Avid® Symphony
™
Input and Output Guide
make manage move | media
™
Avid
®
Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part
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5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601;
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part of this document may be reproduced or transmitted in any form or by any means, electronic or
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Copyright © 2003 Avid Technology, Inc. and its licensors. All rights reserved.
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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
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The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of
their TIFF library:
Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its
documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices
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THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS,
IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF
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IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL,
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WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED
OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN
CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.
The following disclaimer is required by the Independent JPEG Group:
Portions of this software are based on work of the Independent JPEG Group.
The following disclaimer is required by Paradigm Matrix:
Portions of this software licensed from Paradigm Matrix.
The following disclaimer is required by Ray Sauers Associates, Inc.:
“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to
derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray
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The following disclaimer is required by Videomedia, Inc.:
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including warranties with respect to its merchantability or its fitness for any particular purpose.”
“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0
products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third
parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control
of applicable videotape recorder decks, videodisc recorders/players and the like.”
The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win
software and Sample Source Code:
©1993–1998 Altura Software, Inc.
The following disclaimer is required by Ultimatte Corporation:
Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte
Corporation and are subject to copyright protection.
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Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.
Attn. Government User(s). Restricted Rights Legend
U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial
computer software” or “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
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Trademarks
888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid,
AVIDdrive, AVIDdrive Towers, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption, AVX,
CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine,
Digidesign Intelligent Noise Reduction, DigiDrive, DINR, D-Verb, Equinox, ExpertRender, FieldPak,
Film Composer, FilmScribe, FluidMotion, HyperSPACE, HyperSPACE HDCAM, IllusionFX,
Image Independence, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media,
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Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync,
NaturalMatch, NetReview, NewsCutter, OMF, OMF Interchange, OMM, Open Media Framework,
Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Softimage,
Sound Designer II, SPACE, SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver,
VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the
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iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.
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or trademarks of Adobe Systems, Incorporated in the United States and/or other countries. Alias and
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trademark of Amiga, Inc. AppleScript, AppleShare, DVD Studio Pro, FireWire, Macintosh, Mac OS,
QuickDraw, SuperDrive, and TrueType are trademarks of Apple Computer, Inc., registered in the U.S. and
other countries. Arri is a registered trademark of Arri Group. Betacam, i.LINK, and Sony are registered
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a registered trademark of Chyron Corporation. Cineon, Keykode, and Photo CD are trademarks of
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registered trademark of Philips Electronics N.V. Pixar is a registered trademark of Pixar Animation Studios.
QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. The
QuickTime logo is registered in the U.S. and other countries. RealVideo is a registered trademark of
RealNetworks, Inc. Silicon Graphics is a registered trademark of Silicon Graphics, Inc. Sound Forge is a
registered trademark of Sonic Foundry, Inc. Sun is a registered trademark and Sun Raster is a trademark
of Sun Microsystems, Inc. in the United States or other countries. TARGA is a trademark of Pinnacle
Systems, Inc., registered in the United States and other countries. Ultimatte is a registered trademark of
Ultimatte Corporation. Video Toaster is a trademark of NewTek. V-LAN and VLXi are registered
trademarks of Videomedia, Inc. X Window System is a trademark of X Consortium, Inc. All other
trademarks contained herein are the property of their respective owners.
Footage
Arri — Courtesy of Arri™/Fauer — John Fauer, Inc.
Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved.
Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.
It’s Shuttletime — Courtesy of BCP & Canadian Airlines.
Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada.
Saturn “Calvin Egg” — Courtesy of Cossette Communications.
“Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com.
Windhorse — Courtesy of Paul Wagner Productions.
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 Input and Output Guide • Part 0130–05443–01• February 2003
Contents
Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Related Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . . 28
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Avid Educational Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Chapter 1 Planning a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Working with Multiple Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Working with 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Working with 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Planning a Video Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Planning a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
NTSC and PAL Image Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
24-fps Film Source, SDTV Transfer, Multiformat Output . . . . . . . . . 38
24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
25-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Alternative Audio Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
NTSC Audio and Video Synchronized During Transfer. . . . . . . 48
NTSC Audio and Video Digitized Separately . . . . . . . . . . . . . . 49
PAL Audio and Video Synchronized During Transfer
(PAL Method 1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
PAL Audio and Video Digitized Separately (PAL Method 2) . . . 51
Audio Transfer Options for 24p PAL Projects. . . . . . . . . . . . . . . . . . 52
Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Working in a 23.976p NTSC Project. . . . . . . . . . . . . . . . . . . . . . . . . 54
Creating a 23.976p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Digitizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
23.976-fps Film Transfer or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Limitations for 23.976p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Planning a DV Project (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . 60
Understanding DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
DV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Starting a DV Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Editing in DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Planning an MPEG Project (Windows Only). . . . . . . . . . . . . . . . . . . . . . 64
MPEG Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Starting an MPEG Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Editing in MPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Viewing Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Video Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Chapter 2 Film-to-Tape Transfer Methods . . . . . . . . . . . . . . . . . . . . . . . . 73
Understanding the Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Transferring 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . . 74
Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . 75
Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
6
Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to
30-fps Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . . 77
Maintaining Synchronized Sound . . . . . . . . . . . . . . . . . . . . . . . 78
Stage 2: Digitizing at 24 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . 80
PAL Method 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
PAL Method 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
How the Avid System Stores and Displays 24p and 25p Media. . . . . . . 82
Displaying Media While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Displaying Media During a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . 84
Film-to-Tape Transfer Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Additional Film Transfer Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Chapter 3 Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Preparing Log Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Using Avid Log Exchange to Convert Log Files. . . . . . . . . . . . . . . . 91
Converting Log Files with Avid Log Exchange (Windows) . . . . 92
Using Drag-and-Drop Conversion for Log Files (Windows) . . . 96
Converting Log Files with Avid Log Exchange (Macintosh) . . . 97
Using Drag-and-Drop Conversion for Log Files (Macintosh). . 101
Creating Avid Logs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Applications for Creating Avid Logs. . . . . . . . . . . . . . . . . . . . . 102
Required Information for Logging . . . . . . . . . . . . . . . . . . . . . . 102
Creating an Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Transferring Bins from MediaLog. . . . . . . . . . . . . . . . . . . . . . . . . . 103
Transferring Bins (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Transferring Bins (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . 104
Associating the Bin with Your Project . . . . . . . . . . . . . . . . . . . 105
Double-Checking the Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Importing Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
7
Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Tips for Logging Preroll, Logging Timecode, and Naming Tapes. . 112
Logging with an Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . . . 114
Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Using a Memory Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Logging with Non-Avid-Controlled Decks . . . . . . . . . . . . . . . . . . . . 120
Logging Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . 126
Modifying the Pulldown Phase Before Digitizing . . . . . . . . . . . 127
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . 129
Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Entering Additional Timecodes (Option). . . . . . . . . . . . . . . . . . . . . 130
Entering the Ink Number (Option). . . . . . . . . . . . . . . . . . . . . . . . . . 131
Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Modifying Clip Information Before Digitizing . . . . . . . . . . . . . . . . . . . . . 132
Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Chapter 4 Preparing to Digitize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Preparing the Hardware for Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Setting Drive Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Selecting a Video Resolution and Drives. . . . . . . . . . . . . . . . . 139
Digitize Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Digitize Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . 141
Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Digitizing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . 147
Digitize Settings: Media Files Tab . . . . . . . . . . . . . . . . . . . . . . 147
Digitizing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . 149
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . 151
Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
8
Deleting Deck Configuration Elements . . . . . . . . . . . . . . . . . . . . . 160
Setting Deck Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Understanding Drop-Frame Timecode and Non-Drop-Frame
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Entering Capture Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Setting Up the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Selecting a Deck in the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . 166
Selecting a Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . 169
Setting the Pulldown Switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Film Project Pulldown and Transfer Settings. . . . . . . . . . . . . . 171
Selecting a Resolution in the Digitize Tool. . . . . . . . . . . . . . . . . . . 173
Selecting Color or Monochrome in the Digitize Tool . . . . . . . . . . . 173
Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Targeting Separate Drives for Audio and Video . . . . . . . . . . . 175
Targeting a Drive Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Interpreting the Time-Remaining Display. . . . . . . . . . . . . . . . . . . . 177
Selecting a Custom Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . . . 178
Checking for a Valid Digital Sync Signal . . . . . . . . . . . . . . . . . 179
Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Saving the Audio Project Settings as Site Settings . . . . . . . . . 184
Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Resizing the Audio Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Adjusting the Reference Level. . . . . . . . . . . . . . . . . . . . . . . . . 188
Selecting a Peak Hold Option . . . . . . . . . . . . . . . . . . . . . . . . . 190
Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Calibrating the Eight-Channel Audio I/O Device . . . . . . . . . . . . . . 193
Changing the Audio Hardware Calibration Setting . . . . . . . . . 195
9
Calibrating Input Channels for the Audio I/O Device . . . . . . . . 196
Calibrating Output Channels for the Audio I/O Device. . . . . . . 198
Using the Console Window to Check Audio Levels . . . . . . . . . . . . 198
Preparing for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Calibrating Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Limitation When Using Consumer Decks or Decks Without
Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Saving a Custom Default Setting for the Video Input Tool . . . . . . . 211
Adjusting Video Levels for Tapes Without Color Bars . . . . . . . . . . 211
Digitizing Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Chapter 5 Digitizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Before You Begin Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Special Digitizing Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Logging Errors to the Console Window . . . . . . . . . . . . . . . . . . . . . 217
Creating Subclips On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . 220
Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . 221
Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Digitizing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . 222
Digitizing from a Mark IN to a Mark OUT . . . . . . . . . . . . . . . . . . . . 223
Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Digitizing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Autodigitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Digitizing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . . . . 230
Digitizing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . . . 232
Digitizing with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Digitizing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Patching When Digitizing to the Timeline . . . . . . . . . . . . . . . . . . . . 235
Digitizing Video Without Pulldown into a 24p NTSC Project. . . . . . . . . 236
Recording DV Through a 1394 Connection (Windows Only) . . . . . . . . 237
10
Recording Through MPEG SDTI-CP (Windows Only) . . . . . . . . . . . . . 237
Batch Digitizing from Logged Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Preparing to Batch Digitize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Resizing the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Preparing Settings for Unattended Batch Digitizing . . . . . . . . 240
Digitize Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Batch Digitizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Redigitizing Your Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Redigitizing Master Clips and Subclips . . . . . . . . . . . . . . . . . . . . . 246
Redigitizing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Saving Two Versions of a Sequence When Redigitizing. . . . . 247
Using Decompose When Redigitizing . . . . . . . . . . . . . . . . . . . 248
Redigitizing the Sequence Without Using Decompose . . . . . . 249
Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Modifying the Pulldown Phase After Digitizing . . . . . . . . . . . . . . . . . . . 254
Digitizing During the Film-to-Tape Transfer . . . . . . . . . . . . . . . . . . . . . 257
Preparing to Digitize in Telecine Slave Mode . . . . . . . . . . . . . . . . 259
Selecting the VTR Emulation Serial Port (Telecine
Slave Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Understanding VTR Emulation Settings (Telecine
Slave Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Selecting VTR Emulation Settings. . . . . . . . . . . . . . . . . . . . . . 262
Selecting Digitize Settings for Telecine Slave Mode . . . . . . . . 263
Digitize Tool Controls for Telecine Slave Mode . . . . . . . . . . . . . . . 264
Selecting Telecine Slave Mode . . . . . . . . . . . . . . . . . . . . . . . . 266
Selecting a Source Tape Name. . . . . . . . . . . . . . . . . . . . . . . . 267
Digitizing and Logging in Telecine Slave Mode . . . . . . . . . . . . . . . 267
Formatting and Setting the Virtual Tape Timecode (Telecine
Slave Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
DV Scene Extraction (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . 270
Setting Up DV Scene Extraction Before Digitizing . . . . . . . . . . . . 270
Setting Up DV Scene Extraction After Digitizing . . . . . . . . . . . . . . 272
11
Chapter 6 Multicamera Planning and Digitizing . . . . . . . . . . . . . . . . . . . 273
Developing a Postproduction Model . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Tape Numbering Schemes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Tape Numbering for Video Productions . . . . . . . . . . . . . . . . . . 274
Tape Numbering for Film Productions . . . . . . . . . . . . . . . . . . . 275
Production Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Production Paths for Video Productions . . . . . . . . . . . . . . . . . 275
Production Paths for Film Productions . . . . . . . . . . . . . . . . . . . 276
Managing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Audio for Videotape Productions . . . . . . . . . . . . . . . . . . . . . . . 278
Audio for Film Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Digitizing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Digitizing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Logging Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Autodigitizing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Storage Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Checking the Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Replacing Missing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Deleting Extra Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Checking Audio and Image Quality . . . . . . . . . . . . . . . . . . . . . . . . 287
12
Chapter 7 Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Preparing to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Working with Mixed-Resolution Projects. . . . . . . . . . . . . . . . . . . . . . . . 290
Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . . . . 292
Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . 306
Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . . . 307
Importing Multilayered Photoshop Graphics. . . . . . . . . . . . . . . . . . 308
Understanding Multilayered Graphics Import. . . . . . . . . . . . . . 308
Importing Multilayered Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Chapter 8 Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Calibrating for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . 323
Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . 324
Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . 328
Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . . . . 334
Adjusting Output on Eight-Channel Audio Systems . . . . . . . . 334
Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Frame-Accurate Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Manual Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . 339
Using the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Selecting a Deck in the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . 343
Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Creating a Custom Countdown Display . . . . . . . . . . . . . . . . . . . . . 345
Recording a Digital Cut to Tape (Remote Mode). . . . . . . . . . . . . . 347
Recording a Digital Cut to Tape (Local Mode). . . . . . . . . . . . . . . . 351
Selecting Output and Timecode Formats for 23.976p, 24p,
and 25p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Selecting Output Formats for 24p and 25p Projects . . . . . . . . 354
Selecting Output Formats for 23.976p Projects. . . . . . . . . . . . 357
Selecting the Timecode Format for Output . . . . . . . . . . . . . . . 358
Indicating the Destination Timecode Rate. . . . . . . . . . . . . . . . 360
Selecting DSK Title Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . 362
13
Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Changing the Default Pulldown Phase for Sequences. . . . . . . . . . 364
Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Using the Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
How Matchback Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Using VTR Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Enabling VTR Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Using VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Using Direct Record Emulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Chapter 9 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . 375
Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 378
Using the Drag-and-Drop Method to Export Frames, Clips, or
Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Preset Export Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . 385
Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . 387
Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . 388
Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . 389
OMFI and AAF Export Settings Options. . . . . . . . . . . . . . . . . . . . . 391
Exporting As an MPEG File (Windows Only) . . . . . . . . . . . . . . . . . . . . 393
Creating Files for a DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Creating Files for a DVD (Windows) . . . . . . . . . . . . . . . . . . . . . . . . 397
Creating Files for a DVD (Macintosh). . . . . . . . . . . . . . . . . . . . . . . 399
Creating Files for iDVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Creating Files for DVD Studio Pro (Macintosh Only) . . . . . . . . 401
14
Using an AppleScript Script to Create a DVD (Macintosh Only) . . .
