Pinnacle Systems Symphony - 3.5 User Manual

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Avid® Symphony™

Basics Guide

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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 Nitris 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 Nitris. 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.

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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 Basics Guide • 0130-07974-01 • February 2009

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Chapter 1 Editing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Starting a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Preparing to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Editing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Outputting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 2 Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Turning on Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Working with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Using the Windows Taskbar (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Using the Macintosh Dock (Macintosh Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Using Shortcut Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Using the Keyboard for Navigating in Dialog Boxes and Menus . . . . . . . . . . . . 46

Using the Mouse Scroll Wheel for Navigating . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Customizing Mouse Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Suggestions for Optimum Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Turn Off File Sharing (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Optimum Performance (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Antivirus Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Starting Your Avid Editing Application (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Starting Your Avid Editing Application (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . 51

Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Select Project Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Raster Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Raster Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Setting Film Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Opening an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Browsing for a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Opening a Project Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Deleting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Quitting Your Avid Editing Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Turning Off Your Equipment After Quitting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Saving Your Project Information on a Drive or on Removable Media . . . . . . . . 69

Restoring from a Backup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Retrieving Files from the Avid Attic Folder (Windows) . . . . . . . . . . . . . . . . . . . . . . . 71

Retrieving Files from the Avid Attic Folder (Macintosh) . . . . . . . . . . . . . . . . . . . . . . 73

Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Opening Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Customizing Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Linking Toolsets to Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Controlling Project Window Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Using the Bins Tab in the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Creating a New Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Renaming a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Opening and Closing Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Displaying Folders of Bins in the Bins List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Emptying the Trash in the Bins List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Using the Settings Tab in the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Using the Format Tab in the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Chapter 4 Preparing for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Logging and Shot Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Preparing the Hardware for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Getting Information About Striped Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Selecting the Sync Source for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Understanding Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Selecting Video Resolutions and Media Drives . . . . . . . . . . . . . . . . . . . . . . . . . 97

Setting Drive Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Configuring a Deck or Multiple Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Deleting Deck Configuration Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Connecting a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Selecting a Deck in the Capture Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Activating Playback from an Available Deck . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Selecting a Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Setting the Video and Audio Input in the Capture Tool . . . . . . . . . . . . . . . . . . 111

Detecting a Valid or Locked Sync Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Setting the Pulldown Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Film Project Pulldown and Transfer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Capturing Digital Audio in Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Selecting a Custom Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Audio Project Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Selecting the Audio Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Performing Audio Sample Rate Conversion During Capture . . . . . . . . . . . . . 120

Understanding Audio Files and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Selecting the Audio Input Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Understanding the Audio Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Opening and Sizing the Audio Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Preparing for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Opening the Video Input Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Using the Factory Preset Buttons in the Video Input Tool. . . . . . . . . . . . . . . . 125

Preparing to Calibrate Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Calibrating Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Luminance Settings for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Chapter 5 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Naming Clips and Adding Comments in the Capture Tool . . . . . . . . . . . . . . . 135

Capturing by Setting Both Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Capturing by Setting Only One Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Capturing On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Preparing to Autocapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Autocapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Capturing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Capturing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Capturing Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Understanding Frame Chase Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Enabling Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Requirements and Guidelines for Frame Chase Capture . . . . . . . . . . . . . . . . 145

Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Batch Capturing Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Saving Two Versions of a Sequence When Recapturing. . . . . . . . . . . . . . . . . 151

Using Decompose When Recapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Recapturing the Sequence Without Using Decompose . . . . . . . . . . . . . . . . . . 153

Chapter 6 Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Creating and Modifying Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Importing Audio Files from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Adjusting Gain Before Importing Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Batch Import Dialog Box: Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Chapter 7 Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Understanding Bin Highlight Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Using Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Using the Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Selecting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Duplicating Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Copying Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Deleting Bin Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Working with the SuperBin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Enabling and Disabling the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Opening Bins in the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Closing the SuperBin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Moving Bins into and out of the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Moving Clips and Sequences into and out of the SuperBin . . . . . . . . . . . . . . 187

Copying Clips and Sequences into and out of the SuperBin. . . . . . . . . . . . . . 187

Deleting a Bin with the SuperBin Enabled. . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Creating a Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Chapter 8 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Working with Media Files in an Avid Interplay Environment. . . . . . . . . . . . . . . . . . 192

Configuring Avid Editing Systems for the Interplay Engine and

Interplay Transfer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Using Avid Editing Systems in an Avid Workgroup Environment . . . . . . . . . . 193

Disconnecting an Avid Editing Application from the Interplay Environment . . . . . . 194

Voluntarily Disconnecting from the Interplay Environment . . . . . . . . . . . . . . . 194

Limitations of Disconnected Client Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Using Disconnected Client Mode with Network Problems. . . . . . . . . . . . . . . . 196

Using Avid Editing Systems in an Avid Unity LANshare Workgroup . . . . . . . . . . . 196

Viewing Media with a 100Base-T Connection to Avid Unity ISIS. . . . . . . . . . . . . . 197

Understanding Drive Mounting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Mounting and Unmounting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Basic Media Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Using the Media Tool in an Avid Interplay Environment . . . . . . . . . . . . . . . . . 200

Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Deleting Media Files with the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Consolidating Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Understanding the Consolidate Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Using the Consolidate Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Consolidate Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Using the Transcode Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Transcode Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Refreshing Media Directories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Deleting Unreferenced Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Chapter 9 Viewing and Marking Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Viewing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Customizing the Composer Window and Monitors . . . . . . . . . . . . . . . . . . . . . . . . . 221

Resizing the Composer Window and Monitors . . . . . . . . . . . . . . . . . . . . . . . . 222

Using the 16:9 Display Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Displaying Tracking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Selecting the Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Loading Clips or Sequences into Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Switching Between Loaded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Clearing Clips from Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Using Position Bars and Position Indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Playback Control Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Stepping Forward and Backward by Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Playback Control Using the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Playing Footage with the J-K-L Keys (Three-Button Play) . . . . . . . . . . . . . . . . 239

Using the Mouse for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Video Quality Options for Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Setting the Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Creating Subsequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Subclips and Audio Sync for 24p and 25p Projects. . . . . . . . . . . . . . . . . . . . . 248

Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Finding Frames, Clips, and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Searching for a Clip or Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Understanding Match Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Selecting Tracks for Matching Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Finding a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Locating a Master Clip from a Subclip in a Sequence. . . . . . . . . . . . . . . . . . . 255

Finding a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Chapter 10 Creating and Editing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Entering Source/Record Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Changing the Name and Timecode for a Sequence . . . . . . . . . . . . . . . . . . . . 260

Track Display for New Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Creating an Instant Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Editing Additional Clips into the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Performing an Insert or Splice-in Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Performing a Replace Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Enabling Single-Mark Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Mixing Video Formats in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Working with Interlaced Clips in Progressive Projects . . . . . . . . . . . . . . . . . . . . . . 271

Lifting, Extracting, and Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Extracting Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

The Avid Clipboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Playing Back a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Tips for Avoiding Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Customizing Sync Break Display in the Timeline . . . . . . . . . . . . . . . . . . . . . . . 278

Fixing Sync Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Tips for Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Chapter 11 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Examples of Customized Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Timeline Fast Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Enlarging and Reducing Timeline Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Moving Timeline Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Highlighting Offline Media Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Highlighting Clips in a Mixed-Format (SD and HD) Timeline . . . . . . . . . . . . . . 287

Managing Customized Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Navigating in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Understanding the Timeline Position Indicator and Scroll Bar . . . . . . . . . . . . . 289

Switching to the Timeline Position Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Setting the Scroll Option for the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Zooming and Focusing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Using Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Guidelines for Editing in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Selecting and Deselecting Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Selecting Multiple Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Four-Frame Display in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Suppressing Four-Frame Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Maintaining Sync in Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Editing Segments in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Moving Segments with Drag and Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Deleting Segments in Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Marking Clips and Sequences in Segment Mode . . . . . . . . . . . . . . . . . . . . . . 303

Cutting, Copying, and Pasting in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . 303

Working with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Understanding the Track Selector Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Understanding Track Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Monitoring and Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Patching Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Understanding Locking and Sync Locking . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Locking and Sync Locking Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Adding and Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Backtiming Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Chapter 12 Working in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Understanding Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Trim Settings Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Setting Small Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Using Basic Trim Procedures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Selecting Video Tracks in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Soloing Audio in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Performing a Basic Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Reviewing Trim Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Using Dual-Image Playback During Trims. . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Chapter 13 Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Overview of Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Accessing Audio Effect Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Using Audio Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Selecting Tracks for Audio Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Performing Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Soloing Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Audio Displays in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Displaying Audio Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Identifying Sample Rates by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Using Audio Meters in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Adjusting Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Working with Surround Sound or 5.1 Audio (Avid Nitris DX and

Avid Mojo DX Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Setting Up the Analog Audio Output for Surround Sound (Avid Nitris DX

and Avid Mojo DX Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Setting Up the Audio Output with HDMI (Avid Nitris DX and

Avid Mojo DX Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Accessing the Audio Mixer and Audio Mixer Modes . . . . . . . . . . . . . . . . . . . . 349

Audio Mixer Tool Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Resizing the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Track Selection in the Audio Mixer Tool and in the Timeline . . . . . . . . . . . . . . 353

Using the Track Solo and Track Mute Buttons. . . . . . . . . . . . . . . . . . . . . . . . . 353

Interpreting Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Using Clip Gain and Pan Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Adjusting Clip Gain and Pan for Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . 356

Audio Mixer Fast Menu: Clip Gain and Pan Mode . . . . . . . . . . . . . . . . . . . . . . 358

Modifying How Your Avid Editing Application Interprets Pan . . . . . . . . . . . . . . 359

Using the Center Pan Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Using Automation Gain and Pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Using Automation Gain and Pan in the Timeline. . . . . . . . . . . . . . . . . . . . . . . 361

Deleting Automation Gain or Automation Pan Keyframes

in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Automation Gain and Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Understanding Automation Gain or Automation Pan Recording . . . . . . . . . . . 365

Using the Audio Mixer Tool for Automation Gain and Pan . . . . . . . . . . . . . . . 365

Audio Mixer Tool Fast Menu: Automation Gain and Pan Mode . . . . . . . . . . . 367

Using Keyboard Shortcuts with Audio Keyframes. . . . . . . . . . . . . . . . . . . . . . 368

Using Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Entering Live Mix Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Using Live Mix Mode with an External Controller . . . . . . . . . . . . . . . . . . . . . . 370

Using Live Mix Mode Without an External Controller . . . . . . . . . . . . . . . . . . . 371

Switching Between Live Mix Mode and Other Audio Mixer Modes . . . . . . . . . 371

Audio Mixer Tool Fast Menu: Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . 372

Live Mix Mode Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Isolating Clip Portions for Audio Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Audio Sample Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Changing the Audio Sample Rate for Sequences and Audio Clips . . . . . . . . . . . . 378

Mixing Down Audio Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Chapter 14 Working with Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Effects Creation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Real-Time Effects and Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . 386

Effects and Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

AVX Plug-In Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Understanding the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Displaying and Adjusting the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Promoting and Demoting Existing Effects in Sequences . . . . . . . . . . . . . . . . . . . . 390

Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Applying Effects From the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Using the Fade Effect Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Using the Quick Transition Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Deleting Effects in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Sizing Effects to Fit the Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Adjusting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Entering Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Understanding Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Making Basic Effect Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Moving Through an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Working with Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Saving an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Applying an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Understanding Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Adding a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Selecting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Moving a Standard Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Changing a Standard Keyframe’s Parameters. . . . . . . . . . . . . . . . . . . . . . . . . 408

Copying and Pasting Standard Keyframe Parameters. . . . . . . . . . . . . . . . . . . 409

Deleting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Playing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Playing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Playing Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Understanding Render On-the-Fly for Effect Preview . . . . . . . . . . . . . . . . . . . 412

Using Render On-the-Fly for Effect Preview . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Real-Time Playback of Video Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Understanding Real-Time Effects Processing . . . . . . . . . . . . . . . . . . . . . . . . . 413

