Pinnacle Systems Symphony Nitris - 1.5, Symphony Nitris - 1.0 User Manual
Avid® Symphony™ Nitris
Conform and Finishing Guide
®
make manage move | media
™
Avid
®
Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part 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; 5,584,006; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501;
6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919;
6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862;
6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190;
6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445;
6,747,705; 6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191;
6,928,187; 6,933,948; D392,269; D396,853; D398,912. Other patents are pending.
This document is protected under copyright law. An authorized licensee of Avid Symphony Nitris may reproduce this
publication for the licensee’s own use in learning how to use the software. This document may not be reproduced or
distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or
educational services to others. This document is supplied as a guide for Avid Symphony Nitris. Reasonable care has been
taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or
typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of
this document. Product specifications are subject to change without notice.
Copyright © 2005 Avid Technology, Inc. and its licensors. All rights reserved.
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:
Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose
is hereby granted without fee, provided that (i) the above copyright notices 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.
2
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:
©1993–1998 Altura Software, Inc.
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, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AirSpeed, AniMatte, AudioSuite, AudioVision, AutoSync, Avid,
Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid Learning Excellerator, Avid Mojo, AvidNet,
AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx,
DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive,
Digital Nonlinear Accelerator, DigiTranslator, DINR, DNxchange, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer,
FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, iNEWS,
iNEWS ControlAir, Instinct, Intraframe, iS9, iS18, iS23, iS36, LaunchPad, Lo-Fi, Magic Mask, make manage move | media,
Marquee, Matador, Maxim, MCXpress, Media Browse, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion,
Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync, MissionControl,
NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, OMF, OMF Interchange, OMM, Open Media Framework,
Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, Softimage,
Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, 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.
Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States
and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other
countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other
countries. All other trademarks contained herein are the property of their respective owners.
3
Footage
Arri — Courtesy of Arri/Fauer — John Fauer, Inc.
Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved.
Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.
It’s Shuttletime — Courtesy of BCP & Canadian Airlines.
Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada.
Saturn “Calvin Egg” — Courtesy of Cossette Communications.
“Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer.
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 Nitris Conform and Finishing Guide • 0130-07235-01 • November 2005
4
Contents
Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Section 1 Conforming and Mastering
Chapter 1 Conforming and Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Compatibility Between Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Conforming Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Preparing for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Delivery Requirements for Final Masters . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Offline Formats for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
File Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
System Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Preparing Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Preparing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Preparing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Preparing Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Step 1: Transfer Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Transferring Project Information Only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Transferring Project Files and Media Files . . . . . . . . . . . . . . . . . . . . . . . . . 31
Step 2: Open the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Step 3: Measure the Video Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Step 4: Recapture Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Step 5: Import and Lay in the Final Audio Mix . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Step 6: Batch Import Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
5
Step 7: Re-create Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Redefining a Font Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Step 8: Refine Effects and Perform Color Correction . . . . . . . . . . . . . . . . . . . . 38
Step 9: Render Effects as Needed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Step 10: Create the Final Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Conforming Sequences Created with HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Conforming Sequences with Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Conforming with Symphony Meridien Systems. . . . . . . . . . . . . . . . . . . . . . . . . 41
Conforming with Adrenaline or Avid Mojo Systems. . . . . . . . . . . . . . . . . . . . . . 41
Transferring Color Corrections with Color Correction Templates . . . . . . . . . . . 42
Transferring Project and Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Transferring Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Transferring Sound Designer II Audio Files from Macintosh Systems . . . . 44
Transferring a Project Using Shared Storage . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Transferring Project Files and Media Files Using Nonshared Storage . . . . . . . 45
Devices and Methods for Transferring Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Transferring Files Between Windows Systems . . . . . . . . . . . . . . . . . . . . . 48
Transferring Files Between Macintosh and Windows Systems . . . . . . . . . 49
Nonshared Storage Issues for Cross-Platform Collaboration . . . . . . . . . . . . . . 51
Transferring Media Files from Media Composer Version 7.2 or Avid Xpress
Version 2.1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Chapter 2 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
