into the deck.

The Select Tape dialog box opens.

If you already have inserted a tape into the deck, click the Source Tape Display button in the

Capture tool.

For information about deck preferences, see “Deck Preferences Settings” on page 61.

2. In an NTSC project, play the tape for a few seconds so the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape. This might cause a message indicating a wrong tape to appear.

Drop-frame timecode appears in the Timecode indicator with semicolons between hours,

minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more information, see “Understanding Timecode” on page 62.

3. Provide the system with a tape name in one of the following ways:

t Select the name of the tape from the list in the Select Tape dialog box and click OK.

t Click the New button in the Select Tape dialog box if the tape does not appear in the

list. A new tape name line appears in the dialog box. Type the new name and click OK.

Setting the Audio Sample Rate

Before you begin logging, you must select an audio sample rate.

To select the audio sample rate:

1. In the Project window, click the Settings tab.

The Settings list appears.

2. Double-click Audio Project.

The Audio Project Settings dialog box opens.

3. Click the Main tab.

4. Click the Sample Rate menu, and select a sample rate.

5. Close the Audio Project Settings dialog box.

Logging

The following methods are available for logging:

• Logging from a Source Tape

Logging

• Logging On-the-Fly

• Pausing a Deck While Logging

• Logging with the Deck Offline

• Adding Clip Names and Comments On-the-Fly

• Controlling Decks from the Keyboard

Logging from a Source Tape

One method of logging entails using Avid MediaLog tools to control a source deck, to select shots from your source tapes, and to record clip data directly to a bin.

Make sure you have set up all the required information for logging, as described in “Deck

Configuration and Preferences” on page 56 and “Prepare to Log Material” on page 63. After

you establish your settings and specify your bin, deck, and tape, you can log from a tape to a bin using only the Logging tool.

4 Logging Source Material

Marking and Logging

The basic logging procedure involves marking In and Out points. You mark In and Out points using the Mark buttons or by typing In and Out timecodes.

The button in the top left corner of the Logging tool changes according to the stage of logging. When the button appears as a pencil, Avid MediaLog is ready to log the clip.

For an 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 126 and

“Entering Pulldown Information” on page 130.

To log clips directly from a source tape to a bin:

1. Insert your tape into the deck.

The Logging Messages bar displays the message “Mark IN,” indicating the system is waiting for you to mark an In point. The Mark IN button appears in the top left corner of the Logging tool.

2. Set an In point or an Out point for the clip you want to log, using one of the following methods:

t Use the deck controls in the Logging tool to cue your source tape to the start or end

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

t Click the Mark In button in the upper left corner of the Logging tool or press the F4

key.

t If the footage starts at a known In point or ends at a known Out point, type the

timecode in the text box next to the Mark IN or the Mark OUT button, press the Go To IN or the Go To OUT button to scan the tape forward to the mark, or press Enter (Windows) or Return (Macintosh) to enter the mark.

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

The Mark OUT and Log and Mark IN and Log buttons only appear if you did not select the

Pause Deck While Logging feature. If you want to pause the deck while you enter a clip name and comments, see “Pausing a Deck While Logging” on page 71.

3. To finish logging the clip, do one of the following:

t Set the remaining In or Out points on-the-fly using the Mark IN or Mark OUT

buttons or by pressing the F4 key.

t Click the Mark OUT and Log or Mark IN and Log button.

t Type a timecode for the clip In point, Out point, or duration in the timecode text

boxes next to the corresponding icon and press Enter (Windows) or Return (Macintosh).

The system automatically calculates the appropriate timecode for the remaining In point, Out point, or duration, and enters the clip into the bin. The Logging tool automatically numbers the clip and highlights it so you can modify it.

Logging

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

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

Consider changing the clip name immediately, because you can easily forget the contents of

each clip if you log many clips. You can accept the clip name and proceed with the logging process and change the clip names in the bin at a later time.

5. Repeat these steps until all your clips are logged.

While viewing the footage, you can continuously update your marks on-the-fly by clicking the Mark IN or the Mark OUT button repeatedly before entering the second mark. See “Logging On-the-Fly” on page 70.

Using a Memory Mark When Logging

You can add a memory mark to a particular location on a tape, 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.

4 Logging Source Material

Memory buttons: (right to left) Mark Memory, Go to Memory, Clear Memory

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 clears.

Logging On-the-Fly

You can log clips while the tape is playing (also called “logging on-the-fly”). Logging on-the-fly requires the preparation described in these sections:

• “Preparing to Log” on page 64

• “Identifying the Source Tape” on page 66

• “Setting the Audio Sample Rate” on page 67

You can log on-the-fly whether or not you already know where you want to mark the In and Out points in your clips.

To log on-the-fly:

1. Insert your tape into the deck.

2. Open the bin where you want to store the clips, or create a new bin.

3. Select Bin > Go To Capture Mode.

4. Select the audio and video tracks you want to log and their tape name.

5. Play the tape.

6. Mark an In point by pressing the E key or I key.

The timecode appears and the Logging Messages bar displays the following message: “Mark OUT and Log.”

7. Mark the Out point by pressing the R key or O key.

8. Log the clip by pressing the F4 key.

The clip is logged into the bin.