Understanding Real-Time Playback Information in the Timeline . . . . . . . . . . . 414

Turning Playback Performance Indicators On or Off . . . . . . . . . . . . . . . . . . . . 415

Options for Controlling Real-Time Effects Playback . . . . . . . . . . . . . . . . . . . . 415

Controlling Real-Time Effects Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Playing Effects Back at Different Video Qualities. . . . . . . . . . . . . . . . . . . . . . . 419

Basics of Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Understanding Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Rendering a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Rendering Effects at Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Rendering Effects Between IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . 423

Displaying Estimated Render Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Clearing Rendered Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Rerendering Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Understanding ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Using the ExpertRender Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Using the ExpertRender Command After a Real-Time

Playback Attempt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Modifying ExpertRender Results. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Considerations When Using ExpertRender. . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Chapter 15 Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Opening the Title Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Using Marquee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Workflow for Creating Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Understanding the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Previewing Titles with Anti-Aliasing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Displaying Safe Title and Safe Action Guidelines in the Title Tool . . . . . . . . . 443

Understanding Title Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Selecting a Background for Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Creating Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Sizing and Positioning Text Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Editing a Text String. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Setting Default Text Attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Selecting a Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Changing Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Making Text Bold or Italic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Justifying Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Understanding Kerning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Kerning Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Adjusting Leading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Modifying and Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Saving a Title and Exiting the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Saving Multiple Titles in a Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Using a Keyboard Shortcut to Save a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Using the Fast Save Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Title Effect Clips in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Displaying Title Frames in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Setting Marks in a Rolling Title or a Crawling Title. . . . . . . . . . . . . . . . . . . . . . 463

Splicing or Overwriting a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . 463

Dragging a Marked Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Dragging an Unmarked Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . 465

Trimming the Duration of Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . 466

Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Replacing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Chapter 16 Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

How Avid Symphony Color Correction Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Color Correction Mode Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Entering and Leaving Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 473

Understanding Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Switching Between Current and Reference Monitors Using

the Escape Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Using Monitor Buttons in Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . 475

The Client Monitor in Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 476

Color Correction Tool Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Making Basic Automatic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Correcting Color Automatically Using the Color Correction Effect . . . . . . . . . 477

Correcting Color Automatically in the Hue Offsets Tab. . . . . . . . . . . . . . . . . . 479

Automatic Color Correction Buttons in the Hue Offsets Tab . . . . . . . . . . . . . . 479

Making a Basic Color Match Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

Making a Manual Primary Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Making a Basic Secondary Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Safe Color Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Managing Safe Color Warnings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Safe Color Warnings in the Composer Window . . . . . . . . . . . . . . . . . . . . . . . 486

Chapter 17 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 487

Understanding Export. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Exporting Frames, Clips, or Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Using the Drag-and-Drop Method for Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493

Using Avid Interplay Media Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493

Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

Chapter 18 Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Preparing for Output: Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Selecting the Device for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Selecting the Sync Source for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Sync Options for HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

Using LTC Timecode for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

Calibrating for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

Using the Factory Preset Buttons in the Video Output Tool . . . . . . . . . . . . . . 501

Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Luminance Settings for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Adjusting Phase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Preparing for Converting HD Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Crossconversion and Downconversion Formats . . . . . . . . . . . . . . . . . . . . . . . 506

Considerations for Crossconversion and Downconversion . . . . . . . . . . . . . . . 507

Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Setting the Calibration Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Setting Audio Output Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Enabling 16-Channel Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Embedded Audio and Output Sample Rate Conversion . . . . . . . . . . . . . . . . . 514

Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Striping Record Tapes (Recording Black with Timecode) . . . . . . . . . . . . . . . . 515

Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515

Enabling Assemble-Edit Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Using ExpertRender to Prepare Effects for a Digital Cut . . . . . . . . . . . . . . . . . . . . 516

Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . . . . . . . . . . . 521

Crash Recording Through Remote Deck Control. . . . . . . . . . . . . . . . . . . . . . . 523

Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . . . . . . . . . . . 524

Chapter 19 Conforming and Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . . . 527

Compatibility Between Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Preparations for Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Delivery Requirements for Final Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

File Transfer for the Online Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

System Compatibility for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Preparing Graphics for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Preparing Effects for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532

Preparing Titles for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Preparing Audio for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Conforming Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Step 1: Transfer Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535

Step 2: Open the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Step 3: Measure the Video Signal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Step 4: Recapture Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Step 5: Import and Lay in the Final Audio Mix. . . . . . . . . . . . . . . . . . . . . . . . . 538

Step 6: Batch Import Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538

Step 7: Re-create Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Considerations when Re-creating Title Media. . . . . . . . . . . . . . . . . . . . . . . . . 540

Redefining a Font Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Step 8: Refine Effects and Perform Color Correction . . . . . . . . . . . . . . . . . . . 541

Step 9: Render Effects as Needed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542

Step 10: Create the Final Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Conforming Sequences with Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Conforming Color Correction Sequences with

Symphony Meridien Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Conforming Color Correction Sequences with Media Composer or

Avid Xpress Pro Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Transferring Color Corrections with Color Correction Templates . . . . . . . . . . 545

Transferring Project and Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Transferring Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547

Transferring Sound Designer II Audio Files from Macintosh Systems . . . . . . 548

Working with Sound Designer II Audio Files on Macintosh Systems . . . . . . . 548

Transferring a Project Using Shared Storage . . . . . . . . . . . . . . . . . . . . . . . . . 548

Transferring Project Files and Media Files Using Nonshared Storage . . . . . . 549

Devices and Methods for Transferring Files . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Nonshared Storage Issues for Cross-Platform Collaboration . . . . . . . . . . . . . 555

Transferring Media Files from Media Composer Version 7.2 or

Avid Xpress Version 2.1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556

Chapter 20 Working with the Avid Interplay Window. . . . . . . . . . . . . . . . . . . . . . . . 557

Using Remote Assets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Connecting to the Avid Interplay Database . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Mounting Workspaces on an Avid Unity MediaNetwork System. . . . . . . . . . . 559

Mounting Workspaces on an Avid Unity ISIS System (Version 1.5

and Earlier) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Mounting Workspaces on an Avid Unity ISIS System

(Version 2.0 and Later) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565

Configuring Interplay Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

Opening the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Managing Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

Understanding Reservations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Understanding Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573

Reviewing Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Understanding Access Control for Avid Assets . . . . . . . . . . . . . . . . . . . . . . . . 574

Moving, Copying, Duplicating, and Deleting Avid Assets. . . . . . . . . . . . . . . . . 575

Creating Folders and Shortcuts in the Interplay Window . . . . . . . . . . . . . . . . . 576

Modifying the Appearance of the Interplay Window . . . . . . . . . . . . . . . . . . . . . 578

Understanding Column Display in the Interplay Window . . . . . . . . . . . . . . . . . 579

Modifying Column Display in the Interplay Window . . . . . . . . . . . . . . . . . . . . . 579

Selecting Values for a Custom Property . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Selecting Asset Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Renaming Clips in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Adding Comments in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Updating the Application Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Updating Writable Properties in the Property Merge Dialog Box . . . . . . . . . . . 586

Using Custom Layouts for the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . 587

Opening Multiple Tabs in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . 588

Setting the Interplay Window Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589

Media Objects in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Selecting Font Options from the Context Menu . . . . . . . . . . . . . . . . . . . . . . . . 590

Editing with Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592

Working with Avid Assets in the Interplay Database . . . . . . . . . . . . . . . . . . . . 592

Checking Avid Assets Out of the Interplay Database. . . . . . . . . . . . . . . . . . . . 594

Checking Avid Assets In to the Interplay Database . . . . . . . . . . . . . . . . . . . . . 595

Automatically Checking In Avid Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

Updating Remote Assets in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Understanding In-Progress Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Editing with In-Progress Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Limitations When Working With In-Progress Clips . . . . . . . . . . . . . . . . . . . . . 599

Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Overview of Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Performing Searches on Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Search Attributes for the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Keeping Search Results in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . 604

Capturing Media to Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604

Chapter 21 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Understanding MultiRez and Proxy Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608

Creating Multiple Resolutions of a Master Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . 609

Batch Capturing Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609

Batch Importing Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Understanding How Clips and Media Are Associated . . . . . . . . . . . . . . . . . . . . . . 613

Single Clip, Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Multiple Clips, Multiple Resolutions, and the Affinity Model . . . . . . . . . . . . . . 615

Partial Clips, Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

MultiRez Tape Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

Understanding Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

MultiRez Workflow Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Considerations When Working with Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . 621

Using the Dynamic Relink Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

Enabling Dynamic Relink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

Applying Working Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Examples of Working Settings for Dynamic Relink . . . . . . . . . . . . . . . . . . . . . 623

Applying Target Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Example of Target Settings for Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . 626

Dynamically Relinking to the Target Settings . . . . . . . . . . . . . . . . . . . . . . . . . 627

Dynamic Relink Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Relinking in Frame Chase Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Using the Relink Dialog Box in an Avid Interplay Environment . . . . . . . . . . . . . . . 632

Displaying Whether Media Is Available for Dynamic Relinking . . . . . . . . . . . . . . . 633

Using the MultiRez Button to Show Available Media. . . . . . . . . . . . . . . . . . . . 633

Using Clip Coloring to Show Available Resolutions . . . . . . . . . . . . . . . . . . . . 634

Examples of MultiRez Clip Coloring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

MultiRez Button Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

MultiRez Bin Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Understanding Options for Deleting MultiRez Clips and Media . . . . . . . . . . . . . . . 641

Deleting MultiRez Clips and Media from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Working with Partially Online Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644

Consolidating and Transcoding a Portion of a Clip . . . . . . . . . . . . . . . . . . . . . 644

Viewing a Source Clip in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

Consolidating and Deleting Original Media . . . . . . . . . . . . . . . . . . . . . . . . . . . 646

Partially Restoring from an Archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Using This Guide

This guide contains the task-oriented instructions and conceptual information you need to use the basic features of your Avid editing application. The Advanced Guide for your Avid editing application, available as a PDF document in the Online Library, is a companion to this guide. The Advanced Guide contains instructions and conceptual information for advanced features of your Avid editing application, as well as reference information. The contents of both guides are available in the Help.

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

Unless noted otherwise, the material in this doc 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. Therefore, your

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

, and Mac OS® X operating systems.The majority of screen shots in this

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.

ument applies to the Windows® XP,

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 instructi is especially important to check each step of your workflow.

2. Check the latest information that might hav was published:

- If the latest information for your Avid produc

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.

ons given for that task in this guide. It

e become available after the documentation

t is provided as printed release notes,

If the latest information for your Avid produc

t 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 an

swers, 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

lf.

itse

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 loc

(Windows) C:\Program Files\Avid\A

(Macintosh) MacintoshHD/Applications/A

vid editing application\Online Library

ation as the application itself, for example:

vid 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 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

folder is provided solely for your reference and as

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/schedu books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).

les, training centers, certifications, courseware, and

1 Editing Overview

The following topics provide an overview of the editing workflow:

• Editing Workflow

• Starting a Project

• Preparing to Edit

• Editing a Sequence

• Outputting a Sequence

Editing Workflow

Your editing workflow depends on a variety of factors. For example, you might be working on a standard-definition video project, a film project, or an HD project.

The following procedure lists the basic steps for sections of the documentation for more information. The structure of this Basics Guide reflects the typical editing workflow.

1. Create or open a project.

For more information, see “S

2. Set the appropriate Project settings a

For more information, see “

3. Capture or import the media.

For more information, see “P

page 133, and “Importing Files” on page 155.

4. Organize your bins to suit your project’s needs.

For more information, see “

5. View your clips in advance and mark IN and OUT points, or create subclips based on selected

For more information, see “

portions of your master clips.

tarting a Project” on page 43.

nd create a bin structure.

