Pinnacle Systems Symphony - 3.5 Advanced Guide

Avid® Symphony™

Advanced Guide

Avid

Legal Notices

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

The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement.

Avid products or portions thereof are protected by one or more of the following United States Patents: 4,970,663; 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; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,584,006; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,134,607; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 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; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063; 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; 6,933,948; 6,961,801; 7,043,058; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; 7,403,561; 7,433,519; D392,269; D396,853; D398,912. Other patents are pending.

This document is protected under copyright law. An authorized licensee of Avid Symphony 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 Avid Symphony. 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, 192XD I/O, 888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AirSpeed, ALEX, Alienbrain, AniMatte, AudioMarket, AudioPages, AudioSuite, AudioVision, AutoSync, Avid, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, Avid DS Assist Station, Avid EditStar, Avid Learning Excellerator, Avid Liquid, Avid Liquid Chrome Xe, Avid MEDIArray, Avid Mojo, AvidNet, AvidNetwork, Avid NewStar, Avid Remote Response, AVIDstripe, Avid Unity, Avid Unity ISIS, Avid VideoRAID, Avid Xpress, AVoption, AVX, Beauty Without The Bandwidth, Blacktooth, Boom, C|24, CamCutter, CaptureManager, ChromaCurve, ChromaWheel, Command|24, Conectiv, CountDown, DAE, Dazzle, Dazzle Digital Video Creator, Deko, DekoCast, D-Fi, D-fx, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, DigiLink, DigiMeter, DigiSerial, Digital Nonlinear Accelerator, DigiTranslator, DINR, DNxchange, do more, DVD Complete, D-Verb, Eleven, Equinox, EveryPhase, ExpertRender, Fastbreak, Fast Track, FieldPak, Film Composer, FilmScribe, Flexevent, FluidMotion, FXDeko, G7, G-Rack, HD Core, HD Process, HDPack, Hollywood DV-Bridge, Hybrid, HyperControl, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, iNEWS, iNEWS Assign, iNEWS ControlAir, Instantwrite, Instinct, Intelli-sat Broadcasting Recording Manager, Intelli-Sat, InterFX, Interplay, inTONE, Intraframe, iS9, iS18, iS23, iS36, ISIS, IsoSync, KeyRig, KeyStudio, LaunchPad, LeaderPlus, Lightning, ListSync, Lo-Fi, Magic Mask, Make Anything Hollywood, make manage move | media, Marquee, M-Audio, M-Audio Micro, Maxim, Mbox, MCXpress, Media Browse, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, MediaStream, Media Suite, Meridien, MetaFuze, MetaSync, MicroTrack, Midiman, MissionControl, Mix Rack, MixLab, Moviebox, Moviestar, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, NRV-10 interFX, Octane, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Palladium, Pinnacle, Pinnacle DistanTV, Pinnacle Geniebox, Pinnacle HomeMusic, Pinnacle MediaSuite, Pinnacle Mobile Media, Pinnacle PCTV, Pinnacle PCTV HD Ultimate Stick, Pinnacle PCTV Nano Stick, Pinnacle PCTV To Go, Pinnacle Scorefitter, Pinnacle Studio, Pinnacle Studio MovieBoard, Pinnacle Systems, Pinnacle VideoSpin, ProEncode, ProServices, ProSessions, Pro Tools, QuietDrive, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, RetroLoop, rS9, rS18, Salesview, Sci-Fi, Scorch, Scorefitter, ScriptSync, SecureProductionEnvironment, Session, Show Center, Sibelius, SIDON, Soft SampleCell, Soft-Clip Limiter, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, Starplay, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, Strike, Structure, Studiophile, SubCap, Sundance Digital, Sundance, Symphony, SYNC HD, SynchroScience,

SynchroScope, Syntax, Targa, TDM FlexCable, Thunder, Titan, Titansync, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Torq, Torq Xponent, Transfuser, Trigger Finger, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Velvet, Venom, VideoRAID, Video Slave Driver, VideoSPACE, VideoSpin, Vortx, Xdeck, X-Form, Xmon, 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.

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.

GOT FOOTAGE?

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

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

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

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

Avid Symphony Advanced Guide • 0130-07986-01 • February 2009 • This document is distributed by Avid in online (electronic) form only, and is not available for purchase in printed form.

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 1 Working with the Project Window: Advanced. . . . . . . . . . . . . . . . . . . . . 41

User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Managing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Guidelines for Project Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Managing Bins and Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Adjusting Automatic Saves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Using the Info Display to View Memory Information and Access the

Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Usage Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Displaying Usage Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Statistics File Structure and Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Importing the Statistics File into a Spreadsheet . . . . . . . . . . . . . . . . . . . . . . . . . 52

Displaying Disk Space Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Customizing the Avid User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Changing Interface Component Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Changing Button and Toolbar Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Using Interface Appearance Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

User-Customized Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Working with Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . 64

Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Sharing Only Bins in Avid Unity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Sharing Bins and Projects in Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Locks and Shared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Working with Locks and Shared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Restrictions and Limitations for Locked Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Suggestions for Improving Performance When Working with

hared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Shared Bin and Project Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Shared Bin Lock Icon Limitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Drive Filtering in Networked Workflows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Chapter 2 Using Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Using a Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Deck Controller Window Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

The Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Understanding Button Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Mapping User-Selectable Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

The Blank Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Modifier Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Activating Commands from the Command Palette . . . . . . . . . . . . . . . . . . . . . . 79

Using the Avid Calculator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

The Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Displaying System Information in the Console Window . . . . . . . . . . . . . . . . . . 81

Reviewing a Log of Errors in the Console Window . . . . . . . . . . . . . . . . . . . . . . 81

Getting Information with the Console Window. . . . . . . . . . . . . . . . . . . . . . . . . . 81

Using the Console Window to Access Network Drives . . . . . . . . . . . . . . . . . . . 82

Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Using Avid Log Exchange to Prepare Log Files for Import . . . . . . . . . . . . . . . . . . . . 85

Converting Log Files with Avid Log Exchange (Windows) . . . . . . . . . . . . . . . . . 86

Using Drag-and-Drop Conversion for Log Files (Windows) . . . . . . . . . . . . . . . . 88

Converting Log Files with Avid Log Exchange (Macintosh) . . . . . . . . . . . . . . . . 90

Using Drag-and-Drop Conversion for Log Files (Macintosh) . . . . . . . . . . . . . . . 92

Avid Log Exchange Stores ASC Color Decision List (CDL)

Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Log Formats Compatible with Avid Log Exchange. . . . . . . . . . . . . . . . . . . . . . . 93

Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Global Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Column Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Creating an Avid Log. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Double-Checking Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Tips for Logging Preroll, Logging Timecode, and Naming Tapes . . . . . . . . . . 105

Logging with Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Logging with Non-Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Understanding the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Film-Related Log Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Modifying the Pulldown Phase Before Capturing . . . . . . . . . . . . . . . . . . . . . . . 121

Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . . . . . . . . . . 123

Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Entering Additional Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Entering Ink Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Chapter 4 Capturing Media: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Advanced Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Selecting Settings for Capturing Across Timecode Breaks. . . . . . . . . . . . . . . 128

Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Preroll Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

General Settings for Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Settings for Film and 24p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Disabling Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Understanding Drop-Frame and Non-Drop-Frame Timecode . . . . . . . . . . . . . . . . 137

Preparing for Audio Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Creating Tone Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Analog and Microphone Input Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Resizing the Passthrough Mix Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . 141

Changing an Audio Level in the Passthrough Mix Tool. . . . . . . . . . . . . . . . . . 142

Adjusting Pan Values in the Passthrough Mix Tool. . . . . . . . . . . . . . . . . . . . . 143

Changing Audio Hardware Calibration Settings for Avid Nitris . . . . . . . . . . . . 143

Calibrating Audio Input Channels for Avid Nitris. . . . . . . . . . . . . . . . . . . . . . . 144

Calibrating Audio Output Channels for Avid Nitris . . . . . . . . . . . . . . . . . . . . . 145

Audio Hardware Calibration for Avid Nitris DX . . . . . . . . . . . . . . . . . . . . . . . . 146

Using the Default Audio Calibration for Avid Nitris DX . . . . . . . . . . . . . . . . . . 146

Using a Tone Generator to Calibrate Audio Input Channels for

Avid Nitris DX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Using an External Meter to Calibrate Audio Output Channels for

Avid Nitris DX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Using the Console Window to Check Audio Levels. . . . . . . . . . . . . . . . . . . . . 150

Preparing for Video Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Limitations When Using Consumer Decks or Decks Without

Time-Base Correctors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Saving Calibration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . . . . . . . . 153

Adjusting Video Levels for Tapes Without Color Bars . . . . . . . . . . . . . . . . . . . 154

Using Capture Function Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Special Capture Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Logging Errors to the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Opening the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Considerations for Creating Subclips While Capturing . . . . . . . . . . . . . . . . . . 157

Creating Subclips While Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Creating Timed Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Understanding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Returning to the Previous Place in the Select Tape Dialog Box . . . . . . . . . . . 161

Understanding DV Capture Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

RS-422 Controlling a DV Device Configuration . . . . . . . . . . . . . . . . . . . . . . . . 162

FireWire Configuration Without Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

FireWire Configuration with Encoded Timecode . . . . . . . . . . . . . . . . . . . . . . . 162

Capture with No Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Capturing DV Material with Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Delaying Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Live Capture with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Preparing for Capturing with External Timecode . . . . . . . . . . . . . . . . . . . . . . . 165

Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . . . . . . . . . . 169

Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Selecting Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . 170

Enabling Remote Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Enabling Remote Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Setting up Your System for Remote Punch-In. . . . . . . . . . . . . . . . . . . . . . . . . 172

Using Serial Drivers with Remote Play and Capture

(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

DV and HDV Scene Extraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Setting Up DV and HDV Scene Extraction Before Capturing . . . . . . . . . . . . . 181

Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . . . . . . . 182

Using the Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Chapter 5 Importing Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Importing Single-Layer Photoshop Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . 186

Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Example of Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . 187

Support for Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . 189

Preserving Layer Effects in Multilayered Photoshop Graphics . . . . . . . . . . . . 190

Importing Multilayered Photoshop Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Restrictions on Importing Editcam Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Importing Sequences from Pro Tools through Interplay

(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Chapter 6 Working with Bins: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Advanced Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Film Scene Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Displaying Custom Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Saving a Custom Bin View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Sequence and Clip Information Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Creating a Summary of Effects and Source Information . . . . . . . . . . . . . . . . . 202

Understanding Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . . . 206

Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Selecting Sources Used by an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Selecting Unreferenced Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Text View: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Manipulating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Duplicating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Changing a Custom Bin Column Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Tracking Frames Based on File Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Managing Clip Information in Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Modifiable Bin Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Using the Modify Command to Modify Data. . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Modifying Data with the Modify Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Copying Information Between Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Copying Information from Another Cell in a Custom Column. . . . . . . . . . . . . . 221

Selecting a Film Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Tracking 3-Perf Counts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Selecting an Edgecode Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Displaying Timecodes in a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . 224

Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . . . . 225

Adding Timecode Values to the Timecode Columns . . . . . . . . . . . . . . . . . . . . 226

Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Displaying or Outputting Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Editing with Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Disassociating Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Viewing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Changing Restriction Comments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Searching the Database for Restrictions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Digital Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Importing Color Bars and Other Test Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Leaders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Chapter 7 File Based Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Sony XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Sony XDCAM EX Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

XDCAM and XDCAM EX Formats and Resolutions . . . . . . . . . . . . . . . . . . . . 242

Working with XDCAM HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Connecting the XDCAM or XDCAM EX Device . . . . . . . . . . . . . . . . . . . . . . . 243

Ejecting an XDCAM EX Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Panasonic P2 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Panasonic P2 Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

P2 Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Installing the Panasonic P2 Drivers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Preparing to Mount P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Setting up a P2 Card Reader (Windows only). . . . . . . . . . . . . . . . . . . . . . . . . 247

Mounting P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Copying P2 Files to a FireWire or Network Drive . . . . . . . . . . . . . . . . . . . . . . 249

Changing P2 Cards in the Card Reader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Sharing P2 Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Working with Spanned Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

