Pinnacle Systems Studio Toolkit - 5.6 Workflow Guide

Using Avid® Studio Toolkit

Workflow Guide

make manage move | media

™

Avid

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The software described in this document is furnished under a license agreement. You can obtain a copy of that license by
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This document is protected under copyright law. An authorized licensee of Avid Pro Tools LE may reproduce this publication
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Copyright © 2006 Avid Technology, Inc. and its licensors. All rights reserved.
The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:

Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.

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
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THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR
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IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT
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USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF
LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:

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

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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

“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code
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2

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:

©1993–1998 Altura Software, Inc.

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.

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

Attn. Government User(s). Restricted Rights Legend

U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or
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Trademarks

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

iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC. Adobe and Photoshop are either registered
trademarks or trademarks of Adobe Systems Incorporated in the United States and/or 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.
Windhorse — Courtesy of Paul Wagner Productions.

3

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

GOT FOOTAGE?

Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content
creators of every genre — Just finished an incredible project and want to share it with the world?

Send us your reels and we might use your footage in our show reel or demo!*

For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.

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

Using Avid Studio Toolkit Workflow Guide • Part 0130-07669-01 • August 2006

4

Contents

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Chapter 1 General Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Planning Your Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Project Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

30i NTSC versus 25iPAL Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Working with 24p Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Working with 25p Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

HDTV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

System Compatibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

File naming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Title Fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Preparing Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Creating and Developing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Adding an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Working with Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Creating a DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Chapter 2 Using Avid FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Using Avid FX as a Plugin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Dragging the Avid FX Effect on to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . 35

Entering Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Creating an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Rendering the Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Creating Text Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

5

Animating Text on a Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Using the Avid FX Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Format Compatibilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Saving and Sharing Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Chapter 3 Using Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Exporting Media from Your Avid Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Converting OMF Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Exporting to Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Creating 3D Content. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Applying Video Clips as Background Textures . . . . . . . . . . . . . . . . . . . . . . . . . 64

Exporting Media from Avid 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Chapter 4 Using Avid DVD by Sonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

DVD Authoring Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Blu-ray Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Preparing the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Exporting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Encoding a Sequence with Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . 80

Producing the DVD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Setting Up the Avid DVD by Sonic Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Creating a Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Adding Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Creating and Editing Chapter Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Creating and Editing Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Previewing Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Outputting the Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Writing DVD Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Writing Disc Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

6

Using This Guide

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

This guide outlines the workflow between the component applications of Avid Studio
Toolkit, or referred to as Avid Studio. Most screen shots and references regarding the Avid
editing system are of Avid Xpress Pro. This is only used as an example. The options would
apply to all Avid editors.

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

n

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.

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

n

c

w

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

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

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

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

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

Using This Guide

Symbol or Convention Meaning or Action

t

k

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

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

Courier Bold font

Ctrl+key or mouse action
k+key or mouse action

If You Need Help

If you are having trouble using Avid Studio:

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

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

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

This symbol represents the Apple or Command key. Press and hold
the Command key and another key to perform a keyboard shortcut.

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

Courier Bold font identifies text that you type.

Press and hold the first key while you press the last key or perform the
mouse action. For example, k+Option+C or Ctrl+drag.

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

they ship with your application and are also available online.

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

supplied on your Avid installation CD or DVD as a PDF document 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.

8

Accessing the Online Library

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

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

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

Accessing the Online Library

n

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

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

t From your Avid editing application, select Help > Online Library.
t From the Windows desktop, select Start > Programs > Avid > Avid Studio Toolkit

Online Library.

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

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

How to Order Documentation

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

9

Using This Guide

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.

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

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

™

10

Chapter 1

General Workflow

The Avid Studio Toolkit package give you the tools to cover all aspects of the post
production process.

• Avid FX - for advanced titling, compositing, motion tracking, vector paint, rotoscoping,
and effects

• Avid 3D - for 3D titling, DVE, Deform, and 3D Models

™

• Avid DVD by Sonic
with advanced menus and navigation

Each of these tools is a fully-functional application, so you can use each one independently
or in workflows that start with another Avid editing application such as:

• Avid Xpress Pro

• Avid Media Composer

• Avid NewsCutter Adrenaline

• Avid NewsCutter XP

- for production of interactive DVDs and BDs (Blu-ray Discs)

• Avid Symphony

The collaboration between these Avid applications means that you have the right tool for
each specific task to enhance your project. In your editing application, you capture or import
footage, and assemble and edit video and audio clips into a sequence. You can then use the
studio applications to add high-quality titling, effects, 3D elements. Once you are satisfied
with the results, you can encode it for DVD production.