The Logging tool automatically numbers the clip and highlights it so you can modify it. The default clip name is the bin name plus a number.

9. (Option) Type a new name for the logged clip in the bin, and press Enter (Windows) or Return (Macintosh).

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

Pausing a Deck While Logging

If the deck plays while you log clips, you can direct Avid MediaLog to pause the deck automatically after you select an In point and an Out point. While the deck is paused, you can enter the name and comment for the clip you want to log.

To pause the deck while logging:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click the Logging setting and select the Pause Deck While Logging option in the Logging Settings dialog box.

3. Start the deck playing.

4. When you reach the point where you want to start the clip, click the Mark IN button (or press the F4 key). The Mark IN button changes to the Mark OUT button, and the deck continues to play.

Logging

5. When you reach the point where you want to end the clip, click the Mark OUT button (or press the F4 key again). The Mark OUT button changes to the Log Clip button, and the deck pauses.

6. (Option) Enter a clip name and comment.

7. Click the Log Clip button (or press the F4 key again).

The system logs the clip in a bin, and the deck starts playing again.

Logging with the Deck Offline

You can also log material without controlling a source tape deck — for example, when you do not have a deck connected to your system or when the tape is not available. You can log material as long as you know the timecodes.

To log without a deck or tape:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click Deck Preferences.

4 Logging Source Material

3. For NTSC projects, click the timecode menu and select either Drop Frame or Non-drop Frame as the timecode format for logging.

4. Click OK to close the Deck Preferences dialog box.

5. Make sure a bin is selected.

6. Select Bin > Go To Logging Mode.

7. Click the Source Tape Display button.

A message box opens and asks if you want to associate a tape with the deck.

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

9. Do one of the following:

t Double-click the name of the tape.

t Click the New button, type the name of the tape you want to log, and then click OK.

t Select the name from the list, and then click OK.

10. In the Channel Selection area in the Logging tool, click the tracks you want to log. For example, click V1, A1, and A2.

11. Click the Bin menu, and select the destination bin.

12. Type the start timecode in the timecode entry text box for Mark In, and press Enter (Windows) or Return (Macintosh).

13. Type the end timecode in the timecode entry text box for Mark Out, and press Enter (Windows) or Return (Macintosh).

14. Click the Log Clip button.

15. (Option) Rename the clip that appears in the destination bin.

Adding Clip Names and Comments On-the-Fly

The Avid system’s Annotate feature allows you to type clip names and comments during logging. This information is saved in the clip Name and Comments columns in the bin. You can add comments about such things as color correction or directions for editing.

To carry your comments over to the sequence so that they appear in the Timeline, in cut lists,

or in EDLs, you must add the comments again when creating the sequence by using the Add Comments command in the Clip Name menu.

To add clip names and comments on-the-fly:

1. Start typing the clip name at any time during logging of a clip.

Logging

The Annotate window opens on screen, allowing you to see the text as you type.

2. After typing the clip name, press the Tab key and begin typing comments. You cannot edit the text until after the capture completes, but you can backspace to retype the comments.

Controlling Decks from the Keyboard

You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and Deck Controller window.

Press To

K Stop the deck.

L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.

J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed.

K+L Shuttle the deck at 0.25x normal speed.

J+K Shuttle the deck at –0.25x normal speed.

4 Logging Source Material

The following restrictions apply:

• You must select the Capture tool, Digital Cut tool, or Deck Controller window for the keys to be active.

• Single-field stepping is not supported.

• If you remap the function of the J-K-L keys, you can no longer control decks with those keys.

Modify Clip Information After Logging

You can change or modify the information logged into the bin. This is especially useful if you find that some of the data is incorrect, or if you need to update the information based on technical needs such as varying timecode formats or film specifications.

You can modify clip information prior to capturing in two ways:

• You can modify the information directly by clicking in a column and by entering the new information one field at a time.

• You can use the Modify command to change selected groups of clips all at once.

For information on modifying the pulldown phase, see “Setting the Pulldown Phase” on

page 126.

Modifying tape names and timecodes affects any key numbers entered for the selected clips.

Create Avid Logs

You can use a text editor to log your source footage manually. An Avid log lists video clips you want to capture for editing. You can create the logs in Avid format, entering data about your source tapes and clips according to Avid specifications.

You can also modify an incompatible log to make it conform to Avid specifications. To prepare an Avid log on any type of computer, use any text editor. After you create logs, you can import them directly into Avid MediaLog bins.

“Avid Log Specifications” on page 115 describes the format specifications for an Avid log

and includes a sample Avid log.

Make a separate log for each videotape, or log clips from several different videotapes into one log. After you manually create an Avid log, you can import it into Avid MediaLog as described in “Importing Log Files into Avid MediaLog Bins” on page 76.

Import Logs

Many logging programs and film-to-tape transfer systems create logs you can import into your Avid MediaLog project. You can open some logs directly in Avid MediaLog bins. Others require converting to Avid format first.