High-Definition Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Video-Based Television Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Modifying the Format of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Converting a 24p NTSC Sequence to 1080p/23.976 . . . . . . . . . . . . . . . . . . . . 67
Converting a 23.976p NTSC Sequence to 720p/23.976 . . . . . . . . . . . . . . . . . . 68
Mixing SD and HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
6
Displaying Formats in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Editing at 60 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Working with True 24 FPS Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Transcoding HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Section 2 Finishing Tools
Chapter 3 Motion Tracking and Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Understanding Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Understanding the Tracking Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Uses of Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Motion Tracking and Footage Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Workflow for Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Effects and Effect Parameters That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . 77
Understanding the Tracking Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Tracking Controls in the Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Tracking Controls in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . 79
The Tracking Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Setting Up an Effect for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Understanding Video Layers and Motion Tracking . . . . . . . . . . . . . . . . . . . . . . 83
Applying an Effect for Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Making Non-Tracking Parameter Adjustments to an Effect . . . . . . . . . . . . . . . . 84
Preparing to Generate Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Enabling Tracking in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Creating and Mapping Trackers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Understanding Tracker Selectors and Tracker Function. . . . . . . . . . . . . . . 87
Creating and Mapping Trackers Manually. . . . . . . . . . . . . . . . . . . . . . . . . . 88
Enabling, Disabling, and Deleting Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Setting Up Tracking in the Effect Preview Monitor. . . . . . . . . . . . . . . . . . . . . . . 90
Displaying Tracking Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Adjusting Tracking Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Guidelines for Positioning Tracking Boxes . . . . . . . . . . . . . . . . . . . . . . . . . 91
Guidelines for Resizing Tracking Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
7
Setting Up Tracking in the Tracking Window. . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Choosing a Tracking Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Choosing Background or Foreground Tracking . . . . . . . . . . . . . . . . . . . . . 94
Generating Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Offset Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Understanding Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Adding and Deleting Tracker Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Moving to a Tracking Region. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Performing Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Understanding Generated Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Tracking Data in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Tracking Data in the Tracker Timelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Customizing Tracking Data Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Setting the Reference Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Using SteadyGlide and Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Modifying Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Finding a Specific Tracker Data Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Selecting Tracker Data Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Deleting Tracking Data From Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Moving Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Moving Tracker Data Points Outside the Frame Boundary. . . . . . . . . . . . . . . 107
Stretching a Range of Tracker Data Points. . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Limiting the Effect of Position Tracking Data to a Single Axis . . . . . . . . . . . . . . . . 109
Playback of Effects Using Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Stabilizing an Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Guidelines for Using Multiple Trackers When Stabilizing. . . . . . . . . . . . . . . . . . . . 113
Using the Region Stabilize Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Stabilizing an Image with the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . 114
Making Adjustments to the Region Stabilize Region of Interest . . . . . . . . . . . 116
Editing Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Segment Mode Editing with Segments That Use Tracking Data. . . . . . . . . . . 117
Trimming Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . 117
Adding Transition Effects to Tracked Segments . . . . . . . . . . . . . . . . . . . . . . . 118
8
Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
When to Reuse Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Copying and Pasting Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Conforming Symphony Meridien Sequences with Tracking Data. . . . . . . . . . . . . . 120
Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Example 1: Replacing the License Plate on a Moving Vehicle . . . . . . . . . . . . 121
Example 2: Special Effects Using Targets for Motion Tracking . . . . . . . . . . . . 124
Chapter 4 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 127
The Composer Window in Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 127
Activating Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Displaying Tracking Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Displaying Images in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Understanding Default Monitor Display. . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Configuring Image Display in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Working with Reference Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Splitting the Image Display in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Hiding the Video in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Displaying 16:9 Video in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Using the Play Loop Button in Color Correction Mode. . . . . . . . . . . . . . . . . . . 134
Reviewing Color-Corrected Clips with the Edit Review Button . . . . . . . . . . . . 135
Controlling Frame Display in the Composer Window. . . . . . . . . . . . . . . . . . . . 135
The Color Correction Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Working with Correction Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Understanding Relationship Color Corrections . . . . . . . . . . . . . . . . . . . . . 137