Working with the Project Window” on page 77.

reparing for Capture” on page 89, “Capturing Media” on

Working with Bins” on page 169.

Viewing and Marking Footage” on page 219.

editing a sequence and refers you to

1 Editing Overview

6. Build your sequence in the Timeline.

For more information, see “

the Timeline” on page 281.

7. Fine-tune your edits and effects by using functions of the various edit modes, such as T

rim mode, Effect mode, and Color Correction mode.

For more information, see “

Effects” on page 381, and “Color Correction” on page 469.

8. Add any titles you need.

For more information, see “W

9. Adjust and mix multiple audio tracks and pr

For more information, see “W

10. Export the sequence or output a digital cut.

For more information, see “

“Generating Output” on page 497.

If you are working in an offline to online project, see “C

Projects” on page 527. For information about HD workflows, see “HDTV Workflows”

in the Help.

Starting a Project

Creating and Editing Sequences” on page 257 and “Using

Working in Trim Mode” on page 315, “Working with

orking with Titles” on page 437.

epare for final output, using audio tools.

orking with Audio” on page 331.

Exporting Frames, Clips, or Sequences” on page 487 or

onforming and Transferring

Whenever you start to work on a new project, you follow these basic steps:

1. Turn on your equipment in a prescribed order and start your Avid editing application.

For more information, see “

2. Select or create a new project (the job that will result in one or more finished sequences).

For more information, see “S

3. Select the Project settings from the Settings list.

For more information, see “W

4. Create and organize bins.

For more information, see “

5. Back up your project on a regular basis.

For more information, see “S

Turning on Your Equipment” on page 43.

tarting a Project” on page 43.

orking with the Project Window” on page 77.

Working with Bins” on page 169.

tarting a Project” on page 43.

1. Turn on your system and start your Avid editing application.

2. Select or create a project.

4. Create and organize bins.

5. Back up the project.

3. Select the Project settings.

Starting a Project

1 Editing Overview

Preparing to Edit

When you capture and organize footage before editing, you follow these basic steps:

1. Batch capture, log and capture, or capture on-the-fly your source material into the Avid

system

For more information, see “P

on page 133.

2. Use bins to organize the project items.

For more information, see “

3. Manage media files by using the Media tool.

For more information, see “

4. Use the bins to create storyboards.

For more information, see “

reparing for Capture” on page 89 and “Capturing Media”

Working with Bins” on page 169.

Managing Media Files” on page 191.

Creating a Storyboard” on page 188.

2. Sort and organize clips in the bins.

3. Manage media files for storage efficiency and backup security.

1. Capture footage, creating master clips and media files.

4. Previsualize with storyboards.

Preparing to Edit

1 Editing Overview

Editing a Sequence

When you edit your video and audio, you follow these basic steps:

1. View your clips and mark IN and OUT p portions of your master clips.

For more information, see “

2. Build your sequence in Source/Record mode, wh with Source and Record monitors, and in the Timeline. See “Creating and Editing

Sequences” on page 257.

3. Fine-tune your edits and effects by using the and Effect modes.

For more information, see “U

Mode” on page 315.

4. Adjust and mix multiple audio tracks and prep the Audio tools.

For more information, see “W

5. Return to editing if further a

For basic information about working with

- “Working with Effects” on page 381

- “Working with Titles” on page 437

- “Color Correction” on page 469

For complete information about working with ef and “Conform and Finishing Guide” in the Help. This information is also contained in the Avid Advanced Effects Guide and the Avid Symphony Conform and Finishing Guide, which are available in PDF format in the Avid Symphony Online Library.

Viewing and Marking Footage” on page 219.

sing the Timeline” on page 281 and “Working in Trim

orking with Audio” on page 331.

djustments are required.

oints, or create subclips based on selected

ich provides nonlinear editing controls

various edit modes, such as Segment, Trim,

are for final playback or output by using

effects, see the following topics:

fects, see the “Advanced Effects Guide”

Source monitor

1. Screen, mark, and subcatalog footage.

Record monitor

Timeline

2. Edit in Source/Record mode and the Timeline.

3. Fine-tune edits and effects.

4. Fine-tune audio pan, volume, and EQ.

5. Screen and continue editing as necessary.

Editing a Sequence

1 Editing Overview

Outputting a Sequence

When your sequence is finished, you can output it in any of the following ways, depending on the requirements of your project:

• Export as a file or a series of files.

For more information, see “

• Output a digital cut in one or more formats.

For more information, see “

• Generate a cut list through Avid FilmScribe™.

For more information, see the A

• Generate an EDL through Avid EDL Manager.

For more information, see the A Help.

Exporting Frames, Clips, or Sequences” on page 487.

Generating Output” on page 497.

vid Film Scribe User’s Guide or the Film Scribe Help.

vid EDL Manager User’s Guide or the EDL Manager

Finished sequence

Export a file.

Output to tape

Generate a cut list.

Generate an EDL.

Outputting a Sequence

1 Editing Overview

2 Starting a Project

Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project. The following topics describe these and other procedures for starting your work, as well as several techniques to safeguard and restore your work if necessary:

urning on Your Equipment

• T

• Working with the Desktop

• Starting Your Avid Editing Applic

• Working with Projects

• Quitting Your Avid Editing Application

• Turning Off Your Equipment After Quitting

• Avid Projects and Avid Users Folders

• Changing Project and User Names

• Backing Up Your Project Information

• Avid Attic Folder

• Retrieving Files from the Avid Attic Folder (Windows)

• Retrieving Files from the Avid Attic Folder (Macintosh)

• Usi

ng Toolsets

ation (Windows)

ation (Macintosh)

Turning on Your Equipment

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

1. Storage devices

2. Peripheral devices (such as moni

tors and speakers)

3. Computer system

4. Avid input/output hardware device

2 Starting a Project

Do not disconnect devices while running your Avid editing application. Before starting your

Avid editing application, make sure all your devices are connected first.

Working with the Desktop

You can use some of the desktop navigation features of your operating system to speed your work in your Avid editing application, or customize for your convenience while editing. You can:

• Control how the Windows taskbar appears on the screen (Windows only).

• Use the Macintosh Dock as a quick way to la (Macintosh only).

• Use shortcut menus (also sometimes commands.

• Use standard keyboard shortcuts to navigat menus.

• Use the mouse scroll wheel for navigation

You also use the desktop for backups and tran

Your Project Information” on page 69 and “Avid Projects and Avid Users Folders” on page

66.

For information on the Windows operating system, such as the desktop and icons, see your

Microsoft

documentation.

known as context menus) to quickly access editing

unch your Avid editing application

e and select options in dialog boxes and

and customize mouse button functions.

sferring projects, as described in “Backing Up

Using the Windows Taskbar (Windows Only)

By default, the Windows taskbar always appears on the bottom of your screen, on top of your application. You have two other choices:

• Keep the taskbar hidden behind your Avid editing application

•

Set the taskbar to appear only when you drag the mouse pointer to it

If you keep the taskbar hidden while running your Avid editing application and you

nimize an application such as Help, you do not see the minimized icon in the taskbar.

For more information about the taskbar

, see the Windows Help.

Working with the Desktop

The taskbar can also be dragged to the top, bottom, or either side of the monitor.

When working in your Avid editing application, you can minimize windows (such as the Pr

oject window and bins). The icons will appear in the application window, not in the

taskbar.

To see the taskbar and minimized icons:

t Minimize your Avid editing application.

To change the taskbar settings:

1. Right-click an unused part of the taskbar, and select Properties.

The Taskbar and Start Menu Properties dialog box opens.

2. Select the options you want:

o keep the taskbar hidden, deselect “Keep the task bar on top of other windows”

t T

and “Auto hide the task bar.”

t To set the taskbar to appear when you want, select “Keep the task bar on top of

other windows” and “Auto hide the task bar.”.

3. Click OK.

Using the Macintosh Dock (Macintosh Only)

You can place an application icon alias on the Dock for easy access to your Avid editing application. The Dock is hidden when your Avid editing application is active. For full information on using the Dock, see the Mac OS X documentation.

To display the Dock:

t Move the mouse pointer to the edge of the screen where the Dock is hidden.

Using Shortcut Menus

Instead of using the standard menus to find the command you need, try using the shortcut menus. Shortcut menus show the most frequently used commands for a window or a screen object.

Most shortcut menus contain a What’s This? command. Select What’s This? to access Help for the windo

To use a shortcut menu:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) a window or a screen object.

w or the object.

2 Starting a Project

Using the Keyboard for Navigating in Dialog Boxes and Menus

You can use the following procedures to navigate in many dialog boxes and menus and to select and deselect options.

To move from tabbed page to tabbed page within a dialog box:

t Press Page Up or Page Down.

To move from check box to check box or from option to option in a dialog box:

t Press Tab.

To select or deselect a check box or an option in a dialog box:

t Press Right Arrow, Left Arrow, or the space bar.

To move up or down in a menu, or increment a numeric value:

t Press Up Arrow or Down Arrow.

Using the Mouse Scroll Wheel for Navigating

You can use the mouse scroll wheel for navigation in your Avid editing application, as described in the following table. You can also set the speed of scrolling with the mouse wheel, and assign functions to three additional mouse buttons, as described in “Customizing

Mouse Functions” on page 47.

To scroll through items in an window or function area with a vertical scroll bar (such as a bin):

t Press Ctrl (Windows) or Control (Macintosh) + scroll wheel.

To move the position bar one frame at a time in the Timeline:

t Press Ctrl (Windows) or Control (Macintosh) + scroll wheel.

To move the position bar 10 frames at a time in the Timeline:

t Press Ctrl (Windows) or Control (Macintosh) + Alt (Windows) or Option (Macintosh) +

scroll wheel.

To move the slider one unit at a time in a tool or window containing a slider (such as the Effect Editor):

t Press Ctrl (Windows) or Control (Macintosh) + scroll wheel.

To move the slider 10 units at a time in a tool or window containing a slider (such as the Effect Editor):

t Press Ctrl (Windows) or Control (Macintosh) + Alt (Windows) or Option (Macintosh) +

scroll wheel.

Customizing Mouse Functions

Your Avid editing application allows you to set the speed of scrolling with the mouse wheel, and lets you assign functions to three additional mouse buttons. For example, mouse button 3 can have a button function assigned to it. Mouse buttons pressed along with modifer keys can also have additional assigned functions.

When mapping mouse buttons, make certain that the modifier key that you are assigning to

the button and command doesn't already have an alternate function.

You cannot assign functions to the standard left and right mouse buttons.

To set the mouse scroll speed:

1. Double-click Mouse in the Settings list of the Project window.

The Mouse Settings dialog box opens.

Working with the Desktop

2. Select a speed from the Vertical Scroll Speed menu.

Normal is the default setting. Norma items at a time, and Fast scrolls four items at a time.

To assign functions to additional mouse buttons:

1. Double-click Mouse in the Settings list of the Project window.

The Mouse Settings dialog box opens.

2. Select Tools > Command Palette.

The Command palette opens.

3. Select Button to Button Reassignment at

4. Click the tab from which you want to sel

5. Click the mouse, and drag the button from the Command palette to a button location on the Mo

use Settings dialog box.

l scrolls one item at a time. Moderate scrolls two

the bottom of the Command palette.

ect a user-selectable button.

2 Starting a Project

Suggestions for Optimum Performance

Background tasks can interrupt time-critical operations, such as capturing, playing, or rendering. Make sure that background tasks are not running while you are working on the Avid editing system.

urn Off File Sharing (Windows)” on page 48

• “T

• “Optimum Performance (Windows)” on page 48

Antivirus Applications” on page 50

• “

Turn Off File Sharing (Windows)

Turning off File Sharing is required. If you do not do this, you might get Access Denied

errors after moving files.