When you transfer film to video for logging in Avid MediaLog, ask the transfer house to log the source footage during the film-to-tape transfer. You can import some standard film-to-tape logs directly into Avid MediaLog bins or use Avid Log Exchange to convert other film-to-tape logs to Avid format and then import them into Avid MediaLog. A number of video logging systems also produce files you can import into a Avid MediaLog bin.

Compatible Logs

Use the File > Import command to import these files to a Avid MediaLog bin:

Avid recommends that you convert any files not created on an Avid system into Avid format using Avid Log Exchange. Avid Log Exchange is included with most Avid video editing applications. For information about using Avid Log Exchange, see the input and output guide or user’s guide for your Avid editing system.

Import Logs

The table lists the log formats that you can import directly or convert for import when you use Avid Log Exchange (ALE).

Log Format Requirements File Name Extension

AatonBase Conversion required .atn or .atl

Avid Log Import directly .ale

Cinema Tools Conversion required .txt

CMX EDL Conversion required .cmx

Evertz

Excalibur Conversion required .ale or .flx

Final Cut Pro Conversion required .txt

™

FLEx

Conversion required .ftl

Conversion required .flx

4 Logging Source Material

Log Format Requirements File Name Extension

Keyscope Conversion required .ksl

Log Producer

Log right Import directly .ale

OSC/R (Macintosh

OLE (Windows only) Conversion required .odb

Shotlister Import directly .ale

Tab Delimited Conversion required .txt

™

only) Conversion required .asc

Conversion required .llp

Importing Log Files into Avid MediaLog Bins

To import log files into a Avid MediaLog bin:

1. Open a bin and click its window to select it.

2. Select File > Import.

The Select files to Import dialog box opens.

3. (Windows) Select Files of type > Shot Log Files (*.ale). (Macintosh) Shot Log Documents is already selected as the file type.

4. Navigate to the drive and then to the folder that contains the log file you want to import.

5. (Option) If you want to adjust import parameters for the shot log, click the Options button.

The Import Settings dialog box opens.

6. Select one of the following options and click OK.

Option Description

Maintain events as logged. Select this option to maintain events as originally logged.

Combine events based on scene and automatically create subclips.

Select this option to combine all the events for a scene into a single master clip. Then, link the master clip to subclips that represent the original events for that scene. To use this option, you must have scene numbers logged into a scene column in the bin.

Option Description

Import Logs

Combine events based on camera roll and automatically create subclips.

Merge events with known sources and automatically create subclips.

Merge events with known master clips.

Select this option to combine all the events from a camera roll into a single master clip. Then, link the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged into a camera roll column in the bin for a film project.

Select this option to create subclips for events that are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene and have subsequently logged all the events related to those clips for import.

You must select the clips that you want to merge

before selecting this option.

Select this option to merge information in the shot log onto selected master clips based on the matching tape name. Use this option if you have already logged (or captured) master clips in a bin for each take.

You must select the clips that you want to merge

before selecting this option.

7. Select files or deselect files from the source file list by doing one of the following:

t (Windows only) To add a group of files, click the first file in a group, and then

Shift+click the last file in a group.

t To deselect a single file from the file browser section (Windows) or import section,

Ctrl+click (Windows) or Cmd+click (Macintosh) a highlighted file name.

8. Click Open (Windows) or Done (Macintosh) to import the selected logs to the bin, or click Cancel to cancel the operation.

The bin fills with master clips derived from the information in the imported shot log. Any additional information logged with each clip is also imported.

9. To save the new master clips that came from importing the log, save the bin.

4 Logging Source Material

Transferring Bins from Another Avid MediaLog System

Avid MediaLog bins are compatible with those of other releases. In general, later releases of the Avid MediaLog application accept bins from earlier releases.

When you transfer the bins to another system you can start your Avid MediaLog program and open the imported bins in the same way you open standard Avid MediaLog bins.

To transfer a bin from one Avid MediaLog system to another Avid MediaLog system:

1. Save Avid MediaLog project bins from the first Avid MediaLog system on a removable storage device.

2. Make sure the Avid MediaLog application is not running on your second system.

3. Copy the Avid MediaLog bins you want to transfer and paste them into the project folder where you want to store the Avid MediaLog bins on your second system.

5 Organizing with Bins

The Avid system provides powerful database tools for organizing and managing your captured material. You can view bins in two different display views. You can rename, print, sort, sift, duplicate, and delete clips.

This chapter covers the following topics:

• Preparing to Work with Bins

• Bin Display Views

• Basic Bin Procedures

• Tex t Vi ew

• Working with Bin Columns

• Displaying Timecodes in a 24p or 25p Project

• Adding Timecode Columns to a Bin or the Media Tool

• Frame Counting for Timecodes

• Adding Timecode Values to the Timecode Columns

• Bin Column Headings

Preparing to Work with Bins

Before organizing a project, you may want to follow these procedures since it affects the display of information in bins or the way the clips play back during screening:

• When working with film projects, organize captured clips according to the scene. This practice keeps crowded bins to a minimum. See “Film Scene Workflow” on page 80.

• If you want to customize the types of objects displayed in a bin, see “Setting the Bin

Display” on page 80.

• If you need to group or multigroup material, see the editing guide or user’s guide for your Avid editing system.