Using the Source Clip Name Relationship . . . . . . . . . . . . . . . . . . . . . . . . 139
Converting Relationship Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . 139
Working with the Group and Subdividing Tabs . . . . . . . . . . . . . . . . . . . . . . . . 140
Displaying a Group Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Displaying a Subdividing Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Associating Group and Subdividing Tabs with Tab Buttons . . . . . . . . . . . 143
Understanding Interaction Between Color Correction Groups . . . . . . . . . . . . . 144
9
Working with the Enable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Turning Controls On or Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Resetting Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Understanding Interaction Between Enable Buttons . . . . . . . . . . . . . . . . 146
Using the Color Correction Tool Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Customizing Color Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
How Color Correction Handles Color Space and Bit Depth . . . . . . . . . . . . . . 152
Adding Comments to Color Correction Effects . . . . . . . . . . . . . . . . . . . . . . . . 152
Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Understanding How Color Correction Effect Templates Save Settings. . . . . . 155
Using Automatic Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Saving a Color Correction Effect Template to a Bin . . . . . . . . . . . . . . . . . . . . 157
Saving a Color Correction Effect Template to a Bucket . . . . . . . . . . . . . . . . . 158
Clearing Color Correction Effect Templates from Buckets . . . . . . . . . . . . . . . 158
Applying Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Working with Color Correction Effect Templates in the Effect Palette. . . . . . . 160
Displaying Color Correction Information in the Timeline . . . . . . . . . . . . . . . . . . . . 161
Chapter 5 Performing Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
General Workflow for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Using Automatic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Understanding Automatic Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Setting AutoCorrect Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Adjusting Contrast and Balance Automatically . . . . . . . . . . . . . . . . . . . . . . . . 168
Using the Remove Color Cast Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Considerations When Using Automatic Color Correction . . . . . . . . . . . . . . . . 172
Using the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Making a Correction with the Color Match Control . . . . . . . . . . . . . . . . . . . . . 174
Selecting Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Understanding NaturalMatch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Color Match Example Using NaturalMatch . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Saving Custom Colors to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Getting RGB Information Using the Color Match Control . . . . . . . . . . . . . . . . 181
10
The HSL (Hue, Saturation, Luminance) Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Working with the Controls Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Making Corrections Using the Controls Tab . . . . . . . . . . . . . . . . . . . . . . . 183
Using the HSL Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Controls Tab Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Working with the Hue Offsets Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Understanding ChromaWheel Color Wheels. . . . . . . . . . . . . . . . . . . . . . . 187
Making Corrections Using the Hue Offsets Tab . . . . . . . . . . . . . . . . . . . . 189
Examples of Hue Offsets Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Working with the Luma Ranges Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Understanding the Luma Ranges Graph. . . . . . . . . . . . . . . . . . . . . . . . . . 194
Adjusting Luminance Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Manipulating Luminance Range Curves . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Examples of Three-Tone Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
The Channels Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Making Corrections Using the Channels Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 200
Using the Channel Blending Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Considerations When Working with Color Components . . . . . . . . . . . . . . . . . 202
Examples of Channel Blending Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
The Levels Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Understanding Input and Output Levels Adjustments . . . . . . . . . . . . . . . . . . . 206
Examples of Black Point Input and Output Adjustments . . . . . . . . . . . . . . 206
Examples of Gray Point Input and Output Adjustments . . . . . . . . . . . . . . 208
Making Corrections Using the Levels Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Working with the Levels Tab Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Understanding Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Using the Histogram Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Using the Text Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Understanding ChromaCurve Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Using the ChromaCurve Graph in the Levels Tab. . . . . . . . . . . . . . . . . . . 216
Working with the Composite and Luma Tabs . . . . . . . . . . . . . . . . . . . . . . 216
Examples of Levels Adjustments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
11
The Curves Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Making Corrections Using the Curves Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Adjusting Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Curves and the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Examples of Curve Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
The Secondary Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Understanding Secondary Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Secondary Color Correction Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Understanding Secondary Color Correction Vectors. . . . . . . . . . . . . . . . . . . . 235
Standard and Custom Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Vector Display in Color Wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Customizing a Vector Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Understanding the Selected Vectors Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Selecting Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Enabling and Disabling Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Resetting Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Adjusting Input Vector Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Repositioning Vectors in the Color Wheel . . . . . . . . . . . . . . . . . . . . . . . . 243