To turn off Simple File Sharing (Windows XP):

1. Double-click My Computer.

2. Select Tools > Folder Options > View.

3. Scroll down to the bottom (Recommended)”.

To turn off File Sharing (Windows Vista):

1. Select Start > Control Panel.

2. Double-click Network and Sharing Center.

3. Click File Sharing and select

4. Click Apply.

of the window and deselect “Use simple file sharing

Turn off File Sharing.

Optimum Performance (Windows)

The following list contains suggestions for ensuring optimum performance when working with the Avid editing system:

The steps below might vary depending on if you have Windows XP or Windows Vista.

• Disable CPU throttling (Windows XP):

Select Start > Control Panel.

- Double-click Power Options.

- Select Power schemes > Always On.

Working with the Desktop

• Disable CPU throttling (Windows Vista):

- Select Start > Control Panel.

- Double-click Power Options.

- Select High Performance.

• Do not enable the Windows Display setting “Show window contents while dragging.” s setting hinders redraw performance on the Avid editing system.

Thi

Do the following (Windows XP):

- Select Start > Control Panel.

- Double-click Display.

- Click the Appearance tab.

- Click the Effects button.

- Deselect “Show window contents while dragging.”

Do the following (Windows Vista):

- Select Start > Control Panel.

- Click Personalization > Windo

w Color and Appearance.

- Click Effects.

- Deselect “Show window contents.”

• Do not leave the Console window open when you are editing. The Avid editing system

rformance slows considerably when the Console window is open.

• Do not leave a Windows Explorer window open. Windows Explorer tries to update file

informa

tion.

• Do not leave an e-mail application open if it is set to do periodic checks for mail.

• Do not run any application that periodically “w

akes up” and performs an action such as

virus scanners.

• Disable screen savers.

• Do not keep media on the same partition where the application is installed. Avid

ecommends external media drives.

• Always use small fonts with the

display driver to avoid missing characters in the

application dialog boxes.

• After moving a drive from one system to another, you must restart your system.

indows does not recognize the drive until you restart the system.

2 Starting a Project

• Ensure you do not accidentally delete locked items from your desktop:

(Windows XP)

- Right-click the Recycle Bin icon on your desktop.

- Select Properties.

- Click the Global tab.

- Select “Display delete confirmation dialog.”

-Click OK.

(Windows Vista)

- Right-click the Recycle Bin icon on your desktop.

- Select Properties.

- Click the General tab and select Display delete confirmation dialog.

-Click Apply.

• When you are advancing by single frames throug On-the-Fly to enable faster response time.

• Do not name files with special characters (/ \ : ? ” < > | *), because Windows does not

cognize special characters in file names. Bin names are limited to 27 characters (not

re including the four characters reserved for the file name extension).

• Do not schedule automatic backups at times when your A use.

• Do not run any application that includes preschedule activities, such as a calendar program.

• Do not leave other applications running. Some applications, such as Microsoft Office,

un background processes.

• Do not allow the Find Fast background process (f update its cache of file and folder locations. Check your Startup folder, and delete the file if it is there. To locate the find.exe, select Start > Search > find.exe.

Antivirus Applications

Antivirus programs containing autoscanning features can interfere with the operation of the Avid editing application. For example, some antivirus programs can be configured to run in the background and scan all files for viruses whenever they are opened, copied, or moved. Since virus scanning is a processor-and disk-intensive activity, it can interfere with capturing and playing real-time effects in the Avid editing application.

h the Timeline, deselect Clip > Render

vid editing system might be in

d or automatically scheduled

ind.exe) to run. The process tries to

Avid recommends you do not scan all files or schedule any background tasks such as virus

ng when you are using your Avid editing application.

scanni

Starting Your Avid Editing Application (Windows)

File deletion protection utilities also consume system resources and could interfere with the proper operation of the Avid editing application. These utilities automatically back up any files that are deleted, even temporary files created and deleted by the Avid editing application. This consumes a large amount of disk space.

Starting Your Avid Editing Application (Windows)

Your Avid editing application is located by default in the following folder:

\Program Files\Avid\Avid editing application

drive:

er to your Avid editing application in

The installation process adds a desktop icon and a point the Start menu. For most users, these provide the easiest way to start the application.

Your Avid editing application does not start properly if the application file is moved from the Avid editing application folder.

If you install your Avid editing application on a laptop computer, a dialog box might open with a message about incompatible power management schemes. Avid recommends you use the “Always On” power scheme for Windows XP and the “High Performance” power option for Windows Vista when working with Avid editing applications. Other power schemes might affect performance of editing functions (for example, capture and digital cuts). For information on changing power schemes, see the Windows documentation.

To start your Avid editing application, do one of the following:

t Click the Start button, and select All Programs > Avid > Avid editing application.

t Double-click the Avid editing application desktop icon.

After the application starts, the Select Proje on the Select Project dialog box, see “Working with Projects” on page 52.

ct dialog box opens. For more information

Starting Your Avid Editing Application (Macintosh)

Your Avid editing application is in the following location:

Macintosh HD/Applications/A

For most users, the desktop or Dock is a more c application. The installation process places a shortcut alias icon for your Avid editing application on the desktop.

For more information on making an alias and using the Dock, see your Macintosh

documentation.

vid editing application

onvenient location for starting the

2 Starting a Project

Your Avid editing application does not start properly if the application file is moved from the Avid editing application folder. You can drag it onto the Dock, and an alias is placed on the Dock.

When you start the application, you might see a message box indicating there is no input or

output signal. Check to ensure that your Avid input/output hardware is connected to the system with the cables secured and that it is turned on.

To start your Avid editing application, do one of the following:

t Double-click the alias icon for your Avid editing application on the desktop.

t Double-click the alias icon for your Avid editing application on the Dock.

t Select Go > Applications, and then double-click the Avid editing application folder. In

this folder, double-click the Avid editing application file.

You might see a license agreement. After the applic box opens. For more information on the Select Project dialog box, see “Working with

Projects” on page 52.

Working with Projects

This topic describes basic methods for working with projects.You can:

• Create a new project and save it to your choi

ation starts, the Select Project dialog

ce of folder locations on your system.

Some of the available folder lo limit access to the project.

• Use the Select Project dialog box to f

• Instruct your Avid editing application to auto start the application.

• Close an open project and return to the Select Project dialog box.

You should also back up your project information regularly to a separate storage device, as desc

ribed in “Backing Up Your Project Information” on page 69.

For information on the files and fol project, see “Avid Projects and Avid Users Folders” on page 66.

cations use your operating system’s security features to

ind, open, or delete a project.

matically open your last project when you

ders that your Avid editing application creates as part of a

Select Project Dialog Box

User name

Folder name

User profile list

Browse button

Project list

Folder buttons

New Project button

After you start your Avid editing application, the Select Project dialog box opens. The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles. You can also choose to have your last project open automatically, as described in

“Opening a Project Automatically” on page 63.

Working with Projects

The following table describes the elements of the Select Project dialog box:

Element Description

User Displays the login name of the user currently logged into the system. To change

to a different user, you need to log out and log in as that user. For more information, see the documentation for your operating system.

Folder Displays the path of the current folder. This path determines which projects

appear in the project list and where a new project is created.

You cannot type into the User or Folder text boxes.

Browse button Click to navigate to a different folder. The projects in this folder appear in the

project list. See “Browsing for a Project” on page 61.

User Profile Displays the name associated with the current settings. By default your Avid

editing application uses the login name. Click the list button to change profiles or create a new one. For more information, see “Using User Profiles” in the Help.

2 Starting a Project

Element Description (Continued)

Project list Displays a list of the Avid projects in the currently selected folder. Double-click a

Folder buttons Select a button to set the path for the project folder:

project to open it.

• Click Private to display any projects in the folder for the user logged into the system. Private projects use the security provided by your system’s user login. By default, this path is

(Windows)

name\Documents\Avid Projects

(Macintosh)

Projects

• Click Shared to display any projects in the folder for all users logged into the system. By default, this path is:

(Windows)

Avid Projects

(Macintosh)

application/Shared Avid Projects

• Click External to display the projects in a folder other than the Private or Shared folder. Set the path for the External folder by using the Browse button.

drive:\Documents and Settings\Windows login

Macintosh HD/Users/Mac login name/Documents/Avid

drive:\Documents and Settings\All Users\Shared

Macintosh HD/Users/Shared/Avid editing

New Project button

Click this button to open the New Project dialog box and create a new project.

Creating a New Project

Some Avid editing configurations allow you to select raster sizes for specific HD projects. For more information, see “Raster Dimensions” on page 57 and “Raster Sizes” on page 59.

To create a new project:

1. Start your Avid editing application.

The Select Project dialog box opens.

2. In the Select Project dialog box, select t project: Private, Shared, or External.

For more information, see “

3. Click New Project.

The New Project dialog box opens.

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

he folder in which you want to create the

Select Project Dialog Box” on page 53.

Working with Projects

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

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

(Macintosh only) You can set the Use Windows compatible editing application’s General Settings dialog box to prevent the application from accepting these restricted characters in a bin, project, or user name. If you are using your Avid editing application as a standalone editor (and don’t plan to move your bins or projects to another platform), you have the option of extending bin and project names to 31 characters using the Allow filenames to exceed 27 characters option in the General Settings dialog box.

5. Click the Format menu and select a project type. For film projects, make a selection sed on the source footage or the type of film-to-tape transfer with which you are

ba working.

6. Select the following additional option(s):

or 23.976p, 24p, 25p, 720p, and 1080p film projects, click the Film button and

t F

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

t For 24p PAL projects, select an audio transfer rate.

For information on audio transfer rates, see “ Projects” in the Help.

or 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only, select

t F

Matchback, then click the Film button and select a format for film gauge tracking from the Default Film Type menu.

The Matchback item appears only if your A Matchback option. For more information about matchback, see “About the Matchback Option” in the Help.

File Names option in your Avid

Audio Transfer Options for 24p PAL

vid editing application includes the

or HD projects, click the Raster Dimension menu and select a raster size.

t F

The Raster Dimension menu appears only if yo supported system. For more information, see “Raster Dimensions” on page 57 and

“Raster Sizes” on page 59.

7. Click OK.

Your Avid editing application creates the new projec the Select Project dialog box. The project name is highlighted in the Projects list.

8. Double-click the project name in the Proje

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

cts list to open the project.

u create a new HD project on a

t files and folder, and then returns to

and the Timeline open with the User

2 Starting a Project

Close button

Project name User name

9. (Option) If your project uses a film project type, set film preferences immediately after you create the project.

Project Types

The following table lists the format options available. Depending on the model of your Avid editing application, your format options might not include all items listed here. Some models allow you to select a specific raster size for HD projects (see “Raster Dimensions”

on page 57 and “Raster Sizes” on page 59).

Project Type Source Footage Transfer

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

24p NTSC For film-originated or other 24-fps footage transferred to NTSC videotape

24p PAL For film-originated or other 24-fps footage transferred to PAL videotape at 25 fps

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

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

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

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

For more information, see “

film-originated footage transferred on digital videotape (such as Digital Betacam™)

Setting Film Preferences” on page 60.

Working with Projects

Project Type Source Footage Transfer (Continued)

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

broadcast. It can also be captured in DVCProHD format.

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

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

broadcast.

1080p/23.976 For film-originated footage transferred to videotape.

1080p/24 For film-originated footage transferred to videotape. True 24-fps editing.

1080p/25 For film-originated footage transferred to videotape.

1080p/29.97 For film-originated footage transferred to videotape.

1080i/50 For video-originated material. Can be directly captured, edited, and output for HD

broadcast.

1080i/59.94 For video-originated material. Can be directly captured, edited, and output for HD

broadcast.