404
Adding and Removing Applications for Creating DVDs. . . . . . 405
Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . 406
Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 410
QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . . 412
Selecting QuickTime Movie Format Options . . . . . . . . . . . . . . 415
Exporting As a QuickTime Reference Movie . . . . . . . . . . . . . . . . . 422
QuickTime Reference Export Options . . . . . . . . . . . . . . . . . . . 424
Using Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . 427
Exporting with an Avid Meridien Codec or the Avid DV Codec 427
Exporting As an AVI File (Windows Only) . . . . . . . . . . . . . . . . . . . . . . 430
AVI Settings Options (Windows Only) . . . . . . . . . . . . . . . . . . . . . . 432
AVI Video Compression Dialog Box Options (Windows Only). . . . 435
Using the Avid Codec for AVI (Windows Only) . . . . . . . . . . . . . . . 437
Installing the Avid Codecs for QuickTime or AVI on Other Systems . . 439
Copying the Avid Codecs for QuickTime to Another Windows
System (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Copying the Avid Codecs for QuickTime to Another Macintosh
System (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Installing the Avid Codec for AVI on Another Windows System . . 442
Downloading Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . 443
Exporting from a Third-Party QuickTime or AVI Application. . . . . . . . . 444
Exporting Tracks As Audio Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Exporting As a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Sending Material Out for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Reviewing Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Opening R&A Files in the Locators Window . . . . . . . . . . . . . . . . . 457
Displaying Information in the Locators Window . . . . . . . . . . . . . . . 458
Using Locator Colors with R&A Files . . . . . . . . . . . . . . . . . . . . . . . 459
15
Chapter 10 Exchanging Files with Avid Applications . . . . . . . . . . . . . . . 461
Compatibility Between Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Transferring from Avid Xpress DV . . . . . . . . . . . . . . . . . . . . . . . . . 463
Transferring Media Files from Media Composer Version 7.2 or
Avid Xpress Version 2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Transferring Projects and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Step 1: Transfer Project Files and Media Files. . . . . . . . . . . . . . . . 466
Transferring Project Information Only . . . . . . . . . . . . . . . . . . . 466
Transferring Video Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Transferring Audio Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Step 2: Open the Project and Relink or Redigitize . . . . . . . . . . . . . 468
Step 3: Import Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Step 4: Re-create the Title Media. . . . . . . . . . . . . . . . . . . . . . . . . . 470
Redefining a Font Replacement. . . . . . . . . . . . . . . . . . . . . . . . 472
Turning Off Downstream Keys (DSK) . . . . . . . . . . . . . . . . . . . 473
Step 5: Render Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . 474
Transferring Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Exporting the Sequence Without Audio Media . . . . . . . . . . . . . . . . 476
Exporting the Sequence with Embedded Audio Media. . . . . . . . . . 477
Transferring Sound Designer II Audio Files from Macintosh
Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Options for File Transfers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Transferring a Project Using Shared Storage. . . . . . . . . . . . . . . . . 479
Transferring Project Files and Media Files Using Nonshared
Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Devices and Methods for Transferring Files. . . . . . . . . . . . . . . . . . 482
Transferring Files Between Macintosh Systems . . . . . . . . . . . 482
Transferring Files Between Windows Systems . . . . . . . . . . . . 484
Transferring Files Between Macintosh and Windows Systems 486
Nonshared Storage Issues for Cross-Platform Collaboration. . . . . 487
Using AvidLinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Transferring Projects and Bins Using AFE Files. . . . . . . . . . . . . . . 490
16
Appendix A File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Preparing Graphics Files for Import. . . . . . . . . . . . . . . . . . . . . . . . 496
Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . 496
Screen Resolution for Imported Graphics and Sequences . . . . . . . . . 500
Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . . . . 510
Appendix B Resolutions and Storage Requirements . . . . . . . . . . . . . . . . 515
Compression and Avid Editing Systems. . . . . . . . . . . . . . . . . . . . . . . . 515
Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Avid Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
DV Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
MPEG Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Advantages to Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . 519
Resolution Groups and Image Quality. . . . . . . . . . . . . . . . . . . . . . 520
Video Streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Compression Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Resolution Specifications: Interlaced. . . . . . . . . . . . . . . . . . . . 521
Resolution Specifications: Progressive . . . . . . . . . . . . . . . . . . 522
Multicamera Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
DV Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
MPEG 50 Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . . 527
Estimated Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . 528
Estimated Storage Requirements: Interlaced . . . . . . . . . . . . . 529
Estimated Storage Requirements: Progressive. . . . . . . . . . . . 532
Estimated Storage Requirements: DV. . . . . . . . . . . . . . . . . . . 536
Estimated Storage Requirements: MPEG 50 . . . . . . . . . . . . . 536
Maximizing Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
17
Managing Storage to Improve Playback Performance . . . . . . . . . . . . . 538
Appendix C Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . 539
Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Appendix D Preserving Information in the Vertical Blanking Interval. . . 551
Line Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Preserving Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . 552
Using a Partial Wipe Operation to Insert or Delete Vertical Blanking
Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Potential Problems with Preserving Vertical Blanking Information . . . . 555
Preserving Vertical Blanking Information Can Affect Compressed
Video Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Effects Can Modify the Vertical Blanking Information. . . . . . . . . . . 557
Cross-Format Conflicts with Respect to Black Levels . . . . . . . . . . 557
Appendix E MPEG SDTI-CP Technical Information. . . . . . . . . . . . . . . . . . 559
SDTI-CP and SMPTE Type D-10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
MPEG SDTI-CP Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Supported VTRs for MPEG SDTI-CP . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
18
Figures
Figure 1 Workflow: Video Project with Video Source. . . . . . . . . . . . 34
Figure 2 Workflow: Video Project with HD Source, SDTV
Downconversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Figure 3 Offline Workflow: 24-fps Film Source, SDTV Transfer . . .39
Figure 4 Online Workflow: 24-fps Film Source, SDTV Transfer,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Figure 5 Offline Workflow: 24-fps Film or HDTV Source,
SDTV Downconversion . . . . . . . . . . . . . . . . . . . . . . . . .42
Figure 6 Online Workflow: 24-fps Film or HDTV Source, SDTV
Downconversion, Multiformat Output . . . . . . . . . . . . . . .43
Figure 7 Offline Workflow: 25-fps Film or HDTV Source,
SDTV Downconversion . . . . . . . . . . . . . . . . . . . . . . . . .45
Figure 8 Online Workflow: 25-fps Film or HDTV Source, SDTV
Downconversion, Multiformat Output . . . . . . . . . . . . . . .46
Figure 9 NTSC Audio and Video Synchronized During
Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Figure 10 NTSC Audio and Video Digitized Separately. . . . . . . . . . .49
Figure 11 PAL Audio and Video Synced During Transfer
(PAL Method 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Figure 12 PAL Audio and Video Digitized Separately
(PAL Method 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Figure 13 Offline Workflow: 23.976-fps Film Transfer or HDTV
Source, SDTV Downconversion . . . . . . . . . . . . . . . . . . . 56
Figure 14 Online Workflow: 23.976-fps Film Transfer or HDTV
Source, SDTV Downconversion, Multiformat Output . . .57
Figure 15 NTSC Audio and Video Digitized Separately
(23.976p Project) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Figure 16 Workflow: DV Project with Mixed Sources. . . . . . . . . . . . .63
Figure 17 Workflow: MPEG Project with Mixed Sources . . . . . . . . . . 67
Figure 18 Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Figure 19 Video Dailies Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Figure 20 Workflow: Telecine Slave Mode . . . . . . . . . . . . . . . . . . .258
19
Tables
Table 1 Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 68
Table 2 Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Table 3 Ratio of Film to Video with FPS . . . . . . . . . . . . . . . . . . . . 77
Table 4 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . 90
Table 5 Drive Filtering Options . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Table 6 Digitize Settings: General Tab . . . . . . . . . . . . . . . . . . . . 142
Table 7 Digitize Settings: Media Files Tab . . . . . . . . . . . . . . . . . 148
Table 8 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Table 9 Deck Preferences Options . . . . . . . . . . . . . . . . . . . . . . . 161
Table 10 Film Project Pulldown and Transfer Settings . . . . . . . . . 172
Table 11 Audio Project Settings Options. . . . . . . . . . . . . . . . . . . . 181
Table 12 Audio Tool Components . . . . . . . . . . . . . . . . . . . . . . . . . 187
Table 13 Video Input Tool Components . . . . . . . . . . . . . . . . . . . . 200
Table 14 Luminance Settings for Video Input . . . . . . . . . . . . . . . . 207
Table 15 Function Keys Available When Digitizing . . . . . . . . . . . . 217
Table 16 Locators Mapped to Function Keys . . . . . . . . . . . . . . . . 220
Table 17 J-K-L Functions for Deck Control . . . . . . . . . . . . . . . . . . 221
Table 18 Digitize Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . 241
Table 19 VTR Emulation Settings:
Telecine Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Table 20 Telecine Slave Mode Controls . . . . . . . . . . . . . . . . . . . . 266
Table 21 Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . 294
Table 22 Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . 299
Table 23 Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . 301
Table 24 Support for Photoshop Layer Options . . . . . . . . . . . . . . 311
Table 25 Support for Photoshop Special Layer Types . . . . . . . . . 312
Table 26 Video Format Output Parameters. . . . . . . . . . . . . . . . . . 325
Table 27 Luminance Settings for Video Output. . . . . . . . . . . . . . . 327
Table 28 24p and 25p Project Output Options . . . . . . . . . . . . . . . 355
Table 29 Audio Play Rates for 24p and 25p Projects . . . . . . . . . . 357
Table 30 Audio Play Rates for 23.976p Projects. . . . . . . . . . . . . . 358
Table 31 VTR Emulation Settings:
Record and Play Emulation. . . . . . . . . . . . . . . . . . . . . 370
Table 32 Export Settings Dialog Box Options . . . . . . . . . . . . . . . . 385
20
Table 33 Export Settings Dialog Box:
OMFI and AAF Settings Options . . . . . . . . . . . . . . . . .391
Table 34 iDVD Options (Macintosh Only) . . . . . . . . . . . . . . . . . . . .401
Table 35 DVD Studio Pro Options:
(Macintosh Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .403
Table 36 Export Settings Dialog Box:
DV Stream Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Table 37 Selecting a QuickTime Export Option . . . . . . . . . . . . . . .409
Table 38 Export Settings Dialog Box:
QuickTime Movie Options . . . . . . . . . . . . . . . . . . . . . .412
Table 39 QuickTime Movie Format Options . . . . . . . . . . . . . . . . . . 416
Table 40 Export Settings Dialog Box:
QuickTime Reference Options . . . . . . . . . . . . . . . . . . .424
Table 41 Export Settings Dialog Box:
AVI Settings Options (Windows Only) . . . . . . . . . . . . .432
Table 42 AVI Video Compression:
Dialog Box Options (Windows Only) . . . . . . . . . . . . . .435
Table 43 Export Settings Dialog Box:
Audio Settings Options . . . . . . . . . . . . . . . . . . . . . . . . .446
Table 44 Export Settings Dialog Box:
Graphic Format Settings Options . . . . . . . . . . . . . . . . .449
Table 45 Export Settings Dialog Box:
Graphic Export Settings Options . . . . . . . . . . . . . . . . .454
Table 46 Exporting Sequences Without Audio Media . . . . . . . . . .476
Table 47 Exporting Sequences with Embedded Audio Media . . . .477
Table 48 Avid Symphony Default Folder and File Locations
(Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .480
Table 49 Avid Symphony Default Folder and File Locations
(Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .480
Table 50 Options for Transferring Files Between Macintosh
Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .482
Table 51 Options for Transferring Files Between Windows
Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .484
Table 52 Options for Transferring Files Between Macintosh and
Windows Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . .486
21
Table 53 Available Avid Applications for AvidLinks Export . . . . . . 489
Table 54 Graphics File Import Specifications . . . . . . . . . . . . . . . . 497
Table 55 Graphic Import Frame Sizes: Interlaced. . . . . . . . . . . . . 501
Table 56 Graphic Import Frame Sizes: Progressive . . . . . . . . . . . 502
Table 57 Graphic Import Frame Sizes: MultiCamera . . . . . . . . . . 502
Table 58 Graphic Import Frame Sizes: DV . . . . . . . . . . . . . . . . . . 502
Table 59 Animation File Import Specifications . . . . . . . . . . . . . . . 504
Table 60 QuickTime File Import and
Export Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . 505
Table 61 AVI File Import and Export
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Table 62 OMFI File Import Specifications . . . . . . . . . . . . . . . . . . . 508
Table 63 Recommended Field Settings for Two-Field
Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Table 64 Avid Resolution Groups . . . . . . . . . . . . . . . . . . . . . . . . . 518
Table 65 DV Resolution Groups . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Table 66 Resolution Specifications: Interlaced . . . . . . . . . . . . . . . 521
Table 67 Resolution Specifications: Progressive . . . . . . . . . . . . . 523
Table 68 Multicamera Resolution Specifications: Video (Interlaced)
Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Table 69 Multicamera Resolution Specifications: Progressive
Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Table 70 Resolution Specifications: DV . . . . . . . . . . . . . . . . . . . . 525
Table 71 Resolution Specifications: MPEG 50 . . . . . . . . . . . . . . . 526
Table 72 Estimated Storage Requirements: Interlaced. . . . . . . . . 529
Table 73 Estimated Storage Requirements: Progressive . . . . . . . 533
Table 74 Estimated Storage Requirements: DV . . . . . . . . . . . . . . 536
Table 75 Estimated Storage Requirements: MPEG 50. . . . . . . . . 537
Table 76 Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . . . 541
Table 77 Avid Log Column Headings . . . . . . . . . . . . . . . . . . . . . . 542
Table 78 Avid Log Data Headings. . . . . . . . . . . . . . . . . . . . . . . . . 545
22
Using This Guide
The Avid Symphony Input and Output Guide presents information to help
you bring material into your Avid system and send material out. Material
for input includes video footage, film footage transferred to video, graphic
images, audio, and other elements you use to create a sequence. Material
for output includes sequences, clips, individual frames, and audio, either as
a work in progress or as a finished piece.
This guide includes information on planning projects, logging information
into bins, digitizing footage, and generating output. It also includes
information on importing files, exporting files, and exchanging projects
between Avid
®
Symphony™ systems.
n
The documentation describes the features and hardware of all models.
Therefore, your system might not contain certain features and hardware
that are covered in the documentation.
Who Should Use This Guide
This guide is intended for editors at all levels of experience, particularly
video editors who are unfamiliar with film-originated projects and editors
responsible for the input and output stages of a project.
Using This Guide
About This Guide
The Contents lists all topics included in the book. They are presented with
the following overall structure:
• Chapters 1 and 2 present conceptual information to help you plan a
project and understand the film-to-tape transfer process.