5 Organizing with Bins

Film Scene Workflow

During the organizing phase, common practice on film productions is to organize the captured clips according to a scene. This helps to simplify the work environment for the editor and keeps crowded bins to a minimum.

Organize scene bins according to the following basic workflow:

1. Create one bin for each scene using the procedures described in “Creating a New Bin”

on page 41.

2. Gather clips according to scene using one of the following optional procedures:

3. Copy clips for each scene from the dailies bins into the appropriate scene bin, using procedures described in “Duplicating, Copying, and Moving Clips and Sequences” on

page 86.

4. Duplicate the clips and then move the duplicates into the appropriate scene bin, using procedures described in “Duplicating, Copying, and Moving Clips and Sequences” on

page 86.

5. Proceed to sort, sift, and organize the clips within each scene bin, according to the editor’s preferences.

If you copy or duplicate clips as you reorganize them in bins, the original source clips remain in the appropriate dailies bin if you ever need to recapture according to source tape.

Setting the Bin Display

By default, your bins display all existing media objects except source clips and rendered effects. To reduce crowding in the bin and to display only those objects that you need to organize your project, you can display selected media objects.

You can use the Set Bin Display option to display clips referenced by a sequence, even if the clips were not previously in the bin.

To set the bin display:

1. Place a sequence in a new bin and click the bin.

2. Select Bin > Set Bin Display.

The Set Bin Display dialog box opens.

3. Select the object types that you want to see: master clips, subclips, sequences..

4. (Option) Accept the default or deselect “Show clips created by user” if you want to hide all objects except those created by the system.

5. (Option) Select “Show reference clips” to automatically display objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not.

6. Click OK.

The bin displays objects according to your specifications.

Object Icons in Bins

Bins use icons to identify clips, sequences, and other media objects that they display. The table describes all of the object icons that you might see in a bin display.

By default, bins display all existing media objects except source clips and rendered effects.

Icon Object Type Description

Master Clips A clip that references audio and video media files formed from captured footage or

imported files

Preparing to Work with Bins

Shared Storage Master Clip

In-progress Master Clips

Subclips A clip that references a selected portion of a master clip

Shared Storage Subclips

Audio Clips A clip that references audio media files formed from captured audio or imported files

Shared Storage Audio Clips

In-progress Audio Clips

Sequences A clip that represents an edited program, partial or complete, that you create from

Sources A clip that references the original videotape source footage for master clips

Effects A clip that references an unrendered effect that you create

A master clip that references media files located on a shared storage system

In an Avid Interplay MultiRez environment, the icon displayed for a clip might change, depending on whether the clip is linked to shared storage or local storage. The Dynamic Relink settings determine how the clip is currently linked.

A master clip that references media currently being captured that you can view and edit.

A subclip that references media files on a shared storage system

An audio clip that references media files located on a shared storage system

An audio clip that references media currently being captured that you can play and edit.

other clips

5 Organizing with Bins

Icon Object Type Description (Continued)

Motion Effects A file in the bin that references effect media files generated when you create motion

effects

Rendered Effects

Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung

ITV Enhancement

Opaque Enhancement

A clip that references an effect media file generated when you render an effect

together sequentially according to common timecodes

A clip that represents Interactive TV (ITV) enhancements that conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide.

A clip that represents enhancements that do not conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide.

Bin Display Views

There are two display views for viewing and working with clips in a bin: Brief view and Text view. You can also customize bin views.

You can resize each display view by clicking the lower right corner of the Bin window and

dragging it. Save the size of the display view as a user setting for the bin. The bin view retains its set size every time you open that view of the bin, even in separate editing sessions. Each bin view can have a different size.

Brief View

In Brief view, the system displays a select number of standard columns based on project type. You cannot customize the column headings in Brief view.

To enter Brief view:

t Click the Brief tab in the bin.

A different set of column headings appears for film projects.

Text View

In Text view, clips are displayed in a database text format, using columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views. See “Customizing Bin Views in Text View” on page 83.

To enter Text view:

t Click the Text tab in the bin.

Bin Display Views

Top to bottom: column headings, object icons, and the Bin Fast menu button in a bin using Brief view

Top to bottom: column headings, object icons, and the Bin Fast menu button and Bin View pop-up menu in a bin using Text view

Customizing Bin Views in Text View

To the right of the Fast Menu button is the Bin View menu (Text view only) for selecting different bin views. You can create and save customized bin views that you can easily access from the Bin View menu. You can customize the bin view by resizing the Bin window and adding, hiding, or rearranging bin columns. The only required column heading is Name, which appears by default.

5 Organizing with Bins

If you import a log file from your telecine transfer, most of this information is placed in the bin when you import the log. If you do not have a film log, then you can enter this information manually by highlighting the field in the bin and typing the information.

There are several ways to customize views of the bin:

• Alter the arrangement of existing columns in the standard Statistics view or Film view to suit your needs, without adding or hiding columns. These arrangements are recalled each time you reopen a bin in that view.

• Add or hide columns of information to create customized Statistics or Film views. They are saved as additional view settings in numerical order — for example, Statistics.1, Statistics.2 — unless you select another name.

• Add, hide, copy, or rearrange standard or customized columns in any combination to create your own custom views. You can name and save these views to suit your needs.