Chapter 1 General Workflow

Planning Your Workflow

Before you begin to capture video into your Avid editor, take some time to plan out your
project. Decisions that you take at the beginning will determine your choices for final
output. Your workflow plan should not only determine what needs to be done, who will do
it, and using which tools, but also the final distribution method (which will determine the
video format used for the entire project). An Edit Decision List (EDL) can help you to map
out the work and track the sequences, effects and transitions. For more information, see
“Working with EDLs” and “Workflow” in your Avid editor Help.

The following workflow illustrates the collaborative possibilities between Avid Studio and
your Avid editor. This workflow works with any supported Avid editor, this particular
workflow uses Avid Xpress Pro.

12

Avid Xpress Pro Workflow

1

Avid Xpress Pro, or other Avid editor

Plan your project, see “Planning Your Workflow”

- Capture material

- Digitize source material from file or tape.

- Create rough cut

- Export sequences to Avid tools

- Re-import sequences

- Create final cut

- Export to Avid DVD by Sonic or output to tape or file.

Planning Your Workflow

2

Avid FX

(Plugin or standalone)

- Apply effects, filters and transitions

- Perform color correction, dust & scratch removal

- Do compositing, motion tracking, vector painting,
rotoscoping.

6

Output to media

Output to tape or file, such as for
CD-ROM and Web distribution.

3

Avid 3D

(Standalone)

- Create 3D titling

- Apply video to DVE scenes

- Apply deforms to Titling or Video

- Load 3D Models and scenes from
the 3D library

5

Avid DVD by Sonic

(Standalone)

- Create menus, chapters, view lists, etc.

- Output to DVD, or Blu-ray Disc.

13

Chapter 1 General Workflow

Project Formats

The format that you choose in the New Project dialog box determines how material is
imported. At first, the possibilities may seem overwhelming; however, the most important
delivery requirements are the formats and frame rates. A broadcast network might require a
range of formats: NTSC, PAL, and HD, with aspect ratios of 4:3 and 16:9. Avid provides
you with the ability to output multiple versions from the same source file; however, make
sure that all editing is done at the same, or a compatible, frame rate. If you are unsure about
the requirements for a broadcast project, contact your broadcaster for their exact
specifications before you start to save you any headaches later.

n

The information here is intended to provide an overview only. For more information on a
particular topic, consult the online help.

30i NTSC versus 25iPAL Media

30i NTSC is the generally accepted standard for North America and some other countries.
25i PAL (or the compatible SECAM) are used elsewhere. For more information, see TV
Standards and DVD regions by country/territory in the Avid DVD by Sonic User Guide.

Working with 24p Media

With DTV (digital television) formats expanding the options for content distribution, there is
renewed interest in the oldest format in the industry: 24-fps film. In addition to its worldwide
format, film provides the highest resolution master for archiving purposes. An important
aspect of the 24p format is that, if you are using Avid Symphony, it allows you to output
either NTSC or PAL
production format for multiversion, multiformat delivery, it promises to become more
widely accepted for all film and video content.

Through a telecine transfer and the capturing process, the Avid system captures and stores
film frames as 24-fps progressive media, or 24p. Progressive media is composed of single
frames, each of which is vertically scanned as one pass. The Avid system creates 24p media
by combining (de-interlacing) two video fields into a single full, reconstructed frame. For
NTSC film-to-tape transfers, the system creates 24p media by removing the extra fields
inserted by the 2:3 pulldown process and by creating progressive frames.

video from the same project. Because 24p provides a common

14

Working in 24p simplifies digital editing of film or other 24-fps-originated content, such as
HDTV video that has been downconverted to ITU-R 601 digital video. In addition, 24p
media requires less storage and processing power than 30-fps media. The 24p SD format
also exists for video capture.

Audio Transfer Options for 24p PAL Projects

When you create a 24p PAL project, you must specify the appropriate audio transfer rate for
the project. (This is not necessary for a 25p PAL project because there is no film speedup
during the transfer.) The New Project dialog box provides Audio Transfer options that allow
you to select either Film Rate or Video Rate. This value is project specific and should not be
changed after you create the project unless you have a specific element that you need to
transfer at a different rate.

Project Formats

n

n

The Audio Transfer options are also located in the Film and 24p Settings dialog box and can be
changed after the project is created.

The Audio Transfer options are:

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

•

MOS (roughly translated as “without sound”) to 25 fps by speeding up the film, and the
audio comes in separately at 100 percent of the actual speed (PAL Method 2).