• Chapters 3 through 9 include conceptual information and step-by-step
procedures for all aspects of input and output.
• Chapter 10 includes conceptual information and step-by-step
procedures on exchanging files between Avid systems.
• The appendixes include supplementary material covering file format
specifications, resolutions and storage requirements, Avid log
specifications, information about the vertical blanking interval, and
MPEG SDTI-CP technical information.
•An index at the end of this manual helps you locate the information
you need.
Symbols and Conventions
Unless noted otherwise, the material in this document applies to the
Windows
to a specific operating system, it is marked as follows:
• (Windows) or (Windows only) means the information applies to the
• (Macintosh) or (Macintosh only) means the information applies to the
The majority of screen shots in this document were captured on a
Windows 2000 system, but the information applies to both Windows 2000
and Mac OS X systems. Where differences exist, both Windows 2000 and
Mac OS X screen shots are shown.
24
®
2000 and Mac OS® X operating systems. When the text applies
Windows 2000 operating system.
Mac OS X operating system.
Symbols and Conventions
Avid documentation uses the following symbols and conventions:
Symbol or Convention Meaning or Action
n
c
w
> This symbol indicates menu commands (and
t
k This symbol represents the Apple or Command key.
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.
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.
Press and hold the Command key and another key to
perform a keyboard shortcut.
Margin tips In the margin, you will find tips that help you
perform tasks more easily and efficiently.
Italic font Italic font is used to emphasize certain words and to
indicate variables.
Courier Bold font
Click Quickly press and release the left mouse button
Double-click Click the left mouse button (Windows) or the mouse
Courier Bold font identifies text that you type.
(Windows) or the mouse button (Macintosh).
button (Macintosh) twice rapidly.
25
Using This Guide
Symbol or Convention Meaning or Action
Right-click Quickly press and release the right mouse button
(Windows only).
Drag Press and hold the left mouse button (Windows) or
the mouse button (Macintosh) while you move the
mouse.
Ctrl+key
k+key
If You Need Help
If you are having trouble using Symphony:
1. Retry the action, carefully following the instructions given for that task
in this guide. It is especially important to check each step of your
workflow.
2. Check the release notes supplied with your Avid application for the
latest information that might have become available after the hardcopy
documentation was printed.
3. Check the documentation that came with your Avid application or your
hardware for maintenance or hardware-related issues.
4. Visit the online Knowledge Center at www.avid.com/support. Online
services are available 24 hours per day, 7 days per week. Search this
online Knowledge Center to find answers, to view error messages, to
access troubleshooting tips, to download updates, and to read/join
online message-board discussions.
Press and hold the first key while you press the
second key.
26
5. For Technical Support, please call 800-800-AVID (800-800-2843).
For Broadcast On-Air Sites and Call Letter Stations, call
800-NEWSDNG (800-639-7364).
Related Information
The following documents provide more information about your Avid
Symphony system:
• Avid Symphony Release Notes (for both Windows 2000 and Mac OS X
platforms)
• Avid Symphony and Composer Products Site Preparation Guide for the
Windows 2000 Professional Operating System
• Avid Symphony and Composer Products Site Preparation Guide for the
Mac OS X Operating System
• Avid Symphony and Composer Products Setup Guide for the
Windows 2000 Professional Operating System
• Avid Symphony and Composer Products Setup Guide for the Mac OS X
Operating System
• Avid Products Getting Started Guide
• Avid Symphony Quick Reference for the Windows 2000 Operating
System
Related Information
• Avid Symphony Quick Reference for the Mac OS X Operating System
• Avid Symphony Editing Guide
• Avid Symphony Effects Guide
• Avid Symphony Color Correction Guide
• Avid Symphony Online Publications
This online collection provides electronic versions of most documents
listed in this section, as well as documents for related Avid
applications. You can view these documents with Adobe
®
Reader
, which you can install from the CD-ROM.
®
Acrobat®
• Avid Symphony Help
The Help system provides all the information included in the
Avid Symphony Editing Guide, the Avid Symphony Input and Output
Guide (this document), the Avid Symphony Effects Guide, and the Avid
Symphony Color Correction Guide supplied with your system. The
27
Using This Guide
Help operates in a Web browser. To open the Help, select
Help > Symphony Help in the Symphony application. For information
on using Help, click the Using Help button in the Help system.
If You Have Documentation Comments
Avid Technology continuously seeks to improve its documentation. We
value your comments about this guide, the Help, the Online Publications
CD-ROM, and other Avid-supplied documentation.
Simply e-mail your documentation comments to Avid Technology at
TechPubs@avid.com
Please include the title of the document, its part number, and the specific
section you are commenting on in all correspondence.
How to Order Documentation
To order additional copies of this documentation from within the
United States, call Avid Sales at 800-949-AVID (800-949-2843). If you
are placing an order from outside the United States, contact your local
Avid representative.
Avid Educational Services
For information on courses/schedules, training centers, certifications,
courseware, and books, please visit www.avid.com/training or call
Avid Sales at 800-949-AVID (800-949-2843).
28
Chapter 1
Planning a Project
This chapter presents suggested workflows and other information that can
help you plan your film-originated or video-originated project. This
chapter includes the following topics:
• Working with Multiple Formats
• Working with 24p Media
• Working with 25p Media
• Types of Projects
• Planning a Video Project
• Planning a 24p or 25p Project
• Planning a 23.976p NTSC Project
• Planning a DV Project (Windows Only)
• Planning an MPEG Project (Windows Only)
• Film Project Considerations
Chapter 1 Planning a Project
Working with Multiple Formats
Avid systems offer you a flexible approach to finishing your project,
whether it originates as video or film.
For video projects, you can use the offline capabilities of the
Media Composer
®
capabilities of the Symphony system to produce the highest quality,
uncompressed broadcast masters.
For film and 24-fps or 25-fps HDTV (high-definition television) projects,
you can use the Media Composer or Film Composer system’s
Universal Offline Editing capabilities to digitize footage at 24 fps or 25 fps
and edit the content in its native frame rate. Then use the Symphony
system’s film-tape-film-tape (FTFT) and Total Conform capabilities to
finish and deliver uncompressed NTSC, PAL, 4:3, 16:9, and letterbox
formats, as well as frame-accurate film cut lists and edit decision lists
(EDLs), all from the same 24p (24-fps progressive) or 25p media.
Working with 24p Media
With new DTV (digital television) formats expanding the options for
content distribution, there is renewed interest in the oldest format in the
industry: 24-fps film. In addition to its common, worldwide format, film
provides the highest resolution master for archiving purposes. Through a
telecine transfer and the digitizing process, the Avid system digitizes and
stores film frames as 24-fps progressive media, or 24p.
or Film Composer® system and the Total Conform
For more information
about the film-to-tape
transfer process, see
Chapter 2.
30
Progressive media is composed of single frames, each of which is
vertically scanned as one pass. The Avid system creates 24p media by
combining (deinterlacing) two video fields into a single full, reconstructed
frame. For NTSC film-to-tape transfers, the system creates 24p media by
removing the extra fields inserted by the 2:3 pulldown process and by
creating progressive frames.
Working in 24p simplifies digital editing of film or other 24-fps-originated
content, such as HDTV video that has been downconverted to ITU-R 601
digital video. In addition, 24p media requires less storage and processing
power than 30-fps media. Because 24p provides a common production
format for multiversion, multiformat delivery; it promises to become the
new universal format for all film and video content.
An important aspect of the 24p format is that it allows you to output either
NTSC or PAL video from the same project.
For more information, see “How the Avid System Stores and Displays 24p
and 25p Media” on page 82.
Working with 25p Media
The 25p format is primarily for use in countries where PAL video is
standard. When you transfer 25-fps film footage to 25-fps PAL video, no
modifications are necessary due to matching frame rates.
The 25-fps feature provides the following advantages:
• Simultaneous input of video and audio in sync
Working with 25p Media
n
• Frame-accurate ink number tracking
• Digital cut recording directly to videotape
• Frame-accurate cut lists and change lists
• Frame-accurate audio EDLs for online editing of audio tracks
• Frame-accurate EDLs for assembling footage from the transfer or for
preparing an online show master
The source for 25p is typically 25-fps film or 25-fps HDTV format. The
methods for creating and storing 25p media are the same as for 24p. For an
example of a 25p project workflow, see “25-fps Film or HD Video Source,
SDTV Downconversion, Multiformat Output” on page 44.
You can digitize the audio directly from the original Nagra reels or DAT
tapes, and sync within the Avid system. For more information, see
“Alternative Audio Paths” on page 47.
31
Chapter 1 Planning a Project
Types of Projects
When you start a project on your Avid system, you need to decide on a
project type. Select your project type based on your source footage. If your
Avid system includes support for 24p and 25p projects, you can select one
of the following options from the New Project dialog box:
For information on
creating a new project,
see the editing guide or
Help for your Avid
system.
• 24p NTSC: For film-originated footage or other 24-fps footage,
transferred to NTSC videotape
• 23.976p NTSC: For film-originated or other 24-fps footage in which
you want to use digital audio, or for footage which has been shot at
23.976
• 30i NTSC: For NTSC video-originated footage (30 fps)
• 24p PAL: For film-originated footage or other 24-fps footage,
transferred to PAL videotape
• 25p PAL: For 25-fps film-originated footage or other 25-fps footage,
transferred to PAL videotape
• 25i PAL: For PAL video-originated footage (25 fps)
In these options, 23.976p, 24p, and 25p designate 23.976-fps, 24-fps, and
25-fps progressive media. For these projects, your source footage is
digitized and stored as 23.976, 24, or 25 full, discrete frames per second. In
the 30i NTSC and 25i PAL options, the i represents interlaced frames
played at 30 fps or 25 fps. An interlaced frame consists of two fields, each
of which contains one-half the scan lines of the frame. Interlaced frames
are standard for NTSC and PAL video media.
32
For 30i NTSC projects and 25i PAL projects, you can select the
Matchback option, which lets you digitize and edit film-originated footage
at 30 fps or 25 fps and “match back” to a cut list for conforming your edit
to film. For more information, see “Using the Matchback Option” on
page 366.
Your Avid system also includes features that enable you to digitize and
edit multicamera projects. For more information, see Chapter 6 and the
editing guide or Help for your Avid system.
Planning a Video Project
An Avid video project is one that digitizes and stores 30-fps NTSC or
25-fps PAL media as digital video that conforms to the ITU-R 601
standard (SDTV or standard-definition TV). Possible workflows for video
projects are:
• Video source (Figure 1)
• High-definition (HD) source with SDTV downconversion (Figure 2)
In these workflows, offline editing is done on a Media Composer or
Film Composer system, and finishing is done on a Symphony system.
Alternatively, you can use a Media Station XL system to digitize footage
or output a finished master. For more information, see the Avid Media
Station XL Workflow Guide. For information about the Media Station XL
product, contact your Avid representative or visit the Avid Web site.
Planning a Video Project
n
You cannot create 24p or 25p media or multiple output formats from video
footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film or
HD.
33
Chapter 1 Planning a Project
1. (Option) Import a
log file to create a bin.
2. If you imported a log
file, batch digitize in
the Media Composer or
Film Composer offline
system. Otherwise, log
and digitize, or digitize
on-the-fly.
3. Complete offline
edits and create a final
sequence.
4. Copy project
information from the
offline system to the
Symphony online
system.
(Step 1)
(Step 2)
(Step 3)
(Step 4)
(Step 5)
Log
Proj
Beta-
cam
Beta-
cam
Source footage:
NTSC 30 fps or
PAL 25 fps
Betacam or
Digital Betacam
VTR
Media Composer
or Film Composer
offline editing
system
Source footage:
NTSC 30 fps or
PAL 25 fps
Betacam or
Digital Betacam
VTR
5. Batch digitize the
sequence in an online
resolution in the
Symphony system.
6. Use Symphony to
finish the project.
7. Create a master tape
(NTSC or PAL,
depending on your
source footage).
34
(Step 6)
(Step 7)
Betacam
25-fps or
30-fps master
Figure 1 Workflow: Video Project with Video Source
Symphony
finishing system
Planning a Video Project
1. (Option) Import a
log file to create a bin.
2. If you imported a log
file, batch digitize in
the Media Composer or
Film Composer offline
system. Otherwise, log
and digitize, or digitize
on-the-fly. Use an HD
VTR or other
equipment to
downconvert the HD
source.
3. Complete offline
edits and create a final
sequence.
4. Copy project
information from the
offline system to the
Symphony online
system.
(Step 1)
(Step 2)
(Step 3)
(Step 4)
(Step 5)
Log
Proj
HD
HD
HD source footage:
NTSC 30 fps or
PAL 25 fps
HD VTRHD VTR
Media Composer
or Film Composer
offline editing
system
HD source footage:
NTSC 30 fps or
PAL 25 fps
HD VTR
5. Downconvert the
source footage and
batch digitize the
sequence in an online
resolution in the
Symphony system.
6. Use Symphony to
finish the project.
7. Create a master tape
(NTSC or PAL) or
EDL for conforming an
HDTV master.
(Step 6)
(Step 7)
Betacam
25-fps or
30-fps master
EDL
EDL for conformed
HDTV master
Symphony
finishing system
Figure 2 Workflow: Video Project with HD Source, SDTV
Downconversion
35
Chapter 1 Planning a Project
Planning a 24p or 25p Project
A 24p or 25p project is one that uses 24p or 25p media, which is created
and stored in the Avid system. In most cases, the source footage is film
shot at 24 fps (for 24p) or 25 fps (for 25p), but new technology is
introducing 24p and 25p videotape formats, both for cameras and VTRs.
For 24p or 25p videotape, you need to use a 24p VTR to downconvert the
high-definition format of HDTV to SDTV digital video for digitizing by
the Avid system.
n
The 24p cameras and VTRs can typically work with either 24p or 25p
footage.
Two possible workflows for 24p projects are:
• “24-fps Film Source, SDTV Transfer, Multiformat Output” on page 38
• “24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output” on page 41
For information about a typical 25p workflow, see “25-fps Film or HD
Video Source, SDTV Downconversion, Multiformat Output” on page 44.
For film productions that screen dailies, the paths might be somewhat
different. For more information, see “Viewing Dailies” on page 69.
Alternatively, you can use a Media Station XL system to digitize footage
or output a finished master. For more information, see the Avid Media
Station XL Workflow Guide. For information about the Media Station XL
product, contact your Avid representative or visit the Avid Web site.
36
NTSC and PAL Image Sizes
The Universal Mastering capabilities of your Avid system let you create
both NTSC and PAL master tapes from the same project. If you plan to
output both formats, consider the following information.