Some HD project types based on HDV requirements and available in earlier versions of Avid

editing applications have been replaced by standard HD projects that allow you to specify the raster dimension used for editing and playback. For more information, see “Raster

Dimensions” on page 57.

Raster Dimensions

Some earlier versions of Avid editing applications allowed you to create projects based on some device-specific HD compression formats, including 1080i 59.94 HDV and 1080i 50 HD

V. Some versions allowed you to set specific raster types for your HD projects — for

xample, DVCPro HD. When you open existing projects that use these formats, current Avid

e editing applications preserve the raster size (the dimensions of the video frame displayed in the monitor) for your project and list the raster as an option in the Raster Dimension menu.

New HD projects on systems with supported configurations allow you to directly select the raster si HD compression formats that use anamorphically-scaled, nonstandard HD raster sizes. These formats include those compatible with a variety of professional HD devices and standards.

Using the Raster Dimension selection allows yo sequences without having to transcode the video to an Avid DNxHD resolution.

ze used for playback and editing. This allows the Avid editing application to support

u to improve the playback of your HD

2 Starting a Project

Supported system configurations include the following:

• Media Composer v3.5 or later

NewsCutter v7.5 or later

•

Media Composer and NewsCutter systems connected to an Avid Adrenaline or Avid Mojo

device do not support all raster sizes available in other input/output configurations.

When you select an HD project format in the menu appears allowing you to select from the formats available for the selected project type. This allows you to play back your sequence in the native raster size for certain HD formats. When you output your final HD sequence, the Avid editing application resizes the sequence to the standard raster size for your project.

Standard raster sizes for 1080i/1080p and 720p projects are 1920 x 1080 and 1280 x 720,

respectively. All other rasters are called "thin rasters" because the horizontal resolution is lower than the standard rasters.

The format you select to work in also deter Avid editing application. For example, if your HD project format is 1080i 59.94 and you select a raster dimension of 1440 x 1080, the Video Resolution menu in the Media Creation settings dialog box displays the following options:

• DNxHD-TR 145 MXF

• XDCAM HD 17.5Mbits MXF

• HDV 1080i MXF

• XDCAM HD 35Mbits MXF

You can open an existing HD project (for example, a 1080i 50 HDV project) created either

th an earlier version of an Avid editing application or with a version that does not support

wi Raster Dimension selection. You can also create a new project using Raster Dimension selection that has the same size used in an existing project. Use the following guidelines when switching between existing and new project types.

New Project dialog box, a Raster Dimension

mines which HD compression is used by your

Existing Project Type New Project Type Raster Dimension

1080i 50 1080i 50 1920 x 1080

1080i 50 HDV 1080i 50 1440 x 1080

1080p 23.976 1080p 23.976 1920 x 1080

720p 29.97 HDV 720p 29.97 1280 x 720

Working with Projects

If you open a new HD project on an Avid editing application that does not support all Raster Dimension options, the application switches the project to the standard raster (see “Raster

Sizes” on page 59). In this case, you do not receive the performance benefit of using the

native raster size. When you move to an enviro

nment where other rasters are supported, you

can manually switch your project to a specific raster. For example:

• If you create a 1080i 50/1440 x 1080 project on and then open it on an Avid Symphony Nitris system, the application switches the project to the standard raster (1920 x 1080). When you save the project, it saves with the standard raster.

• If you open the 1080i 50/1440 x 1080 project on an Media Composer Adrenaline system, the application switches the project to the standard raster as long as the DNA button is selected. If you click the button to switch to using a 1394 device, you can use the Format tab on the Project window to switch the project format to 1080i 50/1440 x 1080. If you switch back to using a DNA device, however, the application changes the project again to use the standard raster.

Raster Sizes

The following tables list the raster dimensions available for each compression format and project type. You should select a format depending on your workflow and playback mode. (For information on video quality playback modes, see “Video Quality Options for

Playback” on page 241.)

Availability of Raster Dimensions for Full Quality Playback

Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080

720p 23.976 Yes (standard) Yes No No No

720p 25 Yes (standard) Yes No No No

a Media Composer Nitris DX system

720p 29.97 Yes (standard) No No No No

720p 50 Yes (standard) Yes No No No

720p 59.94 Yes (standard) Yes No No No

1080p 23.976 No No Yes (standard) Yes No

1080p 24 No No Yes (standard) No No

1080p 25 No No Yes (standard) No No

1080p 29.97 No No Yes (standard) No No

1080i 50 No No Yes (standard) Yes No

1080i 59.94 No No Yes (standard) Yes Yes

2 Starting a Project

Setting Film Preferences

Set film preferences in the Film and 24P Settings dialog box immediately after you create a project to provide the system with important information about the type of film and audio transfer you used for your project.

For information on setting the pla of ink numbers, see “Film and 24P Settings” in the Help.

For information about for Film Projects” in the Help.

the settings for capturing in a film project, see “Setting Transfer Rates

Opening an Existing Project

To open an existing project:

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

For more information, see “

2. Do one of the following:

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

t Se

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

The Project window, the Composer window, a settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.

y rate for Timeline play and setting the format and display

Select Project Dialog Box” on page 53.

nd the Timeline open with the User

Browsing for a Project

Browse button

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

1. Start your Avid editing application.

The Select Project dialog box opens.

Working with Projects

2 Starting a Project

2. Click the Browse button.

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

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

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

5. Select a project in the Projects list.

6. Click OK.

Working with Projects

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

The next time you open the Select Project dialo displayed when you click the External button.

Opening a Project Automatically

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

To open a project automatically:

1. Click the Settings tab in the Project window.

The Settings list appears.

2. Double-click any Interface setting.

The Interface Settings dialog box opens.

3. Click the General tab, select “Automatically click OK.

For more information, see “Interf

The next time you start your A

and the Timeline open with the User

g box, the path you selected will be

Launch Last Project at Startup,” and then

ace Settings” in the Help.

vid editing application, it opens your last project.

To select another project:

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

2. Quit your Avid editing appl

ication and restart it.

The Select Project dialog box opens.

3. Select a project and click OK.

The Project window, the Composer window,

and the Timeline open with the User

settings loaded.

2 Starting a Project

Closing a Project

When you close the current project, you return to the Select Project dialog box.

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

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

t Click the Close button in the Project window.

Deleting a Project

You can delete a project from within your Avid editing application.

Deleting a project also deletes any bins that are in that project.

Captured media related to a deleted project is not deleted with the project folder. For more

information on deleting media files, see “Deleting Bin Items” on page 181 and “Deleting

Media Files with the Media Tool” on page 202.

To delete a project:

1. Start your Avid editing application.

The Select Project dialog box opens.

2. Click the project you want to delete.

3. Press the Delete key.

4. If you see a message asking if you want to del bins, click OK

The deleted project no longer appears i

ete the selected project and associated

n the Select Project dialog box.

Quitting Your Avid Editing Application

When you end a work session on your Avid editing application, you must first quit the application, and then turn off your equipment. For more information on turning off your equipment, see “Turning Off Your Equipment After Quitting” on page 65.

There are two ways to quit your Avid editing a desktop, or you can close the open project and then quit from the Select Project dialog box.

pplication. You can quit directly to the

Turning Off Your Equipment After Quitting

If you are working in an Avid Unity™ environment, your Avid editing application writes a

media database file (.mdb) to the workspace in which you were working when you quit. Before quitting your application, make sure that the workspace has approximately 50 MB of

age space available. Ask your Avid Unity administrator to increase the space if you need

stor more storage.

To quit your Avid editing application and leave the application immediately:

t (Macintosh) Select Avid editing application > Quit Avid editing application.

t (Windows) Select File > Exit.

The project closes and your Avid editing appl

To quit your Avid editing application and view the Select Project dialog box:

1. Click the Close button at the far right (Windows) or at the far left (Macintosh) of the Project window’s title bar.

The Select Project dialog box opens.

2. Click Quit.

A message box opens.

3. Do one of the following:

t Cli

t Click Cancel to return to the Select Project dialog box and select another project.

To view remaining storage on your media drives:

1. Click the Info tab in the Project window, and then click Hardware.

The Hardware to

2. Click the appropriate drive tab.

For more information, see “Using the Hardw

ck Leave to quit your Avid editing application.

ol opens.

ication quits, returning to the desktop.

are Tool” in the Help.

Turning Off Your Equipment After Quitting

When you finish using your system and want to turn it off completely, follow these steps to avoid damaging your system or media storage drives.

Quit your Avid editing application before turning off your equipment. For more information, see “Quitting Your Avid Editing

Application” on page 64.

2 Starting a Project

To turn off your equipment:

1. Turn off the system by doing the following:

For a Windows system:

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

b. Click the menu, and select Shut down.

For a Macintosh system:

t S

2. Turn off the Avid Nitris device.

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

4. Turn off external storage devices.

The Shut Down Windows dialog box opens.

Click OK.

elect Apple menu > Shut Down.

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

5. Turn off all other hardware.

Avid Projects and Avid Users Folders

When you create a new project or user profile, your Avid editing application creates files and folders in the Avid Projects and the Avid Users folders. You manage Avid projects, user profiles, and settings by:

• Moving, copying, or deleting these files and folders.

Changing project or user names, as described in “Changing Project and User Names” on

•

page 68.

For more information about moving projec the Help.

For information about using and transferring site Help.

ts, see “Conforming and Transferring Projects” in

settings, see “Using Site Settings” in the

Locations of Avid Projects and Avid Users Folders

Two Avid Projects folders are installed by default:

Avid Projects and Avid Users Folders

• Pri

vate Projects (Windows) —

name\Documents\Avid Projects

• Shared Projects (Windows) —

Users\Shared Documents\Shared Avid Projects

• Private Projects (Macintosh) —

name/Documents/Avid Projects

• Shared Projects (Macintosh) —

application/Shared Avid Projects

drive:\Documents and Settings\Windows login

drive:\Documents and Settings\All

Macintosh HD/Users/Mac login

Macintosh HD/Users/Shared/Avid editing

For an explanation of the difference between private projects and shared projects, see “Select

Project Dialog Box” on page 53.

The Avid Users folder is located in the a

•(Windows XP)

Documents\Avid editing application\Avid Users

• (Windows Vista)

application\Avid Users

• (Macintosh)

Users

(Windows only) The location of the Avid Users folder depends on the installation path for

your Avid editing application.

drive:\Documents and Settings\All Users\Shared

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

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

pplication folder:

Files and Folders Created For Projects

When you create a new project, your Avid editing application creates a folder for the project and three files that are stored within the project folder:

• A project file (.avp)

• A project settings file (.avs)

• A bin file (.avb)

The project folder and the three files all use the p

roject name you provide. The project folder

is stored in the Avid Projects folder.

Your settings are initially set to the default v

alues. As you work, the files maintain current

settings. As you create additional bins for the project (see “Creating a New Bin” on page

80), additional bin (.avb) files are added to the project folder.

2 Starting a Project

Files and Folders Created For User Profiles

When you create a new user profile, your Avid editing application creates a folder for the user and two files that are stored within the user folder:

• A user profile file (.ave)

A user settings file (.avs)

•

The user folder and the two files all use the user prof stored in the Avid Users folder.

ile name you provide. The new folder is

Changing Project and User Names

You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before starting your application. For information about the location of the Avid Projects and Avid Users folders, see “Avid Projects and Avid

Users Folders” on page 66.

When you change a user name or a project name, make sure you change the name of the folder and all the files in the folder that have the old name. Your Avid editing application does not automatically change the names of corresponding files in the folder.

To change a project name or user name:

1. Navigate to the Avid Projects or Avid Users folder, and then double-click the folder to open it.

2. Click the name of the folder you want to change.

The name is highlighted for text entry.

