Pinnacle Systems Symphony Nitris - 1.5 Advanced Guide

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Avid® Symphony™ Nitris

Advanced Guide

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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; 5,584,006; 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; 6,961,801; 7,043,058; D392,269; D396,853; D398,912. Other patents are pending.

This document is protected under copyright law. An authorized licensee of Avid Symphony Nitirs 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 Nitirs. 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.

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:

See additional information on page 789.

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Ray Sauers Associates, Inc.:

“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.

The following disclaimer is required by Videomedia, Inc.:

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

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

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

The following disclaimer is required by Ultimatte Corporation:

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

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

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

The following disclaimer is required by Interplay Entertainment Corp.:

The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products.

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 DS Assist Station, Avid ISIS, Avid Learning Excellerator, Avid Liquid, Avid Mojo, AvidNet, AvidNetwork, Avid Remote Response, AVIDstripe, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, Dazzle, Deko, DekoCast, D-Fi, D-fx, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR, DNxchange, do more, D-Verb, Equinox, ExpertRender, Face Robot, FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, iNEWS, iNEWS ControlAir, Instinct, Interplay, Intraframe, iS9, iS18, iS23, iS36, LaunchPad, Lightning, 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, MediaStream, Meridien, MetaSync, MissionControl, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, PCTV, Pinnacle MediaSuite, Pinnacle Studio, Pinnacle Systems, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, ScriptSync, SecureProductionEnvironment, Show Center, Softimage, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Symphony, TARGA, Thunder, Trilligent, UnityRAID, Vari-Fi, Video RAID, 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. 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.

Footage

Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. 'The Big Swell” — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions.

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 Advanced Guide • Part 0130-07613-01 • June 2006

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 1 Working with the Project Window: Advanced. . . . . . . . . . . . . . . . . . . . . 41

Managing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Creating a User Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Importing a User Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Changing User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Exporting a User Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Updating User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Deleting User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Managing Bins and Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Viewing Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Displaying Usage Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Statistics File Structure and Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Importing the Statistics File into a Spreadsheet. . . . . . . . . . . . . . . . . . . . . . . . . 54

Displaying Disk Space Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Customizing the Appearance of the Avid User Interface . . . . . . . . . . . . . . . . . . . . . 56

Changing Interface Component Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Changing Button and Toolbar Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Using Interface Appearance Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Changing Font and Point Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Creating a New Workspace Setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Linking User Settings and Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Sharing Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . . . . . 66

Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Sharing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Working with Locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Overriding the Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . 70

Restrictions and Limitations for Locked Bins . . . . . . . . . . . . . . . . . . . . . . . 70

Suggestions for Improving Performance When Working with

Shared Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Shared Bin and Project Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Shared Bin Lock Icon Limitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Drive Filtering in Networked Workflows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Chapter 2 Using Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Using the Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Using the Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Understanding Button Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Mapping User-Selectable Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Mapping Modifier Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Activating Commands from the Command Palette . . . . . . . . . . . . . . . . . . . . . . 82

Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Using the Console Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Displaying System Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Getting Information with the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Using the Console Window to Access Network Drives . . . . . . . . . . . . . . . . . . . 84

Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Using External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . 86

Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Preparing Log Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Converting Log Files with Avid Log Exchange. . . . . . . . . . . . . . . . . . . . . . . . . . 88

Using Drag-and-Drop Conversion for Log Files . . . . . . . . . . . . . . . . . . . . . . . . 91

Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Data Entries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Transferring Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Associating the Bin with Your Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Double-Checking the Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Tips for Logging Preroll, Logging Timecode, and Naming Tapes . . . . . . . . . . 105

Logging with an Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Logging with Non-Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Logging Film Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Displaying Film Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Modifying the Pulldown Phase Before Capturing . . . . . . . . . . . . . . . . . . . 121

Entering Frames-per-Second Rates for PAL Transfers. . . . . . . . . . . . . . . . . . 122

Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Entering Additional Timecodes (Option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Entering the Ink Number (Option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Chapter 4 Capturing Media: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Advanced Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Capturing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

General Settings for Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Settings for Film and 24p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Disabling Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode. . . . . . . . 135

Preparing for Audio Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Creating Tone Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Adjusting Volume Control in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Analog Input Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Microphone Input Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . 141

Changing an Audio Level in the Passthrough Mix Tool . . . . . . . . . . . . . . 142

Adjusting Pan Values in the Passthrough Mix Tool . . . . . . . . . . . . . . . . . 142

Changing the Audio Hardware Calibration Setting. . . . . . . . . . . . . . . . . . . . . . 142

Calibrating Audio Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Calibrating Audio Output Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Using the Console Window to Check Audio Levels . . . . . . . . . . . . . . . . . . . . . 144

Preparing for Video Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Limitation When Using Consumer Decks or Decks Without

Time-Base Correctors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Saving a Custom Default Setting for the Video Input Tool. . . . . . . . . . . . . . . . 147

Adjusting Video Levels for Tapes Without Color Bars . . . . . . . . . . . . . . . . . . . 147

Using Function Keys When Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Special Capture Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Logging Errors to the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Creating Subclips While Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Creating Timed Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Live Capture with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . . . . . . . . . . 158

Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Selecting Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . 159

Enabling Remote Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Enabling Remote Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Setting up Your System for Remote Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . 161

Avid Serial Driver and Remote Play and Capture . . . . . . . . . . . . . . . . . . . . . . 164

Relinking Clips by Key Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Modifying the Pulldown Phase After Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Chapter 5 Importing Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Importing Photoshop Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Importing Single-Layer Photoshop Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . 172

Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Understanding Multilayered Graphics Import . . . . . . . . . . . . . . . . . . . . . . 172

Importing Multilayered Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Chapter 6 Working with Bins: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Advanced Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Using Audio Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Film Scene Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Displaying Custom Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Saving a Custom Bin View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Selecting Sources Used by an Object. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Selecting Unreferenced Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Using Text View: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Manipulating Bin Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Duplicating a Bin Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Adding Customized Columns to a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Changing a Custom Bin Column Heading. . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Tracking Frames Based on File Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Moving Within Column Cells. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Using the Modify Command to Modify Data . . . . . . . . . . . . . . . . . . . . . . . 202

Copying Information Between Columns . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Copying Information from Another Cell in a Custom Column . . . . . . . . . . 204

Selecting a Film Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Tracking 3-Perf Counts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Selecting an Edgecode Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Displaying Timecodes in a 24p or 25p Project. . . . . . . . . . . . . . . . . . . . . . . . . 208

Frame Counting for Timecodes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . 209

Adding Timecode Values to the Timecode Columns. . . . . . . . . . . . . . . . . 209

Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Working with Restricted Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Displaying or Outputting Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Disassociating Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Viewing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Changing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Searching the Database for Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Preparing Digital Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Chapter 7 Managing Media Files: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Working with Media Files in an Avid Unity Environment . . . . . . . . . . . . . . . . . . . . . 223

Configuring Avid Editing Systems to Work with the Asset Manager and

Avid Interplay Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Support for an Avid Unity LANshare Workgroup . . . . . . . . . . . . . . . . . . . . . . . 225

Mounting and Unmounting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Unmounting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Mounting All Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Using Videotapes for Archiving and Restoring Media Files . . . . . . . . . . . . . . . . . . 227

Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Restoring an Archive from Videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Relink Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Relinking Clips to a New Project Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Relinking by Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Relinking Consolidated Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Relinking Moved Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Chapter 8 Using Script Integration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Lined Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Explanation of Symbols. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Script Window Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Opening, Closing, and Saving the Script Window. . . . . . . . . . . . . . . . . . . . . . 250

Displaying Clip and Sequence Information in a Script Window. . . . . . . . . . . . 251

Exploring the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Manipulating Script Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Changing the Font of the Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Selecting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Cutting, Copying, and Pasting Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Using Page and Scene Numbers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Adding a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Changing a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Deleting a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Searching for a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Conducting a Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Manipulating Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Resizing Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Holding Slates On Screen in the Script Window . . . . . . . . . . . . . . . . . . . . . . . 262

