Pinnacle Systems Symphony - 4.7 User Manual

Avid® Symphony

™

Input and Output Guide

make manage move | media

™

Avid

Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 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; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,883,670; 5,905,841; 5,929,836; 5,929,942; 5,930,445; 5,946,445; 5,987,501; 5,995,115; 6,016,152; 6,018,337; 6,023,531; 6,035,367; 6,038,573; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,130,676; 6,134,607; 6,137,919; 6,141,007; 6,141,691; 6,157,929; 6,198,477; 6,201,531; 6,211,869; 6,223,211; 6,239,815; 6,249,280; 6,269,195; 6,301,105; 6,317,158; 6,317,515; 6,327,253; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.

The following disclaimer is required by Apple Computer, Inc.

APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:

Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.

THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:

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 Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.

The following disclaimer is required by Videomedia, Inc.:

“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.”

“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”

The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code:

The following disclaimer is required by Ultimatte Corporation:

Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection.

The following disclaimer is required by 3Prong.com Inc.:

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

Attn. Government User(s). Restricted Rights Legend

U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.

Trademarks

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, Marquee, Matador, Maxim, MCXpress, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, 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 United States and/or other countries.

iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.

Aaton is a registered trademark of Aaton S.A. Abekas is a registered trademark of Accom, Inc. Acrobat, Adobe, After Effects, Photoshop, PostScript Reader, and Type Manager are either registered trademarks or trademarks of Adobe Systems, Incorporated in the United States and/or other countries. Alias and Wavefront are trademarks of Alias|Wavefront, a division of Silicon Graphics Limited. Amiga is a registered 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 trademarks, and DVCAM, Hi8, and MPEG IMX are trademarks of Sony Corporation of America. Chyron is a registered trademark of Chyron Corporation. Cineon, Keykode, and Photo CD are trademarks of Eastman Kodak Company. Cinepak is a trademark of Digital Origin, Inc. CrossStripe and MacDrive are trademarks of Mediafour Corporation. DVDit! is a trademark of Sonic Solutions. Editcam is a trademark of Ikegami Tsushinki, Co., Ltd. Formac devideon is a registered trademark of Formac Elektronic GmbH and its subsidiaries in the US and in other countries where Formac products are sold or distributed. GIF is a Service Mark property of CompuServe Incorporated. IBM and OS/2 are registered trademarks of International Business Machines Corporation. Intel is a registered trademark of Intel Corporation or its subsidiaries in the United States and other countries. Jaz and Zip are either registered trademarks or trademarks of Iomega Corporation in the United States and/or other countries. Microsoft, Windows, Windows Media, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Paintbrush is a trademark of Zsoft Corporation. Philips is a 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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

> This symbol indicates menu commands (and

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.

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.

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

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).

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.

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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