3. Type the new name of the folder.

4. Double-click the folder with the new name to open it.

The folder contains profile, settings,

5. Change the old name of each file to the new name.

Do not change the name of the file MCState.avs in the Avid Users folder.

6. Close the windows, and restart your A

The new project name or user name appears in the Select Project dialog box.

and project files with the old name.

vid editing application.

Backing Up Your Project Information

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

•USB (thumb) drive

• CD-ROM or DVD-ROM

• Network storage device (such as a file server)

• Mass-storage device

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

storage device. For information on backing up media files, see “Backing Up Media Files”

on page 217.

Saving Your Project Information on a Drive or on Removable Media

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

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

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

3. Double-click the icon for the destination storage drive or storage media to open it.

uble-click any additional folders to target the appropriate storage location.

4. Navigate to the folder that conta

For information about the locati

Folders” on page 66.

5. Drag a project folder or a user folder to the t

6. When the system finishes copying the files, unmount the store it where appropriate.

Restoring from a Backup

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

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

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

ins the project folder or the user folder you want to save.

on of these folders, see “Avid Projects and Avid Users

argeted storage location.

drive or eject the media and

the drive or storage media and for the

2 Starting a Project

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

Macintosh HD/Users/Shared

(Macintosh).

For information about these folders, see “

66.

When you start your Avid edi appear in the Select Project dialog box.

If you are restoring an individual bin or bins, you must relink them to the project from within

the Project window. For more information, see “Opening and Closing Bins” on page 81.

Avid Attic Folder

The Avid Attic folder contains backup files of each bin in a project. You retrieve files from the Avid Attic folder in the following circumstances:

• When you want to replace current changes to a sequence or clip with a previous version

When the current bin file becomes corrupted

•

For information on retrieving files from t

Avid Attic Folder (Windows)” on page 71 and “Retrieving Files from the Avid Attic Folder (Macintosh)” on page 73.

For information on setting automatic save features, Help.

Avid Projects and Avid Users Folders” on page

ting application, the restored project and user profile

he Avid Attic folder, see “Retrieving Files from the

see “Saving Bins Automatically” in the

(Macintosh only) If you deselected the “Allow filenames to exceed 27 characters” option in

the General Settings dialog box, you cannot retrieve a backup file with a file name larger than the 27-character limit. You must rename the file before retrieving it.

The Avid Attic folder contains a folder for each folder. When a bin is saved, a folder with the bin’s name is created in the Bins folder and a copy of the bin file is stored in the folder with the bin name. The system adds the file name extension .bak plus a version number to the bin’s file name. The bin file with the highest version number represents the latest copy of the bin file.

When you view a bin folder in Details view (Windows) or List view (Macintosh), you can

identify the most recent backup file based on the timestamp of creation displayed in the

also Modified column (Windows) or Date Modified column (Macintosh).

The oldest backup file is overwritten only if the second-oldest backup file is more than

2 hours old.

project. Each project folder contains a Bins

Retrieving Files from the Avid Attic Folder (Windows)

To retrieve a file from the Avid Attic folder:

1. Minimize your Avid editing application.

For information on minimizing, see the Windows documentation.

2. From the desktop, double-click the

(Windows XP)

Documents\Avid editing application

(Windows Vista)

application

The Avid Attic folder op

3. Double-click a project folder

The Bins folder opens and displays a folder for e

4. Double-click the folder for the bin you want to retrieve.

5. If the bin folder is not already in the

The bin folder displays the backup bin files and their creation dates. A backup bin file

s the same name as the bin, with a number appended. For example, a bin named

ha Source Clips might have backup bin files named Source Clips.1 and Source Clips.2.

drive:\Documents and Settings\All Users\Shared

drive:/Users/Public/Public Documents/Avid editing

ens and displays a folder for each project.

Avid Attic folder, located in:

, and then double-click the Bins folder.

ach bin in the project.

Details view, select View > Details.

2 Starting a Project

6. Select the backup bin file or files you want to retrieve.

7. Ctrl+drag the selected backup

This makes a copy of the files, leaving the

To copy backup files to a new bin:

1. Click the taskbar item for your Avid editing application to restore it.

If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 44.

2. Click the Project window to activate it, and click the Bins tab to display the Bins list.

3. Select File > Open Bin.

4. From the Files of Type list, select All

5. Navigate to the desktop, select one of the

The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop i

Your Avid editing application does not allow a bin and a copy of a bin to be open at the same

time. You must keep all other bins closed and open the backup bins one at a time.

6. Create a new bin.

For example, if you are retrieving clips from a backup bin called Source Clips.2, you can call

s created in the Other Bins folder.

the new bin Source Clips New.

bin files to the desktop.

original files in the Avid Attic folder.

Files (*.*).

backup bin files you copied, and click Open.

Retrieving Files from the Avid Attic Folder (Macintosh)

7. Select the material you want to keep from the backup bin, and drag the files to the new bin.

8. Repeat steps 3 through 7 for any other backup bi

9. Select and delete the backup bins in the Other Bins folder.

10. Drag the backup bin files on the desktop to the Recycle Bin.

n files you copied to the desktop.

Retrieving Files from the Avid Attic Folder (Macintosh)

To retrieve a file from the Avid Attic folder:

1. Minimize your Avid editing application.

For information on minimizing, see th

2. From the desktop, double-click the

application/Avid Attic

The Avid Attic folder op

3. Double-click a project folder

The Bins folder opens and displays a folder for e

4. Double-click the folder for the bin you want to retrieve.

folder.

ens and displays a folder for each project.

, and then double-click the Bins folder.

e Macintosh documentation.

Macintosh HD/Users/Shared/Avid editing

ach bin in the project.

2 Starting a Project

5. Select View > as List, if the bin folder is not already in the List view.

The bin folder displays the backup bin files and their creation dates. A backup bin file has Source Clips might have backup bin files named Source Clips.1 and Source Clips.2.

6. Command+click the files you want to retrieve.

7. Option+drag the selected backup bin files to the desktop.

the same name as the bin, with a number appended. For example, a bin named

This makes a copy of the files, leaving the

To copy backup files to a new bin:

1. Click the icon for your Avid editing application on the Dock to activate the application.

2. Click the Project window to activate it, and click Bins to display the Bins list.

3. Select File > Open Bin.

4. Navigate to the desktop, select one of the

The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop i

Your Avid editing application does not allow a bin and copy of a bin to be open at the same

time. You must keep all other bins closed and open the backup bins one at a time.

5. Create a new bin.

For example, if you are retrieving clips from a backup bin called Source Clips.2, you can call

6. Open the new bin and open the backup

7. Select the material you want to keep from the back bin.

8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop.

s created in the Other Bins folder.

the new bin Source Clips New.

original files in the Avid Attic folder.

backup bin files you copied, and click Open.

bin in the Other Bins folder.

up bin, and drag the files to the new

9. Select and delete the backup bins in the Other Bins folder.

10. Drag the backup bin files on the desktop to the Trash.

Using Toolsets

You can use predesigned work environments (toolsets) that are suited to your most common tasks:

• Color Correction

• Source/Record Editing

• Effects Editing

• Audio Editing

•Capture

Using Toolsets

The Toolset menu provides you with several en that include the following:

• Tools appropriate for the task

• A screen optimized for the task, screen resolut

• A neatly organized workspace without overlapping windows

You can change the toolset workspace, restore it to the default arrangement, or link it to

her settings. For example, you might want each toolset to appear with a different color

ot scheme.

• Opening T

• Customizing Toolsets

• Link

oolsets

ing Toolsets to Other Settings

Opening Toolsets

To open a toolset:

t Select Toolset > toolset.

Customizing Toolsets

To customize the toolset workspace:

vironments, or special-purpose workspaces,

ion, and number of monitors

1. For the toolset you want to customize, select Toolset > toolset.

2. Open other tools with which you want to work, and position them where you want them.

3. Select Toolset > Save Current.

The next time you select the customized toolset, it appears with your changes.

2 Starting a Project

To remove your customizations:

t Select Toolset > Restore Current to Default.

Linking Toolsets to Other Settings

You can link the current toolset to custom User settings, or link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting.

To link a toolset to another setting:

1. For the toolset you want to link, select Toolset > toolset.

2. Select Toolset > Link Current to.

The Link Toolset dialog box opens.

3. Click the Links to Current Toolset menu,

4. Type the name of the other setting to which you want to link the toolset.

For more information about creating and naming Settings” in the Help.

You can link toolsets only to User settings.

5. Click OK.

The active toolset is linked to the custom setting you specified.

To link a toolset to an unnamed setting:

1. For the toolset you want to link, select Toolset > toolset.

2. Select Toolset > Link Current to.

The Link Toolset dialog box opens.

3. Click the Links to Current Toolset menu,

4. Click OK.

The active toolset is linked to all the un

and select Link to Named Settings.

custom settings, see “Working with

and select Link to Unnamed Settings.

named settings in the Settings list.

3 Working with the Project Window

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 provide basic information about the Project window:

• Project Window

• Controlling Project Window Display

• Using the Bins Tab in the Project Window

• Using the Settings Tab in the Project Window

• Using the Format Tab in the Project Window

For advanced information about the Project windo Window: Advanced” in the Help or in the Advanced Guide for your Avid editing application.

(Windows only) This chapter refers to the installation default directory path for the various

Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter.

Project Window

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

w, see “Working with the Project

3 Working with the Project Window

Project window information is organized in tabs.The following table describes the display tabs available in the Project window:

Tab Function

Bins Allows you to create and open bins. For more information, see “Using the Bins Tab

in the Project Window” on page 79.

Settings Allows you to view and modify settings. For more information, see “Using the

Settings Tab in the Project Window” on page 85.

Effects Allows you to access a library of effects. For more information, see “Working with

Effects” on page 381.

Format Allows you to view information about the format of the project. For more

information, see “Using the Format Tab in the Project Window” on page 87.

Usage Allows you to view information about the work session usage. For more

information, see “Displaying Usage Information” in the Help.

Info Allows you to view information about system memory usage and system hardware

configuration. For more information, see “The Info Display” in the Help.

Controlling Project Window Display

The Project window opens automatically when you select a project in the Select Project dialog box. For more information, see “Working with Projects” on page 52. You can use the Project window’s tab to change the display of information in the window.

The Project window remains open the entire time you are working in a project; however, it

ght become hidden behind open bins or tools. If this occurs, you can redisplay the Project

mi window.

When you close the Project window, you retu

To change the information display in the Project window:

t Click one of the tabs.

To locate and redisplay the Project window, do one of the following:

t Select Tools > Project.

t Click in an unobstructed area of the Project window to bring it forward.

rn to the Select Project dialog box.

Using the Bins Tab in the Project Window

Bins tab

Fast Menu button

Bin icon

Bins list

To close the Project window, do one of the following:

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

t Click the Close button in the Project window.

The Select Project dialog box opens.

Using the Bins Tab in the Project Window

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

The word bin is

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

Viewing a List of Bins

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

For more information on working with bins, see “

To view a list of bins associated with the project:

t Click the Bins tab in the Project window.

Working with Bins” on page 169.

3 Working with the Project Window

Creating a New Bin

To create a new bin from the Project window:

1. Do one of the following:

lect File > New Bin.

t Se

t Click the New Bin button in the Project window.

A new (empty) bin opens and is given the name of the project as displayed in the title

f the Project window. The new bin appears in the Bins list in the Project window

bar o with a default name highlighted and a number appended to it. A corresponding file is placed in the project folder in the Avid Projects folder, and a backup copy is placed in the Avid Attic folder. For more information, see “Avid Projects and Avid Users Folders”

on page 66 and “Avid Attic Folder” on page 70.

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

For more information, see “

To place a bin in a folder:

t Drag the bin to the folder icon.