Using the Input Vector Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Locking Vectors While Adjusting an Input Vector. . . . . . . . . . . . . . . . . . . 245
Examples of Softness Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Using the Color Selection Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Defining a Vector with the Syringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Refining a Vector Definition with the Add to Selection and
Subtract from Selection Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Isolating the Selected Vector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Adjusting Output Vector Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Using the Color Match Control for Secondary Corrections . . . . . . . . . . . . . . . 252
Making a Secondary Correction with the Color Match Control and the Syringe
253
Making a Secondary Color Correction with the Color Match Control Only 253
Inverting a Vector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Examples of Inverted and Isolated Images . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Understanding How Multiple Vectors Interact . . . . . . . . . . . . . . . . . . . . . . . . . 256
12
Working with the Waveform Monitors and the Vectorscope Monitor . . . . . . . . . . . 256
Using the Waveform and Vectorscope Information . . . . . . . . . . . . . . . . . . . . . 264
Using the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
When to Use the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Applying a Color Correction Effect from the Color Correction Tool . . . . . . . . . 268
Chapter 6 Managing Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 269
Updating Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Merging Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Using the Merge Correction Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Color Correction Merging Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Flattening Color-Corrected Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Removing Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Chapter 7 Color Correction Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Guiding Principles for Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Goals of Color Correction: Restoration and Adaptation . . . . . . . . . . . . . . . . . . 279
Restoring the Original Look. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Adapting the Original Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Stages of Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Correcting Tonal Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Neutralizing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Achieving Shot-to-Shot Consistency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Achieving a Final Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Examples of Color Correction Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Example 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Example 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Example 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Chapter 8 Spot Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Using the Spot Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Making Corrections Using the Spot Color Correction Effect . . . . . . . . . . . . . . 299
Using Paint Effect Modes for Color Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
13
Chapter 9 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Overview of Safe Color Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Understanding Safe Color Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Understanding the Graphical View of Safe Color Settings. . . . . . . . . . . . . . . . . . . 303
Understanding Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Safe Color Warnings in the Color Match Control. . . . . . . . . . . . . . . . . . . . . . . 306
Making Adjustments to Achieve Safe Color Values . . . . . . . . . . . . . . . . . . . . 306
Safe Color Limits with Waveform and Vectorscope Information . . . . . . . . . . . . . . 308
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
14
Tables
Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Graphics Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Media Composer Adrenaline Default Folder and File Locations (Windows). . . . . . . 46
Media Composer Adrenaline Default Folder and File Locations (Macintosh) . . . . . . 46
Symphony Nitris Default Folder and File Locations . . . . . . . . . . . . . . . . . . . . . . . . . 46
Options for Transferring Files Between Windows Systems . . . . . . . . . . . . . . . . . . . 48
Options for Transferring Files Between Macintosh and Windows Systems . . . . . . . 49
Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Choices for Modifying Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Effects and Effect Parameters for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Tracking Window Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Options for Enabling Tracking in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Multiple Tracker Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Tracker Timeline Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Tracking Data Point Range Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Source Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Relationship Color Correction Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Correction Mode Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
AutoCorrect Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Automatic Color Correction Buttons in the Curves Tab . . . . . . . . . . . . . . . . . . . . . 170
HSL Group (Controls Tab) Match Type Options. . . . . . . . . . . . . . . . . . . . . . . . . . . 176
HSL Group (Hue Offsets Tab) Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . 176
Channels Tab Match Type Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Levels Tab Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Curves Tab Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Secondary Tab Match Type Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Brightness Subdividing Tabs for the HSL Group . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Controls Tab Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
ChromaWheel Crosshair Pointers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Component Type Options in the Channels Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Secondary Color Correction Vector Display Options . . . . . . . . . . . . . . . . . . . . . . . 239
Input Vector Sliders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
15
Waveform and Vectorscope Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Safe Color Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Safe Color Limits in Waveform Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
16
Using This Guide
Congratulations on your purchase of an Avid® editing application. You can use your
application to create broadcast-quality output incorporating every possible production
element from full-speed, high-resolution footage, to multimedia artwork and animation, to
computer-generated effects and titling.