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

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

The Edit Play Rate and Audio Source Tape TC Rate options do not appear in the Film and
24p Settings dialog box. Edit Play Rate is automatically set at 23.976 fps. The Audio Source
Tape TC Rate does not apply to 23.976p projects because you cannot capture 30 fps audio in
a 23.976p project.

Working with 25p Media

The 25p format is primarily for use in countries where PAL video is standard. When you
transfer 25-fps film footage to 25-fps PAL video, no modifications are necessary due to
matching frame rates. The source for 25p is typically 25-fps film or 25-fps HDTV format.
The methods for creating and storing 25p media are the same as for 24p.

The 25-fps feature provides the following advantages:

• Simultaneous input of video and audio in sync

• Frame-accurate ink number tracking

• Digital cut recording directly to videotape

• Frame-accurate cut lists and change lists

• Frame-accurate audio EDLs for online editing of audio tracks

• Frame-accurate EDLs for assembling footage from the transfer or for preparing an
online show master.

15

Chapter 1 General Workflow

Planning a 23.976p NTSC Project

Avid editing systems that include 24p support include a 23.976p NTSC project type. This
project type is especially designed for capture and output of digital audio that has been
transferred or recorded at 48 kHz, in sync with picture at 23.976 fps. A 23.976p project lets
you maintain digital standards for all NTSC input and output at 23.976 fps.

Select this project type for one of the following reasons:

• Your film and audio sources have been synced in the telecine process and transferred to
digital videotape formats.

• Your audio and video sources have been shot at a camera rate of 23.976 fps. This rate is
used for film (film-based television) or 24p HD video (television or feature film). These
sources can be downconverted to standard NTSC without further audio slowdown.
Audio recorded at 48 kHz can remain at 48 kHz throughout the project.

n

Limitations for 23.976p Projects

The 23.976 fps frame rate is sometimes referred to as 23.97 fps or 23.98 fps. The 23.976 fps
frame rate is in direct proportion to the NTSC broadcast frame rate of 29.97fps, which is
used for film-to-tape transfer to the Avid editing system.

You should be aware of the following limitations when you are planning a 23.976p project:

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

• Media created in 24p projects and media created in 23.976p projects are not compatible.
If you start working in one type of project and then decide to switch to the other, you
need to recapture all video and audio media. You cannot relink video media or audio
media across the two project types.

OMF and AAF files that are output from a 23.976p project look slightly different from those

•
from a 24p project. The edit rates will show up as 23.976 fps in these files.

16

HDTV

Project Formats

High-definition television (HDTV) is a digital broadcasting technology that delivers a larger,
clearer, more detailed picture than standard definition television (SDTV). HDTV refers to
specific digital television (DTV) formats that have been standardized by the Advanced
Television Systems Committee (ATSC) and adopted by the United States Federal
Communications Commission (FCC). HDTV for PAL has been standardized by the Digital
Video Broadcasting (DVB) consortium.

HDTV uses a 16:9 aspect ratio in place of the standard definition 4:3 ratio. The following
illustration compares the pixel size of the most common HD formats — 720p and 1080i —
to that of the digital version of standard definition NTSC media (ITU-R 601). Both 1080i
and 720p formats fill the 16x9 screen on HD television sets. For more information about HD
technology, see the Avid HD Handbook: An A to Z Guide, which is available on the Avid
web site, www.avid.com.

HDTV output is commonly used for:

• Creation of film-based television programs that originate on film footage and that are
planned for NTSC HDTV broadcast. This workflow lets you change the project and
sequence format, eliminating the need to create a new project and sequence. Modifying
the format of the sequence lets you keep both offline SD material and online HD
material available in the same project. For PAL broadcast, transfer film at 1080p/25, edit
offline in a 25p PAL project, and edit online in a 1080p/25 project. For more
information, see “Changing the Project Format” in the help.

17

Chapter 1 General Workflow

• Creation of video-based television programs that originate on video footage and are
planned for HDTV broadcast. The workflow for creating such programs uses a single
system for offline and online editing, but you can adapt it to use one system for offline
editing and another for online editing. This workflow lets you change the project and
sequence format, eliminating the need to create a new project and sequence. Modifying
the format of the sequence lets you keep both offline SD material and online HD
material available in the same project. You can use this workflow for video footage shot
at 720p/23.976, 720p/59.94 or 1080p/29.97. In these cases, however, you cannot simply
change the project format. Instead, you need to create a new project that matches the
source footage, open the bin or bins from the NTSC 30i project, change the sequence
format, decompose, and batch capture. For a more information, see “Decompose” in the
Help.