Hiding Slate Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Showing One Take Per Slate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Manipulating Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Changing the Representative Frame for a Take . . . . . . . . . . . . . . . . . . . . . . . 266

Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Playing Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Indicating Off-Screen Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Using Color Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Using Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Automating Screening and Marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Loading and Playing Marked Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Moving a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Finding Clips and Bins from the Script Window. . . . . . . . . . . . . . . . . . . . . . . . 274

Editing with the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Assembling a Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Interactive Screenings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Chapter 9 Viewing and Marking Footage: Advanced . . . . . . . . . . . . . . . . . . . . . . . 279

Displaying the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Displaying Timecode in the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Playing Selected Clips in a Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Finding Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Editing Locator Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Copying Locators from Source Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Marking an Area Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Moving to the Previous or Next Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Using the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Viewing Locators in the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . 289

Working in the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Exporting and Importing Locators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Creating a Locator Text (.txt) File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Copying and Pasting Locators Using the Locators Window. . . . . . . . . . . 292

Printing the Contents of the Locators Window . . . . . . . . . . . . . . . . . . . . . 293

Chapter 10 Editing in Source/Record Mode: Advanced . . . . . . . . . . . . . . . . . . . . . 295

User Preferences for Creating Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Using Phantom Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Setting One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Adding a Second Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Adding Comments to Sequence Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Playback Performance Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Using the AutoSequence Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Resyncing Subframe Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Managing Sync with Multiple Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Using Sync Lock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Adjusting the Sync Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Using Sync Point Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Chapter 11 Using the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Timeline Views: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Displaying the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 313

Displaying Local and Source Colors in the Timeline . . . . . . . . . . . . . . . . . . . . 314

Changing the Timeline Background Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Showing Locators in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Timeline Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Navigating in the Timeline: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Using Advanced Timeline Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Bin Editing Directly into a Sequence Using the Keyboard. . . . . . . . . . . . . . . . 319

Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Editing in Heads or Heads Tails View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Performing a Quick Edit Using the Top and Tail Commands . . . . . . . . . . . . . 321

Adding an Edit (Match Framing). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Adding Edits to Filler Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Removing Match-Frame Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Additional Offline Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Detecting Duplicate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Adjusting Handle Length in Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Tracking Color Frame Shifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Finding Black Holes and Flash Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Chapter 12 Working in Trim Mode: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Selecting Segments for Slip or Slide Trimming . . . . . . . . . . . . . . . . . . . . . . . . 332

The Four-Frame Slip/Slide Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Performing the Slip or Slide Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Slipping Shots in Source/Record Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Using the Transition Corner Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Chapter 13 Working with Audio: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . 340

Rendering and Unrendering Order for Audio Effects. . . . . . . . . . . . . . . . . . . . 341

Viewing Clip Gain and Automation Gain Values . . . . . . . . . . . . . . . . . . . . . . . 342

Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Adjusting Volume While Playing a Clip Gain Effect. . . . . . . . . . . . . . . . . . . . . 342

Limitations on Adjusting Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Improving Response Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Using External Fader Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Adjusting the Volume of Individual Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . 346

Adjusting the Pan of Individual Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Using an External Fader Controller or Mixer to Record Automation Gain . . . . 347

Configuring the USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . 348

Installing USB-to-MIDI Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Testing the Fader Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Switching Between MIDI Connections on the USB-to-MIDI Converter . . . . . . 351

Troubleshooting the MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Using the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Using the Command|8 with Your Avid Editing System. . . . . . . . . . . . . . . . . . . 352

Configuring the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Mapping Buttons and Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Button Layouts on the Command|8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Using Buttons to Change Focus in the

Avid Editing Application Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Using a Foot Pedal as a Foot Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Using a Command|8 to Record Automation Pan . . . . . . . . . . . . . . . . . . . . . . . 357

Using the Latch Mode Feature on the Command|8 . . . . . . . . . . . . . . . . . . . . . 357

Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

MCS-3000X Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Using the Snap Mode Feature on the MCS-3000X . . . . . . . . . . . . . . . . . . . . . 360

Ganging Faders on the FaderMaster Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Using the Yamaha 01V/96 or the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Setting Up the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . 361

Initializing the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . 362

Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize

Control Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Starting the Avid System with the Yamaha 01V/96 or the

Yamaha 01V Attached . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Operational Notes for the Yamaha 01V/96 and Yamaha 01V . . . . . . . . . . . . . 364

Soloing Avid System Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Basic EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Low Shelf Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Applying an EQ Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Creating Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Adding an EQ Template to the Audio EQ Tool Fast Menu. . . . . . . . . . . . 378

Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Recording Voice-Over Narration Using Audio Punch-in. . . . . . . . . . . . . . . . . . . . . 379

Connecting Voice-Over Recording Hardware . . . . . . . . . . . . . . . . . . . . . . . . . 379

Understanding the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Creating the Voice-Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Scenarios for Using the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 384

Monitoring Previously Recorded Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Using Peak Hold While Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Using the MCS3 with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . 385

Using a GPI Device with the Audio Punch-In Tool. . . . . . . . . . . . . . . . . . . . . . . . . 386

Understanding GPI Trigger Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

GPI Signal Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Example of Linking GPI Actions to Trigger Signals . . . . . . . . . . . . . . . . . 388

Connecting a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . 388

Configuring a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . 389

Working with GPI Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Creating a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Editing a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Deleting a GPI Setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Displaying Audio Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Chapter 14 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Understanding Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Installing AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . . . . . . . . . . 397

Using an AudioSuite Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Rendering AudioSuite Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Creating New Master Clips with AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . 399

AudioSuite Controls for Creating New Master Clips . . . . . . . . . . . . . . . . . 400

Mono, Stereo, and Multichannel Processing in

AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Using AudioSuite Plug-ins to Create New Master Clips . . . . . . . . . . . . . . 403

Using AudioSuite Effect Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

AudioSuite Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Troubleshooting AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Chorus AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

D-Verb AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Compressor AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Limiter AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Expander-Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Gate AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

DeEsser AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

EQ AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Flanger AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Invert AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Duplicate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Delay AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Multi-Tap Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Normalize AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Gain AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Ping-Pong Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Reverse AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

DC Offset Removal AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Signal Generator AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Time Compression Expansion AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . 428

Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Non-Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Chapter 15 Exporting Frames, Clips, or Sequences: Advanced . . . . . . . . . . . . . . . 435

Exporting OMFI and AAF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Exporting Through AAF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . . . . . . . . . 437

Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Guidelines for Exporting AAF Files to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 439

Exporting Projects and Bins Using AFE Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Improving Workflow Using Send To. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Send To DigiDelivery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Send To Digidesign Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Send To DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Send To Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Send To Avid DS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Send To Third-Party Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Exporting As a QuickTime Reference Movie. . . . . . . . . . . . . . . . . . . . . . . . . . 463

Using Avid Codecs for QuickTime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Exporting As an AVI File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . 470

Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . 472

Exporting as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Exporting Using an Avid Supplied Template . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Exporting Using an Existing Windows Media Profile . . . . . . . . . . . . . . . . . . . . 474

Exporting Using a Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Creating a Custom Video Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Creating a Custom Audio Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Exporting As a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

Chapter 16 Generating Output: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Using Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Calibrating the System with Passthrough Signals . . . . . . . . . . . . . . . . . . . . . . 484

Using the S/PDIF Output Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Using an XLR Adapter for Consumer-Level Analog Output . . . . . . . . . . . . . . . . . . 486

Using the Digital Cut Tool: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Selecting Output and Timecode Formats for 23.976p, 24p, and

25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Selecting Output Formats for 24p and 25p Projects . . . . . . . . . . . . . . . . . 488

Selecting Output Formats for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . 491

Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . . . . . . . 491

Outputting Drop-Frame and Non-Drop-Frame Timecode

Simultaneously for Downstream Encoding . . . . . . . . . . . . . . . . . . . . . . 492

Indicating the Destination Timecode Rate. . . . . . . . . . . . . . . . . . . . . . . . . 492

Selecting the Video Pulldown Cadence. . . . . . . . . . . . . . . . . . . . . . . . . . . 493