Renaming a Bin

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

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

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

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

Renaming a Bin” on page 80.

To change the name of a bin:

Project name

Default bin name

1. Click the bin name in the Bins list in the Project window.

2. Type a new name.

Opening and Closing Bins

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

Using the Bins Tab in the Project Window

If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 186.

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

To open a bin directly:

To open several bins at once from the Project window:

1. Click the Bins tab in the Project window.

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

The bin opens in a separate window. The Bin indicating the bin is open.

1. Click a Bin icon in the Bins list.

2. Ctrl+click (Windows) or Shift+click (Macintosh) ea

3. Select File > Open Selected Bins.

icon appears dimmed in the Bins list,

ch additional bin you want to open.

3 Working with the Project Window

Fast Menu button

Arrow

Folders

Trash icon

To open a bin from another project:

1. Select File > Open Bin.

The Open a Bin dialog box opens.

2. Find and select the bin you want.

Bins have the file name extension .avb.

3. Click Open.

The bin appears in the Bins list in the Proje

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

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

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

To close a bin, do one of the following:

t Click the Close button.

t Select File > Close Bin.

Displaying Folders of Bins in the Bins List

You can add folders to the Bins list in the Project window to help organize your project. You can drag bins into folders or drag folders into folders. For more information, see “Folders and Bins” in the Help.

To create a folder in a project:

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

A new untitled folder appears.

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

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

t Click the arrow next to a folder icon.

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

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

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

Deleting a Bin or Folder

You can delete bins and folders along with their contents from the Bins list in the Project window. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash. For more information, see “Viewing Contents in the Trash” on page 83.

Using the Bins Tab in the Project Window

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

To delete a bin or folder from the Project window:

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

do one of the following:

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

- If the SuperBin is enabled, right-click (Windows) or Ctrl+Shift+click (Macintosh) the bin name and select Delete Selected Bins from the shortcut menu. For more information on using the Superbin feature, see “Opening Bins in the SuperBin” on

page 186.

A Trash icon appears in the Bins list in the Proj deleted item. The deleted item is stored in the Trash until you empty it.

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

Viewing Contents in the Trash

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

ect window. The Trash contains the

3 Working with the Project Window

To view items in the Trash:

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

2. Click the bins or folders you want to keep (or vie Bins list in the Project window.

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

Emptying the Trash in the Bins List

You can empty the contents of the Trash that is located in the Bins list.

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

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

To empty the Trash in the Bins list:

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

A message box opens.

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

drive.

hard

Saving Bins Manually

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

w), and drag them from the Trash to the

To save a specific bin:

1. Click the bin to activate it.

2. Select File > Save Bin.

To save selected bins:

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

2. Select File > Save All.

The system saves all the selected bins.

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

active bin was saved.

Using the Settings Tab in the Project Window

To save all the bins:

1. Click the Bins tab in the Project window to activate it.

2. Select File > Save All.

The system saves all the bins for the project.

Using the Settings Tab in the Project Window

From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting includes Help that you can access directly from the setting dialog box.

Before working in your project, review the basic system settings described in the following

table

Setting Description

Bin Sets parameters for auto-save interval and other bin procedures. For more

information, see “Bin Settings” in the Help.

Film and 24p Sets parameters for edit play rate, ink number format, and transfer rate. For more

information, see “Film and 24P Settings” in the Help.

General Defines default values such as the default starting timecode. For more information,

see “General Settings” in the Help.

Interface Defines the appearance and function of the applications windows and buttons. For

more information, see “Interface Settings” in the Help.

Keyboard Defines how commands are mapped to the keyboard. For more information, see

“Keyboard Settings” in the Help.

3 Working with the Project Window

Settings tab

Settings list

Setting type

To view the Settings list:

t Click the Settings tab in the Project window.

To open a setting:

t Double-click the setting in the Settings list.

To view Help for a setting:

t Open a setting and press the F1 key (Windows) or the Help key (Macintosh).

Using the Format Tab in the Project Window

The Format tab in the Project window allows you to view basic project information, such as the video format (NTSC, for example). The displayed information lists the options you selected in the New Project dialog box when you created the project.

For some project formats, the Project Type list let another format that shares the same frame rate. For example, if you are working in a 1080i/59.94 HD project, you can change the project format to 30i NTSC. For more information, see “Changing the Project Format” and “Raster Dimensions” in the Help.

For 24p PAL projects, the Format tab shows the audio transfer rate you selected when you

created the project. The actual audio transfer rate might be different from the display if you used the Film and 24P Settings dialog box to change the audio transfer rate. For more information, see “Settings for Film and 24p Projects” in the Help.

To open the Format tab:

t Click the Format tab in the Project window.

s you change the format of the project to

3 Working with the Project Window

4 Preparing for Capture

Capturing is the process of creating digital media from video or audio input. Before you capture, you must prepare your Avid editing application and your capture hardware. The basic procedures you need to capture media are described in the following topics:

• Log

• Importing Shot Log Files

• Preparing the Hardware for Capture

• Selecting Settings for Capture

• Configuring Decks

• Setting Up the Capture Tool

• Preparing for Audio Input

• Preparing for Video Input

• C

For advanced information about logging and capturing media, see “Capturing Media: Adv

ging and Shot Logs

apture Preparations Check List

anced” in the Help or in the Advanced Guide for your Avid editing application.

Logging and Shot Logs

Logging is the process of entering information about source material into bins at the beginning of the editing workflow. A shot log is a text file that lists information about a roll of film or a videotape, usually in chronological order.

You can get information into your bins either by impo information directly. Logging can be done automatically or manually, before capturing or at the same time as capturing.

rting a shot log file or by entering the

When you import shot log files or log directly into a bin, you provide your Avid editing

cation with frame-accurate clip information (such as starting and ending timecodes).

appli Your application uses this information to capture the source footage. The information forms the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.

4 Preparing for Capture

You can import any shot log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require capturing. The system imports any additional information logged with each clip. For more information, see “Understanding Avid Log Specifications” in the Help.

For film projects, most telecine and other film-to-tape transfer systems generate a lo can import directly to the bin, after you convert it to .ale format by using the Avid Log Exchange (ALE) utility. Even if the telecine facility supplies you with an .ale file, you should process it through the ALE utility, using the Clean function. For more information, see “Preparing Log Files for Import” in the Help.

You can also import an EDL to a bin for use in capturing. For more information, see the Avid

EDL Manager Help.

For information on how to import a shot log file, see “Imp

For information about logging into a bin, see “Logging Direc

For information about logging and capturing at the same time, see “Cap

at the Same Time” on page 133.

Importing Shot Log Files

You can import a shot log file into a bin to make clip information such as start and end timecode available to your Avid editing application. For more information, see “Logging

and Shot Logs” on page 89.

To import shot log files into a bin:

g you

orting Shot Log Files” on page 90.

tly into a Bin” in the Help.

turing and Logging

1. If you have created Import settings for importing shot log files, select the Import setting you want to use from the Settings list.

For more information, see “Creatin

2. Do one of the following to identify the bin in which you want to store the imported files:

t Open a bin from the

t Click anywhere in an open bin to select it.

t Create a new bin.

For more information, see “Ope

Bin” on page 80.

3. Select File > Import.

The Select Files to Import dialog box opens.

Project window.

g and Modifying Import Settings” on page 156.

ning and Closing Bins” on page 81 and “Creating a New

Importing Shot Log Files

Look in menu

Source file list

Files of type menu

From menu

Enable menu

4 Preparing for Capture

4. (Option) If you want to select options for combining events on import, click the Options button to open the Import Settings dialog box. After selecting the appropriate options from the Shot Log tab, click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box.

For information on Import settings, see “Import Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).

5. Do one of the following:

t If you are

(Windows), or click the Enable menu and select Shot Log Documents (Macintosh).

t If you are importing a text file or batch importing multiple file types, click the Files

of type menu and select All Files (Windows), or click the Enable menu and select Any Documents (Macintosh).

When batch importing multiple files and file types, you should establish global Import

settings in advance. See “Creating and Modifying Import Settings” on page 156.

6. Use the Look in menu (Windows) or the From menu containing the source file.

7. Select the source file from the list and click the Open button.

When the system finishes importing the file

importing an .ale file, click the Files of type menu and select Shot Log

(Macintosh) to locate the folder

, the clips appear in the selected bin.

Preparing the Hardware for Capture

Your source material can originate from a videotape (or other recording media such as P2 memory cards), a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration.

For information on connecting your equipment, Hardware” in the Help.

see “Using the Avid Input/Output

You should check the items described in the follo

Item Description

Sync source Avid Nitris or Avid Nitris DX requires that the deck and the input/output

hardware be genlocked to the same timing source when capturing or outputting a digital cut using the Avid Nitris or Avid Nitris DX. For more information, see “Selecting the Sync Source for Capture” on page 94.

wing table before capturing:

Preparing the Hardware for Capture

Item Description (Continued)

Audio-only input Sync is needed for audio-only input. For more information, see “Establishing

Sync for Audio-Only Input” on page 94.

Client monitor Before you begin capturing and editing, set up your NTSC or PAL Client

monitor by using a color-bar generator (or house pattern) and lock in those settings, if you have not done so already. See “Connecting Cameras, Decks, and Monitors” and “Playing Video to the Client Monitor” in the Help.

16:9 format You can edit with video in the 16:9 aspect ratio for display of wide-screen

images used in the high-definition television (HDTV) format. To view the footage on a Client monitor, you must have a 16:9-compatible Client monitor. For more information on the 16:9 format option, see “Using the 16:9 Display Format” in the Help.

Remote switch The deck control switch on the front of the source deck must be set to Remote

rather than Local to control the deck with the Capture tool.

DAT (digital audiotape)

Striped drives If you are capturing media at high resolution, you must use striped drives. See

When capturing from DAT, you might need to select an appropriate sync setting. For more information, see “Establishing Sync for Audio-Only Input”

on page 94.

“Storage Options and Drive Striping” in the Help and “Getting Information

About Striped Drives” on page 93.

Getting Information About Striped Drives

Avid maintains a set of tables containing information about striping drives, which is available through Avid online support.

For more information, see “Storage Options and

To get information about striped drives:

1. Go to www.avid.com/onlinesupport.

2. Search for “Drive Striping Tables.”

Drive Striping” in the Help.

4 Preparing for Capture

Selecting the Sync Source for Capture

Avid Nitris or Avid Nitris DX requires that the deck and the Avid Nitris input/output hardware be genlocked to the same timing source when capturing using the Avid Nitris or Avid Nitris DX. You can use one of the following sources as sync, depending on your project format:

• Black burst or house sync through the reference input (REF)

of the Nitris hardware

• Tri-level sync through the HD TRILEVEL SYNC input of the Nitris hardware

If the source you select is not correctly connecte

d, or if the sync generator is set to an incorrect frame rate, the application might end the capture with an error message. Also, the start frame might be inaccurate when capturing using serial deck control and the resulting clip will be off by one frame.

For a list of sync options for each format, see “Syn

To select the sync source:

c Options for HD Formats” on page 499.

1. Select Tools > Video Output Tool.

2. Select the sync source from the Sync Lock menu: Reference or Tri-Level.

Tri-Level appears only if you are

To check the sync source, do one or both of the following:

working in an HD project.

1. Check the lights on the front of the Avid Nitris.

If the Avid Nitris is locked to a valid sync signa

l, the Lock light and either the HD REF or SD REF light will be constantly on. For more information, see “Avid Nitris Front Panel” in the Help.

2. Check the Video Lock icon or the Ref Lock icon in the Capture tool.

For more information, see “

Setting the Video and Audio Input in the Capture Tool” on

page 111.