• Creation of video graphics, such as bumpers and promos, for HDTV broadcast.

System Compatibilities

File naming

To make sure that files transfer correctly, consider the following:

• Do not use the following characters in project, bin, or other file names:
/ \ : * ? ” < > |

• Do not add spaces at the beginning or end of a file name.

• Do not use a period at the end of a file name.

• The Use Windows Compatible File Names setting in the General Settings dialog box is

Title Fonts

If the project includes titles and you are moving between systems, make sure you have the
same font with exactly the same name (preferably from the same supplier) on all systems.
For best results, use OpenType® fonts, which reduce problems when transferring.

18

selected by default. With this setting selected, the file name extension .avp is

project files and .avb is added to bin files when they are saved. These file name extensions
are also attached to existing files.

added to

Preparing Graphics

The most critical step when preparing graphics is to make sure that the elements you are
going to import are created correctly. The following table summarizes various requirements.

Aspect Requirements Notes

System Compatibilities

Frame size
(4:3)

Frame size
(16:9)

Alpha channel White foreground (transparent),

Color mode RGB

File format Various The Avid application accepts many file input

File field order Odd (Upper field first)

Square pixels:
648 x 486 (NTSC)
640 x480 (NTSC DV)
768 x 576 (PAL)

Square pixels:
864 x 486 (NTSC anamorphic)
1024 x 576 (PAL anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)

black background (opaque)

ITU-R 601
ITU-R 709

Even (Lower field first)

These are the preferred sizes. 720 x 540 can
also be used, in some situations, for both NTSC
and PAL. These are stored by the application as
non-square pixels.

Preferred sizes. SD media is stored by the
application as non-square pixels.

This is the standard used by graphics,
animation, and compositing packages. The
graphics need to have the alpha channel
inverted on import.

Other formats, including CMYK, can cause
import errors.
ITU-R 601 is used for SD and ITU-R 709 is
used for HD.
In HD projects, the Avid application
automatically converts the media.

formats, with TIFF (.tif) and PICT (.pct) as the
most commonly used.

For interlaced media, the Avid application uses
the following order:

NTSC (601 and DV): lower field first

•

• PAL 601: upper field first

• PAL DV: lower field first

• HD Interlaced: upper field first
If the field order of the graphic is not correct,

select the field order of the graphic during
import. The application will reverse the fields
appropriately. Field order does not apply to
progressive media.

19

Chapter 1 General Workflow

Send To...

The Send To feature enables you to send sequences or master clips from your Avid editor to
other applications, automating your workflow. The Send To feature provides you with a
choice of several pre-defined templates to streamline your workflow. These templates are set
to default parameters customized for specific workflows.

If you have Avid Studio, you should use the Avid Studio options. Avid recommends you use
the pre-defined template default settings, which have been qualified by Avid; however, you
can also define your own templates if your situation requires it.

Send to options include:

• Avid Studio, Encoding for Avid DVD by Sonic, or Avid3D (This is the preferred
method for export to Avid Studio Toolkit.)

• DigiDelivery and DigiDesign, as either Avid Video or QuickTime, both with embedded
audio

• Digidesign Pro Tools on Unity, as either Video and Audio, QuickTime with audio link,
Video Mixdown with Audio link

• DVD, to create a QT reference movie

• Encoding, Sorenson Squeeze

• Avid | DS

•AudioVision

• Make New

n

Exchanging Files between the Avid Applications

20

The menu choices in your actual Avid editor may vary from those listed here, depending on
your license.

Avid Studio makes it easy to move media and their metadata between the other Avid Studio
tools, but you have to be aware of the media and metadata format requirements of each of
the applications. The following table provides the guidelines for importing and exporting
media and metadata.

Refer to the corresponding chapters in this book for details on specific import/export
functions.