In the Avid system, NTSC video uses a 4:3 aspect ratio with a screen
display of 720 x 486 pixels, except for DV and MPEG footage, which use
a screen display of 720 x 480 pixels. PAL video uses the same aspect ratio,
but includes an additional 90 horizontal lines for a total screen display of
720 x 576. During the process of creating a digital cut, the Avid system
resizes the video image to the appropriate screen dimensions. For example,
if you are working in an NTSC project and want to output PAL video, the
Avid system resizes the NTSC video image to the larger PAL screen
dimensions. This is the same process used in other standalone standards
converters.
Because PAL has more horizontal lines of resolution than NTSC, resizing
from PAL to NTSC results in better quality, especially for imported
graphics. If you plan to output both NTSC and PAL versions of a
sequence, consider using PAL film-to-video transfer and graphics sized for
PAL. Your choice will depend on other production requirements, such as
audio workflow and hardware availability.
Planning a 24p or 25p Project
n
The Avid system's Title tool uses downstream-key (DSK) capabilities to
apply the correct title to each output format for your project. For more
information, see the effects guide or Help for your Avid system.
37
Chapter 1 Planning a Project
24-fps Film Source, SDTV Transfer, Multiformat Output
The workflow shown in Figure 3 and Figure 4 illustrates a possible path
for film footage shot at the standard 24 fps, transferred to SDTV (standard
definition television or ITU-R 601) video, and digitized at 24 fps. Figure 3
shows the offline stage of the workflow, using a Media Composer or
Film Composer system with Universal Offline Editing. Figure 4 shows the
online stage, using a Symphony system, film-tape-film-tape relinking
(FTFT), and multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For alternative audio workflows, see “Alternative Audio
Paths” on page 47.
For details on the telecine transfer process, see Chapter 2.
You can digitize directly from film during the film-to-tape transfer process
by using Telecine Slave mode with VTR record emulation. For more
information, see “Digitizing During the Film-to-Tape Transfer” on
page 257.
38
Planning a 24p or 25p Project
1. The telecine process
uses one-light or bestlight transfer and syncs
picture and sound to
create ITU-R 601
video. The process
adds 2:3 pulldown to
film footage to create
an NTSC videotape, or
uses 4.1% speedup for
PAL videotape. The
telecine process also
creates a shot log (for
example, a FLEX file).
2. Convert the shot log
file with Avid Log
Exchange (ALE), then
import the shot log file
into Media Composer
or Film Composer to
create a bin or bins.
3. Batch digitize the
footage in an offline
resolution, based on the
shot log. The Avid
system removes the 2:3
pulldown and creates
24p media.
Sound
recording
(Nagra or
DAT)
(Step 1)
(Step 2)
(Step 3)
(Step 4)
DAT
Telecine transfer process
Nagra or DAT
playback system
Telecine controller
and record deck
Log
Betacam
Film shot
at 24 fps
Digital Betacam, D5,
DCT, or D1 format
(NTSC or PAL)
Digital Betacam, D5,
DCT, or D1 VTR
Media Composer
or
Film Composer
offline system
4. Edit at 24 fps, apply
Pan and Scan and other
effects, and create a
final sequence.
5. Create a floppy disk
with project
information for transfer
to the Symphony online
system. Create a 24p
pull list for another
telecine process, to
retransfer footage used
in the final edit.
(Step 5)
Proj
To the Symphony
system
Pull list
To the telecine
system
Figure 3 Offline Workflow: 24-fps Film Source, SDTV Transfer
39
Chapter 1 Planning a Project
6. The telecine process
uses the pull list and a
full color-corrected
transfer to create NTSC
or PAL videotape with
selects from the
original negative
(picture only). The
process also creates a
new shot log file.
7. Copy the project
information from the
floppy disk to the
Symphony online
system.
8. Convert the new shot
log with ALE and
import it into the
Symphony system.
9. Batch digitize in an
online resolution, based
on the new shot log
file.
10. Relink the sequence
and clips by key
numbers (FTFT) and
complete any other
finishing.
11. Generate multiple
formats. For NTSC and
PAL, the system
reinserts the pulldown
or re-creates the
speedup. For
conforming film, it
creates a 24p cut list.
(Step 6)
(Step 7)
(Step 8)
(Step 9)
(Step 10)
(Step 11)
From the
offline
system
Pull list
From the
offline
system
Proj
Telecine transfer process (picture only)
Log
Betacam
NTSC 29.97 fps
4:3 or 16:9
or
Betacam
PAL 25 fps
4:3 or 16:9
Conformed
film cut
Betacam
Film shot
at 24 fps
Digital Betacam, D5,
DCT, or D1 format
(NTSC or PAL)
Digital Betacam, D5,
DCT, or D1 VTR
Symphony
online
system
Cut list
or
40
Figure 4 Online Workflow: 24-fps Film Source, SDTV Transfer,
Multiformat Output
Planning a 24p or 25p Project
24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output
This workflow is based on film or video footage shot at 24 fps and planned
for HDTV (high-definition television). Different workflows are being
developed for this new technology, which includes 24p tape formats,
VTRs, and cameras. This workflow presents one possible path.
Figure 5 shows the offline stage of the workflow, using a Media Composer
or Film Composer system with Universal Offline Editing. Figure 6 shows
the online stage, using a Symphony system with Universal Mastering and
multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For alternative audio workflows, see “Alternative Audio
Paths” on page 47.
For details on the telecine transfer process, see Chapter 2.
You can digitize directly from film during the film-to-tape transfer process
by using Telecine Slave mode with VTR record emulation. For more
information, see “Digitizing During the Film-to-Tape Transfer” on
page 257.
41
Chapter 1 Planning a Project
1. Source videotape
comes either from a
telecine transfer or a
24-fps video camera.
The telecine process
transfers 24-fps film
footage at 1:1 (no
pulldown). It also
creates a shot log (for
example, a FLEX file).
2. For telecine transfer
projects, convert the
shot log file with ALE
and import it into
Media Composer or
Film Composer to
create a bin or bins.
3. Batch digitize the
footage in an offline
resolution, based on the
shot log. Use a 24p
deck to downconvert
HDTV to ITU-R 601
video. The deck adds
2:3 pulldown (NTSC)
or 4.1% speedup
(PAL). The Avid
system removes the
extra pulldown fields
and creates 24p media.
4. Edit at 24 fps, apply
Pan and Scan or other
effects, and create a
final sequence.
5. Create a 24p pull list
for another telecine
process, to retransfer
footage used in the
final edit. Create a
floppy disk with project
information for transfer
to the Symphony online
system.
Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)
(Step 1)
(Step 2)
(Step 3)
(Step 4)
(Step 5)
Telecine controller
and record deck
HD 24
Log
Proj
To the Symphony
system
1:1 transfer
24-fps HD
format
24p HD VTR
such as an HDW-F500 VTR
Pull list
To the telecine
system
Video shot by
24-fps camera
Media Composer
or
Film Composer
offline system
Figure 5 Offline Workflow: 24-fps Film or HDTV Source,
SDTV Downconversion
Film shot
at 24 fps
HD 24
42
Planning a 24p or 25p Project
6. For film-originated
projects, the telecine
process uses the pull
list and full colorcorrected transfer to
create HDTV videotape
with selects from the
original negative
(picture only). The
process also creates a
new shot log file.
7. Copy the project
information to the
Symphony online
system.
8. For telecine transfer
projects, convert the
new shot log file with
ALE and import it into
the Symphony system.
9. Batch digitize in an
online resolution, based
on the new shot log
file. Downconvert
either the telecine
transfer tape or HDTV
source tape.
10. Relink the sequence
and clips by key
numbers (FTFT) and
complete any other
finishing.
11. Generate multiple
formats for output. For
NTSC and PAL, the
Symphony system
reinserts pulldown or
re-creates the speedup.
For conforming film, it
creates a 24p cut list.
For HDTV, it creates a
24p EDL for use in an
online suite.
Telecine transfer process (picture only)
Log
Betacam
Betacam
PAL 25 fps
4:3 or 16:9
Conformed
film cut
HD 24
oror
Cut list
Film shot
at 24 fps
HD 24
Video shot by
24-fps camera
Symphony
online
system
24p EDL
or
EDL
HD
Conformed
HDTV master
(Step 6)
(Step 7)
(Step 8)
(Step 9)
(Step 10)
(Step 11)
From the
offline
system
Pull list
From the
offline
system
Proj
NTSC 29.97 fps
4:3 or 16:9
Figure 6 Online Workflow: 24-fps Film or HDTV Source, SDTV
Downconversion, Multiformat Output
43
Chapter 1 Planning a Project
25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output
This workflow is based on film or video footage shot at 25 fps and planned
for HDTV (high-definition television). Different workflows are being
developed for this new technology, which includes 25p tape formats,
VTRs, and cameras. This workflow presents one possible path.
Figure 7 shows the offline stage of the workflow, using a Media Composer
or Film Composer system with Universal Offline Editing. Figure 8 shows
the online stage, using a Symphony system with Universal Mastering and
multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For more information about digitizing and synchronizing
audio, see “Alternative Audio Paths” on page 47.
n
For NTSC output this method slows the audio by 4 percent. If you plan to
output to both NTSC and PAL, you might want to shoot at 24 fps and use
24p instead of 25p.
For details on the telecine transfer process, see Chapter 2.
44
Planning a 24p or 25p Project
1. Source videotape
comes either from a
telecine transfer or a
25-fps video camera.
The telecine process
transfers 25-fps film
footage at 1:1 (no
pulldown). It also
creates a shot log (for
example, a FLEX file).
2. For telecine transfer
projects, convert the
shot log file with ALE
and import it into
Media Composer or
Film Composer to
create a bin or bins.
3. Batch digitize the
footage in an offline
resolution, based on the
shot log. Use a 25p
deck to downconvert
HDTV to ITU-R 601
video. The deck does
not need to add
pulldown or speed up
the audio since the
footage will remain at
25 fps. The Avid
system creates 25p
media.
4. Edit at 25 fps, apply
Pan and Scan or other
effects, and create a
final sequence.
5. Create a 25p pull list
for another telecine
process, to retransfer
footage used in the
final edit. Create a
floppy disk with project
information for transfer
to the Symphony online
system.
Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)
(Step 1)
(Step 2)
(Step 3)
(Step 4)
(Step 5)
Telecine controller
and record deck
HD 25
Log
Proj
To the Symphony
system
1:1 transfer
25-fps HD
format
25p HD VTR
Pull list
To the telecine
system
Video shot by
25-fps camera
Media Composer
or
Film Composer
offline system
Figure 7 Offline Workflow: 25-fps Film or HDTV Source,
SDTV Downconversion
Film shot
at 25 fps
HD 25
45
Chapter 1 Planning a Project
6. For film-originated
projects, the telecine
process uses the pull
list and full colorcorrected transfer to
create HDTV videotape
with selects from the
original negative
(picture only). The
process also creates a
new shot log file.
7. Copy the project
information to the
Symphony system.
8. For telecine transfer
projects, convert the
new shot log file with
ALE and import it into
the Symphony system.
9. Batch digitize in an
online resolution, based
on the new shot log
file. Downconvert
either the telecine
transfer tape or HDTV
source tape.
10. Relink the sequence
and clips by key
numbers (FTFT) and
complete any other
finishing.
11. Generate multiple
formats for output. For
NTSC, the system
inserts 2:3 pulldown
and slows down the
audio by 4%. No
adjustment is needed
for PAL. For film, it
creates a 25p cut list.
For HDTV, it creates a
25p EDL for use in an
online suite.
Telecine transfer process (picture only)
Log
Beta-
cam
Betacam
PAL 25 fps
4:3 or 16:9
Conformed
film cut
HD 25
oror
Cut list
Film shot
at 25 fps
HD 25
Video shot by
25-fps camera
Symphony
online
system
25p EDL
or
EDL
HD
Conformed
HDTV master
(Step 6)
(Step 7)
(Step 8)
(Step 9)
(Step 10)
(Step 11)
From the
offline
system
Pull list
From the
offline
system
Proj
NTSC 29.97 fps
4:3 or 16:9
Figure 8 Online Workflow: 25-fps Film or HDTV Source, SDTV
Downconversion, Multiformat Output
46
Alternative Audio Paths
The workflows in this section illustrate four alternative paths for digitizing
and synchronizing audio:
• NTSC Audio and Video Synchronized During Transfer
• NTSC Audio and Video Digitized Separately
• PAL Audio and Video Synchronized During Transfer (PAL Method 1)
• PAL Audio and Video Digitized Separately (PAL Method 2)
The Avid system provides multiple formats for output. These workflows
illustrate which formats are appropriate for audio-only, and which formats
are appropriate for video with audio.
Planning a 24p or 25p Project
47
Chapter 1 Planning a Project
NTSC Audio and Video Synchronized During Transfer
This method uses audio and video synced in the telecine system and
transferred to NTSC videotape (see Figure 9).
1. The telecine process
syncs picture and sound
to create NTSC ITU-R
601 video. The process
adds 2:3 pulldown,
slows the film speed to
23.976 fps (labeled
24 fps), and slows the
audio to 44056 Hz or
47952 Hz (digital) or
59.94 Hz (analog).
2. Digitize the footage
in the Avid system. Set
the pulldown switch in
the Digitize tool to
0.99. The system
digitizes video and
audio at the sloweddown speed, removes
the 2:3 pulldown, and
creates 24p media.
3. Edit and finish at
24 fps. During editing,
audio plays at the
original rate of
44100 Hz or 48000 Hz
(digital) or 60 Hz
(analog).
DAT
Sound
recording
(Nagra or
DAT)
(Step 1)
(Step 2)
(Step 3)
(Step 4)
Telecine transfer process
Nagra or DAT
playback system
Telecine controller
and record deck
Digital cut at
DAT
24 fps (NTSC) or
24 fps (PAL) for
audio transfer
Betacam
Digital Betacam,
D5, DCT, or D1
format tape
Digital Betacam,
D5, DCT, or D1
deck
Digital cut at
Betacam
23.976 (NTSC) or
25 (PAL) for
broadcast master
Film shot
at 24 fps
Avid video
editing
system
4. Select one or more
outputs, depending on
your project needs.
48
Figure 9 NTSC Audio and Video Synchronized During
Transfer
NTSC Audio and Video Digitized Separately
With this method, you digitize audio and video separately, and then
synchronize them in the Avid system (see Figure 10).
Planning a 24p or 25p Project
1. The telecine process
creates NTSC ITU-R
601 video. The process
adds 2:3 pulldown and
slows the film speed to
23.976 fps (labeled
24 fps). For effects
work, some footage can
be transferred and
digitized without
pulldown (frame-toframe).
2. Digitize the audio. If
audio was transferred at
29.97 fps, set the
pulldown switch in the
Digitize tool to 0.99.
For field audio at 30
fps, set the pulldown
switch to 1.0.
3. Digitize the picture
footage in the Avid
system. The system
removes the 2:3
pulldown and creates
24p media.
