Pinnacle Systems Symphony - 4.7 User Manual
Avid® Symphony
™
Input and Output Guide
make manage move | media
™
Avid
®
Copyright and Disclaimer
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Copyright © 1991–1997 Silicon Graphics, Inc.
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Portions of this software are based on work of the Independent JPEG Group.
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Trademarks
888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid,
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QuickDraw, SuperDrive, and TrueType are trademarks of Apple Computer, Inc., registered in the U.S. and
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QuickTime logo is registered in the U.S. and other countries. RealVideo is a registered trademark of
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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
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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
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