Performing an Insert Edit with Pulldown. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Changing the Default Pulldown Phase for Sequences. . . . . . . . . . . . . . . . . . . 495

Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Using the Matchback Option. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

How Matchback Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

Chapter 17 MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . 501

Creating Group Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Creating Multigroup Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Full-Monitor Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Quad Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Nine Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Playing a Linecut on the Source and Client Monitors . . . . . . . . . . . . . . . . . . . 509

MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Real-time Playback in MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Limitations on Playback of MultiCamera Media. . . . . . . . . . . . . . . . . . . . . . . . 512

MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Switching Clips with the Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Editing and Playing Back a Linecut in MultiCamera Mode . . . . . . . . . . . . . . . 513

Using the Add Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Using the Group Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Using the Multi-angle View Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515

Using Match Frame in MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Selective Camera Cutting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Chapter 18 Using Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Changing the Settings List Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Selecting Another User. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Naming Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Restoring Default Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Copying Settings Between Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . 531

Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Manipulating Settings by Importing User Profiles or

Copying Files Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Audio Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Audio Projects Settings: Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Audio Project Settings: Input Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Audio Project Settings: Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Bin Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Capture Settings: General Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548

Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Capture Settings: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Composer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Composer Settings: Window Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Composer Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Composer Settings: FF/REW Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555

Composer Settings: MultiCam Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556

Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Correction Settings: Tabs Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Correction Settings: Units Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Correction Settings: Levels Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Correction Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562

Deck Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Deck Preferences Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565

Effect Editor Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Export Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

Export Settings: QuickTime Reference Options . . . . . . . . . . . . . . . . . . . . . . . 569

Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . 572

Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Export Settings: QuickTime Compression Settings. . . . . . . . . . . . . . . . . . . . . 575

Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Export Settings: OMFI, AAF, and AFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Export Settings: AVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Export Settings: AVI Video Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Export Settings: Windows Media Export Options . . . . . . . . . . . . . . . . . . . . . . 584

Windows Media Legacy Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Existing Windows Media Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . 584

Windows Media Options Video Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 585

Custom Profile Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587

Export Settings: Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589

Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Export Settings: Graphic Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Film and 24P Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Grid Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Grid Settings: Coordinates Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Grid Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600

Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Import Settings: Audio Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606

Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Interface Settings: Appearance Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609

Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610

Interplay Server Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Interplay User Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612

Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Media Creation Settings: Drive Filtering & Indexing Tab . . . . . . . . . . . . . . . . . 614

Media Creation Settings: Capture, Titles, Import, and

Mixdown & Transcode Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Media Creation Settings: Motion Effects Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 615

Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Media Creation Settings: Media Type Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . 616

Media Services Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Mouse Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

PortServer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

Remote Play and Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Safe Colors Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Script Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Sound Card Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Timeline Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Trim Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Trim Settings: Play Loop Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Trim Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Video Output Tool Settings: SD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Video Output Tool Settings: HD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634

Chapter 19 File Format Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

Graphics (Image) Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Supported Graphics (Image) File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Import Specifications for Supported Graphics File Formats . . . . . . . . . . . . . . 638

Preparing Graphics Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Frame Size for Imported Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Animation Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644

Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646

BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648

BWF Information Displayed in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648

Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Importing and Syncing BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650

Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . . . . . . . . . . . . . 652

Chapter 20 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . 655

Compression and Avid Editing Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655

Monitor Display Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656

Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657

Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657

Resolution Specifications: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 658

Resolution Specifications: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . 660

Resolution Specifications: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . 662

Resolution Specifications: Multicam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663

Resolution Specifications: Digital Video (DV). . . . . . . . . . . . . . . . . . . . . . 663

Resolution Specifications: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664

Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665

Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666

Estimating Drive Space Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666

Estimated Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667

Estimated Storage Requirements: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . 667

Estimated Storage Requirements: JFIF Interlaced . . . . . . . . . . . . . . . . . . 668

Estimated Storage Requirements: JFIF Progressive . . . . . . . . . . . . . . . . 671

Estimated Storage Requirements: DV. . . . . . . . . . . . . . . . . . . . . . . . . . . . 674

Estimated Storage Requirements: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . 675

Maximizing Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675

Managing Storage to Improve Playback Performance . . . . . . . . . . . . . . . . . . . . . . 676

Chapter 21 Working in a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677

Working with 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678

Working with 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678

Planning a 24p or 25p Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679

24-fps Film Source, SDTV Transfer, Multiformat Output . . . . . . . . . . . . . . . . . 680

24-fps Film or HD Video Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

25-fps Film or HD Video Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Audio Transfer Options for 24p PAL Projects . . . . . . . . . . . . . . . . . . . . . . . . . 692

Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Working in a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Creating a 23.976p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Film and 24p Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

23.976-fps Film Transfer or HD Video Source, SDTV Downconversion,

Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Limitations for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Film Shoot Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Viewing Dailies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703

Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703

Video Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704

Understanding the Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Transferring 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Stage 1: Transferring Film to Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Frames Versus Fields. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to

30-fps Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . . . . . . . . . 708

Maintaining Synchronized Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Stage 2: Capturing at 24 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

PAL Method 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711

PAL Method 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712

How the Avid System Stores and Displays 24p and 25p Media . . . . . . . . . . . . . . 713

Displaying Media While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

Displaying Media During a Digital Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714

Film-to-Tape Transfer Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714

Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Transfer Quality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Additional Film Transfer Aids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716

Chapter 22 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

High-Definition Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Video-Based Television Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723

Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Modifying the Format of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

Converting a 24p NTSC Sequence to 1080p/23.976 . . . . . . . . . . . . . . . . . . . 730

Converting a 23.976p NTSC Sequence to 720p/23.976 . . . . . . . . . . . . . . . . . 731

Mixing SD and HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

Displaying Formats in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

Editing at 60 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Working with True 24 FPS Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Transcoding HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734

Chapter 23 International Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Using a Local Language Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Choosing a Locale on an English Language Operating System. . . . . . . . . . . . . . . 736

Non-English Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Using Foreign Keyboard Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742

Moving Older Projects to this Version on Windows. . . . . . . . . . . . . . . . . . 743

Recommendations and Restrictions for International Character Support. . . . . . . . 744

Avid Supports English Plus One Locale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744

Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . . . . . . . . . . 744

Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . . . . . . . . . . 744

Chapter 24 Using the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747

Configuring the MCS3 Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748

Using the Default Button Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749

Default Navigation Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749

Default Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749

Mapping MCS3 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750

Configuring a Shifted Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Customizing the Maximum Jog Speed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Customizing the Maximum Shuttle Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752

Creating Multiple Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

Editing Footage with the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

Moving Through Footage in Jog Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754

Moving Through Footage in Shuttle Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754

Using the MCS3 for Editing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754

Troubleshooting the MCS3 Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757

Tables

Interface Component Style Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Drive Filtering Default Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Compatible Log Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Avid Log Global Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Avid Log Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Function Keys Available When Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

J-K-L Functions for Deck Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Support for Photoshop Layer Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Support for Photoshop Special Layer Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Bin Object Icon Descriptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Range Menu Items for Explicit Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Range Menu Items for Implicit Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Modifiable Bin Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Modify Command Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Edgecode Types and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Timecode Frame Counts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Bin Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

DRM Attribute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Relink Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Relink-Specific Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

External Fader Controller and Mixer Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Command|8 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Audio Punch-In Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

GPI Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

GPI Node Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

AudioSuite Window Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Export Settings Guidelines for AAF Export to Pro Tools. . . . . . . . . . . . . . . . . . . . . 440

Send To DigiDelivery Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Send To Digidesign Pro Tools Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Send To Digidesign Pro Tools on Avid Unity Options . . . . . . . . . . . . . . . . . . . . . . . 447

Selecting a QuickTime Export Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .461

24p and 25p Project Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Audio Play Rates for 24p and 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Audio Play Rates for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

Default Locations of Avid Projects Folders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Settings Display Groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Audio Project Settings: Main Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Audio Project Settings: Input Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Audio Project Settings: Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Capture Settings: General Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548

Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Capture Setting: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .551

Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .552

Composer Settings: Window Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Composer Settings Options (Edit Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

Composer Settings: FF/REW Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555

Composer Settings: MultiCam Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .556

Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Correction Settings: Tabs Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Correction Settings: Units Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .558

Correction Settings: Levels Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Correction Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .560

Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .562

Deck Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Deck Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565

Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568

Export Settings: QuickTime Reference Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . . . . . 572

QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Export Settings: Avid QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576

Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Export Settings Options (AAF, OMFI, and AAF) . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Export Settings: AVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Export Settings: AVI Video Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Windows Media Legacy Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Existing Windows Media Custom Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Windows Media Options Video Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Custom Profile Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587

Export Settings: Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589

Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Export Settings: Graphic Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Film and 24P Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Grid Settings Options (Coordinates Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Grid Settings Options (Display Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600

Import Settings: Image Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Import Setting: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Import Setting: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Import Settings: Audio Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606

Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Interface Settings: Appearance Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609

Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610

Interplay Server Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Interplay User Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .613

Media Creation Settings: Drive Filtering & Indexing Tab . . . . . . . . . . . . . . . . . . . . . 614

Media Creation Settings: Capture, Titles, Import, and

Mixdown & Transcode Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Media Creation Settings: Motion Effects Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Media Creation Settings: Media Type Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616

Media Services Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Mouse Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618

Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Safe Colors Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Sound Card Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Timeline Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Timeline Settings Options (Edit Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Trim Settings: Play Loop Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Trim Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .629

Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

Video Output Tool Settings: SD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Video Output Tool Settings: HD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Workspace Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634

Supported Graphics (Image) File Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

Graphics Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Frame Size for Imported Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

OMFI File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646

Recommended Field Settings for Two-Field Import and Export. . . . . . . . . . . . . . . . 653

Monitor Display Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656

Resolution Specifications: HD (MXF only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .658

Avid HD Formats and Other HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660

Resolution Specifications: JFIF Interlaced (MXF and OMF) . . . . . . . . . . . . . . . . . . 660

Resolution Specifications: JFIF Progressive (MXF and OMF) . . . . . . . . . . . . . . . . 662

Resolution Specifications: Multicam (MXF and OMF). . . . . . . . . . . . . . . . . . . . . . . 663

Resolution Specifications: Digital Video (MXF and OMF). . . . . . . . . . . . . . . . . . . . 664

Resolution Specifications: MPEG (MXF and OMF) . . . . . . . . . . . . . . . . . . . . . . . . 665

Estimated Storage Requirements: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667

Estimated Storage Requirements: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . . 669

Estimated Storage Requirements: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . . 671

Estimated Storage Requirements: DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674

Estimated Storage Requirements: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675

Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Ratio of Film to Video with FPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Choices for Modifying Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Default Button Mappings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750

Maximum Jog Speed Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752

Maximum Shuttle Speed Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752

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.

This guide contains all the advanced task-oriented instructions and conceptual information you need to use the capture, editing, and output features of your Avid application, as well as information about file format specifications, and other supplementary information. The Basics Guide for your Avid application is a companion to this Advanced Guide. It contains all the basic task-oriented instructions and conceptual information you need to get started using the product. The contents of this guide and of the Basics guide are also available in the Help. This guide is intended for all users, from beginning to advanced. Unless noted otherwise, the material in this document applies to the Windows

XP operating system.

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.

Using This Guide

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

> This symbol indicates menu commands (and subcommands) in the

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.

If You Need Help

If you are having trouble using your Avid editing application:

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 ReadMe because the online version is updated whenever new information becomes available. To

view the online ReadMe, 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.

If You Need Help

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.

Accessing the Online Library

The Online Library for your Avid editing application contains all the product documentation in PDF format, including a Master Glossary of all specialized terminology used in the documentation for Avid products.

Most Avid online libraries also include multimedia content such as tutorials and feature presentations. This multimedia content is an excellent first resource for learning how to use your application or for helping you understand a particular feature or workflow.

The Online Library for your Avid editing application is installed along with the application itself.

You will need Adobe® Reader® to view the PDF documentation online. You can download the latest version from the Adobe web site.

Using This Guide

To access the Online Library, do one of the following:

t From your Avid editing application, select Help > Online Library. t From the Windows desktop, select Start > Programs > Avid > Avid editing application

Online Library.

t Browse to the Online Library folder, and then double-click the MainMenu file.

The Online Library folder is in the same location as the application itself, for example: C:\Program Files\Avid\Avid editing application\Online Library

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

Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment.

To learn about Avid's new online learning environment, Avid Learning Excellerator (ALEX), visit http://learn.avid.com.

For information on courses/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

Working with the Project Window: Advanced

The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects. These topics are described in the following sections:

• Managing User Profiles

• Managing Folders and Bins

• Using the Info Display

• Displaying Usage Information

• Customizing the Appearance of the Avid User Interface

• Customizing Your Workspace

• Sharing Bins and Projects in an Avid Unity Environment

For basic information about the project window, see “Working with the Project Window: Basics” in the Help or in the Avid Symphony Nitris Basics Guide, available as a PDF file in the Online Library.

Managing User Profiles

You can establish different profiles for a single user without having to log out of your system and log back in under a different name (see “Changing User Profiles” on page 42). You might want separate editing functions to have separate settings. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on. These profiles have separate folders and settings that kept are in the following folder: drive:\Program Files\Avid\Avid editing application\Avid Users\UserName.

You can also import a user or user profile from another location.

Chapter 1 Working with the Project Window: Advanced

Creating a User Profile

To create a user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Create User Profile.

Project window title bar

User Profile Selection menu

The Create User Profile dialog box opens.

3. Type a name in the Profile Name text box, and then click OK. The new user profile appears selected in the menu, and the user profile name appears in

the Project window title bar.

Importing a User Profile

To import user settings from another user or user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Import User or User Profile.

3. Navigate to the user or user profile you want to import.

Changing User Profiles

To change user profiles:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select another user profile. The new user profile name appears in the Project window title bar.

Managing User Profiles

To return to the original user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select the default user profile.

If you are using a user profile other than the default and you change to another project, the default user settings are loaded, even though the Project window still displays your non-default user profile name. You must reselect the user profile you want to have active.

Exporting a User Profile

You can create a user profile on one system, export it to a server, and then import the same user profile from another system to the new system. Export the user profile as a Personal or Group profile.

When you select Personal, the user profile performs an auto-load and an auto-save every time you open a project. Every time the user profile is updated, it saves the new profile information. For example, you can create the user profile Jennie on one system, export it to another location (a server), and then import it to a different system. Any time you change the Jennie user profile, it updates to the server and when you open the Jennie user profile on either system, it uses the most updated Jennie user profile.

When you select Group, the user profile auto-loads but it does not auto-save. Changes made to the user profile only affect the system on which the changes were made. The changes do not update to the server.

To export user settings to another user or user profile:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Export User or User Profile.

3. Select Personal or Group.

4. Navigate to the location where you want to place the user or user profile.

5. Click OK.

When exporting User Profiles in an Avid Unity™ environment, make sure the workspace containing the user profile has the same drive letter on all systems.

Cross-platform (Macintosh to Windows or Windows to Macintosh) user profiles can not be shared.

Chapter 1 Working with the Project Window: Advanced

Updating User Profiles

The Update User Profile option lets you add user settings, such as the Send To settings options, to an existing Settings list. For example, if you are upgrading to a version of your application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list.

To update user profiles:

1. Click the Settings tab in the Project window.

2. Click the User Profile Selection menu, and select Update User Profiles. Any settings that have been added to the upgraded version of the application now appear

in the Settings list.

Deleting User Profiles

To delete a user profile from your desktop:

1. Navigate to the Avid Users folder, and then select the user folder you want to delete. For information about the location of the Avid folders, see “Using the Avid Projects and

the Avid Users Folders” in the Help.

2. Press the Delete key, then click OK in the dialog box that appears.

3. Empty the Recycle Bin to remove the files from the system.

4. Close the windows, and restart the Avid application. The deleted user no longer appears in the Select Project dialog box.

Managing Folders and Bins

You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure provides both simplicity and backup security.