The Avid Media Access (AMA) Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Selecting the AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Viewing Installed AMA Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Understanding Linking with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Linking Media with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Using Virtual Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Workflow for Editing XDCAM and XDCAM EX Clips with AMA . . . . . . . . . . . . 257

Working with Essence Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Playing XDCAM or XDCAM EX Media on an Avid Symphony with

Avid Nitris Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Workflow for Editing P2 Clips with AMA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

The Import and Export Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Setting XDCAM Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Importing XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Importing XDCAM EX Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Automatically Importing Proxy Media from an XDCAM Device . . . . . . . . . . . . 264

Importing Proxy Media from an XDCAM Disc . . . . . . . . . . . . . . . . . . . . . . . . . 266

Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . . . . . . . . . . 267

Manually Importing XDCAM Media from the XDCAM Disc . . . . . . . . . . . . . . . 267

Importing Essence Marks as Locators in XDCAM Media. . . . . . . . . . . . . . . . . 268

Editing XDCAM Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Batch Importing High-Resolution XDCAM Media from the

XDCAM Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Editing and Finishing High-Resolution XDCAM Media. . . . . . . . . . . . . . . . . . . 272

Exporting Media to XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Exporting to XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Workflow for Editing with P2 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Changing P2 Cards in the Card Reader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Importing P2 Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Dragging P2 Master Clips from the Media Tool to a Bin . . . . . . . . . . . . . . . . . 277

Exporting Your Clip or Sequence to a P2 Card . . . . . . . . . . . . . . . . . . . . . . . . 280

Chapter 8 Managing Media Files: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Relink Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Relinking and New Project Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Relinking Clips to a New Project Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Relinking by Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Relinking Consolidated Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Relinking Moved Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Videotapes for Archiving and Restoring Media Files . . . . . . . . . . . . . . . . . . . . . . . 290

Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Restoring an Archive from Videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Sequence and Clip Information Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Chapter 9 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Lined Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Lined Script Symbols. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Script Window Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Selecting Text Encoding for Scripts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Opening, Closing, and Saving the Script Window. . . . . . . . . . . . . . . . . . . . . . 305

Displaying Clip and Sequence Information in a Script Window. . . . . . . . . . . . 305

Exploring the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Working with Script Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Changing the Font Used in Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Selecting Text in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Cutting, Copying, and Pasting Script Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Searching Through Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Using Page and Scene Numbers in the Script Window . . . . . . . . . . . . . . . . . 310

Conducting a Text Search in the Script Window . . . . . . . . . . . . . . . . . . . . . . . 312

Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Working with Slates in the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Resizing Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Holding Slates On Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Hiding Slate Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Showing One Take Per Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Working with Takes in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Changing the Representative Frame for a Take . . . . . . . . . . . . . . . . . . . . . . . 319

Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Playing Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Indicating Off-Screen Dialog in a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Using Color Indicators in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Using Real-Time Screening and Marking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Marking with ScriptSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Loading and Playing Marked Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Moving a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Finding Clips and Bins from the Script Window . . . . . . . . . . . . . . . . . . . . . . . . 329

Editing From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Assembling a Rough Cut From the Script Window . . . . . . . . . . . . . . . . . . . . . 330

Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Interactive Screenings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Chapter 10 Viewing and Marking Footage: Advanced . . . . . . . . . . . . . . . . . . . . . . . 333

Using the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Using the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Playing Selected Clips in a Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Suggested Uses for Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Adding Locators On-the-Fly while Playing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Finding Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Editing Locator Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Copying Locators from Source Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Marking an Area Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Moving to the Previous or Next Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Using the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Viewing Locators in the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Working in the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Exporting and Importing Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Creating a Locator Text (.txt) File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Copying and Pasting Locators Using the Locators Window . . . . . . . . . . . . . . 348

Printing the Contents of the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . 350

Disabling the Locator Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Creating a Summary of Effects and Source Information . . . . . . . . . . . . . . . . . . . . 353

Chapter 11 Creating and Editing Sequences: Advanced. . . . . . . . . . . . . . . . . . . . . 359

User Preferences for Creating Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Enabling Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Adding Comments to Sequence Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Playback Performance Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Understanding Autosyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Creating an Autosynced Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

AutoSequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Understanding AutoSequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Adding Audio to Original Videotape Using AutoSequence. . . . . . . . . . . . . . . . 366

Resyncing Subframe Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Understanding Subframe Resyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Resyncing Audio for a Selected Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Managing Sync with Multiple Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Understanding Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Sync Point Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Using MetaSync to Synchronize Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Chapter 12 Using the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Timeline Views: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Displaying the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 377

Displaying Local and Source Colors in the Timeline . . . . . . . . . . . . . . . . . . . . 378

Changing the Timeline Background or Track Color . . . . . . . . . . . . . . . . . . . . . 378

Showing Locators in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Setting the Scroll Option for the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Navigating in the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Advanced Timeline Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Bin Editing Directly into a Sequence Using the Keyboard. . . . . . . . . . . . . . . . 383

Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Editing in Heads or Heads Tails View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Performing a Quick Edit Using the Top and Tail Commands . . . . . . . . . . . . . 386

Add Edit (Match Frame) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Adding a Match-Frame Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Adding Edits to Filler Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Removing Match-Frame Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Dupe Detection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Activating Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Methods for Changing Handle Length in Dupe Detection . . . . . . . . . . . . . . . . 390

Adjusting Handle Length in Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Tracking Color Frame Shifts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Chapter 13 Working in Trim Mode: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Adding Black When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Trimming with Sync-Locked Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Lassoing Segments for Slip or Slide Trimming . . . . . . . . . . . . . . . . . . . . . . . . 401

The Four-Frame Slip/Slide Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Performing a Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Slipping Shots in Source/Record Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Using the Transition Corner Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Chapter 14 Working with Audio: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . 408

Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . 409

Viewing Clip Gain and Automation Gain Values . . . . . . . . . . . . . . . . . . . . . . . 410

Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Adjusting Volume While Playing a Clip Gain Effect . . . . . . . . . . . . . . . . . . . . . 410

Improving Response Time When Adjusting Volume . . . . . . . . . . . . . . . . . . . . 411

Using External Fader Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Adjusting the Volume of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . 414

Adjusting the Pan of Individual Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Using an External Fader Controller or Mixer to Record

Automation Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Using the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Using the Command|8 with Your Avid Editing System. . . . . . . . . . . . . . . . . . . 417

Configuring the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Mapping Buttons and Menu Commands for the Command|8 . . . . . . . . . . . . . 418

Button Layouts on the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Viewing Different Controller Button Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Mapping Controller Menu Commands for the Command|8 . . . . . . . . . . . . . . . 419

Using Command|8 Buttons to Change Focus in the Avid Editing

Application Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Using a Foot Pedal as a Foot Switch with the Command|8 . . . . . . . . . . . . . . . 420

Using a Command|8 to Record Automation Pan . . . . . . . . . . . . . . . . . . . . . . . 421

Using the Latch Mode Feature on the Command|8 . . . . . . . . . . . . . . . . . . . . . 421

Configuring USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . . . . 422

Installing USB-to-MIDI Software (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Installing USB-to-MIDI Software (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . 424

Testing External Fader Controller Connections . . . . . . . . . . . . . . . . . . . . . . . . 424

Switching Between MIDI Connections on the USB-to-MIDI Converter . . . . . . 425

Troubleshooting MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

MCS-3000X Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Using the Snap Mode Feature on the MCS-3000X . . . . . . . . . . . . . . . . . . . . . 429

Ganging Faders on the FaderMaster Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Using the Yamaha 01V/96 or the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Initializing the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . 430

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

Control Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

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

Yamaha 01V Attached . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Switching Between Audio Mixing and Gain Recording with the

Yamaha 01V/96 and Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Operating the Yamaha 01V/96 and Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . 433

Soloing Avid System Channels with the Yamaha 01V/96

and Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Removing Audio EQ Effects with the Fast Menu. . . . . . . . . . . . . . . . . . . . . . . 440

Removing Audio EQ Effects with the Remove Effect Button. . . . . . . . . . . . . . 441

Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Small Octave Range Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Creating Your Own Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Adding an EQ Template to the Audio EQ Tool Fast Menu . . . . . . . . . . . . . . . 446

Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Connecting Voice-Over Recording Hardware . . . . . . . . . . . . . . . . . . . . . . . . . 448

Understanding the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Audio Punch-in Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Audio Punch-in Tool Scenarios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Recording Voice-Over Narration Using Audio Punch-in . . . . . . . . . . . . . . . . . 451

Monitoring Previously Recorded Tracks While Recording Voice-Over

Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Using Peak Hold While Recording Voice-Over Narration . . . . . . . . . . . . . . . . 454

Using the MCS3 with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . 454

Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 455

Understanding GPI Trigger Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

GPI Signal Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Example of Linking GPI Actions to Trigger Signals . . . . . . . . . . . . . . . . . . . . . 457

Connecting a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . . 458

Configuring a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . . 458

Working with GPI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Creating a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Editing a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Deleting a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Displaying Audio Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Chapter 15 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Understanding Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

AudioSuite Plug-Ins Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . . . . . . . . . . 465

Using an AudioSuite Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Rendering AudioSuite Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Creating New Master Clips with AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . 469

AudioSuite Controls for Creating New Master Clips. . . . . . . . . . . . . . . . . . . . . 469

Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins . . . . . . . . 472

Using AudioSuite Plug-ins to Create New Master Clips. . . . . . . . . . . . . . . . . . 473

Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

AudioSuite Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Troubleshooting AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

BF Essential Clip Remover AudioSuite Plug-in . . . . . . . . . . . . . . . . . . . . . . . . 479

Bomb Factory BF76 AudioSuite Plug-in. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Chorus AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

D-Verb AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Compressor AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Limiter AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Expander-Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

DeEsser AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Compressor/Limiter III (Dynamics III) AudioSuite Plug-In . . . . . . . . . . . . . . . . 489

Expander/Gate III (Dynamics III) AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . 493

DeEsser III (Dynamics III) AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . 495

EQ AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Flanger AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Funk Logic Mastererizer AudioSuite Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Invert AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Duplicate AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Delay AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Multi-Tap Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Normalize AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Gain AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Ping-Pong Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Reverse AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

DC Offset Removal AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

Signal Generator AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

Time Compression Expansion AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . 508

Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

Time Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Non-Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Chapter 16 Exporting Frames, Clips, or Sequences and Transferring Material:

Advanced 519

Exporting With the Send To Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Exporting Using Send To DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Exporting Using Send To Digidesign Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 523

Exporting Using Send to DVD Authoring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Exporting Using Send to DVD One Step. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Exporting Using Send to Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Exporting Using Send To Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532

Creating a Custom Send To Template for Exporting to Third-Party

Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Exporting Through OMF Interchange. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . . . . . . . . . . 537

Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538

Guidelines for Exporting AAF Files to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 541

Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . . 542

Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547

Exporting As a QuickTime Reference Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Using Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Exporting As an AVI File (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . . 555

Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . . 557

Exporting as Windows Media (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Exporting as Windows Media Using an Avid Supplied Template

(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Exporting as Windows Media Using an Existing Windows Media Profile

(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Creating a Custom Video Profile for Windows Media Export

(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Creating a Custom Audio Profile for Windows Media Export

(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Exporting as Windows Media Using a VC1 Resolution . . . . . . . . . . . . . . . . . . 565

Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Exporting Frames As Graphic Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568

Chapter 17 Generating Output: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

Using Test Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Calibrating the System with Passthrough Signals. . . . . . . . . . . . . . . . . . . . . . 572

Using S/PDIF Output Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573

Using an XLR Adapter for Consumer-Level Analog Output. . . . . . . . . . . . . . . . . . 574

Using the Digital Cut Tool: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Outputting DV 50 and DVCPRO HD Media Directly to a DV Device. . . . . . . . 576

Selecting Output and Timecode Formats for 23.976p, 24p,

and 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576

Selecting Output Formats for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . 577

Output Format Reference for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . 578

Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . 580

Outputting Drop-Frame and Non-Drop-Frame Timecode

Simultaneously for Downstream Encoding . . . . . . . . . . . . . . . . . . . . . . . . . 581

Indicating the Destination Timecode Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Selecting the Video Pulldown Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Digital Cuts and Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . . . . . . . 584

Understanding DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Delaying the Sequence for a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Using EDL Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586

Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586

Understanding Matchback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587

Chapter 18 MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589

Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . 589

Creating Group Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Creating Multigroup Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592