When you create a new bin view, the system saves the settings for this view so that you can later access and alter, copy, or delete these settings. New bin view settings appear in the Settings scroll list of the Project window.

Saving a Custom Bin View

To save a bin view:

1. Open a bin and click the Text tab.

2. Resize, add, hide, or rearrange bin columns according to preference to customize your view.

The Name column is the default and the only required column heading.

The bin view name changes to an italic name with the file name extension .n to indicate that it no longer matches the original view. If you select a new bin view setting while the current setting is untitled or italic, the system discards the current setting.

3. Click the Bin View menu, and select Save as.

The View Name dialog box opens.

4. Type a name for the custom view, and click OK.

To change a custom bin view with the Bin View dialog box:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click the custom bin view you want to change.

The Bin View dialog box opens.

3. Select and deselect the columns you want to display.

4. Click OK.

Using the Bin Fast Menu

All Bin menu commands are also available in the Bin Fast menu located in the lower left corner of every bin. The Bin Fast menu is especially convenient when you work with several open bins and need to access Bin menu commands quickly.

To open the Bin Fast menu:

t Click the Fast Menu button.

Basic Bin Procedures

There are some basic procedures that you can use in either bin display view for manipulating clips in the bin. They include selecting, deleting, duplicating, moving, copying, and sifting clips.

You can also change the font and point size of the text in a bin.

Basic Bin Procedures

When you are working with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar. The asterisk or diamond indicates that the changes to the bin were not saved. Once you save the bin, the asterisk or diamond is removed.

To view a complete list of the bins in your project, see “Using the Bins Tab” on page 40.

Selecting Clips and Sequences

To select a clip or sequence in a bin, do one of the following:

t Click the clip or sequence icon (Brief view or Text view).

t Click in the picture area of the clip or sequence (Frame or Script view).

Ctrl+click (Windows) or Cmd+click (Macintosh) toggles the selection between selected and

deselected states. Double-clicking a clip loads it into the Source monitor.

5 Organizing with Bins

To select multiple clips or sequences in a bin, do one of the following:

t Ctrl+click (Windows) or Cmd+click (Macintosh) clips to add them to your selection.

t Select a clip, and then Shift+click another clip to select a range of items. If you then

Shift+click another clip, the range covers all clips from the one you originally selected to the new clip. In Frame view, the range of items includes all clips within a rectangular region bounded by the first and last clips selected.

t Lasso several items. Click the mouse pointer outside the first item and drag it to

surround the items with a white dotted line.

Selecting a single item deselects any other selections.

To reverse your selection:

t Select Bin > Reverse Selection.

The items that you previously selected are deselected, and those items that were previously deselected are selected.

Duplicating, Copying, and Moving Clips and Sequences

When you duplicate a clip or sequence, your Avid editing application creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip.

When you copy clips, you are cloning the same clip in another bin. Any change you make to the copy affects the original clip. You cannot copy clips to the same bin, and you cannot return a clip copy to the same bin where the original resides.

When you copy clips from one bin to another, the custom columns that you create in the first bin are also copied to the second bin. The custom columns appear in the order in which you created them.

To duplicate clips or sequences:

1. Select the clip or sequence that you want to duplicate, or select multiple clips or sequences.

2. Select Edit > Duplicate.

A copy of the clip or sequence appears in the bin, with the original clip or sequence name followed by the file name extension .Copy.n, where n is the number of duplicates created from the original clip or sequence.

Deleting media files for the duplicate clip or sequence also deletes the media files for the original clip or sequence.

Basic Bin Procedures

To move clips or sequences from one bin into another:

1. Create or open another bin.

Give the bin a name that represents its purpose or contents.

2. Position or resize the original bin and the new bin so that you can see both of them at the same time.

3. Select the clips or sequences that you want to move.

4. Drag the clips or sequences to the new bin.

If the destination bin’s display has been set to show reference clips, the referenced object

types do not appear until you save the bin.

To copy clips or sequences from one bin to another bin:

1. Position or resize the bins so that you can see both of them at the same time.

2. In the original bin, click the clips or sequences that you want to copy.

3. Press and hold the Alt key (Windows) or Option key (Macintosh) and drag the clips or sequences to the destination bin, and release the mouse button.

The copies appear in the destination bin, and the originals remain in the source bin. The system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating. If the destination bin’s display was set to show reference clips, the referenced object types do not appear until you have saved the bin.

Deleting Items from a Bin

You can delete the following items from a bin:

•Clips

• Subclips

• Sequences

• Effect clips and their media files

• Motion effect clips and their media files

• Rendered effects clips and their media files

• Data clips and their media files

• Master clips and their media files

• Sources

•Groups

5 Organizing with Bins

When you delete media files, you can no longer see the deleted material. If you load a clip for which a media file has been deleted, a black screen appears with the words “Media Offline.” If you need to use those clips again, you must recapture the media from tape or reimport graphics.

To delete individual video, audio and data tracks from a clip, use the Media tool.

(Windows) To delete clips, subclips, and sequences with their media files from a bin:

1. Select the clips, subclips, or sequences you want to delete.

2. Do one of the following:

t Select Edit > Delete.

t Press the Delete key.