n
This guide contains the task-oriented instructions, conceptual information, and reference
material you need to use the conform and finishing features of your Avid Symphony
®
Nitris
stabilization parameters, and Symphony Nitris color correction.
This guide is intended for all users who need information for the conform and finishing
processes.
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.
system. These features include project transfer, HD support, tracking and
™
Using This Guide
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 subcommands) in the
t
Italic font Italic font is used to emphasize certain words and to indicate variables.
Courier Bold font
Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the
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.
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.
Courier Bold font identifies text that you type.
mouse action. For example, Ctrl+drag.
18
If You Need Help
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 for the latest information that might have become available after the
documentation was published:
- If the latest information for your Avid product is provided as printed release notes,
they ship with your application and are also available online.
- If the latest information for your Avid product is provided as a ReadMe file, it is
supplied in your Avid application folder as a PDF document (ReadMe.pdf) and is
also available online.
You should always check online for the most up-to-date release notes or ReadMe
because the online version is updated whenever new information becomes
available. To view these online versions, select ReadMe from the Help menu. or visit
the Knowledge Base at www.avid.com/readme.
3. Check the documentation that came with your Avid application or your hardware for
maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are
available 24 hours per day, 7 days per week. Search this online Knowledge Base to find
answers, to view error messages, to access troubleshooting tips, to download updates,
and to read or join online message-board discussions.
If You Need Help
Related Information
The following documents provide more information about Symphony Nitris:
• Avid Symphony Basics Guide
• Avid Symphony Nitris Advanced Guide
• Avid Symphony Nitris Advanced Effects Guide
• Using the Avid Nitris
These documents are available in PDF form on the Avid Symphony Nitris Online Library
CD-ROM. The Online Library includes a Master Glossary of all specialized terminology
used in the documentation for Avid products.
n
For the latest product information, see the Avid Knowledge Base: www.avid.com/support
All product information is included in the Help system, which you can access from the
Symphony Nitris application’s Help menu.
19
Using This Guide
Accessing the Online Library
The Avid Symphony Nitris Online Library CD-ROM contains multimedia presentations and
all the product documentation in PDF format. You can access the tutorial and the library
from the Online Library CD-ROM or from the Help menu.
n
You will need Adobe® Acrobat® Reader® to view the documentation online. You can
download the latest version from the Adobe web site. The effects guide requires the Apple
QuickTime
of QuickTime from the Apple Web site.
To access the online library from the Online Library CD-ROM:
1. Insert the Online Library CD-ROM into the drive.
2. Double-click the Mainmenu file.
To access the online library from the Help:
1. Insert the Online Library CD-ROM into the drive.
2. In your Avid application, select Help > Online Library.
®
application to view the QuickTime movies. You can download the latest version
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
®
20
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).
Section 1
Conforming and Mastering
The following chapters contain information to help you conform and master
your project:
• Conforming and Transferring Projects
• Working with HD Media
22
Chapter 1
Conforming and Transferring Projects
Avid offers a range of editing applications for editing film, video, and audio. Within the Avid
family of editing and finishing products, you can work at the system most appropriate for
your task. When you are ready for the next step in the process, you can easily move your
work to another system. For example, you might start your project on a Media Composer
Adrenaline
are ready for finishing. You can also send audio media to a Digidesign
and edit the finished audio into the final sequence.
The following sections contain information about transferring and conforming projects.