Full-Monitor Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593

Quad Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594

Nine Split Source View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596

Real-time Playback in MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Limitations on Playback of MultiCamera Media . . . . . . . . . . . . . . . . . . . . . . . . 598

MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Switching Clips with the Arrow Keys During Multicamera Editing . . . . . . . . . . 599

Editing and Playing Back a Linecut in MultiCamera Mode. . . . . . . . . . . . . . . . 599

Using the Add Edit Button During Multicamera Editing . . . . . . . . . . . . . . . . . . 600

Understanding the Group Menu for Multicamera Editing . . . . . . . . . . . . . . . . . 601

Using the Group Menu for Multicamera Editing . . . . . . . . . . . . . . . . . . . . . . . . 601

Using the Multi-angle View Menus During Multicamera Editing. . . . . . . . . . . . 602

Using Match Frame in MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . 602

Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Chapter 19 Using Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Viewing Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612

Displaying Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612

Working with Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613

AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

AMA Settings: Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

AMA Settings: Volume Mounting Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Audio Projects Settings: Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Audio Project Settings: Input Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

Audio Project Settings: Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633

Capture Settings: General Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633

Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Capture Settings: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Capture Settings: DV & HDV Options Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Composer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Composer Settings: Window Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Composer Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640

Composer Settings: FF/REW Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642

Composer Settings: MultiCam Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Correction Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644

Correction Settings: Tabs Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644

Correction Settings: Units Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

Correction Settings: Levels Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

Correction Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646

Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648

Deck Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Deck Preferences Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

Effect Editor Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652

Export Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653

Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653

Export Settings: QuickTime Reference Options . . . . . . . . . . . . . . . . . . . . . . . 655

Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . 657

Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 660

Export Settings: QuickTime Compression Settings. . . . . . . . . . . . . . . . . . . . . 661

Export Settings: HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662

Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662

Export Settings: OMFI, AAF, and AFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663

Export Settings: AVI (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666

Export Settings: AVI Video Compression (Windows Only) . . . . . . . . . . . . . . . 668

Export Settings: Windows Media Export Options (Windows Only) . . . . . . . . . 669

Windows Media Legacy Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669

Existing Windows Media Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

Windows Media Options Video Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

Custom Profile Audio Settings for Windows Media Export. . . . . . . . . . . . . . . . 672

Export Settings: Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673

Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675

Export Settings: Graphic Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676

P2 Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679

Export Settings: XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680

Film and 24P Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680

General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682

Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Grid Settings: Coordinates Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Grid Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

Import Settings: OMFI/AAF Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Import Settings: Audio Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689

Import Settings: XDCAM Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690

Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691

Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691

Interface Settings: Appearance Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Interplay Server Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Interplay User Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695

Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

Media Creation Settings: Drive Filtering & Indexing Tab . . . . . . . . . . . . . . . . . 697

Media Creation Settings: Capture, Titles, Import, and

Mixdown & Transcode Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697

Media Creation Settings: Motion Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . 698

Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698

Media Creation Settings: Media Type Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Media Services Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Mouse Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Safe Colors Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Timeline Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711

Video Output Tool Settings: Options Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711

Video Output Tool Settings: SD Cal Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

Video Output Tool Settings: HD Cal Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Chapter 20 File Format Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Specifications for Graphics (Image) Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Supported Graphics (Image) File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 720

Import Specifications for Supported Graphics File Formats . . . . . . . . . . . . . . 721

Preparing Graphics Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724

Frame Size for Imported Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Specifications for Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727

Specifications for Audio File Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Understanding MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Specifications for Importing OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Working with BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

BWF Information Displayed in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

Importing, Syncing, and Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . 733

Importing Multi-Channel Broadcast Wave (BWF) Files . . . . . . . . . . . . . . . . . . 735

Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Chapter 21 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . 739

Compression and Avid Editing Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739

Monitor Display Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740

Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740

Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

Resolution Specifications: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

Resolution Specifications: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744

Resolution Specifications: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . . . . . 745

Resolution Specifications: Multicam. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745

Resolution Specifications: Digital Video (DV). . . . . . . . . . . . . . . . . . . . . . . . . . 746

Resolution Specifications: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747

Resolution Specifications: VC1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747

Resolution Specifications: AVC-Intra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750

Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Estimating Drive Space Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Estimated Storage Requirements: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

Estimated Storage Requirements: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . 755

Estimated Storage Requirements: JFIF Progressive . . . . . . . . . . . . . . . . . . . . 757

Estimated Storage Requirements: DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760

Estimated Storage Requirements: MPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760

Maximizing Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761

Managing Storage to Improve Playback Performance . . . . . . . . . . . . . . . . . . . . . . 761

Chapter 22 Working in a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763

Understanding 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763

Understanding 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764

Planning a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765

24p Workflow: 24-fps Film Source, SDTV Transfer, Multiformat

Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765

Offline Workflow: 24-fps Film Source, SDTV Transfer . . . . . . . . . . . . . . . . . . 767

Online Workflow: 24-fps Film Source, SDTV Transfer, Multiformat

Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768

24p Workflow: 24-fps Film or HD Video Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769

Offline Workflow: 24-fps Film or HDTV Source SDTV

Downconversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771

Online Workflow: 24-fps Film or HDTV Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772

25p Workflow: 25-fps Film or HD Video Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773

Offline Workflow: 25-fps Film or HDTV Source,

SDTV Downconversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775

Online Workflow: 25-fps Film or HDTV Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776

Audio Transfer Options for 24p PAL Projects . . . . . . . . . . . . . . . . . . . . . . . . . 777

Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777

Creating a 23.976p NTSC Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778

Tools and Settings Information for 23.976p Projects. . . . . . . . . . . . . . . . . . . . 779

23.976 Workflow: 23.976-fps Film Transfer or HD Video Source,

SDTV Downconversion, Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . 779

Offline Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV

Downconversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782

Online Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV

Downconversion, Multiformat Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783

NTSC Audio and Video Captured Separately (23,976p Project). . . . . . . . . . . 784

Limitations for 23.976p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785

Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786

Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786

Viewing Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787

Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788

Video Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789

Understanding the Film-to-Tape Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . 790

Transfer of 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791

Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791

Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791

Stage 2: Capturing at 24 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794

Transfer of 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795

PAL Method 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795

PAL Method 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797

How Avid Editing Applications Store and Display 24p and 25p Media . . . . . . . . . . 797

Film-to-Tape Transfer Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 799

Film-to-Tape Transfer Quality Options and Production Aids. . . . . . . . . . . . . . . . . . 799

Chapter 23 Working with Stereoscopic Material . . . . . . . . . . . . . . . . . . . . . . . . . . . 801

Acquiring Stereoscopic Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801

Setting Up Your System For Viewing Stereoscopic Material in Three

Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 802

Displaying Stereoscopic Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803

Considerations When Working with Stereoscopic Material. . . . . . . . . . . . . . . . . . . 805

Chapter 24 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807

High-Definition Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808

HDTV Workflows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809

HD Workflow: Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . 809

Offline Workflow: 24-fps Film Source for HDTV . . . . . . . . . . . . . . . . . . . . . . . . 811

Online Workflow: 24-fps Film Source for HDTV . . . . . . . . . . . . . . . . . . . . . . . . 812

HD Workflow: Video-Based Television Workflow. . . . . . . . . . . . . . . . . . . . . . . 813

HD Workflow: Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . 815

Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816

Understanding Options for Changing the Project Format . . . . . . . . . . . . . . . . 816

Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818

Understanding Options for Modifying the Sequence Format . . . . . . . . . . . . . . 818

Modifying the Format of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820

Converting a 24p NTSC Sequence to 1080p/23.976 . . . . . . . . . . . . . . . . . . . . 821

Converting a 23.976p NTSC Sequence to 720p/23.976 . . . . . . . . . . . . . . . . . 822

Mixing SD and HD Material in a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822

Displaying Formats in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823

Editing at 60 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823

Working with True 24 FPS Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Transcoding HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Using HD Universal Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Converting Audio for HD Universal Mastering. . . . . . . . . . . . . . . . . . . . . . . . . 825

Performing a Digital Cut with HD Universal Mastering . . . . . . . . . . . . . . . . . . 827

Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829

Working with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830

Understanding HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830

HDV Basic Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831

Capturing and Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832

Capturing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832

Importing HDV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833

Mixing SD and HD Resolutions with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833

Playing Back HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834

Rendering and Transcoding HDV Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834

Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835

Long-GOP Splicing for HDV Encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835

Exporting to an HDV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835

Outputting HDV through Avid Input/Output Hardware. . . . . . . . . . . . . . . . . . . 837

Exporting an HDV Transport Stream. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837

Exporting HDV as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838

Finishing HDV on DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839

HDV Compatibility Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840

Chapter 25 International Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841

Using a Local Language Operating System

(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841

Choosing a Locale on an English Language Operating System

(Windows and Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Setting the Language in System Preferences (Macintosh) . . . . . . . . . . . . . . . 843

Specifying the Language in the Get Info Dialog Box (Macintosh) . . . . . . . . . . 845

Non-English Character Support (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845

Using Foreign Keyboard Mapping (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 849

Recommendations and Restrictions for International Character Support . . . . . . . . 850

Avid Supports English Plus One Locale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850

Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . . . . . . . . . . 850

Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . . . . . . . . . . 850

EDL Manager Does Not Save Diacritical Marks or Chinese Characters . . . . . 851

Traditional Chinese Big 5 Character Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852

Rebuilding the asifont.map File (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . 852

Tips and Limitations for International Character Support . . . . . . . . . . . . . . . . . . . . 852

Creating Vertical Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853

Additional Tips and Limitations for Working with International

Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853

Chapter 26 Using the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855

Configuring the MCS3 Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855

Using the Default Button Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856

Mapping MCS3 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858

Configuring a Shifted Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859

Customizing the Maximum Jog Speed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859

Customizing the Maximum Shuttle Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859

Creating Multiple Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 860

Moving Through Footage with the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . 861

Using the MCS3 for Editing Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 862

Troubleshooting the MCS3 Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 862

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865

Using This Guide

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

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

Unless noted otherwise, the material in this document applies to the Windows Windows Vista document were captured 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 and applies to both

the Windows and Mac OS X operating systems. Your system might not contain certain features and hardware that are covered in the documentation, and might not be available on both Windows and Mac OS X.

, and Mac OS® X operating systems.The majority of screen shots in this

XP,

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 ship 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 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.

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

You will need Adobe® Reader® to view the PDF documentation online. You can download

the latest version from the Adobe web site.

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

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

t (Windows only) From the Windows desktop, select Start > All Programs > Avid > Avid

editing application > Online Library

Accessing the 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:

(Windows) C:\Program Files\Avid\Avid editing application\Online Library

(Macintosh) MacintoshHD/Applications/Avid editing application/Online Library

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.

How to Order Documentation

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

Avid 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).

1 Working with the Project Window:

Advanced

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

The following topics describe advanced features of the Project window:

• User Profiles

• Managing User Profiles

• Folders and Bins

• Using the Info Display to View Memory Information and Access the Hardware Tool

• Usage Information

• Customizing the Avid User Interface

• User-Customized Workspaces

• Working with Bins and Projects in an Avid Unity Environment

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

User Profiles

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

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

1 Working with the Project Window: Advanced

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

• (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users\UserName

• (Windows Vista) drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName

• (Macintosh) /Users/Shared/Avid editing application/Avid Users/UserName

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

“Managing User Profiles” on page 43):

• Create new user profiles

• Switch between user profiles

• Return to the original user profile

• Import settings from another user or user profile

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

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

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

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

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

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

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

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

Cross-platform (Macintosh to Windows or Windows to Macintosh) user profiles can not be

User Profile Selection menu

Project window title bar

shared.

• Update a user profile with the Update User Profile option, which lets you add user settings, such as the Send To settings options, to an existing Settings list.

For example, if you are upgrading to a version of your application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list.

Managing User Profiles

To create a user profile:

1. Click the Settings tab in the Project window.

Managing User Profiles

2. Click the User Profile Selection menu, and select Create User Profile.

The Create User Profile dialog box opens.

3. Type a name in the Profile Name text box, and then click OK.

The new user profile appears selected in the menu, and the user profile name appears in the Project window title bar.

To import user settings from another user or user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select another user profile.

3. The new user profile name appears in the Project window title bar.

1 Working with the Project Window: Advanced

To return to the original user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select the default user profile.