From To

File
Format
(Media)

System Compatibilities

Export as
(Metadata) Bin Media Storage

Av id
Xpress Pro

Avid F X
Engine

Avid 3 D Avid Xpress Pro Avid 3D

Avid FX plugin n/a n/a drive:\OMFI MediaFiles

Avid FX Engine
(standalone)

Avid 3D MXF** AAF* (In

Avid DVD by
Sonic

Avid Xpress Pro Same

Default
project
settings

Default
project
settings

Encode with
Sorenson
Squeeze

settings as
Project

scene

Default
project
settings

c:\ProgramFiles\Avid\Avid
Avid 3 D)
InComing
From
Avid
Editors

QT Reference
and XML for
metasync info
***

Same settings
as Project

AAF (In Avid

Xpress
Pro)
Avid3D
InComing

3D_x\Data\AVID3DMEDI

A\AvidMedia

drive:\AvidMediaFiles\Vid

eoStorage\Avid3D

* OMF: Open Media Framework, MXF: Material Exchange Format, AAF: Advanced
Authoring Format, AFE: Avid File Exchange.

** If the clip or sequence that you want to export is in OMF format, you must transcode it to
the MXF file format.

*** Metasync info must be created, which is then exported as XML. Audio and video files
are exported as QT Reference files, and Sorenson Squeeze is then used to encode the files to
MPEG2.

21

Chapter 1 General Workflow

File Formats and Media Handling

The following table shows how each application handles various file formats and media. In
many cases, such as Aspect Ratio and resolutions, the same format applies across the board.
In other cases, a certain format may not be supported. For example, Avid 3D does not
support OMF.

n

File Format Avid editor Avid FX Avid 3D

Standard NTSC/PAL/HD Same Same Same

Aspect Ratio 4:3, 16:9 Same Same Same

Resolutions 720x486, 720x480,

Alpha Channel
Support

Media File
Import Formats

Media File
Export Formats

For a complete listing of the latest supported codecs, formats, resolutions and constraints,
see the Readme files that are a part of your Avid installation.

Avid DVD by
Sonic

Same Same Same
720x576,
1920x1080,1280x720

Ye s Ye s Ye s N/ A

QuickTime, AVI,
Sequential Image files,
MXF, OMF, AAF, Still
image files

QuickTime, AVI,
Sequential Image files,
MXF, OMF, AAF, Still
image files

QuickTime, AVI,

Sequential Image

fi les, MXF, OM F,

Still image files

QuickTime, AVI,

Sequential Image

files, MXF, AAF,

Still image files

AAF/MXF, QuickTime,
AVI, Sequential Image
files, Still image Files

AAF/MXF, QuickTime,
AVI, Sequential Image
files, Still image Files

MPEG2 files,
QuickTime, AVI,
Still Image files

DVD Image, DVD
disc, Blu-ray Disc

Metadata File
Format for
Import

Metadata File
Format for
Export

Color Levels 601, RGB,

22

AAF N/A AAF XML

AAF N/A AAF N/A

RGB Dithered

N/A RGB N/A

File Format Avid editor Avid FX Avid 3D

Creating and Developing a Project

Avid DVD by
Sonic

Codecs DVCPro HD 1:1

(Adrenaline or Mojo
only), DV25, DV25
24p, Uncompressed,
JFIF, 15:1s, 28:1p

Playback Only:
DNxHD, 35.1p, 14:1p,
1:1 10bit (Adrenaline or
Mojo only)

Interlaced/
De-interlaced and
Progressive
format

Interlaced or
Progressive

Same as your Avid
editing project

Input and Output

Same as your Avid
editing project

SD: 1:1 10b MXF,
1:1 MXF,
DV25, DV50, MPEG
30, MPEG 40, MPEG
50, 2:1, 3:1, 10:1, 20:1,
2:p, 3:1p, 14:1p, 28:1p,
35:1p

HD: 1:1 10b MXF,
1:1 MXF,
DNxHD 60, 75, 90,
90X, 110, 110X, 115,
120,145, 175, 175X,
185, 185X, 220, 220X
DNxHD TR 120, 145,
DVCProHD

Interlaced or
Progressive

Creating and Developing a Project

This workflow describes how you can develop a project in your Avid editor, and then use
each of the tools in turn to enhance your results

Same as your Avid
editing application

Input only

N/A

To create a project:

1. From your Avid editor, select New Project and select the video output format.

2. Review the settings to make sure that they match your project needs.

3. If you will be exporting to Avid 3D:
a. In the Project window, select Settings > Media Creation > Media Type.
b. From the Video File Format menu, select MXF.

n

Refer to “Exchanging Files between the Avid Applications” on page 20 and “File Formats

and Media Handling” on page 22, for resolutions and formats supported by Avid Studio

applications. Additional information may be found in the Help and in the Readme file.