• Compatibility Between Applications
• Conforming Workflow
• Conforming Sequences Created with HDV Media
• Conforming Sequences with Color Correction
• Transferring Project and Media Files
™
offline system and then move it to a Symphony Nitris online system when you
®
Pro Tools® system
®
Compatibility Between Applications
Avid editing products are designed so you can easily move projects and media from one
system to another and preserve your edits and effects. In a typical offline-to-online
workflow, you create a program on one Avid editing system—choosing the footage, making
edits, adding effects—and then transfer your program to another Avid system for final
finishing. This re-creation of the offline project on an online system is called conforming,
and Avid’s solution is called Total Conform. Finishing might involve recapturing in a final
resolution, making color corrections, adjusting effects, and outputting the final master.
Chapter 1 Conforming and Transferring Projects
n
n
Alternatively, you can use the same media for offline and online editing. You can access the
media in several ways, such as sharing media in an Avid Unity
transferring removable drives from one system to another. The clips and sequences
automatically link to the media, and you can complete the final finishing.
Specific information for transferring projects to Avid DS is contained in the Avid DS
Conform Guide, which is available from the Avid DS Support Center or the Avid Customer
Support Knowledge Base. To access the Knowledge Base, go to
www.avid.com/onlinesupport.
If you are moving from one Avid editing product to another in the current release, or from a
product in a previous release to a product in the current release, you can move project files
and media without losing any of your work.
However, when you move projects from a product in the current release to a product in the
previous release, some effects that have been created with features that are new for a
particular release do not appear, or appear as unknown effects.
All capturing into Symphony Nitris is done through the Avid Nitris, which does not contain a
1394 connection. DV 25 and DV 50 sources can be captured through a baseband connection
to either the SDI or analog inputs on the Avid Nitris (Symphony Nitris does not support
capture of DVCPRO HD through a baseband connection). Alternatively, another Avid
product such as Avid Xpress
capture native DV 25, DV 50, or DVCPRO HD media over IEEE-1394. You can then share,
play, edit, and render the media within Symphony Nitris. You can also transcode to these
resolutions; available resolutions depend on the format of the source media.
®
Pro or Media Composer Adrenaline HD can be used to
™
workgroup environment, or
Conforming Workflow
The following sections provide information to help you transfer projects from one Avid
editing system to another and conform the sequence to create one or more finished masters.
These steps are based on an offline-to-online workflow that uses Symphony Nitris as the
online system.
• Preparing for the Online Session
• Step 1: Transfer Files
• Step 2: Open the Project
• Step 3: Measure the Video Signal
• Step 4: Recapture Media
• Step 5: Import and Lay in the Final Audio Mix
• Step 6: Batch Import Graphics
24
Conforming Workflow
• Step 7: Re-create Title Media
• Step 8: Refine Effects and Perform Color Correction
• Step 9: Render Effects as Needed
• Step 10: Create the Final Masters
For specific information about HD workflows, see “Working with HD Media” on page 53.
For specific information about film-based workflows, see “Working in a Film Project” in the
Help.
n
If you are transferring projects and media but not performing an online edit, refer to
“Transferring Project and Media Files” on page 43.
Preparing for the Online Session
If possible, work with the offline editor to plan the online edit. Planning the online edit
makes the online session easier and more efficient.
Review the following information before you begin the online session.
Delivery Requirements for Final Masters
The requirements for your final masters determine factors such as the project type used
during the offline edit. Ideally, the offline edit is done with the online edit in mind.
The most important delivery requirements are the formats and frame rates. A broadcast
network might require a range of formats: NTSC, PAL, and HD, at 4:3 and 16:9. Avid’s
Universal Mastering provides you with the ability to output multiple versions from the same
source file—see “Step 10: Create the Final Masters” on page 39. Make sure that the offline
edit is done at the same frame rate, or a compatible frame rate, as the online edit.
If you are delivering an HD project, and the offline will be done in SD, consider how the SD
media will be downconverted. If the project requires complex effects, use an anamorphic
downconvert, rather than center-cut or letterbox, to reduce the adjustments required in the
final conform.