Although the specifics can vary depending on your production needs and habits, the basic principles of project management are as follows:

• Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene.

• Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as follows:

- Create a set of bins for the capture stage.

For example, you can create one bin for each source tape or each day’s worth of dailies transfers to be captured to avoid slowing the system with large bins and causing confusion between tapes.

- Create a second set of bins for organizing your project.

For example, you can create a separate bin for each segment of a video project or each scene of a 24p project, depending on the preferences of the editor.

Managing Folders and Bins

- Create a third set of bins for the editing stage, including:

A current cut bin for storing each work in progress (sequence) An archive bin for keeping the original version of each cut (sequence) A selects or storyboard bin for screening selected clips or cuts gathered from the

source bins A format cuts bin for storing the final cuts with added format elements such as

segment breaks, color bars and tone, slate, or countdown

For information on using scripts for your projects, see “Using Script Integration in Video

Projects” on page 247.

• (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each capture bin and show cut bin, or a folder to contain all shot logs to be imported.

• Save these files as templates for future productions of a similar nature.

Chapter 1 Working with the Project Window: Advanced

A sample template of bins for a project is shown below.

Project folder

Folders containing bin files

Bin files

Settings file Project file

This hierarchy allows you to have one set of bins available in the Project window during capture and organizing, and another set of bins available during editing to reduce clutter.

Creating a Folder in a Project

To create a folder in a project:

1. Click the Bins tab in the Project window.

2. Click the Fast menu button, and select New Folder. A new untitled folder appears.

3. Click the untitled folder name in the Bins list and rename it.

Managing Bins and Memory

System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance.

Managing Folders and Bins

If your system is running low on memory and you need to free up memory, you can either close your bins or use the memory Clear button. If you close your bins, some of your memory remains unavailable until you exit the application because the online master clips remain in memory. The Clear button, however, closes and saves all of your open bins and clears out any cached data of the online master clips.

To view memory usage:

t Click the Bins tab of the Project window.

The memory usage monitor opens in the Bins tab of the Project window. As you open multiple bins, the memory usage indicator increases and updates.

Memory usage display Clear button

Size of bin

Avid recommends that you keep memory usage below 80-85%. If you exceed the recommended usage, a dialog box opens informing you that your memory usage is high and recommending that you should close some bins and save your project.

Bins containing sequences use more memory than bins containing master clips. For bins that contain a large number of sequences, you can free up memory and still keep your old sequences. Create an archive bin and move older sequences that you do not use anymore to the archive bin. Keep the archive bin closed.

To free up memory:

1. If your memory usage percentage is high and you need to free up memory, click the Clear button in the Bins tab of the Project window.

A dialog box opens asking if you want to close and save all opened bins.

2. Click OK. All bins close; the memory usage percentage should go down.

Chapter 1 Working with the Project Window: Advanced

This operation deletes cached data for the online master clips only. Memory might also be used by other parts of the application and will not be reduced by using the Clear button.

Saving Bins Automatically

The Avid system automatically saves changes to your work on a regular basis during each session. You can modify the frequency of the automatic backups by using the Bin settings in the Project window Settings list.

When you are working with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin are not saved. After you save the bin, the asterisk is removed.

When autosave occurs:

• Any open bins are updated with changes made since the last autosave.

• Copies of these bins are placed in the project’s backup bin folder: drive:\Program Files\Avid\[Avid editing application]\Avid Attic folder\bin_name

The system automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. The procedure for recovering bin files from the Avid Attic folder is described in “Retrieving Files from the Attic Folder” in the Help.

To adjust the frequency of automatic saves:

1. In the Project window, click the Settings tab, and then double-click Bin. The Bin Settings dialog box opens.

2. Type a number in the Auto-Save interval text box.

3. Click OK.

Setting to zero the maximum number of files stored in the Avid Attic folder as well as the maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved. For more information about backup options, click the Bin Settings dialog box and press F1, or see “Bin Settings” on

page 545.

For added security, you can save bins manually — for example, immediately after an important edit. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder.

Using the Info Display

The Info display in the Project window allows you to view system memory information and access the Hardware tool.

To open the Info display:

t Click the Info tab in the Project window.

Using the Info Display

Info tab

The items listed in this view are for information only and cannot be changed.

Viewing Memory

To display system memory information:

t Click the Info tab in the Project window, and then click the Memory button.

The Memory window opens.

The Memory window displays the following information:

• Objects: The total number of memory handles currently used by the Avid system.

Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project.

• Total physical memory: The total number of bytes of RAM (random-access memory).

• Available physical memory: The amount of RAM available for allocation by the

Windows system.

• Total page fi l e : The total number of bytes stored in the paging file. The paging file is

used as virtual memory by the Windows system.

• Available page file: The total number of bytes available in the paging files.

• Working set (minimum and maximum): The set of memory pages currently available

to the application in RAM.

You can view additional memory information through the Windows Task Manager and Performance Monitor tools. You can view information about system activities, such as driver messages, through the Windows Event Viewer. For information on these tools, see the Windows Help.

Chapter 1 Working with the Project Window: Advanced

You can improve the performance of large projects by reducing the number of objects. To do this, close unused bins, unmount unneeded media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then quit and restart the Avid application. If performance is still slow, restart your system.

Accessing the Hardware Tool

The Hardware tool gives a visual representation of usage for each drive and provides operating system information.

To open the Hardware tool, do one of the following:

t Click the Info tab in the Project window, and then click the Hardware button. t Select Tools > Hardware.

The Hardware tool opens.

For more information about the Hardware tool, see “Using the Hardware Tool” on page 85.

Displaying Usage Information

The Statistics feature gathers and reports information on system usage. You can use this information to support business functions such as resource management.

All statistics are gathered and reported by project. The file that contains this information is formatted so you can use it as input to software programs such as analysis applications, spreadsheets, or report generators.

Do not rely on the Statistics feature for billing or other financial purposes.

To view and update statistics for an open project:

t Click the Usage tab in the Project window.

To print the Statistics file:

t Select File > Print Usage.

Statistics File Structure and Layout

A new Statistics file is created each time you open the project. The files are stored in a Statistics folder inside each project folder.

The file name has the following format:

Statistics.yymmdd.HHMMSS

where:

Variable Description

yy Indicates the last two digits of the year

mm Indicates the month

dd Indicates the day

HH Indicates the hour

MM Indicates the minutes

SS Indicates the seconds

Displaying Usage Information

The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. The following figure shows a sample Statistics file.

Chapter 1 Working with the Project Window: Advanced

The values in the first column indicate the content of the line:

title1

title2

heading

100

project info

101

Time Project open

102

Capture tool open

104

Capture tool active

105

Captured Media bytes used

106

Rendered Effects bytes used

110

Effects rendering time

111

Title tool open

113

Title tool active

114

Title tool rendering

115

Capture tool capturing

116

Capture tool logging

117

user comments

Displaying Usage Information

The values in the second column indicate the type of data in the line:

project info

time used

bytes used

text string

Chapter 1 Working with the Project Window: Advanced

Importing the Statistics File into a Spreadsheet

You can import the Statistics file into a spreadsheet or other program as an ASCII file and

use the application (for example, Microsoft

To import a Statistics file into Microsoft Excel:

Excel) to set up the proper format.

1. Start Microsoft Excel.

2. Select File > Open, and navigate to the Statistics file you want to import. Make sure All Files (*.*) is selected in the Files of Type list.

3. Click Open. The Text Import wizard starts.

4. Select Delimited for the Original Data Type, and click Next.

5. Select Comma for Delimiters, and click Next.

6. Select General for Column Data Format.

7. Click Finish. The statistics file appears in spreadsheet format.

The following figure is the sample file from the previous section as it appears when you import it into a spreadsheet.

Displaying Usage Information

Chapter 1 Working with the Project Window: Advanced

Displaying Disk Space Statistics

To improve system performance, statistics for disk space (captured media and rendered effects) are not calculated and are not displayed in the Usage window unless you issue a Console command.