If you are using a user profile other than the default and you change to another project, the

default user settings are loaded, even though the Project window still displays your non-default user profile name. You must reselect the user profile you want to have active.

To import user settings from another user or user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Import User or User Profile.

3. Navigate to the user or user profile you want to import.

To export user settings to another user or user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Export User or User Profile.

3. Select Personal or Group.

4. Navigate to the location where you want to place the user or user profile.

5. Click OK.

To update user profiles:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Update User Profiles.

Any settings that have been added to the upgraded version of the application now appear in the Settings list.

To delete a user profile from your desktop:

1. Navigate to the Avid Users folder, and then select the user folder you want to delete.

For information about the location of the Avid folders, see “Using the Avid Projects and the Avid Users Folders” in the Help.

2. Do one of the following:

t (Windows) Press the Delete key, then click OK in the dialog box that appears.

t (Macintosh) Drag the folder to the Trash.

3. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system.

4. Close the windows, and restart your Avid editing application.

The deleted user no longer appears in the Select Project dialog box.

Folders and Bins

You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure provides both simplicity and backup security. You can also manage system memory usage, and specify how often your Avid editing application saves bins automatically.

Guidelines for Project Organization

Although the specifics can vary depending on your production needs and habits, the basic principles of project management are as follows:

• Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene.

• Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as follows:

- Create a set of bins for the capture stage.

For example, you can create one bin for each source tape or each day’s worth of dailies transfers to be captured to avoid slowing the system with large bins and causing confusion between tapes.

Folders and Bins

- Create a second set of bins for organizing your project.

For example, you can create a separate bin for each segment of a video project or each scene of a 24p project, depending on the preferences of the editor.

- Create a third set of bins for the editing stage, including:

A current cut bin for storing each work in progress (sequence)

An archive bin for keeping the original version of each cut (sequence)

A selects or storyboard bin for screening selected clips or cuts gathered from the source bins

A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown

• (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each capture bin and show cut bin, or a folder to contain all shot logs to be imported.

• Save these files as templates for future productions of a similar nature.

1 Working with the Project Window: Advanced

Project folder

Folders containing bin files

Bin files

Settings file Project file

A sample template of bins for a project is shown below.

This hierarchy allows you to have one set of bins available in the Project window during capture and organizing, and another set of bins available during editing to reduce clutter.

Creating a Folder in a Project

To create a folder in a project:

1. Click the Bins tab in the Project window.

2. Click the Fast Menu button, and select New Folder.

A new untitled folder appears.

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

Managing Bins and Memory

System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance.

In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%. If you exceed the recommended usage, a dialog box opens informing you that your memory usage is high and recommending that you should close some bins and save your project.

Folders and Bins

If your system is running low on memory and you need to free up memory, you can either close your bins or use the Clear Memory button. If you close your bins, some of your memory remains unavailable until you exit the application because the online master clips remain in memory. The Clear Memory button, however, closes and saves all of your open bins and clears out any cached data of the online master clips.

Bins containing sequences use more memory than bins containing master clips. For bins that contain a large number of sequences, you can free up memory and still keep your old sequences. Create an archive bin and move older sequences that you do not use anymore to the archive bin. Keep the archive bin closed.

To free up memory:

1. Click the Info tab of the Project window.

2. Click the Clear Memory button.

A dialog box opens asking if you want to close and save all opened bins.

3. Click OK.

This operation deletes cached data for the online master clips only. Memory might also be used by other parts of the application and will not be reduced by using the Clear Memory button.

Saving Bins Automatically

Your Avid editing application automatically saves changes to your work on a regular basis during each session. You can modify the frequency of the automatic backups by using the Bin settings in the Project window Settings list.

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

When autosave occurs:

• Any open bins are updated with changes made since the last autosave.

• Copies of these bins are placed in the project’s backup bin folder:

-(Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid

editing application\Avid Attic folder

- (Windows Vista) drive:\Users\Public\Public Documents\Avid editing

application\Avid Attic folder

- (Macintosh) /Users/Shared/Avid Attic folder

1 Working with the Project Window: Advanced

The system automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder. The procedure for recovering bin files from the Avid Attic folder is described in “Retrieving Files from the Attic Folder” in the Help.

For added security, you can save bins manually — for example, immediately after an important edit. For more information, see “Saving Bins Manually” in the Help.

Adjusting Automatic Saves

To adjust the frequency of automatic saves:

1. In the Project window, click the Settings tab, and then double-click Bin.

The Bin Settings dialog box opens.

2. Type a number in the Auto-Save interval text box.

3. Click OK.

Setting to zero the maximum number of files stored in the Avid Attic folder as well as the

maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved. For more information about backup options, click the Bin Settings dialog box and press F1(Windows) or the Help key (Macintosh), or see “Bin Settings” on page 632.

Using the Info Display to View Memory Information and Access the Hardware Tool

The Info display in the Project window allows you to view system memory information and access the Hardware tool. The items listed in this display are for information only and cannot be changed. The Hardware tool gives a visual representation of usage for each drive and provides operating system information.

(Windows only) You can view additional memory information through the Windows Task Manager and Performance Monitor tools. You can view information about system activities, such as driver messages, through the Windows Event Viewer. For information on these tools, see the Windows Help.

Using the Info Display to View Memory Information and Access the Hardware Tool

Info tab

To open the Info display:

t Click the Info tab in the Project window.

To display system memory information:

t Click the Info tab in the Project window, and then click the Memory button.

The Memory window opens.

The following table describes the information your Avid editing application displays in the Memory window:

Item Description

Objects The total number of memory handles currently used by your Avid

editing application. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project.

You can improve the performance of large projects by reducing the number of objects. To do this, close

unused bins, unmount unneeded media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then quit and restart your Avid editing application. If performance is still slow, restart your system.

Total physical memory (Windows) or Total Mem (Macintosh)

Available physical memory (Windows) or Free Mem (Macintosh)

Total page file The total number of bytes stored in the paging file. The paging file is

Available page file The total number of bytes available in the paging files.

Working set (minimum and maximum) The set of memory pages currently available to the application in RAM.

To open the Hardware tool, do one of the following:

The total number of bytes of RAM (random-access memory).

The amount of RAM available for allocation by the Windows or Macintosh system.

used as virtual memory by the Windows system.

t Click the Info tab in the Project window, and then click the Hardware button.

t Select Tools > Hardware.

The Hardware tool opens.

1 Working with the Project Window: Advanced

For more information about the Hardware tool, see “Using the Hardware Tool” on page 83.

Usage Information

The Statistics feature gathers and reports information on system usage. You can use this information to support business functions such as resource management.

All statistics are gathered and reported by project. The file that contains this information is formatted so you can use it as input to software programs such as analysis applications, spreadsheets, or report generators.

Do not rely on the Statistics feature for billing or other financial purposes.

Displaying Usage Information

To view and update statistics for an open project:

t Click the Usage tab in the Project window.

To print the Statistics file:

t Select File > Print Usage.

Statistics File Structure and Layout

A new Statistics file is created each time you open the project. The files are stored in a Statistics folder inside each project folder.

The file name has the following format:

Statistics.yymmdd.HHMMSS

where:

Variable Description

yy Indicates the last two digits of the year

mm Indicates the month

dd Indicates the day

HH Indicates the hour

MM Indicates the minutes

SS Indicates the seconds

Usage Information

The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. The following illustration shows a sample Statistics file.

1 Working with the Project Window: Advanced

The values in the first column indicate the content of the line:

100

101

102

104

105

106

110

111

113

114

115

116

117

title1

title2

Title Only

project info

Time Project open

Capture tool open

Capture tool active

Captured Media bytes used

Rendered Effects bytes used

Effects rendering time

Title tool open

Title tool active

Title tool rendering

Capture tool capturing

Capture tool logging

user comments

The values in the second column indicate the type of data in the line:

project info

time used

bytes used

text string

Importing the Statistics File into a Spreadsheet

You can import the Statistics file into a spreadsheet or other program as an ASCII file and use the application to set up the proper format. The following procedure describes how to import a Statistics file into Microsoft

Excel

Usage Information

To import a Statistics file into Microsoft Excel:

1. Start Microsoft Excel.

2. Select File > Open, and navigate to the Statistics file you want to import.

(Windows only) Make sure All Files (*.*) is selected in the Files of Type list.

3. Click Open.

The Text Import wizard starts.

4. Select Delimited for the Original Data Type, and click Next.

5. Select Comma for Delimiters, and click Next.

6. Select General for Column Data Format.

7. Click Finish.

The statistics file appears in spreadsheet format.

The following illustration is the sample file from the previous section as it appears when you import it into a spreadsheet.

1 Working with the Project Window: Advanced

Displaying Disk Space Statistics

To improve system performance, statistics for disk space (captured media and rendered effects) are not calculated and are not displayed in the Usage window unless you issue a Console command.

To display disk space statistics in the Usage window:

1. Select Tools > Console.

2. In the command entry text box, type:

toggleStatSpace

3. Press Enter (Windows) or Return (Macintosh).

4. Select File > Load Media Database.

After the media database is loaded, the Usage window displays the number of files and disk space used for captured media and rendered effects.

To update the display:

t Click the Usage tab in the Project window.

To prevent recalculation:

t Reenter the

toggleStatSpace

command.

Customizing the Avid User Interface

The Appearance tab in the Interface Settings dialog box provides you with controls for customizing the colors and button style of the Avid user interface. You can also change the font and point size of the type in the various windows. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 691.

The following topics provide more information on customizing the appearance of the user interface:

• Changing Interface Component Colors

• Changing Button and Toolbar Styles

• Using Interface Appearance Templates

• Changing Font and Point Size

Changing Interface Component Colors

Color boxes

Check box

Interface component list

You can use a color selection grid to change the color of interface components.

The Settings list has several Interface templates with predefined color schemes. For

information about using the Interface templates, see “Using Interface Appearance

Templates” on page 57.

To set the color of an interface component:

1. In the Project window, click the Settings tab, and then double-click Interface.

The Interface dialog box opens.

2. Click the Appearance tab.

The Interface components whose colors you can change are listed in the top half of the Appearance tab, as shown in the following illustration.

Customizing the Avid User Interface

3. Click in the color box next to the interface component that you want to customize.

A color selection grid opens.

4. Click the color to which you want to set your interface component.

The color selection grid disappears. The color you selected appears in the color box. A check mark appears in the check box to show that you want your new color attribute for this component to take effect.

If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value.

1 Working with the Project Window: Advanced

Convex

Dim Radial

Convex Radial

Bright Radial

5. Do one of the following:

t Click Apply to apply the changes you selected.

If you click Cancel after you click Apply, interface components retain the colors you applied.

t Click OK to close the dialog box and put the new setting into effect.

t Click Cancel to close the dialog box.

The changes you selected but did not apply do not take effect.

Changing Button and Toolbar Styles

You can control the shading style and depth of buttons and toolbars. You can also change the shape of buttons and the way buttons are spaced in Monitors and in the Timeline.

To set the style of buttons and toolbars:

1. In the Project window, click the Settings tab, and then double-click Interface.

The Interface dialog box opens.

2. Click the Appearance tab.

3. Select from one or more of the menus, as described in the table following this procedure.

4. Do one of the following:

t Click Apply to apply the changes you selected.

If you click Cancel after you click Apply, your editing application retains the selections you applied.

t Click OK to close the dialog box and put the new setting into effect.

t Click Cancel to close the dialog box.

The changes you selected but did not apply do not take effect.

Control Description Options Examples

Shading Style Controls the graphic style

used to shade buttons and toolbars.

Convex

Dim Radial

Convex Radial

Bright Radial

Customizing the Avid User Interface

Shading depth 5% Shading depth 50%

Maximum button separation

Moderate button separation

No button separation

Oval

SquareOctagonal

Rounded

Antique

Swoosh

Control Description Options Examples

Shading Depth Controls the

three-dimensional “rounding” of the buttons and toolbars

Monitor Button Separation

Timeline Button Separation

Button Style Controls the shape of

Controls the spacing between the Monitor buttons and between the Timeline buttons

buttons.