(Step 1)
(Step 2)
(Step 3)
(Step 4)
Telecine transfer process (picture only)
DAT
Sound
recording
(Nagra or DAT)
Betacam
Film shot
at 24 fps
Digital Betacam,
D5, DCT, or D1
format tape
Digital Betacam,
D5, DCT, or D1
deck
Avid video
editing
system
4. Use the AutoSync™
feature to sync picture
and sound. Edit and
finish at 24p.
5. Select one or more
outputs, depending on
your project needs.
(Step 5)
DAT
Digital cut at
24 fps (NTSC) or
24 fps (PAL) for
audio transfer
Beta-
cam
Digital cut at
23.976 (NTSC)
or 25 (PAL) for
broadcast master
Figure 10 NTSC Audio and Video Digitized Separately
49
Chapter 1 Planning a Project
PAL Audio and Video Synchronized During Transfer (PAL Method 1)
This method uses audio and video synced in the telecine system and
transferred to PAL videotape. This method is known as PAL Method 1. It
is most commonly used for 24-fps film footage that is intended for PAL
TV broadcast (see Figure 11).
1. The telecine process
syncs picture and sound
to create PAL ITU-R
601 video (25 fps). The
process adds 4.1%
speedup.
2. Digitize the footage
in the Avid system. The
system creates frameto-frame 24p media.
3. Edit and finish at
24p. During editing and
playback, audio is
scrubbed to play at
44100 Hz or 48000 Hz.
During playback or
digital cut at 25 fps,
audio plays at
44100 Hz or 48000 Hz.
4. Select one or more
outputs, depending on
your project needs.
Telecine transfer process
(Step 1)
Nagra or DAT
playback system
DAT
Telecine controller
Sound
recording
(Nagra or
DAT)
(Step 2)
(Step 3)
(Step 4)
and record deck
Betacam
Betacam
Digital Betacam,
D5, DCT, or D1
format tape
Digital Betacam,
D5, DCT, or D1
deck
Avid video
editing
system
Digital cut at
25 fps (PAL) or
23.976 fps (NTSC)
for broadcast
master
Figure 11 PAL Audio and Video Synced During Transfer
(PAL Method 1)
Film shot
at 24 fps
50
PAL Audio and Video Digitized Separately (PAL Method 2)
With this method, you digitize audio and video separately, and then
synchronize them in the Avid system. This method is known as PAL
Method 2 (see Figure 12).
Telecine transfer process (picture only)
1. The telecine process
creates PAL ITU-R 601
video without sound
(MOS). The process
adds 4.1% speedup.
(Step 1)
Planning a 24p or 25p Project
Film shot
at 24 fps
2. Digitize the audio
(without speedup) in
the Avid system.
3. Digitize the picture
footage in the Avid
system. The system
creates 24p media.
4. Use the AutoSync
feature to sync picture
and sound. Edit and
finish at 24p. During
editing, audio plays at
44100 Hz or 48000 Hz.
5. Select one or more
outputs, depending on
your project needs.
(Step 2)
(Step 3)
(Step 4)
(Step 5)
DAT
Sound
recording
(Nagra or DAT)
DAT
Digital cut at
24 fps (PAL) or
24 fps (NTSC) for
audio transfer
Betacam
Digital Betacam,
D5, DCT, or D1
format tape
Digital Betacam,
D5, DCT, or D1
deck
Beta-
cam
Figure 12 PAL Audio and Video Digitized Separately
(PAL Method 2)
Avid video
editing
system
Digital cut at
25 (PAL) or
23.976 (NTSC)
for broadcast
master
51
Chapter 1 Planning a Project
Audio Transfer Options for 24p PAL Projects
When you create a 24p PAL project, you must specify the appropriate
audio transfer rate for the project. (This is not necessary for a 25p PAL
project because there is no film speedup during the transfer.) The New
Project dialog box provides Audio Transfer options that allow you to select
either Film Rate or Video Rate. This value is project specific and should
not be changed after you create the project unless you have a specific
element that you need to transfer at a different rate.
n
n
The Audio Transfer options are also located in the Film Settings dialog
box and can be changed after the project is created. See “Transfer Settings
for Film Projects” on page 151.
The Audio Transfer options are:
• Film Rate (100%): Select this option when your 24-fps film footage
has been transferred MOS (roughly translated as “without sound”) to
25 fps by speeding up the film, and the audio comes in separately at
100 percent of the actual speed (PAL Method 2).
• Video Rate (100%+): Select this option when your 24-fps film
footage has been transferred to 25 fps by speeding up the film, and the
audio is synchronized to the video picture. This means that the audio
speed is increased by 4.1 percent (PAL Method 1).
The Info tab in the Project window allows you to view 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 Settings dialog
box to change the audio transfer rate.
52
Planning a 23.976p NTSC Project
Avid editing systems that include 24p support include a 23.976p NTSC
project type. This project type is especially designed for capture and output
of digital audio that has been transferred or recorded at 48 kHz, in sync
with picture at 23.976 fps. A 23.976p project lets you maintain digital
standards for all NTSC input and output at 23.976 fps.
Select this project type for one of the following reasons:
Planning a 23.976p NTSC Project
n
n
• Your film and audio sources have been synced in the telecine process
and transferred to Digital Betacam
Audio from digital videotapes can now be directly input and output
through the AES/EBU connections on the Meridien
• Your audio and video sources have been shot at a camera rate of
23.976 fps. This rate is used for film (film-based television) or 24p HD
video (television or feature film). These sources can be downconverted
to standard NTSC without further audio slowdown. Audio recorded at
48 kHz can remain at 48 kHz throughout the project.
The 23.976 fps frame rate is sometimes referred to as 23.97 fps or
23.98 fps.
The 23.976 fps frame rate is in direct proportion to the NTSC broadcast
frame rate of 29.97 fps, which is used for film-to-tape transfer to the Avid
editing system. For more information, see “Transferring 24-fps Film to
NTSC Video” on page 74.
®
or other digital videotape formats.
™
I/O box.
53
Chapter 1 Planning a Project
Working in a 23.976p NTSC Project
The following sections describe how working in a 23.976p project affects
tools and settings.
Creating a 23.976p Project
To create a 23.976p project:
1. Click New Project in the Select User and Project dialog box.
2. Type the name of your new project in the text box.
3. Click the Format pop-up menu, and select 23.976p NTSC.
4. Click the Film Type pop-up menu, and select a film-gauge tracking
format.
If the source tapes were shot as video (such as 1080p/24 HD recorded
at 23.976 fps), ignore the Film Type pop-up menu.
5. Click OK.
Film Settings
Digitizing
Bins
54
The Edit Play Rate and Audio Source Tape TC Rate options do not appear
in the Film Settings dialog box. Edit Play Rate is automatically set at
23.976 fps. The Audio Source Tape TC Rate does not apply to 23.976p
projects because you cannot digitize 30 fps audio in a 23.976p project.
Audio from digital videotapes can now be directly input and output
through the AES/EBU connections on the Meridien I/O box.
The pulldown indicator on the Meridien I/O box never lights when
working in a 23.976p project.
The pulldown switch in the Digitize tool is not used and does not appear.
The FPS column displays 23.976 rounded up to 23.98.
Planning a 23.976p NTSC Project
Import
Audio you import must be in sync with picture at 23.976 fps.
Digital Cut Tool
All output play rates are available, but only 23.976 NTSC maintains the
original audio quality. For 23.976 NTSC, the audio rate is not slowed
down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is
sped up 25 percent and is not usable. Use this output rate for animations
and other special applications. 24 fps NTSC, 24 fps PAL, and 25 fps PAL
all require a sample-rate conversion, so high-quality audio is not
guaranteed. For more information about output audio rates, see “Selecting
Output Formats for 23.976p Projects” on page 357.
23.976-fps Film Transfer or HD Video Source, SDTV Downconversion, Multiformat Output
This workflow is based on film transferred at 23.976 or video footage shot
at 23.976 fps and planned for HDTV (high-definition television). This
workflow presents one possible path.
Figure 13 shows the offline stage of the workflow, using a
Media Composer or Film Composer system with Universal Offline
Editing. Figure 14 shows the online stage, using a Symphony system with
Universal Mastering and multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For a workflow in which video and audio are digitized
separately, see Figure 15.
For details on the telecine transfer process, see Chapter 2.
You can digitize directly from film during the film-to-tape transfer process
by using Telecine Slave mode with VTR record emulation. For more
information, see “Digitizing During the Film-to-Tape Transfer” on
page 257.
55
Chapter 1 Planning a Project
1. Source videotape
comes either from a
telecine transfer or
video shot at 23.976.
The telecine process
syncs audio and
transfers film footage at
1:1 (no pulldown). It
also creates a shot log.
2. For telecine transfer
projects, convert the
shot log file with ALE
and import it into
Media Composer or
Film Composer to
create a bin or bins.
3. Batch digitize the
footage in an offline
resolution. Use a 24p
deck to downconvert
HDTV to ITU-R 601
video. The deck adds
2:3 pulldown for video
but maintains audio at
48 kHz. The Avid
system removes the
extra video pulldown
fields, maintains audio
at 48 kHz, and creates
23.976p media.
4. Edit at 23.976 fps,
apply Pan and Scan or
other effects, and create
a final sequence.
5. For film, create a
pull list for another
telecine process, to
retransfer footage used
in the final edit. Create
a floppy disk with
project information for
transfer to the
Symphony online
system.
Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)
(Step 1)
(Step 2)
(Step 3)
(Step 4)
(Step 5)
Telecine controller
and record deck
Log
To the Symphony
system
23.976
Proj
1:1 transfer at
23.976 fps
(Digital
Betacam tape)
24p HD VTR
such as an HDW-F500 VTR
Pull list
To the telecine
system
Film shot
at 24 fps or
23.976 fps
23.976
Video shot at
23.976 fps
Media Composer
or
Film Composer
offline system
Figure 13 Offline Workflow: 23.976-fps Film Transfer or HDTV
Source, SDTV Downconversion
56
Planning a 23.976p NTSC Project
6. For film-originated
projects, the telecine
process uses the pull
list and full colorcorrected transfer to
create videotape with
selects from the
original negative
(picture only). The
process also creates a
new shot log file.
7. Copy the project
information to the
Symphony online
system.
8. For telecine transfer
projects, convert the
new shot log file with
ALE and import it into
the Symphony system.
9. Batch digitize in an
online resolution, based
on the new shot log
file. Downconvert
either the telecine
transfer tape or HDTV
source tape.
10. For film, relink the
sequence and clips by
key numbers and
complete any other
finishing.
11. Generate multiple
formats for output. For
NTSC video, the
Symphony system
reinserts pulldown. For
conforming film, it
creates a 24p cut list.
For HDTV, it creates a
24p EDL for use in an
online suite.
Telecine transfer process (picture only)
23.976
Log
Cut list
Beta
NTSC 29.97 fps
4:3 or 16:9
or
Conformed
film cut
Film shot at
24 fps or
23.976 fps
23.976
Video shot at
23.976 fps
Symphony
online
system
24p EDL
or
EDL
HD
Conformed
HDTV master
(Step 6)
(Step 7)
(Step 8)
(Step 9)
(Step 10)
(Step 11)
From the
offline
system
Pull list
From the
offline
system
Proj
Figure 14 Online Workflow: 23.976-fps Film Transfer or HDTV
Source, SDTV Downconversion, Multiformat Output
57
Chapter 1 Planning a Project
Figure 15 illustrates a workflow in which you digitize audio and video
separately, and then synchronize them in the Avid system.
1. The telecine process
transfers film footage at
1:1 (no pulldown). For
film shot at 24 fps, the
process slows the film
speed to 23.976 fps
(labeled 24 fps).
2. Digitize the audio
into the Avid system
(no pulldown). Field
audio should be
recorded at 48 kHz. If
shot at 48.048 kHz, it
must be referenced to
48 kHz outside of the
Avid system.
3. Digitize the picture
footage in the Avid
system. Use a 24p deck
to downconvert to
ITU-R 601 video. The
deck adds 2:3 pulldown
for video. The Avid
system removes the
extra video pulldown
fields and creates
23.976p media.
(Step 1)
(Step 2)
(Step 3)
(Step 4)
DAT
Sound recorded at
48 kHz (DAT)
Telecine transfer process (picture only)
1:1 transfer at
23.976
23.976 fps
(Digital
Betacam tape)
24p HD VTR
such as an
HDW-F500 VTR
Film shot at
24 fps or
23.976 fps
Avid video
editing
system
4. Use the AutoSync
feature to sync picture
and sound. Edit and
finish at 23.976p.
5. Select one or more
outputs, depending on
your project needs.
58
(Step 5)
DAT
Digital cut at
23.976 for
audio transfer
Beta
Digital cut at
23.976 (NTSC)
for broadcast
master
Figure 15 NTSC Audio and Video Digitized Separately
(23.976p Project)
Limitations for 23.976p Projects
Be aware of the following limitations:
• For film projects shot at 24 fps, audio must be “pulled down” or
“slowed down” before it can be captured into a 23.976p project. The
user does not have the choice of capturing non-pulled-down audio.
Unlike 24p NTSC projects, where the audio pulldown switch can be
set to 1.0 or 0.99 to support either 24 fps or 23.976 fps, 23.976p
projects do not use the audio pulldown switch. These 23.976p projects
can only support 48 kHz audio that is in sync with 23.976-fps picture
on a 29.97-fps transfer tape.
• Media created in 24p projects and media created in 23.976p projects
are not compatible. If you start working in one type of project and then
decide to switch to the other, you need to recapture all video and audio
media. You cannot relink video media or audio media across the two
project types.
• OMF and AAF files that are output from a 23.976p project look
slightly different from those from a 24p project. The edit rates will
show up as 23.976 fps in these files.
Planning a 23.976p NTSC Project
c
Because of the way project information is stored, previous versions of
Avid editing systems do not recognize 23.976p projects as being
different from 24p projects. You can open 23.976p projects in
previous versions, however, none of the media can play because of the
different internal edit rates. Projects are not corrupted by opening
them in older versions of the software (unless you try to modify clips
or edit sequences). If necessary, you can redigitize the media in the 24p
project.
59
Chapter 1 Planning a Project
Planning a DV Project (Windows Only)
For more information,
see “DV Resolutions”
on page 525.
n
The DV/MPEG option (Windows only) allows you to record, edit, and
output DV media. Avid systems with this option support the following DV
(digital video) formats:
• DV 25 4:1:1 (NTSC and PAL)
• DV 25 4:2:0 (PAL)
• DV 50 4:2:2 (NTSC and PAL)
These resolutions appear, along with other Avid resolutions, wherever a
list of resolutions appears (for example, in the Video Resolution pop-up
menu of the Media Creation dialog box). The exact list depends on
whether you are working in an NTSC or PAL project.