To display disk space statistics in the Usage window:

1. Select Tools > Console.

2. In the command entry text box, type:

toggleStatSpace

3. Press Enter.

4. Select File > Load Media Database.

After the media database is loaded, the Usage window displays the number of files and disk space used for captured media and rendered effects.

To update the display:

t Click the Usage tab in the Project window.

To prevent recalculation:

t Reenter the

toggleStatSpace

command.

Customizing the Appearance of the Avid User Interface

The Appearance tab in the Interface Settings dialog box provides you with controls for customizing the colors and button style of the Avid user interface. You can also change the font and point size of the type in the various windows.

For complete reference information on the Interface Settings dialog box, see “Interface

Settings” on page 607.

Changing Interface Component Colors

You can use a color selection grid to change the color of interface components.

The Settings list has several Interface templates with predefined color schemes. For information about using the Interface templates, see “Using Interface Appearance

Templates” on page 60.

Check box

Color boxes

Customizing the Appearance of the Avid User Interface

To set the color of an interface component:

1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens.

2. Click the Appearance tab. The Interface components whose colors you can change are listed in the top half of the

Appearance tab, as shown in the following illustration.

Interface component list

3. Click in the color box next to the interface component that you want to customize. A color selection grid opens.

4. Click the color to which you want to set your interface component. The color selection grid disappears. The color you selected appears in the color box. A

check mark appears in the check box to show that you want your new color attribute for this component to take effect.

If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value.

Chapter 1 Working with the Project Window: Advanced

5. Do one of the following:

t Click Apply to apply the changes you selected.

If you click Cancel after you click Apply, interface components retain the colors you applied.

t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box.

The changes you selected but did not apply do not take effect.

Changing Button and Toolbar Styles

You can control the shading style and depth of buttons and toolbars. You can also change the shape of buttons and the way buttons are spaced in Monitors and in the Timeline.

To set the style of buttons and toolbars:

1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens.

2. Click the Appearance tab. The interface component style controls appear in the bottom half of the Appearance tab,

as shown in the following illustration.

3. Select from one or more of the menus, as described in the table following this procedure.

4. Do one of the following: t Click Apply to apply the changes you selected.

If you click Cancel after you click Apply, your editing application retains the selections you applied.

Customizing the Appearance of the Avid User Interface

t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box.

The changes you selected but did not apply do not take effect.

Interface Component Style Controls

Control Description Options Examples

Shading Style Controls the graphic style

used to shade buttons and toolbars.

Shading Depth Controls the three-

dimensional “rounding” of the buttons and toolbars

Monitor Button Separation

Timeline Button Separation

Controls the spacing between the Monitor buttons and between the Timeline buttons

Button Style Controls the shape of

buttons.

Convex Dim Radial Convex Radial Bright Radial

Percentage values

Maximum Moderate None

Oval Octagon Rounded Square Swoosh Antique

Convex

Dim Radial

Convex Radial

Bright Radial

Shading depth 5% Shading depth 50%

Maximum button separation

Moderate button separation

No button separation

Oval

Rounded

SquareOctagonal

Swoosh

Antique

Chapter 1 Working with the Project Window: Advanced

Using Interface Appearance Templates

There are several interface appearance templates available for the Avid user interface that have preset background and button colors.

To use an interface appearance template:

t Click to the left of one of the named Interface settings in the Settings list in the Project

window.

The look of your Avid user interface changes.

To return to the default interface:

t Click to the left of the unnamed Interface setting.

For information on how to change the appearance of particular components of your Avid user interface, see “Customizing the Appearance of the Avid User Interface” on page 56.

Changing Font and Point Size

You can change the default font and point sizes of the Project, Bin, Composer, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt.

The following table describes the windows you can change, and where these changes are saved.

Window Location of Changes

Project Changes the font and point size of the text in the Project window; saved as a

Project setting.

Bin Changes the font and point size of the text in the Bin window; saved as a Bin

setting (not a Bin View setting).

Composer Changes the font and point size of the sequence or source clip name text;

saved as a Composer setting.

Script Changes the font and point size of the text in the Script window; saved as a

Script setting.

Timeline Changes the font and point size of clip text; saved as a Timeline View setting.

Customizing Your Workspace

To change the font displayed in the Project, Timeline, Composer, Script, or Bin window:

1. Click the Project, Timeline, Composer, Script, or Bin window to make it active.

2. Select Edit > Set Font. The Set Font dialog box opens.

3. Click the Font menu, and select a font.

Any font installed on the Avid system appears in the list. For information on adding fonts to your system, see the documentation for your operating system.

4. Type another point size for the font in the Size text box.

5. Click OK. The new font and point size appear in the active window.

When you close the window, the last font and point size applied are saved with the window.

Customizing Your Workspace

A workspace is the arrangement and size of tool windows displayed on your Avid system. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during capture you might want to display the Capture tool and Video Input tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in particular locations and sizes. For more information on workspaces, see “Switching Between Workspaces” on page 64.

While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either:

• The arrangement from the last time you left the workspace

• The arrangement you set for the workspace, regardless of any changes you made

You can select your preference in the Workspace Settings dialog box. For more information, see “Creating a New Workspace Setting” on page 62.

You can assign up to eight buttons that allow you to switch between user-customized workspaces. This is useful if there is more than one user accessing the same Avid system. Each user can assign up to eight workspaces by using the workspace buttons. The buttons are assigned to the workspaces in the Settings list in the Project window in the order that

Chapter 1 Working with the Project Window: Advanced

they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth.

You cannot assign certain tool windows to a workspace, such as the Hardware tool, the Communication (Serial) Ports tool, and the Media tool.

Creating a New Workspace Setting

To create a new workspace setting:

1. Click the Settings tab in the Project window. The Settings list appears.

2. Scroll to the bottom of the Settings list, and select Workspace.

3. Select Edit > Duplicate. A new workspace setting appears in the Settings list.

If you are duplicating a previously named workspace setting, a .1 appears at the end of the new name.

4. Click to the left of the new workspace you want to set. A check mark appears next to the workspace.

5. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text cursor and

box. Make sure you click the Custom name column and not the Setting name.

New workspace Custom name column

b. Type a name for the new custom workspace; (for example, Logging). c. Press Enter. d. Open the windows and tools with which you want to associate the workspace.

Resize and move the windows to the location you want them to appear on the monitors.

6. Double-click the custom workspace setting. The Workspace Settings dialog box opens.

7. Select or deselect the following options, depending on your preference for the behavior of the workspace:

- Activate Settings Linked By Name: This setting allows you to link other settings

to the workspace. For more information, see “Linking User Settings and

Workspaces” on page 63.

- Continually Update This Workspace: This setting automatically preserves the

workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.

- Manually Update This Workspace: This setting saves the workspace in its current

arrangement when you click Save Workspace Now. Future changes to the arrangement of the tool windows are disregarded.

8. Click OK.

Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name.

Customizing Your Workspace

For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays). You can also link this workspace to a Settings dialog box with customized options selected. You do this by creating a setting and giving it the same name in the Settings list in the Project window as the name of the workspace.

To link user settings and a workspace:

1. Create a new workspace setting. For more information, see “Creating a New Workspace Setting” on page 62.

2. Give the workspace a custom name.

3. Click a setting in the Settings list that you want to link to the new workspace. For example, click Timeline View. Adjust the Timeline to how you want it displayed (enlarged tracks, audio waveform, and so forth).

4. Give this Timeline View setting the same name you gave the workspace in step 2. For information on naming a Timeline view, see “Saving a Customized Timeline View”

in the Help.

5. Double-click another setting, (for example, Audio). Select the new options, (for example, Default Pan), and close the dialog box.