25
Chapter 1 Conforming and Transferring Projects
Offline Formats for HD
If your project requires final mastering in HD, use the corresponding SD project for offline
editing, as listed in the following table.
Offline Formats for HD
HD Online SD Offline
720p/23.976 23.976p NTSC
720p/59.94 30i NTSC
1080p/23.976 23.976p NTSC or 24p NTSC
1080p/24 24p NTSC or 24p PAL
1080p/25 25p PAL
1080p/29.97 30i NTSC
1080i/50 25i PAL
1080i/59.94 30i NTSC
a. 24p NTSC sequences require additional conversion. See “Converting a 24p NTSC
Sequence to 1080p/23.976” on page 67.
a
When you start the online session, you can create a new project in the final format, or use the
original project and change the project format (see “Changing the Project Format” on
page 62).
File Transfer
Before you begin moving project files between Avid editing applications, consider the
following.
• What files will you transfer? Determine if you need to transfer project information,
• How will you transfer the files? Determine the most appropriate method for
26
video media, audio media, or all three. See “Step 1: Transfer Files” on page 30.
transferring your project files. See “Devices and Methods for Transferring Files” on
page 47.
System Compatibility
Make sure that files transfer correctly between editing systems, and that both systems
include the necessary applications. Consider the following:
• Frame rates: Make sure both editing systems support the same frame rates. For
example, some offline systems support 24p projects and some do not. You might require
a 24p project to deliver multiple output formats.
• File naming: To make it easier to move files between products and across platforms,
use the following guidelines when naming files:
- Do not use the following characters in project, bin, or other file names:
/\:*?”<>|
The Windows
substitutes other characters, possibly making the file name unrecognizable.
Conforming Workflow
®
system does not recognize these characters in file names and
n
You can use these characters in bin names if you are sharing bins between Symphony Nitris,
Media Composer, Avid Xpress, or NewsCutter
®
products. You cannot use these characters in
bins you share with Avid DS or Pro Tools.
- Do not add spaces at the beginning or end of a file name. The Windows system
displays such files but might be unable to open them.
- Do not use a period at the end of a file name. The Windows system displays such
files but might be unable to open them.
®
- On Macintosh
systems, beginning with v7.2, you can enable a setting in the Avid
application that prevents you from using restricted characters in file names. This
setting automatically adds the correct file name extensions to files for your project.
The Use Windows Compatible File Names setting in the General Settings dialog
box is selected by default. With this setting selected, the file name extension .avp is
added to project files and .avb is added to bin files when they are saved. These file
name extensions are also attached to existing files.
• Title fonts: If the project includes titles and you are moving between Macintosh and
Windows systems, make sure you have the same font with exactly the same name
(preferably from the same supplier) on both the Macintosh and Windows systems.
Check the font carefully because the same font can have slightly different names. For
example, Times New Roman on the Macintosh system is named Times New Roman
Regular on the Windows system.
If you open a title on the online system that does not have a matching font, a dialog box
opens that allows you to substitute the font in the title with a font that exists on your
system.
®
For best results, use OpenType
fonts, which reduce problems when transferring
projects from one platform to another.
27
Chapter 1 Conforming and Transferring Projects
• AV X™ plug-ins: If your project contains AVX plug-in effects and you are moving
across platforms, make sure the same plug-ins are available on both the Macintosh and
Windows systems. If the same AVX plug-in effect is not available, you can mix down or
render the effect to a high-quality resolution and then transfer it using an OMFI or an
AAF file. However, you cannot change the parameters of the effect.
Preparing Graphics
The most critical step when preparing graphics for online is to make sure that the elements
you are going to import are created correctly. The following table summarizes various
requirements.
Graphics Requirements
Aspect Requirement Notes
Frame size
(4:3)
Frame size
(16:9)
Alpha channel White foreground
Color mode RGB
File format Various The Avid application accepts many file formats for input.