The Delete dialog box opens which displays the items that you selected. By default, media files are not selected for deletion.

Examples of the Delete dialog box with one master clip selected (left) and with multiple clips selected (right)

Basic Bin Procedures

3. Select the items you want to delete:

t Select clips and their associated media files for deletion.

t Select only the media files for deletion if you want to retain the clips to recapture

later.

t Select only the clips for deletion if the media file is referenced by another clip.

t Select the resolutions you want to delete.

The Resolutions to Delete section lists all video resolutions for the clips you selected. It also lists a single entry for all audio sample rates and compressed audio and a single entry for the data (ancillary data) file. Click All to delete all resolutions. However, you still need to select the individual media files that you want to delete. If you don’t want to delete any media files, click None, and all media files are deselected.

The options in this section also let you delete only audio media, only data media or only video media from a clip, if that clip has separate media files for audio, data and video.

4. Click OK.

If you choose to delete media files, a dialog box opens.

5. Click Delete.

The selected clips, sequences, and media file are deleted.

When you select a title for deletion, you might see more than one resolution.

(Macintosh) To delete clips, subclips, and sequences with their media files from a bin:

1. Select the clips, subclips, or sequences you want to delete.

2. Do one of the following:

t Select Edit > Delete.

t Press the Delete key.

The Delete dialog box opens which displays information about the selected items.

5 Organizing with Bins

This example shows one sequence and one master clip selected for deletion.

3. Select the items you want to delete.

t Select clips and their associated media files for deletion.

t Select only the media files for deletion if you want to retain the clips for recapturing

later.

t Select only the clips for deletion if the media file is referenced by another clip.

4. Click OK.

If you choose to delete media files, a dialog box opens.

5. Click Delete.

The selected clips, sequences, and media file are deleted.

Assigning Colors to Objects in a Bin

You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects.

Also, you can reset the clip color to the default color for your Interface settings.

Clip colors assigned to sequences, groups, motion effects, and title clips do not appear in the

Timeline.

Basic Bin Procedures

To add a Color column to a bin:

1. With a bin in Text view, select Bin > Headings.

The Bin Column Selection dialog box opens.

2. Click (Windows) or click (Macintosh) Color in the list.

3. Click OK.

The Color column appears in the bin. By default, a new column appears as the last column in the bin. To move the Color column, select the Color column heading and drag it to the left.

To assign a color to a clip, subclip, sequence, or effect clip in a bin:

1. With a bin in Brief or Text view, select the bin objects to which you want to assign a color.

2. Do one of the following:

t Select Edit > Set Clip Color > color.

t Select Edit > Set Clip Color > Pick, and then select a color from the Windows Color

dialog box or the Macintosh Colors panel.

After you assign a custom color, the color appears as Other in the Set Clip Color submenu.

3. Do one of the following:

t (Text view only) Click in the Color column and select a color from the menu.

t (Text view only) Alt+click (Windows) or Option+click (Macintosh) in the Color

column in the bin, and then select one of the colors.

When you Alt+click or Option+click in the Color column, the menu of colors that appears is limited to the colors you use in the bin. The color appears in the Color column (Text view only) and on the clip icon.

To restore the default clip color, do the following:

t With a bin in Brief or Text view, select the bin objects to which you want to restore the

default color., and then select Edit > Set Clip Color to Default.

Sifting Clips and Sequences

When you sift clips and sequences, the bin displays only those clips and sequences that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word “close-up” in the heading column. The Custom Sift dialog box provides six levels of criteria.

5 Organizing with Bins

You can also sift on a timecode (or keycode) number within a specific range. For more information, see “Sifting Timecodes or Keycode Ranges” on page 95.

To sift clips or sequences:

1. Select Bin > Custom Sift.

The Custom Sift dialog box opens.

Custom Sift dialog box. Left to right: Criterion menu, Text to Find text box, and Column or Range to Search menu

2. Click the Criterion menu, and select one of the sifting options.

3. Click the first Text to Find text box, and type the text that you want to use as a sift

criterion. When sifting by color, type the exact name of the color (using uppercase and lowercase letters) in the text box.

4. Click the Column or Range to Search menu, and select a column heading to which you want to apply the criterion.

5. Type additional sift criteria, and make additional column selections as necessary.

6. Click OK.

Only the clips or sequences that meet your criteria remain in the bin, with the word “sifted” added to the bin name. After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state.

To view the entire bin:

t Select Bin > Show Unsifted.

To view the sifted bin:

t Select Bin > Show Sifted.

The word “sifted” appears in parentheses after the bin name when you view the bin in its sifted state.

Understanding Sifting Timecodes or Keycode Ranges

You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode.

Example of a bin before a custom sift by timecode

Basic Bin Procedures

If you type 01:08:32:00 in the Text to Find text box in the Custom Sift dialog box, click the Column or Range to Search menu, and select Start to End Range.

Example of a bin after a custom sift by timecode. The detail of the Custom Sift dialog box (top) shows the query used for sifting, and the bin (bottom) shows only those clips that encompass the timecode number 01:08:32:00.