Chapter 1 Working with the Project Window: Advanced

6. Give this setting the same name you gave the workspace in step 2.

Linked setting

Linked workspace

7. Double-click the workspace you just created. The Workspace Settings dialog box opens.

8. Click Activate Settings Linked By Name.

9. Click OK. All the settings and the new workspace you created are activated.

Switching Between Workspaces

To switch from one workspace to another:

1. Click the Settings tab in the Project window. The Settings list appears.

2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace.

You can also switch between workspaces by using the workspace buttons. To assign workspace buttons, see “Assigning a Workspace Button” on page 65.

Deleting a Workspace

To delete a workspace:

1. Select the workspace you want to delete from the Settings list in the Project window. The workspace is highlighted.

Customizing Your Workspace

Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace.

2. Press the Delete key. The selected workspace is removed from the Settings list.

Assigning a Workspace Button

To assign a workspace button:

1. If you want to assign a workspace button to a palette (for example, the Tool palette from the Fast menu) or the Keyboard, open the palette or Keyboard setting.

2. Select Tools > Command Palette.

W1 button

More tab

3. Click the More tab.

4. Select Button to Button Reassignment.

5. Click a workspace button (W1 – W8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting.

The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth.

The workspace button appears in the new location.

Chapter 1 Working with the Project Window: Advanced

6. Click the W1 button to display the first workspace that appears in the Settings list. When you open the windows associated with the first workspace, they open in the

assigned locations.

Sharing Bins and Projects in an Avid Unity Environment

The following topics describe how to work in an Avid Unity environment that does not use an asset manager or Avid Interplay Transfer. If you are using an asset manager or Avid Interplay Transfer, see the Avid Interplay Engine and Avid Interplay Aceess Administration Guide and the Avid Interplay Transfer Setup and User’s Guide.

Understanding Avid Unity

Avid Unity MediaNetwork and Avid Unity ISIS allow you to share bins and projects across the network. When you place your bins and projects on Avid Unity workspaces (drive volumes), several users can work on the same project at the same time.

For example, an editor can create sequences in one bin while an assistant recaptures media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.

Each user can perform tasks from his or her own computer. The Avid system provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin.

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

In an Avid Unity environment, the Avid software creates and stores projects and bins on the client’s internal drive. If a user moves or saves these projects and bins to the workspace, only one client can work on the project at a time. If two or more users are working simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them.

For information on managing workspaces, see the clients’ Quick Start cards. For details on Avid Unity, see the Avid Unity MediaNetwork Management Guide or the Avid Unity ISIS Administration Guide.

Sharing Methods

Before you begin copying or creating bins and projects on an Avid Unity workspace, determine the sharing method you are using for the project. You can either share bins alone or you can share bins and projects.

Shared Bins

When you use shared bins, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows:

• Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.

• Displays a second column of information for the bin that identifies the computer that currently has the bin locked.

• Uses bold text to identify bins that are locked by another user.

Shared Bins and Projects

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The Avid system identifies information from each computer using the shared workspace as follows:

Sharing Bins and Projects in an Avid Unity Environment

• Creates a project folder for each computer that accesses the project. The Avid system adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data for other users.

The folder is similar to the folder created when you select New Folder from the Project Window Fast menu. For more information, see “Managing Folders and Bins” on

page 45.

• Displays an extra column in the Project window that identifies the computer that has the bin locked.

• Uses bold text to identify bins that are locked by other users.

• Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.

Depending on the number of users sharing a workspace, you might want to increase the number of files that the Avid system stores in the Unity Attic folder (using the Bin Settings dialog box).

Chapter 1 Working with the Project Window: Advanced

The following illustration shows the Project window for a shared project.

Bold bins are locked for editing but can be viewed.

Project folders for each user

The following illustration shows the contents of a shared workspace at the desktop level.

Shared projects

Shared media files Unity Attic

Computer that currently has the bin locked

Opening a Shared Project

To open an existing project on the shared volume:

1. Start your Avid application.

2. In the Select Project dialog box, navigate to the project on Avid Unity. The Project window opens. For a description of the elements specific to Avid Unity in

the Project window, see “Sharing Methods” on page 67.

Unlocked bin

Locked bin

Sharing Bins and Projects in an Avid Unity Environment

3. Open one of the bins by double-clicking the Bin icon. The bin appears with a Bin Lock Status button. You can click the red (locked) or green

(unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications.

The following illustration shows locked and unlocked bins.

When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 70.

The Bin Lock Status button does not appear if the bin is not on Avid Unity.

Working with Locks

The Avid system uses a locking mechanism to help you keep track of who is currently working in a shared bin. This allows one user to write to a bin; multiple users can read the files in that bin.

Default Locking Mechanism

The user who opens the bin first gets the lock and obtains write access to the bin. The Avid system uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock.

If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.

You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.

Chapter 1 Working with the Project Window: Advanced

To open a bin without taking the lock:

t Alt+double-click the bin in the Project window.

Overriding the Default Locking Mechanism

You can instruct the Avid system to keep a bin locked even after you close it.

To permanently lock a bin:

1. Select one or more bins in the Project window.

2. Right-click the Bin icon, and select Lock Project Bin. An asterisk appears next to the user name in the Project window. In this case, the bin

remains locked even after you close it.

To unlock the bin:

t Right-click the bin in the Project window, and select Unlock Project Bin.

Restrictions and Limitations for Locked Bins

The Lock Project Bin and Unlock Project Bin commands are also available from the Clip menu.

The following restrictions apply to bins that are locked by another user:

• You cannot select a locked bin for operations such as capture, title creation, and importing. This helps to minimize the problems of modifying a locked bin.

• You cannot drag an item to a locked bin.

• If you drag an item from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin.

• You cannot move a bin that is locked by another user.

• If you modify a locked bin, the Avid system does not let you save the bin to the same name, but it allows you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The application sees the duplicate contents of these bins and resolves the conflicts by newest modifications (this might not be desirable behavior).

Try to avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin.

Sharing Bins and Projects in an Avid Unity Environment

The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Suggestions for Improving Performance When Working with Shared Bins

The following information is provided to improve performance when working with shared bins in an Avid Unity environment.

•Do not use the same name for your editing system machine name and your user name. In fact, do not use the same name for security objects such as machine names, user names, group names, and domain names. If any two security objects have the same name, Windows might become confused and sharing might not work properly.

•Do not use the same prefix for machine names in a shared environment. No full name can be a prefix of another name. If one of the systems has a machine name that is the full name, and others in the environment have the prefix as part of their machine name, problems can occur. For example, if an editing system has a machine name ABC and additional editing systems in the shared environment have machine names ABCnn, ABCxx, the following problems could occur:

- When the system with the machine name ABC is writing to a directory, the systems

whose machine names have the same prefix (ABCnn and ABCxx) might not be able to access the directory.

- When the system with the machine name ABC is rendering, systems whose

machine names have the same prefix (ABCnn and ABCxx) might be unable to launch.

Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.).

• Avoid using Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when editors are using those files or folders. If you do, editors attempting to access those shared bins or projects may experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),” where MESSAGE is replaced by a specific message identifying the action that is being retried.

If the busy condition persists, and the retries are exhausted, a failure message appears. When that happens, ensure that Windows Explorer is not being used on the shared bins you are trying to access, and then try the operation again.

• When you have an environment where more than five users are sharing bins on Avid Unity, Avid recommends using an Avid Interplay server in the workgroup environment.

Chapter 1 Working with the Project Window: Advanced

• When an Avid Interplay server is available in an Avid Unity system in the workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Remote Assets feature to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid Unity client software installed. The Media Tool might become unreliable if an editor in the Avid Unity workgroup environment does not have the Avid Unity client software installed.

Shared Bin and Project Limitations

If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately. If an editor tries to play that file, “media file not found” messages might appear in a monitor window, and access violation errors might occur.