Symphony systems equipped with the DV/MPEG option must have a Z6 3D
effects board installed before you can record and edit DV media.
Symphony systems with a Meridien Mercedes 3D effects board do not
support DV media. A separate MPEG option is available for Symphony
systems with a Meridien Mercedes 3D effects board.
Understanding DV
60
DV refers to a video compression format that can be transferred through
equipment that conforms to IEEE Standard 1394. This equipment
(cameras, video and audio decks, cables, connectors, and processing
boards) is sometimes referred to as FireWire
connections let you transfer digital data (both video and audio) directly
from a DV camera or deck to an Avid system with no conversion losses.
When you configure the Avid system for a DV camera or deck, you need
to select OHCI (for example, from the Video pop-up menu in the Digitize
tool). The OHCI (Open Host Controller Interface) specification is a
standardized way of interacting with the 1394 bus. The IEEE 1394
interface that conforms to the specification can provide a connection
between a computer and a DV camera or deck that will operate in a
standard way.
®
or i.LINK®. IEEE 1394
DV Workflows
Planning a DV Project (Windows Only)
The Avid system does not use the default Microsoft® OHCI driver, but
instead uses a custom OHCI driver. Whenever you connect a new DV
device (camera or deck), the Avid system automatically links the device to
the custom OHCI driver. For more information on linking a DV device,
see the release notes for your Avid system. For information on physically
connecting a DV device, see the Avid Symphony and Composer Products
Setup Guide for the Windows 2000 Professional Operating System.
There are several workflows for DV projects:
• You can work in native DV.
- Use a FireWire connection to record DV footage directly from a
camera or deck.
- Use any Avid editing features to edit in DV format.
- Output to a DV deck.
• You can work with ITU-R 601 digital media or analog media that is
recorded through the Meridien I/O box.
- The Avid system converts the video to a supported DV resolution
(DV 25 or DV 50).
- Edit in DV format.
- Output to a DV deck, to a digital deck, or to an analog deck,
depending on your requirements.
• You can work in a DV project with mixed sources.
- Record native DV footage.
- Record ITU-R 601 or analog media that is converted to DV
format.
- Edit in DV format.
- Output to a DV deck, to a digital deck, or to an analog deck,
depending on your requirements.
• You can work in a DV project that will be cut as film.
- Create a matchback project.
61
Chapter 1 Planning a Project
• You can work in an Avid Unity
- Use a FireWire connection to record DV footage directly from a
camera or deck.
- Edit in native DV format.
- Use the FilmScribe
DV resolutions and OHCI input and output are not available in
progressive projects.
can edit in DV while sharing DV footage with other DV systems. For
example, in a broadcast facility, you can use an Avid editing system
with the DV/MPEG option to create long form and promo programs
from the material that is gathered for news, while other editors use
Avid NewsCutter
™
application to output a cut list.
™
MediaNetwork environment. You
®
systems to create the new stories.
n
n
Symphony systems with the DV/MPEG option support and record DV 25
media. Symphony systems with the DV/MPEG option support DV 50
media, but cannot record it in its native format (they can record SDI or
analog video and compress it as DV 50). To record and edit DV 50 footage
in its native format, the editing system must be part of an Avid Unity
MediaNetwork network, along with a NewsCutter system. Record the
footage on the NewsCutter system and then use Avid Unity MediaNetwork
to access and edit the media.
For information about DV input and output, see the following sections:
• “Configuring Decks” on page 153
• “Setting Up the Digitize Tool” on page 164
• “Recording DV Through a 1394 Connection (Windows Only)” on
page 237
• “Using the Digital Cut Tool” on page 341
Systems with the DV/MPEG option support recording and digital cut of
44.1-kHz and 48-kHz audio only. They do not support recording and
digital cut of 32-kHz (12-bit) audio. If you are recording DV audio, set
your camera or deck to record 16-bit audio (48 kHz).
62
Figure 16 shows a possible workflow for a DV project. This workflow
uses both DV media and Betacam media as source footage.
Planning a DV Project (Windows Only)
1. (Option) Import a
log file to create a bin.
2. Connect your
equipment. For SDI or
analog video, use the
Meridien I/O box. For
DV video, use the 1394
connection.
3. Digitize footage to
create DV 25 media. If
you imported a log file,
batch digitize.
Otherwise, log and
digitize or digitize
on-the-fly.
4. Complete edits and
create a final sequence.
(Step 1)
(Step 2)
(Step 3)
(Step 4)
(Step 5)
Log
V
D
DV
camera
or deck
1394 connection
DV deck
Avid
Avi d
Beta-
cam
Source footage:
NTSC 30 fps or
PAL 25 fps
Betacam,
Digital Betacam,
or other VTR
Meridien I/O box
Avid editing
system with the
DV/MPEG option
Meridien I/O box
Betacam,
Digital Betacam,
or other VTR
5. Output a master tape:
DV, analog, digital, or
all three. Output NTSC
or PAL, depending on
your source footage.
Figure 16 Workflow: DV Project with Mixed Sources
Starting a DV Project
When you start a DV project, select either NTSC or PAL, depending on
the format of your media. If your system includes 24p and 25p support,
select either NTSC 30i or PAL 25i. If you are planning to use your footage
to create film, select the Matchback option. For more information about
starting a project, see the editing guide or Help for your Avid system.
V
D
Betacam
25-fps or
30-fps master
63
Chapter 1 Planning a Project
Editing in DV
In general, you edit DV footage in the same way you edit any other
footage. However, consider the following:
• You can mix NTSC DV resolutions (DV 25 and DV 50), or you can
• You cannot mix NTSC and PAL resolutions, and you cannot mix DV
The DV/MPEG option gives you real-time effects. If you are recording a
digital cut to a DV camera or a DV deck, you need to render all effects. If
you are recording through the Meridien I/O box to a digital deck or to an
analog deck, the system maintains real-time effects.
mix PAL DV resolutions (DV 25 and DV 50). However, you cannot
record a digital cut to a DV deck with mixed DV resolutions. You need
to perform a mixdown first. You can record mixed DV resolutions to
an SDI or to an analog deck.
resolutions with other uncompressed or compressed resolutions.
Planning an MPEG Project (Windows Only)
Symphony systems with the DV/MPEG option or the MPEG option
support MPEG 50 (NTSC and PAL) as a media format (Windows only).
MPEG 50 is a resolution specifically intended to support the SMPTE Type
D-10 bit stream produced and recorded by devices such as Sony
MPEG IMX™ VTRs. For more information on MPEG 50, see “MPEG 50
Resolution” on page 526.
The MPEG 50 resolution appears, along with other Avid resolutions,
wherever a list of resolutions appears (for example, in the Video
Resolution pop-up menu of the Media Creation dialog box).
Systems with the DV/MPEG option do not record and output native
MPEG media unless equipped with the optional MPEG SDTI-CP board.
This board, which allows capture of MPEG IMX media, is available as an
option for Symphony and Media Composer systems (Windows only). For
more information, see Appendix E.
64
®
Planning an MPEG Project (Windows Only)
You can also create MPEG 50 media through the SDI or analog video
inputs of the Meridien I/O box.
You can share MPEG 50 media with other Avid editing systems through
an Avid Unity MediaNetwork workspace. In this way, a system that cannot
record and output native MPEG 50 media can access and edit MPEG 50
media.
You can select MPEG 50 as a resolution in the Media Creation dialog box
(Digitizing, Titles, Import, and Mixdown tabs) and in the Digitize tool.
n
You cannot mix MPEG 50 with any other resolutions.
MPEG Workflows
There are several workflows for MPEG projects:
• You can work in native MPEG 50.
• You can work with ITU-R 601 digital media or analog media that is
• You can work in an MPEG project with mixed sources.
- Use the optional MPEG SDTI-CP board to record footage directly
from an MPEG IMX deck.
- Use any Avid editing features to edit in MPEG 50 format.
- Output to an MPEG IMX deck through SDTI-CP.
recorded through the Meridien I/O box.
- The Avid system converts the video to MPEG 50 media.
- Edit in MPEG 50 format.
- Output to an MPEG IMX deck, to a digital deck, or to an analog
deck, depending on your requirements.
- Record native MPEG 50 footage
- Record ITU-R 601 or analog media that is converted to MPEG 50
format.
65
Chapter 1 Planning a Project
• You can work in an Avid Unity MediaNetwork environment. You can
• You can work in a workgroup environment with Avid Unity
For information about MPEG 50 input and output, see the following
sections:
- Edit in MPEG 50 format.
- Output to an MPEG IMX deck, to a digital deck, or to an analog
deck, depending on your requirements.
The MPEG 50 resolution and MPEG SDTI-CP input and output are
not available in 24p or 25p projects.
edit in MPEG 50 while sharing MPEG 50 footage with other systems.
For example, in a broadcast facility, you can use a Media Composer
system with the DV/MPEG option to create long form and promo
programs from the material that is gathered for news, while other
editors use Avid NewsCutter systems to create the new stories.
TransferManager. For example, in a broadcast facility, you can send
your final MPEG 50 sequence to a playback device, such as Avid
AirSPACE
™
, using the Send to Playback option.
66
• “Configuring Decks” on page 153
• “Setting Up the Digitize Tool” on page 164
• “Recording Through MPEG SDTI-CP (Windows Only)” on page 237
• “Using the Digital Cut Tool” on page 341
Figure 17 shows a possible workflow for an MPEG project. This workflow
uses both MPEG media and Betacam media as source footage.
Planning an MPEG Project (Windows Only)
1. (Option) Import a
log file to create a bin.
2. Connect your
equipment. For SDI or
analog video, use the
Meridien I/O box. For
MPEG video, use the
optional MPEG
SDTI-CP board.
3. Digitize footage to
create MPEG 50
media. If you imported
a log file, batch
digitize. Otherwise, log
and digitize or digitize
on-the-fly.
4. Complete edits and
create a final sequence.
5. Output a master tape:
MPEG, analog, digital,
or all three. Output
NTSC or PAL,
depending on your
source footage.
(Step 1)
(Step 2)
(Step 3)
(Step 4)
(Step 5)
Log
V
D
MPEG IMX
deck
MPEG SDTI-CP
connection
MPEG IMX
deck
V
D
Avid
Avi d
Beta-
cam
Betacam
Source footage:
NTSC 30 fps or
PAL 25 fps
Betacam,
Digital Betacam,
or other VTR
Meridien I/O box
Avid editing
system with
MPEG support
and optional
MPEG SDTI-CP
board
Meridien I/O box
Betacam,
Digital Betacam,
or other VTR
25-fps or
30-fps master
Figure 17 Workflow: MPEG Project with Mixed Sources
Starting an MPEG Project
When you start an MPEG project, select either NTSC or PAL, depending
on the format of your media. If your system includes 24p and 25p support,
select either NTSC 30i or PAL 25i. If you are planning to use your footage
to create film, select the Matchback option. For more information about
starting a project, see the editing guide or Help for your Avid system.
67
Chapter 1 Planning a Project
Editing in MPEG
In general, you edit MPEG footage in the same way you edit any other
footage. However, consider the following:
• You cannot mix MPEG 50 with any other resolutions.
• If you are recording a digital cut to an MPEG IMX deck through
SDTI-CP, you need to render all effects. If you are recording through
the Meridien I/O box to a digital deck or to an analog deck, the system
maintains real-time effects.
Film Project Considerations
This section presents information that could be useful when planning film
projects that you will edit on an Avid system.
Film Shoot Specifications
Use the guidelines in Table 1 to help you plan for film shoots.
Table 1 Film Shoot Specifications
Element Supported Formats Notes
Film type 16mm Use Standard 16mm or Super 16mm.
Super 16’s aspect ratio closely matches 16:9.
35mm: 2, 3, 4, and 8 perf
65mm: 5, 8, 10, and 15 perf
Film wind B-wind Always use camera rolls with key numbers
68
16mm, 35mm 4 perf, and 35mm 3 perf are
supported as projects in the Avid system.
The remaining formats are supported
through ink numbers and auxiliary ink
numbers, which you select in the Film
Settings dialog box. For more information,
see the editing guide or Help for your Avid
system.
in ascending order.
Film Project Considerations
Table 1 Film Shoot Specifications (Continued)
Element Supported Formats Notes
Audio media 1/4-inch audiotape (Nagra) Use to record analog audio.
DAT or DA88 (digital audiotape) Use to record digital audio.
Audio timecodes 30-fps drop-frame or non-drop-
frame
25-fps timecode Use for PAL transfer projects, and for
Audio sync to in-camera timecode
®
(Aaton
Sync methods Clapsticks Use for manual syncing of sound with
Electronic slate (smart slate) Use for semiautomatic syncing.
In-camera timecode, with audio
sync
Slate information Camera roll, scene and take, shoot
date, sound-roll ID
Sound-roll cues Sound-roll ID, date, start and end
time-of-day timecode
or Arri® 24-fps timecode)
Use for NTSC transfer projects, and for
generating audio EDLs.
generating audio EDLs in the PAL format.
Use for automatic syncing of sound with
picture in the Avid system.
picture.
Use for automatic, “slateless” syncing in the
telecine.
Mark sound-roll ID as a backup.
Include verbal time-of-day cues as a backup.
Viewing Dailies
Viewing dailies is a critical part of the film production process. With an
Avid system, there are two different ways to produce dailies.
•The film dailies method relies on work print for screening, transferring,
and creating conformed cuts during editing.
•The video dailies method relies on videotape transfers from negative
for screening, transferring, and creating conformed cuts during editing.
69
Chapter 1 Planning a Project
Film Dailies Method
The film dailies method involves the procedures shown in Figure 18.
Specifics, such as tape formats, vary depending on facilities and needs.
1. Prepare work print
for the circled
(selected) takes.
2. Sync work print with
audio mag track, and
assemble each take on a
roll with ink numbers.
3. Screen the film
dailies before telecine
transfer.
4. Mount and transfer
the rolls to tape in
telecine.
5. (Option) Enter ink
numbers manually into
the Avid system after
you digitize, to match
the ink number on the
work print.
6. Generate ink-number
lists for preparing cuts
from the work print,
and key-number lists
for conforming the
negative.
....................
....................
Negative Work print
(Steps 1 and 2)
(Step 3)
(Step 5)
(Step 6)
.....................
.....................
....................
Mag track KEM roll
Screening
Cut list
Figure 18 Film Dailies Method
Telecine
Betacam
Transfer
Conformed cut
(Step 4)
70
When you work with film dailies and work print, the advantages are:
• You can screen the dailies immediately after the lab work.
• You can use work print previews to view the full film aspect ratios,
resolutions, and contrast ranges. For this reason, film dailies are often
preferred for feature film projects.
The disadvantage is that the magnetic track and work print require
additional facilities, procedures, and costs.
Video Dailies Method
Film Project Considerations
The video dailies method involves the procedures shown in Figure 19.