Percentage values

Maximum

Moderate

None

Oval

Octagonal

Rounded

Square

Swoosh

Antique

Using Interface Appearance Templates

There are several interface appearance templates available for the Avid user interface that have preset background and button colors.

To use an interface appearance template:

t Click to the left of one of the named Interface settings in the Settings list in the Project

window.

The look of your Avid user interface changes.

To return to the default interface:

t Click to the left of the unnamed Interface setting.

For information on how to change the appearance of particular components of your Avid

user interface, see “Customizing the Avid User Interface” on page 54.

1 Working with the Project Window: Advanced

Changing Font and Point Size

You can change the default font and point sizes of the Project, Bin, ComposerSource/Record monitor, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt.

The following table describes the windows you can change, and where these changes are saved.

Window Location of Changes

Project Changes the font and point size of the text in the Project window; saved as a Project

setting.

Bin Changes the font and point size of the text in the Bin window; saved as a Bin setting

(not a Bin View setting).

Composer monitor

Script Changes the font and point size of the text in the Script window; saved as a Script

Timeline Changes the font and point size of clip text; saved as a Timeline View setting.

To change the font displayed in the Project, Bin, ComposerSource/Record monitor, Script, or Timeline window:

Changes the font and point size of the sequence or source clip name text; saved as a Composer setting.

setting.

1. Click the Project, Bin, ComposerSource/Record monitor, Script, or Timeline window to make it active.

2. Select Edit > Set Font.

The Set Font dialog box opens.

3. Click the Font menu, and select a font.

Any font installed on the Avid system appears in the list. For information on adding fonts to

your system, see the documentation for your operating system.

4. Type another point size for the font in the Size text box.

5. Click OK.

The new font and point size appear in the active window.

When you close the window, the last font and point size applied are saved with the window.

User-Customized Workspaces

A workspace is the arrangement and size of tool windows displayed in your Avid editing application. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button.

For example, during capture you might want to display the Capture tool and Video Input tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in particular locations and sizes. For information on switching between workspaces, see “Switching Between Workspaces” on page 62.

While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either:

• The arrangement from the last time you left the workspace

• The arrangement you set for the workspace, regardless of any changes you made

You can select your preference in the Workspace Settings dialog box. For more information, see “Creating a New Workspace Setting” on page 59.

User-Customized Workspaces

You can assign up to eight buttons that allow you to switch between user-customized workspaces. This is useful if there is more than one user accessing the same Avid system. Each user can assign up to eight workspaces by using the workspace buttons. The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth. For more information, see “Assigning a Workspace Button” on page 63.

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

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

In addition, see the following topics for more information on customizing your workspace:

• Linking User Settings and Workspaces

• Deleting a Workspace

Creating a New Workspace Setting

To create a new workspace setting:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Scroll to the bottom of the Settings list, and select Workspace.

1 Working with the Project Window: Advanced

Custom name column

New workspace

3. Select Edit > Duplicate.

A new workspace setting appears in the Settings list.

If you are duplicating a previously named workspace setting, a .1 appears at the end of the

new name.

4. Click to the left of the new workspace you want to set.

A check mark appears next to the workspace.

5. Assign a custom name to the new workspace:

a. In the column between Workspace and User, click until you see a text cursor and

box. Make sure you click the Custom name column and not the Setting name.

b. Type a name for the new custom workspace; (for example, Logging).

c. Press Enter (Windows) or Return (Macintosh).

d. Open the windows and tools with which you want to associate the workspace.

Resize and move the windows to the location you want them to appear on the monitors.

6. Double-click the custom workspace setting.

The Workspace Settings dialog box opens.

7. Select or deselect the following options, depending on your preference for the behavior of the workspace:

Option Description

Activate Settings Linked by Name

Continually Update This Workspace

This setting allows you to link other settings to the workspace. For more information, see “Linking User Settings and Workspaces” on

page 61.

This setting automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.

Option Description

User-Customized Workspaces

Manually Update This Work sp ace

This setting saves the workspace in its current arrangement when you click Save Workspace Now. Future changes to the arrangement of the tool windows are disregarded.

8. Click OK.

Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name.

For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays). You can also link this workspace to a Settings dialog box with customized options selected. You do this by creating a setting and giving it the same name in the Settings list in the Project window as the name of the workspace.

To link user settings and a workspace:

1. Create a new workspace setting.

For more information, see “Creating a New Workspace Setting” on page 59.

2. Give the workspace a custom name.

3. Click a setting in the Settings list that you want to link to the new workspace. For example, click Timeline View. Adjust the Timeline to how you want it displayed (enlarged tracks, audio waveform, and so forth).

4. Give this Timeline View setting the same name you gave the workspace in step 2.

For information on naming a Timeline view, see “Managing Customized Timeline Views” in the Help.

5. Double-click another setting, (for example, Audio). Select the new options, (for example, Default Pan), and close the dialog box.

6. Give this setting the same name you gave the workspace in step 2.

1 Working with the Project Window: Advanced

Linked setting

Linked workspace

7. Double-click the workspace you just created.

The Workspace Settings dialog box opens.

8. Click Activate Settings Linked By Name.

9. Click OK.

All the settings and the new workspace you created are activated.

Switching Between Workspaces

Deleting a Workspace

To switch from one workspace to another:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Click to the left of the workspace setting you want to use.

A check mark appears next to the workspace.

You can also switch between workspaces by using the workspace buttons. To assign workspace buttons, see “Assigning a Workspace Button” on page 63.

To delete a workspace:

1. Select the workspace you want to delete from the Settings list in the Project window.

The workspace is highlighted.

Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace.

2. Press the Delete key.

The selected workspace is removed from the Settings list.

Assigning a Workspace Button

W1 button

More tab

To assign a workspace button:

1. If you want to assign a workspace button to a palette (for example, the Tool palette from the Fast menu) or the Keyboard, open the palette or Keyboard setting.

2. Select Tools > Command Palette.

3. Click the More tab.

User-Customized Workspaces

4. Select Button to Button Reassignment.

5. Click a workspace button (W1 – W8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting.

The workspace button appears in the new location.

The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth.

Your Avid editing application sorts the workspaces alphabetically. The workspace button assignments might change if you add workspaces. To keep a designated order, name the workspaces with a number preceding the first letter (for example, 2editing).

6. Click the W1 button to display the first workspace that appears in the Settings list.

When you open the windows associated with the first workspace, they open in the assigned locations.

1 Working with the Project Window: Advanced

Working with Bins and Projects in an Avid Unity Environment

The following topics describe how to work in an Avid Unity environment that does not use an asset manager or Avid Interplay Transfer. If you are using an asset manager or Avid Interplay Transfer, see the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide and the Avid Interplay Transfer Setup and User’s Guide.

The following topics provide more information on sharing bins and projects in an Avid Unity environment:

• Understanding Avid Unity

• Sharing Only Bins in Avid Unity

• Sharing Bins and Projects in Avid Unity

• Opening a Shared Project

• Locks and Shared Bins

• Working with Locks and Shared Bins

• Restrictions and Limitations for Locked Bins

• Suggestions for Improving Performance When Working with Shared Bins

• Shared Bin and Project Limitations

• Shared Bin Lock Icon Limitation

• Drive Filtering in Networked Workflows

Understanding Avid Unity

Avid Unity MediaNetwork and Avid Unity ISIS allow you to share bins and projects across the network. When you place your bins and projects on Avid Unity workspaces (drive volumes), several users can work on the same project at the same time.

For example, an editor can create sequences in one bin while an assistant recaptures media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.

Each user can perform tasks from his or her own computer. Your Avid editing application provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin.

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

In an Avid Unity environment, your Avid editing application creates and stores projects and bins on the client’s internal drive. If a user moves or saves these projects and bins to the workspace, only one client can work on the project at a time. If two or more users are working simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them.

For information on managing workspaces, see the clients’ Quick Start cards. For details on Avid Unity, see the Avid Unity MediaNetwork Management Guide or the Avid Unity ISIS Administration Guide.

Sharing Only Bins in Avid Unity

When you use shared bins, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows:

• Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.

• Displays a second column of information for the bin that identifies the computer that currently has the bin locked.

• Uses bold text to identify bins that are locked by another user.

Working with Bins and Projects in an Avid Unity Environment

Sharing Bins and Projects in Avid Unity

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). Your Avid editing application identifies information from each computer using the shared workspace as follows:

• Creates a project folder for each computer that accesses the project. Your Avid editing application adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data for other users.

The folder is similar to the folder created when you select New Folder from the Project Window Fast menu. For more information, see “Folders and Bins” on page 45.

• Displays an extra column in the Project window that identifies the computer that has the bin locked.

• Uses bold text to identify bins that are locked by other users.

• Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.

1 Working with the Project Window: Advanced

Computer that currently has the bin locked

Project folders for each user

Bold bins are locked for editing but can be viewed.

Depending on the number of users sharing a workspace, you might want to increase the

number of files that your Avid editing application stores in the Unity Attic folder (using the Bin Settings dialog box).

The following illustration shows the Project window for a shared project.

Opening a Shared Project

To open an existing project on the shared volume:

1. Start your Avid editing application.

2. In the Select Project dialog box, navigate to the project on Avid Unity.

The Project window opens. For a description of the elements specific to Avid Unity in the Project window, see “Sharing Only Bins in Avid Unity” on page 65 and “Sharing

Bins and Projects in Avid Unity” on page 65.

3. Open one of the bins by double-clicking the Bin icon.

The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications.

The following illustration shows locked and unlocked bins.

Unlocked bin

Locked bin

When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 68.

The Bin Lock Status button does not appear if the bin is not on Avid Unity.

Locks and Shared Bins

Working with Bins and Projects in an Avid Unity Environment

Your Avid editing application uses a locking mechanism to help you keep track of who is currently working in a shared bin. This allows one user to write to a bin; multiple users can read the files in that bin.

The user who opens the bin first gets the lock and obtains write access to the bin. Your Avid editing application uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock.

If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.

You can instruct your Avid editing application to keep a bin locked even after you close it.

You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.

Working with Locks and Shared Bins

To open a bin without taking the lock:

t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project

window.

1 Working with the Project Window: Advanced

To permanently lock a bin:

1. Select one or more bins in the Project window.

2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Bin icon, and select Lock Project Bin.

An asterisk (Windows) or diamond (Macintosh) appears next to the user name in the Project window. In this case, the bin remains locked even after you close it.

To unlock the bin:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the bin in the Project window,

and select Unlock Project Bin.

The Lock Project Bin and Unlock Project Bin commands are also available from the Clip

menu.

Restrictions and Limitations for Locked Bins

The following restrictions apply to bins that are locked by another user:

• You cannot select a locked bin for operations such as capture, title creation, and importing. This helps to minimize the problems of modifying a locked bin.

• You cannot drag an item to a locked bin.

• If you drag an item from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin.

• You cannot move a bin that is locked by another user.

• If you modify a locked bin, your Avid editing application does not let you save the bin to the same name, but it allows you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The application sees the duplicate contents of these bins and resolves the conflicts by newest modifications (this might not be desirable behavior).

Try to avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin.

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Working with Bins and Projects in an Avid Unity Environment

Suggestions for Improving Performance When Working with Shared Bins

The following information is provided to improve performance when working with shared bins in an Avid Unity environment.

• Do not use the same name for your editing system machine name and your user name. In fact, do not use the same name for security objects such as machine names, user names, group names, and domain names. If any two security objects have the same name, Windows might become confused and sharing might not work properly.

• Do not use the same prefix for machine names in a shared environment. No full name can be a prefix of another name. If one of the systems has a machine name that is the full name, and others in the environment have the prefix as part of their machine name, problems can occur. For example, if an editing system has a machine name ABC and additional editing systems in the shared environment have machine names ABCnn, ABCxx, the following problems could occur:

- When the system with the machine name ABC is writing to a directory, the systems

whose machine names have the same prefix (ABCnn and ABCxx) might not be able to access the directory.

- When the system with the machine name ABC is rendering, systems whose

machine names have the same prefix (ABCnn and ABCxx) might be unable to launch.

Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.).

• Avoid using Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when editors are using those files or folders. If you do, editors attempting to access those shared bins or projects may experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),” where MESSAGE is replaced by a specific message identifying the action that is being retried.

If the busy condition persists, and the retries are exhausted, a failure message appears. When that happens, ensure that Windows Explorer is not being used on the shared bins you are trying to access, and then try the operation again.

• When you have an environment where more than five users are sharing bins on Avid Unity, Avid recommends using an Avid Interplay server in the workgroup environment.

1 Working with the Project Window: Advanced

• When an Avid Interplay server is available in an Avid Unity system in the workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Interplay Window to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid Unity client software installed. The Media Tool might become unreliable if an editor in the Avid Unity workgroup environment does not have the Avid Unity client software installed.

Shared Bin and Project Limitations

If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately. If an editor tries to play that file, “media file not found” messages might appear in a monitor window, and access violation errors might occur.

Each editing application maintains a PMR file in its machine name folder inside the OMFI MediaFiles folder or the Avid MediaFiles folder. The PMR file lists all the online media files. Every editing application consults all the PMR files in all the machine name folders to find out which media files are online. Whenever a media file is created, its name is immediately added to the creating editor application's PMR file, and whenever a media file is deleted by its creator, its name is immediately removed from the PMR file.

However, if an editing application other than the creator deletes a media file, the PMR file that contains the deleted file is NOT updated immediately. Once the creating editor encounters an event that causes its PMR to be updated, then all editing systems know that the deleted media file has gone offline.

There are several ways to force an editing application to update its PMR. The simplest is to switch to the desktop and back.

Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.

Shared Bin Lock Icon Limitation

Occasionally, when two editors attempt to open a shared bin at the same time, both editors get the green lock icon. However, only one editor really has the lock, and that editor's machine name appears beside the bin name in both Project windows.

Both editors can modify their copies of the bin, but only the editor that holds the lock, as indicated in the Project window, can save that bin. The other editor is warned that the bin is locked but is allowed to save a copy of the changed bin.

Avid recommends that you use the “Save Bin Copy As...” button and continue working.

Working with Bins and Projects in an Avid Unity Environment

Drive Filtering in Networked Workflows

The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options:

• Filter by Resolution

• Filter by System Drive

• Filter by Launch Drive

For Symphony products and for current versions of Avid Media Composer and Avid NewsCutter Avid Media Composer and Avid NewsCutter enabled, Filter by System Drive disabled, Filter by Launch Drive disabled. This caused breakages with the networked workflows as media in new projects were being created on the C: drive instead of the shared storage when using the default Media Creation Settings. To fix this, all three drive filtering options are enabled by default.

Avid Xpress products and Avid Free DV default to Filtering off because these products might not have additional drives available, especially if you are working on a laptop.

Any project brought into a networked workflow that was created with any of the filtering

selections off might have problems with networked media creation, such as “Audio and/or Video Mixdown” and “SendToPlayback,” because their Media Creation Settings are still configured for standalone usage.

There are several ways for you to work around this issue. First, adjust the drive filtering settings when switching environments, either by opening the Media Creation Setting and switching the drive filtering settings or by creating multiple Media Creation Settings and switching the active setting whenever you shift environments. If you always work in an environment that differs from the defaults (for example, an Avid Xpress product always connected to shared storage), you can create a Media Creation setting that fits your workflow and add it to your Site Settings so new projects are created with the desired defaults. For more information, see “Using Site Settings” on page 619.

products, these three options are selected by default. Some older versions of

products shipped with Filter by Resolution

1 Working with the Project Window: Advanced

The default values for Filter by Resolution, Filter by System Drive, and Filter by Launch Drive are as follows:

Product Filter By Resolution

Filter by System Drive

Filter by Launch Drive

Symphony products Yes Yes Yes

Media Composer

Ye s Yes Ye s

products

NewsCutter products Yes Yes Yes

Media Station PT Yes Yes Yes

Avi d Xpr ess P ro No No N o

Avid Xpress DV No No No

Free DV No No No

2 Using Tools

The Tools menu in your Avid editing application provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage. These tools are described in the following sections:

• Using the Tools Menu

• Using a Deck Controller

• Deck Controller Window Reference

• The Command Palette

• Using the Avid Calculator

• The Console Window

• Using the Hardware Tool

• External Controllers as Editing Control Surfaces

Using the Tools Menu

You can open any of the most frequently used system tools from the Tools menu.

To open a tool:

t Select Tools > tool name.

Using a Deck Controller

A deck controller provides direct serial or VLXi® V-LA N® control of an Avid-compatible tape deck at any time during editing. You can cue and screen footage from source tapes in various edit modes, or when recording a digital cut, without opening the Capture tool.

To open a deck controller:

t Select Tools > New Deck Controller.

The Avid Deck Manager program is initialized, and a new Deck Controller window opens.

2 Using Tools

Timecode indicator

Timecode display

Deck controls

Deck Selection menu

Tape Name button

Eject

Logging controls

Close button Timecode display

Delete Mark IN

Delete Mark OUT

Clear Memory button

Go To Memory button

Mark IN

Mark OUT

Deck Controller Window Reference

Each deck controller includes the following elements:

• The Timecode display provides information about the control status of the tape deck, as follows:

- If the deck is properly connected and power is on, the deck controller displays

timecode when a tape is mounted.

- If a deck is not properly connected to the system or power is off when you open the

controller, the indicator displays the message “NO DECK.”

- If you turn the deck power off with the deck controller already open, the indicator

displays the message “Power Off.”

- If you switch the deck control to Local on the VTR, the indicator displays the

message “Local.”

For information on connecting decks and cabling, see “Connecting Cameras, Decks, and

Monitors” in the Help.

• The Timecode indicator flashes green during playback or capture to indicate that the system is receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode.

• The deck controls provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step backward and step forward, pause, and eject.

• The Deck Selection menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see

“Deck Configuration Settings” on page 649.

• The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Source Tape” in the Help.

• Logging controls allow you to log IN and OUT marks while cueing your tape.

For more information on logging, see “Logging Directly into a Bin” on page 105.

Marks you set with the deck controller are temporary and allow you to return to timecode locations entered in the window while screening and cueing a tape. If the Capture tool is open, however, timecodes logged in the deck controller also appear in the Capture tool and can be entered into an open bin.

The Command Palette

The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse.

The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed in each tab. The functions are Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam (MultiCamera), Other, and More.

The Command Palette

You can use the Command palette to:

• Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable

Buttons” on page 77.

• Map menu commands to various buttons and keys. See “Mapping Menu Commands” on

page 78.

• Directly activate a command. See “Activating Commands from the Command Palette”

on page 79.

2 Using Tools

For information about each button in the Command palette, right-click (Windows) or

Ctrl+Shift+click (Macintosh) a button and select What’s This? from the menu.

For more information on logging with the Capture tool, see “Logging Directly into a Bin”

on page 105.

Understanding Button Mapping

Mapping user-selectable buttons allows you to reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs.

When you map buttons to the keyboard, the mapping might be specific to the current editing

mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.

The following are a few examples of mapping buttons:

• Subcataloging clips: You can map the Make Subclip button and other clip management buttons.

Make Subclip Find Bin Add Locator

• Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, Transition Corner Display, Fade Effect, Render Effect, Cycle Picture/Sound, Quick Transition, and Grid (which displays Safe Title overlays).

Motion Effect Remove Effect Transition

Corner Display

Fade Effect Render Effect Cycle

Picture/Sound

Quick Transition Grid

• MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang buttons.

Quad Split Swap Cam Bank Gang

The Command Palette

When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes.

For more information on multiple settings, see “Working with Multiple Settings” on page

615.

Your Avid editing application saves button configurations as follows:

• Changes to the Keyboard palette are saved in the Keyboard settings.

• Changes to the pop-up monitor Tool palette and Tool palette in the Composer window are saved with the Composer settings.

• Changes to Command palettes in Trim mode are saved with Trim settings.

• Changes to the Tool palette are saved in the Interface settings.

You can change the appearance of the buttons in the Tool palette by using the Interface settings from the Settings list in the Project window. For more information, see

“Customizing the Avid User Interface” on page 54. You can choose to identify a button’s

function with only an icon or with an icon and letters. For more information, see “Interface

Settings” on page 691.

Mapping User-Selectable Buttons

To map buttons or keys on the keyboard by using the Command palette:

1. Open a window that has a user-selectable button palette by doing one of the following:

t Activate the Playback, Source, or Record monitor in the Composer window.

t Click a button, and drag the Tool palette to open it.

t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu

button, and drag to tear off the Tool palette.

t Open a clip in a pop-up monitor.

t Enter Trim mode in the Composer window.

t Open the Keyboard palette from the Settings list in the Project window.

2. Select Tools > Command Palette.

The Command palette opens.

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

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

5. Drag the button from the Command palette to a button location on the other palette.

2 Using Tools

The Blank Button

The button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button.

For more information on mapping the Blank button to a new location, see “Mapping

User-Selectable Buttons” on page 77.

Modifier Keys

You can add modifier keys to functions already associated with keys and buttons. The Other tab in the Command palette contains the following modifier key buttons:

Button Description

(Windows) Add Alt Key button

(Macintosh) Add Control Key button

(Macintosh) Add Option Key button

For example, on a Windows system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.

After you modify a key or button with a modifier key button, you can use the default function

of the key or button by pressing and holding the appropriate modifier key while pressing the key, or by pressing and holding the modifier key while clicking the button.

Mapping Menu Commands

You can map menu commands displayed in the menus in your Avid editing application menu bar directly onto any mappable button location or onto the keyboard. In some cases, you can avoid using the menus altogether.

Before you can map some commands, you must first establish the condition that enables the

command. For example, before you can map the Render In/Out command from the Clip menu, you must first mark IN and OUT points in the Timeline so that the menu command appears.

The Command Palette

Menu command mapped to a button

To map menu commands:

1. Open a window that has user-selectable buttons by doing one of the following:

t Activate a monitor in the Composer window.

t Click a button, and drag the Tool palette to open it.

t Open a clip in a pop-up monitor.

t Enter Trim mode in the Composer window.

t Open the Keyboard palette from the Settings list in the Project window.

2. Select Tools > Command Palette.

The Command palette opens.

3. Select Menu to Button Reassignment.

4. Click a target button in the Keyboard palette or other palette (for example, the Command palette under a monitor).

The pointer changes to a small white menu.

5. Select the menu command you want to map to the target button.

The initials for the menu command appear on the target button.

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor.

To activate a command from the Command palette:

1. Select Tools > Command Palette.

The Command palette opens.

2. Select Active Palette at the bottom of the Command palette.

3. Click the tab from which you want to select a command function.

4. Click the button in the Command palette for the function you want to perform.

2 Using Tools

Using the Avid Calculator

The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats.

For example, you can:

• Convert drop-frame to non-drop-frame timecode values.

• Convert timecode durations between 30-fps and 25-fps projects.

• Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film.

To use the Avid Calculator:

1. Select Tools > Calculator.

The Avid Calculator opens.

2. Click the Format menu, and select a format.

3. Make calculations in one of the following ways:

t Click numbers and functions in the Avid Calculator.

t Enter numbers and functions using the numeric keypad.

t Enter numbers and functions using the top row of numbers on the keyboard.

You do not need to enter leading zeros, colons, or semicolons for timecode.

To convert your totals at any time to another format:

t Click the Format menu, and select a different frame code or key number format.

If drop-frame timecode is entered into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa).

The Console Window

The Console window provides a number of features, including:

• Current system information, including your system ID number

• A log of error messages

• Detailed information about sequence segments in the Timeline or about objects in a bin

• A command to display networked drives for use as media drives

• Information after you capture or import

The Console Window

Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.)

Displaying System Information in the Console Window

To display current system information:

1. Select Tools > Console.

The Console window opens.

2. Scroll in the Console window to view your system information and ID.

Your system ID is on a line beginning

This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support.

System ID:

Reviewing a Log of Errors in the Console Window

To review errors logged to the Console window:

1. When an error occurs, close the message box and select Tools > Console.

2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support.