Square pixels:
648 x 486 (NTSC)
640 x480 (NTSC DV)
768 x 576 (PAL)
Square pixels:
864 x 486 (NTSC
anamorphic)
1024 x 576 (PAL
anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)
(transparent), black
background (opaque)
ITU-R 601
ITU-R 709
These are the preferred sizes for NTSC and PAL. 720 x
540 can also be used, in some situations, for both NTSC
and PAL. These are stored by the application as
non-square pixels. For more information, see “Preparing
Graphics Files for Import” in the Help.
Preferred sizes. SD media is stored by the application as
non-square pixels.
This is the standard used by graphics, animation, and
compositing packages. The graphics need to have the
alpha channel inverted on import.
Other formats, including CMYK, can cause import errors.
ITU-R 601 is used for SD and ITU-R 709 is used for HD.
In HD projects, the Avid application automatically
converts the media.
TIFF (.tif) and PICT (.pct) are commonly used formats.
See “Import Specifications for Supported Graphics File
Formats” in the Help.
28
Conforming Workflow
Graphics Requirements (Continued)
Aspect Requirement Notes
File field order Odd (Upper field first)
Preparing Effects
In general, effects from older systems are automatically conformed by newer systems.
However, be aware of the following issues:
• If you’re working in an offline SD project with complex effects and you plan to conform
as HD, the media should be downconverted anamorphically. Media downconverted as
4:3 or letterbox causes problems when you conform effects such as picture-in-picture.
• If you are conforming a sequence that includes effects created with Avid FX, mix down
or render the effects to a high-quality resolution on the offline system and then transfer
them using an OMFI or an AAF file. You cannot adjust an Avid FX effect on a
Symphony Nitris system.
Even (Lower field
first)
For interlaced media, the Avid application uses the
following order:
• NTSC (601 and DV): lower field first
• PAL 601: upper field first
• PAL DV: lower field first
• HD Interlaced: upper field first
If the field order of the graphic is not correct, select the
field order of the graphic during import and the application
reverses the fields appropriately.
Field order does not apply to progressive media. See
“Field Ordering in Graphic Imports and Exports” in the
Help.
• Wipes that include borders that were created in Media Composer Adrenaline v2.2.x or
earlier, or Avid Xpress Pro v5.2.x or earlier do not conform precisely. In these versions,
borders for the wipes end on screen; in Symphony Nitris borders end off screen.
29
Chapter 1 Conforming and Transferring Projects
Preparing Titles
You have the option to save titles in multiple aspect ratios. If you’re working with
anamorphically downconverted media, save the title as 16:9. After opening the sequence in
an HD project, re-create title media (see “Step 7: Re-create Title Media” on page 35). This
method lets you correctly create titles that fit in the 4:3 center cut or that extend beyond the
center cut.
If you’re working with media downconverted to center cut or letterbox, save the title as 4:3.
In this case the titles will appear centered, within the 4:3 center cut.
n
Preparing Audio
n
If you are working in 23.976p, 24p, or 25p projects, you can output your project in both
NTSC and PAL video formats, and in both 4:3 and 16:9 aspect ratios. You need to save a
title at each aspect ratio you need for your output requirements, but video format conversion
is handled automatically by your system’s hardware. For more information, see “Saving
Multiple Format Titles” in the Help.
Your project might involve audio that is exported from the offline system, sweetened in an
audio application such as Pro Tools, and imported into the online system (see “Step 5:
Import and Lay in the Final Audio Mix” on page 34).
If you are sharing files with Pro Tools, you can use the WAVE or AIFF-C format. Pro Tools
v6.9 or later also supports MXF files For more information, see “Transferring Audio Files”
on page 43.
DigiTranslator™ v2.0 is required on the Pro Tools system for import and export of OMF and
AAF files.
If you are sharing files between Macintosh and Windows systems, avoid using Sound
Designer II, which is a Macintosh format. For more information, see “Transferring Sound
Designer II Audio Files from Macintosh Systems” on page 44.
Step 1: Transfer Files
30
There are several different methods for transferring project files and media files, depending
on the requirements of your project.
Loading...