Establishing Sync for Audio-Only Input

When you capture audio with video, the video input signal provides the timing reference for digitizing analog audio.The video input signal also provides the reference for the retiming of digital audio inputs when you apply sample rate conversion. This ensures that the audio and video remain in synchronization.

When you capture audio only, the audio timing reference is taken from the same source as

video output timing. You set the sync source for capture and output timing through the

the Video Output tool. For more information about connecting a reference signal, see “Selecting

the Sync Source for Capture” on page 94.

Preparing the Hardware for Capture

If you are capturing audio only, and the material being captured must be resynchronized with video, you must make sure that the audio captured remains synchronized with the associated video. There are several cases to consider, depending on whether the input is analog or digital, and (in the case of digital input with some Avid input/output hardware) whether sample rate conversion is involved.

Analog Audio Input

If you are capturing audio-only from an analog source, sync is taken from the sync source, either black burst or tri-level, as selected in the Video Output tool. If no sync source is connected, sync is generated from internal timing.

With some Avid input/output h Hardware tab of the Audio Project settings dialog box, in the Sync Mode field. To be sure you see the correct sync source, view the Audio Project settings with the Capture tool active, or with channels armed for passthrough in the Audio tool.

If you need to synchronize audio with video clips captured separately, Avid recommends that you connect a sync source to both your Avid input/output hardware device and the audio deck. Otherwise you might experience drifting of the audio during editing.

Digital Audio Input

Digital audio inputs (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio) provide their own timing reference. If sample rate conversion is not available on your system or is disallowed (by selecting “Never” in the Input tab of the Audio Project settings), no other connections are required to achieve sync, so long as the source deck is genlocked.

When using the AES/EBU inputs, the lowest numbered channel that is enabled for input in either the Capture tool or the Audio tool is used as the timing reference. When sample rate conversion is not in use, it is important that all AES/EBU inputs that are used simultaneously be locked to the same timing reference.

If the digital media sample rate is different from the project sample rate, and if sample rate

version is available on your system and is allowed (by selecting “When Needed” in the

con Input tab of the Audio Project settings), then sample rate conversion is running in your Avid input/output hardware. In this case, the output of the sample rate conversion uses a sync source under the same rules as analog capture, as described above.

ardware, you can view the selected sync source in the

If you need to synchronize audio with video clips captured separately, Avid recommends that you connect a sync source to both your Avid input/output hardware and the audio deck to prevent drifting of the audio during editing, even when capturing digitally. This will ensure synchronization even if sample rate conversion is required.

4 Preparing for Capture

If sample rate conversion is available on your system, the background color of the I (IN) button in the Audio Tool informs you of the status of each digital input. If the background color is yellow, the input is not connected (no valid clock was detected). If the background is blue, the input is valid and no sample rate conversion is in use. If the background is green, the input is valid but a sample rate converter is in use. (Pausing the mouse cursor over the I button pops up a reminder of how to interpret the color.)

e rate conversion, see “Performing Audio Sample Rate

For more information about sampl

Conversion During Capture” on page 120 and “Audio Sample Rate Conversion” on page

378.

When using the AES/EBU inputs, if channels 1 and 2 do not require sample rate conversion, none of the other inputs will have sample rate conversion applied. However, if channels 1 and 2 are not in use, higher numbered channels can be converted to match the rate of the lowest numbered channel, if sample rate conversion is allowed by the Audio Project settings.

Selecting Settings for Capture

Several settings directly affect the capturing process. This section includes information on Media Creation settings.

For other capture-related settings, see the following topics in the Help:

• Capture Settings

• Capturing Across Timecode Breaks

• General Settings

• Settings for Film and 24p Projects

• Advanced Capture Settings

For information about locating and modifying set Help.

You can also view information about settings by clicking a window or dialog box and

g the F1 key (Windows) or the Help key (Macintosh).

pressin

In the MXF Media Type tab or the OMF Media Type tab of the Capture Settings dialog box,

review the setting for “Maximum (default) capture time.” This setting limits the length of capture-on-the-fly and capture from an IN point without an OUT point. The default setting is 30 minutes. For more information, see “Capture Settings” in the Help.

tings, see “Using the Settings List” in the

Understanding Video Resolutions

Video resolution refers to the dimensions and the amount of compression in a video media file. The resolutions you can select depend on such factors as the model of your Avid editing application, your Avid input/output hardware, and your project format.

• For 25-fps and 30-fps projects, the Video Resolution list can show single-field esolutions, two-field interlaced resolutions, and DV.

Selecting Settings for Capture

• For 24p and 25p projects, the list shows progres

for uncompressed media.

• For HD projects, the list can show 1:1, A

depending on your video input. For more information, see “Capturing Directly from a

DV Device” on page 142.

• For HDV projects, no video resolutions are available for capture, because your Avid

ng application automatically selects the correct resolution. For 720p HDV projects,

editi Avid DNxHD and DVCPRO HD resolutions are listed for other media creation. For 1080 HDV projects, DNxHD-TR resolutions are available for other media creation.

Resolutions use either the OMF or the MXF media f Format Specifications” in the Help.

DNxHD resolutions are available indicated by an X, such as DNxHD 220 X. DNxHD resolutions use the MXF media format. JFIF, MPEG, DV 25, and DV 50 resolutions are not available in HD projects.

For more information about resolutions, see “Resolution Speci

If you are using Avid Unity LANshare, make sure to specify a supported resolution. For information on supported resolutions, see the LANshare documentation.

in 10-bit and 8-bit versions. 10-bit compressions are

vid DNxHD™ resolutions, and DVCPRO HD,

sive, full-frame resolutions. Select 1:1

ormat. For more information, see “File

Selecting Video Resolutions and Media Drives

fications” in the Help.

The Media Creation dialog box allows you to set the video resolution and to select drives for capturing, creating titles and motion effects, importing, and performing audio and video mixdowns.

For more information on v

97.

You can also select a video resolution and select drives directly in the Capture tool, the Save

Title dialog box, the Select Files to Import dialog box, the Audio Mixdown dialog box, and the Video Mixdown dialog box. The Media Creation settings automatically change to the resolution and drives you select.

ideo resolutions, see “Understanding Video Resolutions” on page

4 Preparing for Capture

If you are using Avid Unity LANshare, make sure to specify a supported resolution. For information on supported resolutions, see the LANshare documentation.

To select a video resolution and media drives:

1. Do one of the following:

t Double-cl

t Select Tools > Media Creation.

The Media Creation dialog box opens.

2. Click the Media Type tab, and select either OMF or MXF file format.

If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default.

The performance of Symphony when used with Avid Nitris input/output hardware is

bstantially better when using MXF 1:1 video instead of OMF 1:1. This improved

su performance occurs because the video format used in MXF 1:1 video files is the same as the native format used by the Nitris hardware, which allows the system to play more streams of video and render effects faster.

3. Click the Capture tab.

ick Media Creation in the Settings list.

4. Click the Video Resolution menu, and select a video resolution.

The Video Resolution menu contains a li

st of the available resolutions.

Selecting Settings for Capture

5. Select a video drive and an audio drive. To select the same drive for both video and audio, click the Single/Dual Drives Mode button until only a single drive menu opens.

The drive that appears in boldface type has the most available space.

6. (Option) You can select drives a and select Change Group. For more information on selecting a drive group, see

“Selecting the Target Drives” on page 115.

Because there is no audio associated with titles or motion effects, you can select only a video

drive in the Titles or the Motion Effects tab of the Media Creation dialog box.

7. To apply your drive selection to all the Media Creation tabs and the rest of the application, click Apply to All.

This sets your selected video and audio drives for all the Media Creation tabs. It also sets them for any place in the application where you select drives.

nd create a drive group. Click the Target Drive menu,

Your settings are not saved until you click OK.

8. Click OK to save your settings.

For more information about options, see “Media Creation Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).

Setting Drive Filtering

Your Avid editing application lets you select any drive on your system to use for media storage. However, high-quality resolutions require striped drives. For more information, see

“Getting Information About Striped Drives” on page 93 and “Storage Options and Drive

Striping” in the Help.

Because media files are very large, you can remove from the list of available drives the drive

the operating system is located, the drive where your Avid editing application is

where located, and network drives that do not support the resolution you select. Filtering drives in this way provides you with a convenient way to store media on drives with sufficient space.

Your Avid editing application does not prevent you from using non-Avid drives, but their reliability cannot be assured.

If you work in a network environment, see “Drive Filtering in Networked Workflows” in the

Help.

4 Preparing for Capture

To set drive filtering in the Media Creation dialog box:

1. Do one of the following:

t Double-cl

t Select Tools > Media Creation.

The Media Creation dialog box opens.

2. (Option) Click the Drive Filtering & Indexing tab.

Options for indexing local drives apply only in an Avid Interplay™ environment. For more

information, see the Avid Interplay Software Installation Guide.

ick Media Creation in the Settings list.

100

3. Select a drive to filter out:

elect Filter Network Drives Based on Resolution to remove those network drives

t S

that cannot support the selected resolution, or cannot handle playback of the selected resolution.

t Select Filter Out System Drive to remove from the list the drive on which the

operating system resides.

t Select Filter Out Launch Drive to remove from the list the drive on which the Avid

editing system resides.

The drive or drives you filter out do not appear in the other Media Creation tabs as possible locations where you can store media. They also do not appear in other drive selection menus in the application except for the Import, Export, and Relink dialog boxes.

Your settings are not saved until you click OK.

Pinnacle Systems Symphony - 3.5 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

1 Editing Overview

Editing Workflow

Starting a Project

Preparing to Edit

Editing a Sequence

Outputting a Sequence

2 Starting a Project

Turning on Your Equipment

Working with the Desktop

Using the Windows Taskbar (Windows Only)

Using the Macintosh Dock (Macintosh Only)

Using Shortcut Menus

Using the Keyboard for Navigating in Dialog Boxes and Menus

Using the Mouse Scroll Wheel for Navigating

Customizing Mouse Functions

Suggestions for Optimum Performance

Turn Off File Sharing (Windows)

Optimum Performance (Windows)

Antivirus Applications

Starting Your Avid Editing Application (Windows)

Starting Your Avid Editing Application (Macintosh)

Working with Projects

Select Project Dialog Box

Creating a New Project

Project Types

Raster Dimensions

Raster Sizes

Setting Film Preferences

Opening an Existing Project

Browsing for a Project

Opening a Project Automatically

Closing a Project

Deleting a Project

Quitting Your Avid Editing Application

Turning Off Your Equipment After Quitting

Avid Projects and Avid Users Folders

Changing Project and User Names

Backing Up Your Project Information

Saving Your Project Information on a Drive or on Removable Media

Restoring from a Backup

Avid Attic Folder

Retrieving Files from the Avid Attic Folder (Windows)

Retrieving Files from the Avid Attic Folder (Macintosh)

Using Toolsets

Opening Toolsets

Customizing Toolsets

Linking Toolsets to Other Settings

3 Working with the Project Window

Project Window

Controlling Project Window Display

Using the Bins Tab in the Project Window

Viewing a List of Bins

Creating a New Bin

Renaming a Bin

Opening and Closing Bins

Displaying Folders of Bins in the Bins List

Deleting a Bin or Folder

Viewing Contents in the Trash

Emptying the Trash in the Bins List

Saving Bins Manually

Using the Settings Tab in the Project Window

Using the Format Tab in the Project Window

4 Preparing for Capture

Logging and Shot Logs

Importing Shot Log Files

Preparing the Hardware for Capture

Getting Information About Striped Drives

Selecting the Sync Source for Capture

Establishing Sync for Audio-Only Input

Selecting Settings for Capture

Understanding Video Resolutions

Selecting Video Resolutions and Media Drives

Setting Drive Filtering