Specifics, such as tape formats, vary depending on facilities and needs.
1. Prepare film
negative for the circled
(selected) takes.
2. Transfer reels of
negative synced to
audio in telecine.
Generate a
simultaneous online
transfer, or create the
online transfer from
selects after editing the
sequence.
3. Screen the videotape
dailies after the
transfer.
4. Import existing key
numbers and timecode
information into the
Avid system, then
digitize.
5. Edit using the Avid
system.
6. Record a digital cut
to preview the
sequence with effects,
or generate EDLs for
editing the videotape
transfers.
....................
....................
Negative
Assembled
(Steps 1 and 2)
(Step 3)
(Steps 4 and 5)
(Step 6)
Conformed cut
takes
Sound
recording
Screening
Cut list
Preview
Figure 19 Video Dailies Method
Nagra or DAT
playback system
Telecine controller
and record deck
Transfer
Betacam
Betacam
EDL
1
Transfer
1
Master
”
”
Alternatively, generate
a matchback list of
selects for printing
selects and conforming
negative.
71
Chapter 1 Planning a Project
The advantage of working with video dailies and film negative is that you
can avoid the cost of work print until the finishing stages, or altogether.
The disadvantage is you are limited to the aspect ratio, resolution, and
contrast range of video previews. For this reason, video dailies are
preferred for television projects, but you can also use this method to
economize on a feature film production.
72
Chapter 2
Film-to-Tape Transfer Methods
To capture and edit film-originated footage in your Avid system, you must
transfer the footage to videotape. This chapter presents the following
information about film-to-tape transfer methods:
• Understanding the Transfer Process
• Transferring 24-fps Film to NTSC Video
• Transferring 24-fps Film to PAL Video
• How the Avid System Stores and Displays 24p and 25p Media
To help you plan the transfer, this chapter includes the following sections:
• Film-to-Tape Transfer Guidelines
• Film-to-Tape Transfer Options
Understanding the Transfer Process
You have your film rolls from the day’s shooting, and you’re ready to edit
on your Avid system. To digitize that footage into the system, you first
need to transfer the film to videotape. This process uses a special film
projector called a telecine (the term loosely translates as “video-film”).
The telecine is usually part of a production system that includes audiotape
recorders, a controller, and other equipment.
Chapter 2 Film-to-Tape Transfer Methods
After you’ve decided on a telecine facility and have supplied your
requirements (see “Film-to-Tape Transfer Guidelines” on page 84 and
“Film-to-Tape Transfer Options” on page 85), the telecine facility
performs the film-to-tape transfer. The steps in the process differ,
depending on whether you include audio and whether the transfer produces
NTSC or PAL videotapes. The following sections describe these steps.
n
You can digitize directly from film during the film-to-tape transfer process
by using Telecine Slave mode with VTR record emulation. For more
information, see “Digitizing During the Film-to-Tape Transfer” on
page 257.
Transferring 24-fps Film to NTSC Video
If you use an NTSC transfer, the film-to-video process takes place in two
stages:
• Stage 1: Transferring Film to Video
• Stage 2: Digitizing at 24 fps
The following illustration shows a simplified view of the NTSC film-tovideo transfer process. For information about this workflow, see “Planning
a 24p or 25p Project” on page 36.
Telecine
2:3 pulldown
23.976 fps
Stage 1
Film shot at 24 fps
Beta-
cam
Betacam or
Digital Betacam
video signal 29.97 fps
Digitize and reverse
pulldown to 24 fps.
Stage 2
Avid editing system at 24 fps
74
Stage 1: Transferring Film to Video
The NTSC film-to-video transfer occurs as a two-part process: the telecine
adds extra frames during transfer and, at the same time, slightly reduces the
film’s running speed.
Frames Versus Fields
To understand how the telecine transfers film to videotape, you need to
understand the relationship between frames and fields.
An NTSC video image consists of 525 horizontal lines of information. The
electron gun on a video monitor displays the odd-numbered lines first and
then the even-numbered lines. Each full scan of odd-numbered or evennumbered lines constitutes a field. At 30 fps, each field takes 1/60th of a
second to display; therefore, an entire frame of two fields is scanned each
1/30th of a second. The combination of these two fields (odd and even) is
called interlacing.
A film frame, in contrast, is one full picture; it has no fields. The telecine
process takes each film frame and creates a two-field video frame.
Transferring 24-fps Film to NTSC Video
Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video
Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in
frame rates between film and video prevents a direct frame-to-frame
transfer.
To compensate, the telecine process creates an extra six frames every
second (the difference between 24 and 30). That is, it creates five video
frames for every four film frames. But remember, each video frame is
subdivided into two video fields. To be more precise, the telecine creates
ten video fields (the equivalent of five video frames) for every four film
frames. This is referred to as a 4:5 ratio. Tab le 2 states this relationship
between film and video.
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Chapter 2 Film-to-Tape Transfer Methods
Table 2 Ratio of Film to Video
Film Video
24 fps 30 fps
4 frames 5 frames (10 fields)
The telecine uses a method known as pulldown to create the extra frames.
As each film frame moves through the telecine projector, it is held in place
(pulled down) while a specific number of fields are recorded on videotape.
To transfer four film frames to ten video fields, the telecine process
alternates between creating two and three video fields per film frame
(referred to as 2:3 pulldown). To transfer four film frames to ten video
fields, the telecine pulls down the first film frame and records two video
fields, pulls down the second film frame and records three video fields, and
repeats the process.
76
The four frames in each series are referred to as A, B, C, and D. The
standard method for identifying the resulting fields is to label them as A1,
A2, B1, B2, and so forth. The following diagram illustrates the 2:3
pulldown process.
Four film frames
A
B
C
D
Five NTSC video frames (ten fields)
odd
A1
even
A2
B1
B2
B3
C1
C2
D1
D2
D3
odd
even
odd
even
odd
even
odd
even
Timecode change
Timecode change
Timecode change
Timecode change
The telecine alternates between capturing odd-numbered and evennumbered fields. For example, B1 and B3 both contain the odd-numbered
scan lines of the B film frame. Later in the transfer process, when the Avid
system digitizes the fields, it must capture an odd-numbered and an evennumbered field for each frame.
When you view the resulting video, you get the impression that you are
watching the video at 24 fps even though it is playing at 30 fps (or more
precisely, at 29.97 fps).
Part 2: Slowing the Film Speed to 23.976 fps
NTSC video, the broadcast standard used in the United States, Japan, and
other countries, plays at an actual rate of 29.97 fps, although it is usually
referred to as 30 fps.
An accurate conversion requires exact adherence to the 4:5 ratio, but this
ratio breaks down when you compare 24 fps to 29.97 fps. To achieve a true
4:5 ratio, the film frame rate is slowed down to 23.976 fps. The telecine
process makes this correction automatically, slowing NTSC video 0.1
percent from the original film speed, so that the video plays at 99.9 percent
of its original speed.
Transferring 24-fps Film to NTSC Video
Table 3 adds this new ratio.
Table 3 Ratio of Film to Video with FPS
Film Video
24 fps 30 fps
4 frames 5 frames (10 fields)
23.976 fps (0.999 x 24) 29.97 fps (0.999 x 30)
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Chapter 2 Film-to-Tape Transfer Methods
Maintaining Synchronized Sound
In most cases, the sound for your production has been recorded on a digital
audio system, such as a DAT (digital audiotape), or ¼-inch tape system,
such as a Nagra recorder. You need to synchronize the sound with the
picture and make sure they are in sync in the Avid system. You can take
one of three basic paths:
• Transfer the original sound recording to mag track, sync the mag track
to the film work print, and transfer both to videotape through a telecine
process.
• Sync the original sound recordings to picture during the telecine
process, and transfer both to videotape.
• Transfer only the picture through the telecine process, digitize picture
and sound separately, and sync them in the Avid system.
If the telecine transfers sound along with picture (one of the first two
paths), the sound is slowed by 0.1 percent to maintain sync with the
picture. The reference signal slows from 60 Hz to 59.94 Hz and the rate at
which the audio is recorded changes from 44100 Hz to 44056 Hz, or from
48000 Hz to 47952 Hz.
78
Optionally, you can transfer only picture, and digitize the original audio
directly into the Avid system. This approach can save telecine expense and
give you better quality audio. For more information, see “Alternative
Audio Paths” on page 47.
Stage 2: Digitizing at 24 fps
The telecine has converted your film footage into video running at
29.97 fps. Now you’re ready to use the digitizing process to input the
material as a 24p NTSC project.
Transferring 24-fps Film to NTSC Video
To digitize audio
transferred at 29.97 fps
(video rate) you must
set the pulldown switch
to 0.99 in the Digitize
tool. For more
information, see
“Setting the Pulldown
Switch” on page 170.
During the digitizing process, the Avid system reverses the pulldown
procedure to capture the film footage at 24 fps. It removes the extra fields
added by the pulldown process to create full-frame, 24p media. The
digitize process captures video and audio at the slowed-down speed
(0.999).
The following illustration shows each stage of the film-video-24p process.
Four film frames
A
B
C
D
Film at 24 fps
Five NTSC video frames (ten fields)
odd
A1
even
A2
B1
odd
even
B2
B3
odd
even
C1
C2
odd
even
D1
D2
odd
even
D3
Betacam or Digital Betacam
29.97 fps
Skip this field.
Skip this field.
Four digitized frames
A
B
C
D
24p media at 24 fps
If you have transferred sound along with picture, the Avid system captures
audio at the slowed-down speed. Then during editing and playback, the
system speeds up the play rate by 0.1 percent to play in sync with the
24-fps video. Audio plays at 44100 Hz (44.1 kHz) or 48000 Hz (48 kHz).
Now you can edit the material at 24 fps on the Avid system. This approach
ensures that all your edits correspond to true film frames so you see an
accurate representation of the finished film.
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Chapter 2 Film-to-Tape Transfer Methods
Transferring 24-fps Film to PAL Video
If you use a PAL transfer, the film-to-video process also takes place in two
stages:
• Stage 1: Transfer the film to videotape by speeding up the film rate
during the telecine process.
• Stage 2: Digitize the transferred videotape into the Avid system at the
sped-up rate.
The following illustration shows a simplified view of the PAL film-tovideo transfer process. For information about this workflow, see “Planning
a 24p or 25p Project” on page 36.
Film shot at 24 fps
PAL M et hod 1
Some PAL film-to-tape
transfers use pulldown.
This method is not
currently supported in
Avid systems.
Telecine
transfer with
4.1% speedup
Stage 1 Stage 2
Beta-
cam
Betacam or
Digital Betacam
video signal 25 fps
Digitize
Avid editing system at 24 fps
There are two approaches to synchronizing sound, which are often referred
to as PAL Method 1 and PAL Method 2.
With PAL Method 1, you synchronize sound with picture during the
telecine process.
Stage 1: Transferring Sound and Picture to Videotape
As with an NTSC film-to-tape transfer, the telecine process creates two
video fields for each film frame. However, because the film rate of 24 fps
is close to the PAL video rate of 25 fps, most PAL film-to-tape transfers
involve simply speeding up the frame rate. This speedup changes the frame
rate from 24 to 25 (an increase of 4.1 percent). There is no pulldown that
creates extra fields.
80
Transferring 24-fps Film to PAL Video
With PAL Method 1, there are two ways to sync sound with picture in the
telecine process:
• Transfer the original sound recording to mag track, sync the mag track
to the film work print, and transfer both to videotape through a telecine
process.
• Sync the original sound recordings to picture during the telecine
process, and transfer both to videotape.
In either case, the telecine process speeds up sound at the same rate as
picture: 4.1 percent.
Stage 2: Digitizing at 24 fps
After you’ve received the PAL transfer tapes, the next step is digitizing the
footage in a 24p PAL project. During the digitizing process, the Avid
system digitizes the material at the PAL rate of 25 fps, capturing every
picture frame. It stores the two video fields as a single progressive frame,
which you edit at 24 fps.
n
Select this option in the
Film Settings dialog
box. For more
information, see
“Selecting Settings” on
page 137 and the
editing guide or Help
for your Avid system.
You must digitize audio along with video at the PAL rate of 25 fps if you
want to use audio that was transferred along with picture during the
telecine process. You set the Audio Transfer rate as Video Rate (100+%)
in the New Project dialog box. For more information, see “Audio Transfer
Options for 24p PAL Projects” on page 52.
You have the option of playing back the footage at 24 fps or 25 fps. If you
select 24 fps, the system slows both the picture and the sound by
4.1 percent for playback. This approach lets you edit at the original film
rate, but the slowdown creates a limitation for audio. Because you digitize
the audio at a rate faster than playback, some audio samples are duplicated
during playback, and sound quality is compromised.
If you select 25 fps, there is a different limitation with audio. Because you
are playing back at the sped-up rate (4.1 percent), the audio pitch rises
slightly. This is usually acceptable for broadcast, so PAL Method 1 is
primarily used for PAL television broadcast.
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Chapter 2 Film-to-Tape Transfer Methods
PAL M et hod 2
With PAL Method 2, you digitize sound and picture separately.
Stage 1: Transferring Picture to Videotape
Some PAL film-to-tape
transfers use pulldown.
This method is not
currently supported in
Avid systems.
n
With PAL Method 2, you use the same telecine process for picture (create
a video frame of two fields for each film frame, speed up rate by
4.1 percent). The difference is that you do not synchronize sound as part of
the telecine process.
Stage 2: Digitizing at 24 fps
Now that you have your picture-only videotapes (at the rate of 25 fps) and
your source recording tapes, you need to follow a two-step process:
1. Digitize the picture to create 24p media.
2. Digitize the sound at the film rate of 24 fps.
When you created the project, you set the Audio Transfer rate as Film Rate
(100%) in the New Project dialog box. For more information, see “Audio
Transfer Options for 24p PAL Projects” on page 52.
In most cases, you will choose to edit at 24 fps. The sound will maintain
source quality (44.1 kHz and 48 kHz) and will play in sync with 24-fps
video.
PAL Method 2 is used primarily for film projects.
How the Avid System Stores and Displays 24p and 25p Media
When the Avid system digitizes video that has been transferred from film
(or video shot at 24 fps), it creates 24p media. It creates this media by
capturing the video fields, by dropping extra pulldown fields (NTSC
transfers only), by combining (deinterlacing) two fields for each film
frame (A1+A2, B1+B2, and so forth), and by storing the fields together as
82
How the Avid System Stores and Displays 24p and 25p Media
a full frame. The system always stores media as a fully reconstructed,
progressive frame. It is the construction of this full frame that gives you the
flexibility to create multiformat output.
You typically use 25p media when digitizing film or video shot at 25 fps.
In this case, the system also stores the media as a fully reconstructed,
progressive frame. The difference is that there is no need for pulldown
fields since there is a 1:1 correspondence between the source tape and the
digitized frames.