Getting Information with the Console Window

The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin including hidden items. You can also use the Console window to display information about a clip, segment, or sequence in the Timeline.

To get information with the Console window:

1. Select Tools > Console.

The Console window opens.

2. Select the item about which you want information, for example:

t In the Timeline, move the position indicator to the selected clip or segment.

t In the bin, select an object or Ctrl+click (Windows) or Shift+click (Macintosh)

multiple objects.

3. Select File > Get Bin Info or File > Get Position Info.

Information about the clip appears in the Console window.

2 Using Tools

Using the Console Window to Access Network Drives

Your Avid editing application can access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing the appropriate console command displays the mapped drive letter in the appropriate tools in the Avid editing application.

For information about mapping dives to your computer, see your Windows or Macintosh

documentation.

You do not need to use this feature to access Avid Unity shared network drives.

When the feature is turned on, the mapped drive letter appears in the Target Drive menu. When you turn the feature off, the mapped drive letter is dimmed. If you quit and restart your application, the mapped drive letter does not appear in the Target Drive menu.

To make your mapped network drives available:

1. Open the Console window by selecting Tools > Console.

2. In the Console command line, type:

alldrives 1

3. Press Enter (Windows) or Return (Macintosh).

Network drives are now visible in your Avid editing application.

Typing

alldrives 2

By default, network drives are filtered by resolution when the option Filter Network Drives Based on Resolution option is selected in the Media Creation settings. For more information, see “Media Creation Settings” on page 696.

alldrives

in the Console window turns this feature on and off. Typing

restores the default behavior where only media drives are available.

Using the Hardware Tool

The Hardware tool provides the following information about the system’s hardware configuration:

• The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.

If your system is connected to an Avid Unity network, you see two drives tabs, Local Drives

and Avid Unity Drives.

• (Windows) The System tab lists the operating system, its version, service pack, and build, and the physical memory.

• (Macintosh) The System tab lists the operating system, its version, and the physical memory.

To check the hardware configuration of your Avid system, do one of the following:

t Select Tools > Hardware.

t Click the Info tab in the Project window, and then click Hardware.

Using the Hardware Tool

The Hardware tool opens.

External Controllers as Editing Control Surfaces

Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing footage. Avid supports the following controllers for this purpose:

• Digidesign Command|8™

•JL Cooper MCS3

For information about configuring these controllers and using them as editing control surfaces, see “Using the Command|8” on page 416 and “Using the MCS3 Controller” on

page 855.

2 Using Tools

3 Logging: Advanced

When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project. The following topics provide advanced information for preparing log information:

• Using Avid Log Exchange to Prepare Log Files for Import

• Avid Log Specifications

• Creating an Avid Log

• Double-Checking Log Files

• Transferring Bins from MediaLog

• Logging Directly into a Bin

• Understanding the Pulldown Phase

• Setting the Pulldown Phase

• Film-Related Log Information

For more information, see “Importing Shot Log Files” in the Help or the Basics Guide for your Avid editing application.

Using Avid Log Exchange to Prepare Log Files for Import

Log files need to conform to the Avid Log Exchange (ALE) format to be imported into your Avid editing application. You can use the ALE utility included with your system to quickly convert shot log files.

The ALE utility allows you to:

• Modify the text in a log file (Windows only).

• Convert log files of different formats to ALE files. See “Log Formats Compatible with

Avid Log Exchange” on page 93.

• Convert an ALE file to either an ATN or FLX file.

3 Logging: Advanced

Any options you set in the ALE utility are saved each time you close the ALE utility.

When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale, and so on. The converted output files are stored in the folder containing the original input file.

Converting Log Files with Avid Log Exchange (Windows)

To convert a log file to an ALE file:

1. Click the Start button, and select All Programs > Avid > Avid Log Exchange.

The Avid Log Exchange window opens.

2. Do one of the following:

t If the log file is a Final Cut Pro®, Cinema Tools™, or a Tabbed shot log file, select

File > Import > file type.

t If the log file is another file type, such as .flx or .atn, select File > Open.

The Open dialog box opens.

3. Double-click the file you want to convert.

The Import Header Options dialog box opens.

4. Select the information you want to appear in the global settings of the .ale file.

The global settings appear at the top of the .ale file.

5. Click OK.

6. Depending on the type of file you are opening, one of the following occurs:

- If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window.

- If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you are converting and click OK.

- If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens. Select an option from the following table.

Option Description

Display & Save Opens the file in the Avid Log Exchange window and changes the file to the

Windows format.

Display Only Opens the file in the Avid Log Exchange window, but does not change the file.

Using Avid Log Exchange to Prepare Log Files for Import

Option Description

Ignore Displays the file as is without changes.

The file appears in the Avid Log Exchange window.

For specific information on the various file types, see “Log Formats Compatible with

Avid Log Exchange” on page 93.

7. Use the Options menu to select the tracks to include in the Tracks column of the log.

The default track selections are Log V, Log A1, and Log A2.

After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.

The Track selection only works on non-ALE files being converted to ALE format. When ALE is the incoming format, Track selection does not work.

8. Select Options > Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips.

By default, Clean is selected.

When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event.

9. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default.

For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour, the first half of the film has 24 hours, and the second half has 0 hours.

3 Logging: Advanced

10. Select Convert > ALE.

The default output selection is the ALE format. This is the required format for import into an Avid bin.

The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format.

11. (Option) Select the original file from the Window menu if you want to convert the file again using different options.

12. Select File > Close.

If you made changes in the editor, a message box opens.

13. Click Yes.

The converted file is stored in the same folder as the original log file.

Using Drag-and-Drop Conversion for Log Files (Windows)

Use this shortcut to convert files into an ALE file.

If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use

drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log

Exchange (Windows)” on page 86 to convert files of this type.

Using Avid Log Exchange to Prepare Log Files for Import

To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility.

See “Converting Log Files with Avid Log Exchange (Windows)” on page 86. The current options are used when you perform drag-and-drop conversion.

2. Create a shortcut for the ALE utility.

3. Open the folder that contains the files you want to convert, positioning the folder so the Shortcut icon for the ALE utility is visible.

4. Select the files you want to convert.

5. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button.

6. Depending on the type of files you are converting, one of the following occurs:

- If the file type is recognized by the ALE utility, a message box opens, indicating the

conversion was successful.

- If the file type is not recognized, the Select File Type dialog box opens. Select the

type of file you are converting and click OK.

- If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file

type for the converted output file and click OK.

A message box opens, indicating the conversion was successful.

7. Click OK to close the message box.

The converted files have the same file names as the original files, except the file name extension matches the converted file format.

For example, the .ale file name extension is added to the new file names for the Avid format. The converted files are stored in the folder containing the original log files.

3 Logging: Advanced

Global Settings Information

Convert button Quit button

Clean option

Convert button

Track selection

Files you can convert Files you can generate

Converting Log Files with Avid Log Exchange (Macintosh)

You can use the ALE utility included with your system to quickly convert shot logs that are created during a film-to-tape transfer.

To convert a log file to an ALE file:

1. Select Go > Applications, open the ALE folder, and double-click the ALE icon.

The Avid Log Exchange dialog box opens.

2. Select the type of file you want to convert from the Input list.

If you are not sure of the type of file, select the Automatic option. ALE will determine the type of file based on the file name.

For a list of supported file types, see Log Formats Compatible with Avid Log Exchange.

3. Select the type of file you want to create from the Output list.

The default output selection is the Avid Log Exchange (.ale) format. This is the required format for import into an Avid bin.

4. Select the tracks to include in the Tracks column of the log.

After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.

Using Avid Log Exchange to Prepare Log Files for Import

The Track selection only works on non ALE files being converted to ALE format. When ALE is the incoming format, Track selection does not work.

5. Select the option if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips.

When you select Clean, the utility changes the end timecode of a previous event to be less than the following event.

6. If you selected the Clean option, you can also select the Relaxed option to prevent the deleting of events that come earlier in the transfer.

Relaxed is not set by default. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour and the first half of the film has 24 hours and the second half has 0 hours.

7. Select the global settings information, for example, NTSC or PAL, that you want to appear in the ALE file.

Global settings appear at the top of the .ale file.

8. Click the Convert button to open the Select File To Convert dialog box.

9. Open the drive and folder that contain the files you want to convert.

10. Double-click the input file name.

If you selected a file type, ALE converts the file immediately.

If you selected the Automatic option, a message box opens and asks you to confirm the file type.

11. Click the button for the selected file type.

A message box opens.

12. Do one of the following:

t Click the This File Only button to convert only the file you selected to the format

you selected.

t Click the All Files button to convert all files you select in this session to the format

you selected. If you click All Files, the message boxes will not open the next time you double-click a file.

ALE stores the converted file in the same folder as the original input file.

The original file name extension is replaced by the extension for the new format. The .ale files can be imported only into Avid products.

3 Logging: Advanced

Using Drag-and-Drop Conversion for Log Files (Macintosh)

Use this shortcut to convert files into an ALE file.

If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log file, you cannot

use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log

Exchange (Macintosh)” on page 90) to convert files of this type.

To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility.

See “Converting Log Files with Avid Log Exchange (Macintosh)” on page 90. The current options are used when you perform drag-and-drop conversion.

2. Navigate to and then open the folder that contains the Avid Log Exchange icon.

3. Open the folder that contains the files you want to convert, positioning the folder so the Avid Log Exchange icon is visible.

4. Select the files you want to convert.

5. Drag the selected files to the Avid Log Exchange icon, and release the mouse button.

The system converts the files to Avid format, adding the .ale file name extension to the new file names.

Avid Log Exchange Stores ASC Color Decision List (CDL) Parameters

Avid Log Exchange can now store ASC_SOP (American Society of Cinematographers Slope, Offset and Power) and ASC_SAT (American Society of Cinematographers Saturation) parameters.

To view the ASC_SOP and ASC_SAT parameters in the Avid editing application:

1. In the editing application, with a bin in Text view, select Bin > Headings.

2. Click to select ASC_SOP and ASC_SAT.

3. Import the ALE file.

The ASC_SOP and ASC_SAT information appears in the appropriate bin column.

To view the ASC_SOP and ASC_SAT parameters in the EDL application:

1. With the sequence loaded in the Avid editing system, select Output > EDL.

2. In EDL Manager, select Windows > Options.

3. Select the Comments tab.

4. Enable the Color Decision List option.

5. Select File > Get Current Sequence.

The ASC_SOP and ASC_SAT information appears as part of the edit event.

Using Avid Log Exchange to Prepare Log Files for Import

Log Formats Compatible with Avid Log Exchange

The following table lists the log formats that can be imported directly or converted for import using 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 .flx

Keyscope Conversion required .ksl

Conversion required .ftl

Log Producer™ Conversion required .llp

Log right Import directly .ale

OSC/R (Macintosh

only) Conversion required .asc

OLE (Windows only) Conversion required .odb

Shotlister Import directly .ale

Tab Delimited Conversion required .txt

3 Logging: Advanced

Avid Log Specifications

You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor. You can use the file name extension .txt, but it is not required.

To ensure accuracy, you must follow the Avid log specifications described in this section.

An Avid log is composed of three sections, in this order:

• Global Titles

• Standard and custom column Titles

• Data Titles

The following topics contain tables that show how to enter Titles and data in these sections to create an Avid log.

When you create an Avid log, you must follow the order precisely. The tables in these topics follow this order.

The tables use the following conventions:

• A Title appears in the first column, without angled brackets or square brackets. For example, FIELD_DELIM is the first global Title.

• A <supported value> is surrounded by angled brackets. <Alternative supported values> appear underneath, also in angled brackets. You must enter one of these values. For example, <29.97> is one of the supported values for the FPS Title; to specify that value,

29.97

type

• A <variable data value> is also surrounded by angled brackets, but it is italicized. For example, <timecode> is the data entry for the Start Title; type the correct timecode, in the format

• [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by standard brackets.

• A column contains the word “Required” if the Title must be included in the log.

• The final column contains notes about the Title or values.

You can decide not to display a defined Title (including a required Title), except for Name. Name must always be displayed.