5 Organizing with Bins

Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column. For example, Auxiliary TC1 implies a range that begins at the value in the Auxiliary TC1 column and ends at that value plus the value in the Duration column.

If you display any column in the bin that is associated with ranges, either explicit or implicit, the corresponding range menu item appears in the Column or Range to Search menu in the Custom Sift dialog box. For example, if you choose to display the Start column and the Auxiliary TC1 column in the bin, the Start to End Range and Auxiliary TC1 Range menu choices appear in the Column or Range to Search menu.

When you specify a timecode or keycode number, you do not need to enter colons or semicolons, and you can omit the leading zero. For example, you can type 3172000 as a timecode number.

Keycodes contain letters, numbers, and a dash before the feet and frames; for example, KJ23 6892-0345+13. When you sift on a keycode number, you enter only the numbers after the dash (the actual counter portion). Any information before the dash is ignored. If you do enter characters before the dash, they must match the corresponding characters in the bin column exactly.

The table lists all columns associated with explicit ranges and their corresponding menu choices.

Column or Range to Search

Bin Column (Explicit Ranges)

Start, End Start to End Range

Mark In, Mark Out Mark In to Out Range

KN Start, KN End KN Start to End Range

KN Mark In, KN Mark Out KN Mark In to Out Range

Menu Item

The table lists all columns associated with implicit ranges and their corresponding menu choices. The Duration column determines the end of these ranges.

Bin Column (Implicit Ranges)

Film TC Film TC Range

Sound TC Sound TC Range

Auxiliary TC1 Auxiliary TC1 Range

Auxiliary TC2 Auxiliary TC2 Range

Auxiliary TC3 Auxiliary TC3 Range

Auxiliary TC4 Auxiliary TC4 Range

Auxiliary TC5 Auxiliary TC5 Range

Ink Number Ink Number Range

Auxiliary Ink Auxiliary Ink Range

Sifting Timecodes or Keycode Ranges

Basic Bin Procedures

Column or Range to Search Menu Item

To sift for a timecode or keycode number within a specific range:

1. Select Bin > Custom Sift.

The Custom Sift dialog box opens.

2. Type the timecode (or keycode) number for the range in which you want to sift.

3. Type the timecode number for the range in which you want to sift.

4. Click the Column or Range to Search menu, and select a range; for example, Start to End Range or Mark In to Out Range.

The criterion “contain” appears in the Criterion menu. If you try to change this criterion, no information appears in the Column or Range to Search menu.

5. Click OK.

The bin displays those clips that encompass the timecode (or keycode) number that you entered.

Locking and Unlocking Items in a Bin

You can lock any items in a bin — including source clips, master clips, subclips, and sequences — to prevent deletion. When you lock clips in a bin, you lock their associated media files on your desktop as well.

5 Organizing with Bins

To lock items:

1. Click a clip, subclip, or sequence to select it. Ctrl+click (Windows) or Cmd+click (Macintosh) additional clips, if necessary.

2. Select Clip > Lock Bin Selection.

A Lock icon appears for each locked clip in the Lock column of the bin in Text view.

If the Lock column does not display, you might have the column hidden.

To unlock previously locked items:

1. Select the items in the bin.

2. Select Clip > Unlock Bin Selection.

You can use the clip-locking feature along with archiving software to automatically archive all locked media files.

Using Text View

Text v iew provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs.

You can select individual or multiple headings to display or hide in the bin. For a complete description of each column heading, see “Working with Bin Columns” on page 98.

To enter Text view:

t Click the Text tab in the bin.

Using Text View

Text view: Bin with Text tab selected

To select column headings:

1. With a bin in Text view, do one of the following:

t Select Bin > Choose Column.

t Right-click and select Choose Column.

The Bin Column Selection dialog box opens.

2. Select the headings you want to add to the bin:

t Click the name of a heading to select it.

t Click a selected heading to deselect it.

t Click All/None to select or deselect all the headings.

3. Click OK.

Only the headings selected in the Bin Column Selection dialog box appear in the bin or bin view.

5 Organizing with Bins

Working with Bin Columns

You can move, align, and delete columns in a bin.

When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is useful to remove spaces which remain after you move or rearrange columns.

When you delete a statistical column it is the same as hiding the column; you can restore the column at any time by using the Bin Column Selection option. When you delete a custom column, however, you must re-create the column.

To move a text column in a bin:

1. Click the heading of the column that you want to move.

The heading is selected. If no rows are selected in the bin, the column is highlighted.

2. Drag the column to the position you want, and release the mouse button.

A bounding outline of the column guides you as you drag it. The column appears in the new position, and columns to the right move to make room.

To align bin columns:

t Select Bin > Align to Columns.

To hide or delete a column:

1. Do one of the following to hide a column:

t Click the column heading in a bin, and then select Bin > Hide Column.

t Right-click a column heading and select Hide Column.

The column disappears from the view, and surrounding columns close to fill the space.

2. Do one of the following to delete a column:

t Click the column heading in a bin, and then select Edit > Delete.

t Click the column heading in a bin, and then press the Delete key.

The column disappears from the view, and surrounding columns close to fill the space.