Displaying Media While Editing
When you click the Play button while editing a clip or a sequence
(sometimes referred to as Edit Play), the system separates (interlaces) the
progressive frames into fields and does the following:
Choose your preference
for playback in the
Film Settings dialog
box. For more
information, see the
editing guide or Help
for your Avid system.
• On the Source, Record, Playback, or pop-up monitor, the system
displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on your
project and editing preference.
• On an NTSC monitor, the system does one of two things:
- If playing at 23.976 fps (audio pulldown ON), the system performs
a 2:3 pulldown that replicates the telecine pulldown, and displays
the interlaced media at 29.97 fps.
- If playing at 24 fps (audio pulldown OFF), the system performs a
2:3 pulldown, drops every 1000th frame in the Client monitor, and
displays the interlaced media at 29.97 fps.
• On a PAL monitor, the system does one of two things:
- If playing at 24 fps, the system duplicates two fields per second to
display the interlaced media at 25 fps.
- If playing at 25 fps, the system performs a 4.1 percent speedup,
maintains 1:1 transfer of film frames to video frames, and displays
the interlaced media at 25 fps.
For 25p projects, 25 fps is the only playback rate. The playback
rate is 1:1 with no speed change.
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Chapter 2 Film-to-Tape Transfer Methods
By default, the system uses a mode called Fast Frame Display (available
from the Special menu), which displays one field of the progressive frame.
You can display the full frame if necessary, such as when checking for
dropouts created during the film-to-tape transfer, and step through frame
by frame. However, the display will be slower. For more information, see
the section on detecting video dropouts in the effects guide or Help for
your Avid system.
Displaying Media During a Digital Cut
The Digital Cut tool lets you output multiple formats at various play rates,
all from 24p and 25p media. When you click the Play Digital Cut button,
the system displays the sequence as described in the previous section,
depending on your selection in the Digital Cut tool. For more information,
see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p
Projects” on page 354.
Film-to-Tape Transfer Guidelines
84
Observe the following general guidelines when transferring film to tape:
• Instruct the telecine facility to record timecode on the address track.
• Instruct the facility to use only a telecine transfer process when
transferring to NTSC videotape. Do not use a film chain or any other
transfer device.
• PAL transfers do not require pulldown, so you can use either a telecine
or a film chain. However, quality is much better on a telecine.
• Transfer all of the project’s source film footage to disk or tape by using
either the NTSC or PAL method.
- For NTSC projects, you can mix footage transferred at 24 fps
(23.976 fps) or 30 fps (29.97 fps), and mix sound transferred at 1.0
or 0.99.
Film-to-Tape Transfer Options
n
n
Do not mix 24-fps and 30-fps transfers on the same transfer tape.
- For PAL projects, you cannot mix audio that has been transferred
at 4.1 percent speedup (PAL Method 1) with audio that has not
been sped up (PAL Method 2).
PAL film-to-tape transfers that use pulldown are not currently supported in
Avid systems.
Film-to-Tape Transfer Options
This section describes options for transfer quality and various screening
and editing aids you can request during the transfer process, based on the
considerations of budget and available facilities.
Transfer Quality
The quality of the film-to-tape transfers depends upon several options for
the telecine transfer. The transfer-quality options available from a telecine
facility include:
• One-light: This transfer involves a single setting of color correction
values, resulting in the simplest, fastest, and least-costly type of
transfer. One-light transfers are often used during offline stages of
editing.
• Best-light: This transfer involves optimum settings of the color-grade
controls, but without scene-by-scene color correction. Best-light
transfers are an intermediate level in terms of both quality and cost.
• Timed (scene-by-scene): This transfer involves color correcting each
scene or shot during transfer. Timed transfers are the most expensive
and time consuming. This option sets up the proper black and white
levels so that you can perform a tape-to-tape color correction from the
source tapes, if needed.
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Chapter 2 Film-to-Tape Transfer Methods
For more information
on the film-tape-filmtape option, see
“Relinking Clips by
Key Number” on
page 251.
You can use the film-tape-film-tape feature to perform two separate
telecine processes for a project:
• Perform a one-light or best-light transfer to obtain the most material
for the initial edits.
• After editing is complete, perform a timed, fully color-corrected
transfer of the clips that will be used in the final cut.
After you perform the final telecine operation, you can digitize at a
finishing resolution, such as 1:1 (uncompressed).
Additional Film Transfer Aids
The transfer facility might have available one or more of the following
production aids, which you can include in your film-to-tape transfer:
• Automatic logging: Whenever possible, you should instruct the
facility to log tracking information directly into a computer database
program. Logs generated automatically are more accurate than manual
logs and can be imported easily into the Avid system (see “Preparing
Log Files for Import” on page 90). A log file typically indicates the
relative timecode, key numbers, and pullin (“A” frames) for each clip
that will be digitized.
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c
• A keypunch at the head of each camera roll: Ask the lab or transfer
house to punch the head of each camera roll at the zero frame and give
you a list of the corresponding key numbers. After you have digitized,
you can match this list with your digitized material to check for
potential transfer errors.
• Burn-in code: If the transfer facility is equipped with a timecode or
film-code character generator, you can instruct the facility to display
or “burn-in” tracking codes on the videotape transfer. Burn-in code
provides visual feedback for logging and tracking footage.
Burn-in code cannot be removed from the image and should be used
only for the offline stage of a project.
Film-to-Tape Transfer Options
• 16:9 wide-screen format: The Avid system supports the 16:9 wide-
screen display format. You can either shoot your footage by using a
16:9 lens, or transfer the footage anamorphically to display a larger
area of the film aspect ratio during offline and online editing. Also, this
aspect ratio lets you create media that takes advantage of new 16:9
monitors that conform to SDTV and HDTV standards.
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Chapter 2 Film-to-Tape Transfer Methods
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Chapter 3
Logging
When you import shot log files or log directly into a bin, you provide the
Avid system with frame-accurate clip information used to digitize the
source footage. The logs you create form the foundation for organizing,
tracking, storing, retrieving, and generating lists of edit information
throughout your project. The following sections provide techniques for
preparing log information before digitizing:
• Preparing Log Files for Import
• Importing Shot Log Files
• Setting the Pulldown Phase
• Logging Directly into a Bin
• Logging Film Information
• Modifying Clip Information Before Digitizing
• Exporting Shot Log Files
Chapter 3 Logging
Preparing Log Files for Import
Preparing log files for importing into a bin can involve one or more of the
following methods:
• Convert a log file generated by a telecine or other film-to-tape transfer
system, as described in “Using Avid Log Exchange to Convert Log
Files” on page 91. This is the most accurate method for providing the
Avid system with frame-accurate clip information for digitizing the
transferred source tapes.
• Use a word processor or standard text editor to create and import logs,
as described in “Creating Avid Logs” on page 101.
•Use the MediaLog
bins directly into the Avid system, as described in “Transferring Bins
from MediaLog” on page 103.
Consider double-checking any log files before you import them. See
“Double-Checking the Log Files” on page 105.
™
application to log the material and transfer the
Compatible Log Formats
Table 4 lists the log formats that can be imported directly or converted for
import using Avid Log Exchange (ALE).
Table 4 Compatible Log Formats
Log Format Requirements File Name Extension
AatonBase Conversion required .atn or .atl
Avid Log Import directly .ale
CMX EDL Conversion required .cmx
Evertz Conversion required .ftl
Excalibur Conversion required .ale or .flx
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Preparing Log Files for Import
Table 4 Compatible Log Formats (Continued)
Log Format Requirements File Name Extension
FLEx Conversion required .flx
Keyscope Conversion required .ksl
Log Producer Conversion required .llp
Log right Import directly .ale
OSC/R (Macintosh
only)
OLE (Windows only) Conversion required .odb
®
Conversion required .asc
Using Avid Log Exchange to Convert Log Files
You can use the ALE utility included with your system to quickly convert
shot log files created by other sources.
You can then import the files directly into bins, as described in “Importing
Shot Log Files” on page 106.
The ALE utility allows you to:
• Modify the text in a log file.
• Convert log files of different formats to ALE files (see “Compatible
Log Formats” on page 90).
• Convert an ALE file to either an ATN or FLX file.
Any options you set in the ALE utility are saved each time you close the
ALE utility.
When you are converting an ATN file that contains multiple sections to an
ALE file, multiple ALE files are created. The Avid Log Exchange window
displays only the first ALE file created. The succeeding ALE files are
given the same file name with incremental numbering. For example, the
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Chapter 3 Logging
file Nations1.atn is converted to Nations1.ale, Nations1_2.ale,
Nations1_3.ale, and so on. The converted output files are stored in the
folder containing the original input file.
Converting Log Files with Avid Log Exchange (Windows)
To convert a log file to an ALE file:
1. Click the Start button, and select Programs >Avid > Avid Log
Exchange.
The Avid Log Exchange window opens.
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2. Select File > Open.
The Open dialog box opens.
3. Double-click the file you want to convert.
4. Depending on the type of file you are opening, one of the following
occurs:
- If the file type is recognized by the ALE utility, the file appears in
the Avid Log Exchange window.
- If the file does not contain the Windows line-ending format, then
the Line Endings dialog box opens. Select an option from the
following table.
Preparing Log Files for Import
Click To
Display & Save Open the file in the Avid Log Exchange window and change
the file to the Windows format.
Display Only Open the file in the Avid Log Exchange window, but not
change the file.
Ignore Display the file as is without changes.
The file appears in the Avid Log Exchange window.
For specific
information on the
various file types
shown here, see
“Compatible Log
Formats” on page 90.
- If the file type is not recognized, the Select File Type dialog box
opens. Select the type of file you are converting and click OK.
The file appears in the Avid Log Exchange window.
5. Use the Options menu to select the tracks to include in the Tracks
column of the log. The default track selections are Log V, Log A1, and
Log A2.
After you import the log into an Avid bin, the system digitizes all
tracks shown in this column when batch digitizing.
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Chapter 3 Logging
6. Select Options > Clean if you want ALE to clean the ALE output file
to eliminate overlapping timecodes for clips. By default, Clean is
selected.
When you select Clean, the utility removes the end timecode from any
clip that overlaps the start of the next clip.
7. If you selected Clean, you can also select Options > Relaxed to prevent
the deleting of events that come earlier in the transfer. Relaxed is not
set by default.
For example, if you transfer film footage with a timecode of
2:00:00:00 and then add some clips at the end with a timecode of
1:00:00:00, Relaxed prevents the Clean function from deleting the
clips. This occurs when you shoot footage across the midnight hour
and the first half of the film has 24 hours and the second half has 0
hours.
8. Select Convert > ALE.
The default output selection is the ALE format. This is the required
format for import into an Avid bin.
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The Avid Log Exchange window displays the converted ALE file. The
converted file has the same file name as the original file, except the file
name extension matches the converted file format.
Preparing Log Files for Import
9. (Option) Select the original file from the Window menu if you want to
convert the file again using different options.
10. Select File > Close.
If you made changes in the editor, a message box opens.
11. Click Yes.
The converted file is stored in the same folder as the original log file.
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Chapter 3 Logging
Using Drag-and-Drop Conversion for Log Files (Windows)
Use this shortcut to convert any type of file into an ALE file.
To convert a log file by using drag-and-drop conversion:
1. Check the options that are set in the ALE utility (see “Converting Log
Files with Avid Log Exchange (Windows)” on page 92). The current
options are used when you perform drag-and-drop conversion.
2. Create a shortcut for the ALE utility.
3. Open the folder that contains the files you want to convert, positioning
the folder so the Shortcut icon for the ALE utility is visible.
4. Select the files you want to convert.
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5. Drag the selected files to the Shortcut icon for the ALE utility, and
release the mouse button.
6. Depending on the type of files you are converting, one of the following
occurs:
- If the file type is recognized by the ALE utility, a message box
opens, indicating the conversion was successful.
- If the file type is not recognized, the Select File Type dialog box
opens. Select the type of file you are converting and click OK.
A message box opens, indicating the conversion was successful.
- If the file type is an ALE file, the ALE Convert Type dialog box
opens. Select a file type for the converted output file and click OK.
A message box opens, indicating the conversion was successful.
7. Click OK to close the message box.
The converted files have the same file names as the original files,
except the file name extension matches the converted file format.
For example, the .ale file name extension is added to the new file
names for the Avid format. The converted files are stored in the folder
containing the original log files.
Converting Log Files with Avid Log Exchange (Macintosh)
You can use the ALE utility included with your system to quickly convert
shot logs that are created during a film-to-tape transfer. You can then
import the files directly into bins, as described in “Importing Shot Log
Files” on page 106.
To convert a log file to an ALE file:
1. Select Go > Applications, open the ALE folder, and double-click the
ALE icon.
The Avid Log Exchange dialog box opens.
Preparing Log Files for Import
Files you can convert
Convert button
Files you can generate
Clean
option
Track
selection
Quit button
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Chapter 3 Logging
For specific
information on the
various file types
shown here, see
“Compatible Log
Formats” on page 90.
2. Select the type of file you want to convert from the Input list.
If you are not sure of the type of file, select the Automatic option. ALE
will determine the type of file based on the file name.
3. Select the type of file you want to create from the Output list.
The default output selection is the Avid Log Exchange (.ale) format.
This is the required format for import into an Avid bin.
4. Select the tracks to include in the Tracks column of the log. After you
import the log into an Avid bin, the system digitizes all tracks shown
in this column when batch digitizing.
5. Select the Clean option if you want ALE to clean the ALE output file
to eliminate overlapping timecodes for clips.
When you select the Clean option, the utility removes the end
timecode from any clip that overlaps the start of the next clip.
6. If you selected the Clean option, you can also select the Relaxed
option to prevent the deleting of events that come earlier in the
transfer. Relaxed is not set by default.
For example, if you transfer film footage with a timecode of
2:00:00:00 and then add some clips at the end with a timecode of
1:00:00:00, Relaxed prevents the Clean function from deleting the
clips. This occurs when you shoot footage across the midnight hour
and the first half of the film has 24 hours and the second half has 0
hours.
98
7. Click the Convert button to open the Select File To Convert dialog
box.
8. Open the drive and folder that contain the files you want to convert.
9. Double-click the input file name.
Preparing Log Files for Import
Location of the files
File to be converted
If you selected a file type, ALE converts the file immediately.
If you selected the Automatic option, a message box opens and asks
you to confirm the file type.
10. Click the button for the selected file type.
A message box opens.
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Chapter 3 Logging
11. Do one of the following:
t Click the This File Only button to convert only the file you
selected to the format you selected.
t Click the All Files button to convert all files you select in this
session to the format you selected. If you click All Files, the
message boxes will not open the next time you double-click a file.
ALE stores the converted file in the same folder as the original input
file.
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Converted file
Input file
The original file name extension is replaced by the extension for the new
format. The .ale files can be imported only into Avid products.
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