The maximum number of combined global, standard, and custom Titles in a log file is 64.

For an example of a simple log file, see “Sample Avid Log” on page 101.

08:19:10:00

(or

08;19;10;00

, for drop-frame timecode).

Avid Log Specifications

Global Titles

The global Titles must come first in an Avid log file, and you must enter one value for each Title.

The following table shows the format for the global Titles and the supported values for each Title.

GLOBAL Titles: Global Titles are case sensitive and must be spelled exactly as shown. Include all required Titles. Other Titles are optional but might be necessary for your project. The maximum number of combined global, standard, and custom Titles in a log file is 64.

Title [Enter] or

[Return]

FIELD_DELIM [Tab] <TABS> [Enter] or

[Return]

VIDEO_FORMAT [Tab] <NTSC>

<PAL>

FILM_FORMAT [Tab] <16mm>

<35mm,3perf> <35mm,4perf>

AUDIO_FORMAT [Tab] <22kHz>

<24kHz> <44kHz> <48kHz>

TA PE [ Tab ] <tape name> [Enter] or

FPS [Tab] <23.98>

<24> <25> <29.97>

[Enter] or [Return]

[Return]

[Enter] or [Return]

Required This marks the start of the global

Titles.

Required Enter TABS to show that the file is

Tab delimited.

Required

Audio sampling rate for digitizing. You can override this for individual clips.

Required Name of the videotape reel you

are logging. If you omit this Title, the file name becomes the global tape name. You can override this for individual clips.

Required Capture rate is 23.98 fps

(23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or

29.97 fps for NTSC.

[Enter] or [Return]

Press Enter (Windows) or Return (Macintosh) a second time after entering the FPS value. This marks the end of the global Titles.

3 Logging: Advanced

Column Titles

The standard column Titles appear after the global Titles in the Avid log file.

You do not enter the data for a column Title along with the Title. You enter the data later, in a separate data section.

You must include the five required standard column Titles; they are listed first in the following table.

You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the following table). To create a custom Title, substitute the custom Title name for <Your_Title>. You can create several custom Titles, as long as the total of global, standard, and custom Titles does not exceed 64.

COLUMN Titles: Column Titles are case sensitive and must be spelled exactly as shown. Note that the first five Titles are required. Other Titles are optional but might be necessary for your project. This table lists only the column Titles that are relevant to shot log files. Some data, such as Creation Date, is gathered by the system. The following table does not include Titles for such data. The maximum number of combined global, standard, and custom Titles in a log file is 64.

Column [Enter] or [Return] Required Indicates the start of the column Titles.

Name [Tab] Required Title for clip name.

Tracks [Tab] Required Title for tracks you select for digitizing.

Start [Tab] Required Title for video timecode of sync point — the

timecode IN for clip. From address track of video.

End [Tab] Required Title for timecode OUT for clip. From

address track of video.

Audio [Tab] Title for the audio resolution (sample rate). If

omitted, the global entry for AUDIO_FORMAT applies.

Auxiliary Ink [Tab] Title for a second ink number used for the

clip.

Auxiliary TC1 [Tab] Title for auxiliary timecode.

Auxiliary TC2 [Tab] Title for auxiliary timecode.

Auxiliary TC3 [Tab] Title for auxiliary timecode.

Auxiliary TC4 [Tab] Title for auxiliary timecode.

Avid Log Specifications

Auxiliary TC5 [Tab] Title for auxiliary timecode.

Camera [Tab] Title for the camera used to film this clip.

This feature is used in multicamera shoots.

Camroll [Tab] Title for the camera roll ID containing this

clip.

Duration [Tab] Title for timecode Start to timecode End, the

length of the video clip.

FPS [Tab] Title for video frames per second rate for

digitizing the individual clip. If omitted, the global entry applies.

Film TC [Tab] Title for the timecode used on the film.

Ink Number [Tab] Title for the ink number used for the clip.

KN Duration [Tab] Title for the length of the clip, expressed in

feet and frames.

KN End [Tab] Title for the ending key number for the clip.

KN Start [Tab] Title for the starting key number for the clip.

Labroll [Tab] Title for the lab roll ID for the clip. Lab rolls

are a combination of several camera rolls.

Perf [Tab] Title for the film-edge perforations format

used for 3-perf projects.

Pullin [Tab] Title for the telecine pulldown of the first

frame of the clip (pulldown phase). Pullin can have the values A, B, C, or D.

Pullout [Tab] Title for the telecine pulldown of the last

frame of the clip (pulldown phase). Pullout can have the values A, B, C, or D.

Reel # [Tab] Title for the source reel number.

Scene [Tab] Title for the scene number of the clip.

Shoot date [Tab] Title for the date the footage was shot.

Sound TC [Tab] Title for Nagra timecode, Arri code, and so

on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps.

Soundroll [Tab] Title for sound roll ID for clip.

3 Logging: Advanced

TC 24 [Tab] Title for 24-fps timecode.

TC 25P [Tab] Title for 25-fps timecode with pulldown.

TC 25 [Tab] Title for 25-fps timecode.

TC 30 [Tab] Title for 30-fps timecode.

Take [Tab] Title for take ID for clip.

Tape [Tab] Title for source tape ID for the individual clip.

If omitted, the global entry applies.

DESCRIPT [Tab] Title for description of clip.

COMMENTS [Tab] Title for comments about clip.

<Your_Title> [Tab] Add any category of information you want.

Add as many Titles as you want, but do not use more than a total of 64 global and column Titles in the file. Press the Tab key between each Title. Do not press the Tab key after the last Title.

[Enter] or [Return] [Enter] or [Return] Press [Enter] (Windows) or [Return]

(Macintosh) twice (do not press Tab) after the last Title.

Data Entries

The data entries come after the Custom column Titles. The following table shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data

Data

section for each clip with the word

DATA Titles: The word Data marks the start of the data for each clip.

Data [Enter] or

[Return]

DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so it aligns with its column Title. (The data that goes with the ninth column Title must be the ninth data entry.) Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line. Your Avid system supports up to four audio tracks in imported and exported logs.

<clip name> [Tab] Required Under Name Title. Enter a clip identifier (32 characters

Required Enter the word Data to mark the start of the logged clip entries.

maximum).

[Enter] (Windows) or

Data

[Return] (Macintosh).

Avid Log Specifications

[Tab] Required Under Tracks Title. Enter the tracks you want captured for the clip.

Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound. <VA2> <VA1A2> <A1A2> <A1> <A2>

<timecode> [Tab] Required Under Start Title. Enter the video timecode for the sync point, the

first frame of the clip. Use colons for non-drop-frame (for

example, 01:00:12:20). Use one or more semicolons for

drop-frame (for example, 01;18;00;02).

<timecode> [Tab] Required Under End Title. Enter the video timecode for the last frame of the

clip.

<22kHz> <24kHz>

[Tab] Under Audio Title. Enter the audio sampling rate for this clip only.

If omitted, global entry applies. <44kHz> <48kHz>

<inknumber> [Tab] Under Auxiliary Ink Number Title. Identify a second ink number

for the start of the clip.

<timecode> [Tab] Under Auxiliary TC Title. Enter a Nagra timecode, Arri code, and

so on, for the sync point. Syncs with the Start timecode.

<camera ID> [Tab] Under Camera Title. Identify the camera, using letters or numbers.

For multicamera shoots.

<camera roll ID> [Tab] Under Camroll Title. Identify the camera roll, using letters and

numbers.

<timecode> [Tab] Under Duration Title. Enter the length of the video clip, Start to

End.

<23.98> <24> <25> <29.97>

[Tab] Under FPS Title. Enter the video capture rate for this clip only. If

omitted, the global entry applies. Use 23.98 fps (23.978 fps) for

NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for

NTSC.

<timecode> [Tab] Under Film TC Title. Identify the timecode used for the film,

usually at 24 fps.

<inknumber> [Tab] Under Ink Number Title. Identify the ink number for the start of

the clip.

<keynumber> [Tab] Under KN Start Title. Identify the complete key number for the

start of the clip, for example, KU 31 2636-8903&12.

3 Logging: Advanced

<keynumber> [Tab] Under KN End Title. Identify the key number for the end of the

clip. You need to identify only feet and frames, for example, 0342&07.

<keynumber> [Tab] Under KN Duration Title. Identify the length of the clip, in feet

and frames.

<lab roll ID> [Tab] Under Labroll Title. Identify the lab roll, using letters and

numbers.

<1>

[Tab] Under Perf Title. Edit the perf for this clip only. <2> <3>

<A> <B>

[Tab] Under Pullin Title. Identify the telecine pulldown of the first frame

of the clip (pulldown phase). NTSC only. <X> (matchback only) <C> <D>

<A> <B>

[Tab] Under Pullout Title. Identify the telecine pulldown of the last

frame of the clip. NTSC only. <X> (matchback only) <C> <D>

<reel ID> [Tab] Under Reel # Title. Identify the reel, using numbers.

<scene ID> [Tab] Under Scene Title. Identify the scene, using letters and numbers.

<shoot date> [Tab] Under Shoot Date Title. Identify the date the footage was shot, in

numbers or in letters and numbers.

<timecode> [Tab] Under Sound TC Title. Identify the sound timecode at the sync

point. Syncs with the Start timecode.

<sound roll ID> [Tab] Under Soundroll Title. Identify the sound roll, using letters and

numbers.

<timecode> [Tab] Under TC 24 Title. Identify the start of the clip for 24p timecode.

<timecode> [Tab] Under TC 25p Title. Identify the start of the clip for 25p timecode

(PAL pulldown).

<timecode> [Tab] Under TC 25 Title. Identify the start of the clip for 25-fps timecode

(PAL).

<timecode> [Tab] Under TC 30 Title. Identify the start of the clip for 30-fps

timecode.

100

Pinnacle Systems Symphony - 3.5 Advanced Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

User Profiles

Managing User Profiles

Folders and Bins

Guidelines for Project Organization

Creating a Folder in a Project

Managing Bins and Memory

Saving Bins Automatically

Adjusting Automatic Saves

Using the Info Display to View Memory Information and Access the Hardware Tool

Usage Information

Displaying Usage Information

Statistics File Structure and Layout

Importing the Statistics File into a Spreadsheet

Displaying Disk Space Statistics

Customizing the Avid User Interface

Changing Interface Component Colors

Changing Button and Toolbar Styles

Using Interface Appearance Templates

Changing Font and Point Size

User-Customized Workspaces

Creating a New Workspace Setting

Linking User Settings and Workspaces

Switching Between Workspaces

Deleting a Workspace

Assigning a Workspace Button

Working with Bins and Projects in an Avid Unity Environment

Understanding Avid Unity

Sharing Only Bins in Avid Unity

Sharing Bins and Projects in Avid Unity

Opening a Shared Project

Locks and Shared Bins

Working with Locks and Shared Bins

Restrictions and Limitations for Locked Bins

Suggestions for Improving Performance When Working with Shared Bins

Shared Bin and Project Limitations

Shared Bin Lock Icon Limitation

Drive Filtering in Networked Workflows

2 Using Tools

Using the Tools Menu

Using a Deck Controller

Deck Controller Window Reference

The Command Palette

Understanding Button Mapping

Mapping User-Selectable Buttons

The Blank Button

Modifier Keys

Mapping Menu Commands

Activating Commands from the Command Palette

Using the Avid Calculator

The Console Window

Displaying System Information in the Console Window

Reviewing a Log of Errors in the Console Window

Getting Information with the Console Window

Using the Console Window to Access Network Drives

Using the Hardware Tool

External Controllers as Editing Control Surfaces

3 Logging: Advanced

Using Avid Log Exchange to Prepare Log Files for Import

Converting Log Files with Avid Log Exchange (Windows)

Using Drag-and-Drop Conversion for Log Files (Windows)

Converting Log Files with Avid Log Exchange (Macintosh)

Using Drag-and-Drop Conversion for Log Files (Macintosh)

Avid Log Exchange Stores ASC Color Decision List (CDL) Parameters

Log Formats Compatible with Avid Log Exchange

Avid Log Specifications

Global Titles

Column Titles

Data Entries