3. When you delete a custom column, a confirmation dialog box opens. Select OK to delete the column or HIde to hide the column and save the custom information.

If you delete a custom column, all information in the column is deleted. You must re-create the column to restore it.

Duplicating Bin Columns with Timecode Information

You can duplicate existing columns containing timecode information into other compatible columns that you target.

When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P, or TC 30), the values for master clips and subclips convert to the appropriate timecode.

To duplicate a timecode column:

1. Click the column head you want to duplicate.

2. Select Edit > Duplicate.

The Select dialog box opens.

3. Select a column name from the list.

The column must contain the same type of data for the copy to occur. For example, you can copy start timecodes to the Auxiliary TC column, but you cannot copy timecodes to the Pullin column.

4. Click OK.

The column of information appears in the column you designated.

Working with Bin Columns

Adding Customized Columns to a Bin

In addition to the standard column headings, you can add your own column headings to describe information about clips and sequences. For example, you might want to add a column heading to describe what kind of shot (close-up, wide shot, master shot, extreme or close-up) is used in a clip.

To add a new custom column:

1. Click an empty area to the right of the current headings in the headings box.

2. Move any existing column to the right or left to create an empty area.

3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh).

Column headings must contain a maximum of 14 characters, including spaces.

This places the pointer in the data box, beside the first clip in the bin.

4. Select Bin > Align to Columns after you enter the new column heading.

5. Type the information, and press Enter (Windows) or Return (Macintosh) to move to the next line.

5 Organizing with Bins

Changing a Custom Bin Column Heading

You can change the heading name of custom columns only. You cannot change any of the standard column headings.

To change the name of a custom column:

1. Press and hold the Alt key (Windows) or Option key (Macintosh), and click the heading to highlight it.

2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).

Moving Within Column Cells

You can use the keyboard shortcuts described in the table to move from cell to cell in bin columns:

Shortcut Description

Tab Moves the pointer to the cell in the next column. You can continue to press the Tab

key to move through the cells to the right until the cell in the last column highlight. The next time you press the Tab key, the cell in the first column highlights.

Shift+Tab Moves the pointer left to the cell in the previous column. You can continue to press

Shift+Tab to scroll through cells to the left until the cell in the first column highlights. The next time you press Shift+Tab, the cell in the last column highlights.

Enter (Windows, on main keyboard) or Return (Macintosh)

Shift+Enter (Windows, on main keyboard) or Shift+Return (Macintosh)

Enters any new information you type in the cell and moves the pointer down to the cell in the next row. You can continue to press Enter or Return to scroll down the column until the last cell in the column highlights. The next time you press Enter or Return, the first cell in the column highlights.

Moves the pointer up to the cell in the previous row. You can continue to press Shift+Enter or Shift+Return until the cell in the top row highlights. The next time you press Shift+Enter or Shift+Return, the cell in the last row highlights.

Modifying Data in Bins

You can modify data in bin columns directly by typing in a selected text field. You can use the standard keyboard shortcuts for entering text — for example, press Ctrl+A (Windows) or Command+A (Macintosh) to select all text in a text field.

100

Pinnacle Systems NewsCutter - 9.5, Media Composer - 5.5 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Accessing the Goodies Folder

Avid Training Services

1 Avid MediaLog

1 Understanding Avid MediaLog

How to Use Avid MediaLog?

How Does Avid MediaLog Work?

What Are the Basic Logging Steps?

2 Getting Started

Setting Up the Hardware

Turning on Your Equipment

Avid MediaLog Installation

Starting Avid MediaLog

Project Types

Creating a New Project

Setting Film Preferences

Opening and Closing Projects

Understanding User Profiles

Backing Up Your Project Information

Ending a Work Session

Quitting Avid MediaLog

Quitting and Turning Off Equipment

3 Working with the Project Window

Overview of the Project Window

Using the Bins Tab

Viewing a List of Bins

Creating a New Bin

Renaming a Bin

Opening and Closing Bins

Displaying Folders of Bins in the Bins List

Creating a Folder

Deleting a Bin or Folder

Viewing and Emptying the Trash

Saving Bins

Saving Bins Manually

Project Settings

Understanding Settings

Defining Settings

Filtering the Settings List

Working with Settings

Switching to Another Set of User Settings

Modifying Settings

Restoring Default Settings

Using Site Settings

Viewing Keyboard Settings

Customizing Your Workspace

The Format, Info and Usage Displays

Opening the Format, Info or Usage Display

Other Tools

Using the Avid Calculator

Using the Communications (Serial) Ports Tool

Using the Console Window

4 Logging Source Material

Using Avid MediaLog for Logging

Deck Configuration and Preferences

Configuring Decks Automatically

Manual Deck Configuration

Configuring a Deck or Multiple Decks

Deleting Deck Configuration Elements

Deck Preferences Settings

Understanding Timecode

Prepare to Log Material

Accessing and Setting Up the Logging Tool

Guidelines for Naming Tapes

Preparing to Log

Identifying the Source Tape

Setting the Audio Sample Rate

Logging

Logging from a Source Tape

Marking and Logging

Using a Memory Mark When Logging

Logging On-the-Fly

Pausing a Deck While Logging