23

Chapter 1 General Workflow

4. Capture DV footage over FireWire and/or import the footage files.
The footage will be digitized into clips.

5. Organize the clips into bins. You can drag-and-drop footage between bins.

6. Drag the clips onto the timeline and assemble them into a sequence.

7. Rearrange and trim the clips in the Timeline.

Adding an Effect

Once you have arranged and trimmed your clips, you are ready to add effects. Effects can be
applied to an entire clip, or to the transition between clips.

To add an effect:

1. Open the Effect Palette by clicking on the effect tab in the Project window.

2. Drag the effect from the Effect Palette onto the Timeline.

3. Click the Effects Mode button to open the Effect Editor and adjust the parameters.

4. For an Avid FX effect, in the Effect Editor, click the Launch User Interface button.

Launch User Interface

24

Promote Effect button

Alternatively, to promote the effect from AVX 1.5 to AVX 2.0, select the Promote
Effect button and select Launch User Interface.

The Avid FX windows display.

Creating and Developing a Project

Controls window

Project window Timeline window

Composite window

Apply button

5. Create your effect.

6. Click the Apply button at the bottom right of the Timeline window to apply your effect
and return to the Avid editing application Timeline.

7. Render your effect.

n

To open Avid FX in standalone mode (Avid FX Engine):

t Select Start > All Programs > Avid Studio > Avid FX Engine.

For more information, see “Using Avid FX” on page 33.

When using Avid FX Engine, make sure that your FX export settings match those of your
Avid editor project.

25

Chapter 1 General Workflow

Working with Avid 3D

Avid 3D lets you add 3D titling, DVEs, Deforms, and 3D Models. You can either export a
sequence from your Avid editor and use it in a 3D project, or you can create a 3D project
from scratch and then import it into you Avid editor project. Either way, make sure that the
format settings in each project match.

To work with the sequence in Avid 3D:

1. In your Avid editing application, create a bin called Avid3D InComing and keep it open.

2. In the project window, verify Settings > Media Creation > Media Types > Video File
Format > MXF.

3. Right-click on a sequence or clip in the project bin and select Send To > Avid Studio >
Avid 3D.

The Send To window opens.

26

4. Select AutoLaunch.

5. Accept the default Export Setting 1.

6. Click Options.

The Export Settings window opens.

Creating and Developing a Project

n

7. From the Export Method menu, select one of the following:

t Link To (Don’t Export) Media, (the default) to avoid duplicating media files.
t Copy All Media, if conserving disk space is not a problem.

Embedded AAFs are not supported by Avid 3D.

t Consolidate Media, if your sequence contains media from different locations and

you want to regroup it.

8. If MXF was not specified as the original Video File Format before capturing or
importing the video, select Transcode Video To: > MXF.

9. Click Save and OK.
Avid 3D opens with a new blank scene.

To open Avid 3D directly, select Studio > Launch Avid 3D. Avid 3D opens with a new blank
scene.

27

Chapter 1 General Workflow

Style Palette button

Viewport

Output Format Preferences

10. Click the Output Format Preferences button.

28

The Output Format Preferences window opens.

Output Format Preset

11. Choose the Output Format Preset corresponding to your Avid editor project.

Creating and Developing a Project

n

The list of AAF Master Clip Compression Settings is a combined list of compressions
supported by Media Composer, Xpress Pro Mojo and Xpress Pro. When choosing the MXF
compression you should verify that it is supported by the Avid editor and system you are
using. For example, you must have a Mojo connected to your Avid editing system to import
uncompressed video.

12. Click the Style Palette button.
The Style Palette opens.

13. Select Video Bin > InComing from Avid Editors.
Thumbnails of the files in the InComing from Avid Editors folder are shown below.

14. Drag your sequence into a viewport.
The Clip on Background window opens.

15. Select either Framed clip (Using a camera rig), Floating Image Plate (Shaded) or
Floating Image Plate (Constant).

16. Add Titling, create a DVE, apply Deforms, or add a 3D model.

17. When your scene is complete, select the Render Options button.

29

Chapter 1 General Workflow

The Render Options window opens.

18. Click Render Scene.
The scene is exported to the Avid3D InComing bin in your Avid editor.

n

If your scene has an alpha channel, the scene is imported into the Avid editor as a title matte
effect.

19. In your Avid editing application, find the file in the Avid3D InComing bin and drag it to
the timeline.

For more information, see “Using Avid 3D” on page 55.

Creating a DVD

Once you are satisfied with the results of the project in your Avid editor, you are ready to
output the results to a DVD or Blu-ray Disc. For more information, see “Using Avid DVD

by Sonic” on page 77.

30