Each editing application maintains a PMR file in its machine name folder inside the OMFI MediaFiles folder or the Avid MediaFiles folder. The PMR file lists all the online media files. Every editing application consults all the PMR files in all the machine name folders to find out which media files are online. Whenever a media file is created, its name is immediately added to the creating editor application's PMR file, and whenever a media file is deleted by its creator, its name is immediately removed from the PMR file.

However, if an editing application other than the creator deletes a media file, the PMR file that contains the deleted file is NOT updated immediately. Once the creating editor encounters an event that causes its PMR to be updated, then all editing systems know that the deleted media file has gone offline.

There are several ways to force an editing application to update its PMR. The simplest is to switch to the desktop and back.

Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.

Shared Bin Lock Icon Limitation

Occasionally, when two editors attempt to open a shared bin at the same time, both editors get the green lock icon. However, only one editor really has the lock, and that editor's machine name appears beside the bin name in both Project windows.

Both editors can modify their copies of the bin, but only the editor that holds the lock, as indicated in the Project window, can save that bin. The other editor is warned that the bin is locked but is allowed to save a copy of the changed bin.

Avid recommends that you use the “Save Bin Copy As...” button and continue working.

Sharing Bins and Projects in an Avid Unity Environment

Drive Filtering in Networked Workflows

The Drive Filtering tab of the Media Creation Settings dialog box includes three options:

• Filter by Resolution

• Filter by System Drive

• Filter by Launch Drive

For Symphony Nitris and for current versions of Avid Media Composer and Avid NewsCutter Avid Media Composer and Avid NewsCutter enabled, Filter by System Drive disabled, Filter by Launch Drive disabled. This caused breakages with the networked workflows as media in new projects were being created on the C: drive instead of the shared storage when using the default Media Creation Settings. To fix this, all three drive filtering options are enabled by default.

Avid Xpress products and Avid Free DV default to Filtering off because these products might not have additional drives available, especially if you are working on a laptop.

Any project brought into a networked workflow that was created with any of the filtering selections off might have problems with networked media creation, such as “Audio and/or Video Mixdown” and “SendToPlayback,” because their Media Creation Settings are still configured for standalone usage.

There are several ways for you to work around this issue. First, adjust the drive filtering settings when switching environments, either by opening the Media Creation Setting and switching the drive filtering settings or by creating multiple Media Creation Settings and switching the active setting whenever you shift environments. If you always work in an environment that differs from the defaults (for example, an Avid Xpress product always connected to shared storage), you can create a Media Creation setting that fits your workflow and add it to your Site Settings so new projects are created with the desired defaults. For more information, see “Using Site Settings” in the Help.

products, these three options are selected by default. Some older versions of

products shipped with Filter by Resolution

Chapter 1 Working with the Project Window: Advanced

The default values for Filter by Resolution, Filter by System Drive, and Filter by Launch Drive are as follows:

Drive Filtering Default Values

Product Filter By Resolution Filter by System Drive Filter by Launch Drive

Symphony Nitris Yes Yes Yes

Media Composer products

NewsCutter products Yes Yes Yes

Media Station PT Yes Yes Yes

Avi d Xpress Pro No No No

Avid Xpress DV No No No

Free DV No No No

Ye s Yes Ye s

Chapter 2

Using Tools

The Tools menu in your Avid editing application provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage. These tools are described in the following sections:

• Using the Deck Controller

• Using the Command Palette

• Using the Avid Calculator

• Using the Console Window

• Using the Hardware Tool

• Using External Controllers as Editing Control Surfaces

Using the Deck Controller

The deck controller provides direct serial or VLXi® V-LAN® control of an Avid-compatible tape deck at any time during editing. This allows you to cue and screen footage from source tapes in various edit modes or when recording a digital cut, without opening the Capture tool.

Chapter 2 Using Tools

To open a deck controller:

t Select Tools > New Deck Controller.

The Avid Deck Manager program is initialized, and a new Deck Controller window opens.

Status indicator

Deck controls

Deck Selection menu

Tape Name button

Each deck controller includes the following elements:

• The Status indicator provides information about the control status of the tape deck, as

Timecode indicator

Eject

Logging controls

Mark IN

Mark OUT

Close button Timecode display Delete Mark IN Delete Mark OUT

Clear Memory button

Go To Memory button

follows:

- If the deck is properly connected and power is on, the deck controller displays

timecode when a tape is mounted.

- If a deck is not properly connected to the system or power is off when you open the

controller, the indicator shows the message “NO DECK.”

- If you turn the deck power off with the deck controller already open, the indicator

shows the message “Power Off.”

- If you switch the deck control to Local on the VTR, the indicator shows the

message “Local.”

For information on connecting decks and cabling, see “Connecting Audio and Video Equipment” in the Help.

• The Timecode indicator flashes green during playback or capture to indicate that the system is receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode.

• The deck controls provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step backward and step forward, pause, and eject.

• The Deck Selection menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see

“Deck Configuration Settings” on page 563.

• The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Source Tape” in the Help.

• Logging controls allow you to log IN and OUT marks while cueing your tape. For more information on logging, see “Logging Directly into a Bin” on page 104. Marks you set with the deck controller are temporary and allow you to return to

timecode locations entered in the window while screening and cueing a tape. If the Capture tool is open, however, timecodes logged in the deck controller also appear in the Capture tool and can be entered into an open bin.

Using the Command Palette

The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse.

Using the Command Palette

The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed in each tab. The functions are Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam (MultiCamera), Other, and More.

Chapter 2 Using Tools

You can use the Command palette to:

• Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable

Buttons” on page 79.

• Map menu commands to various buttons and keys. See “Mapping Menu Commands” on

page 80.

• Directly activate a command. See “Activating Commands from the Command Palette”

on page 82.

For information about each button in the Command palette, right-click a button and select What’s This?

For more information on logging with the Capture tool, see “Logging Directly into a Bin”

on page 104.

Understanding Button Mapping

Mapping user-selectable buttons allows you to reconfigure Tool palettes or the keyboard in various combinations to suit different editing needs.

When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.

The following are a few examples of mapping buttons:

• Subcataloging clips: You can map the Make Subclip button and other clip management buttons.

Make Subclip Find Bin Add Locator

• Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, Transition Corner Display, Fade Effect, Render Effect, Cycle Picture/Sound, Quick Transition, and Grid (which displays Safe Title overlays).

Motion Effect Remove Effect Transition

Corner Display

Fade Effect Render Effect Cycle

Picture/Sound

Quick Transition Grid

Using the Command Palette

• MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang

buttons.

Quad Split Swap Cam Bank Gang

When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes.

For more information on multiple settings, see “Working with Multiple Settings” on

page 529.

The Avid application saves button configurations as follows:

• Changes to the Keyboard palette are saved in the Keyboard settings.

• Changes to the pop-up monitor Tool palette and Tool palette in the Composer window are saved with the Composer settings.

• Changes to Command palettes in Trim mode are saved with Trim settings.

You can change the appearance of the buttons in the Tool palette by using the Interface settings from the Settings list in the Project window. For more information, see

“Customizing the Appearance of the Avid User Interface” on page 56. You can choose to

identify a button’s function with only an icon or with an icon and letters. For more information, see “Interface Settings” on page 607.

Mapping User-Selectable Buttons

To map buttons or keys on the keyboard by using the Command palette:

1. Open a window that has a user-selectable button palette by doing one of the following:

t Activate the Playback, Source, or Record monitor in the Composer window. t Click a Fast Menu button, and drag the Tool palette to open it. t Open a clip in a pop-up monitor. t Enter Trim mode in the Composer window. t Open the Keyboard palette from the Settings list in the Project window.

2. Select Tools > Command Palette. The Command palette opens.

3. Select Button to Button Reassignment at the bottom of the Command palette.

Chapter 2 Using Tools

4. Click the tab from which you want to select a user-selectable button.

5. Drag the button from the Command palette to a button location on the other palette.

Using the Blank Button

The Blank button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button.

For more information on mapping the Blank button to a new location, see “Mapping User-

Selectable Buttons” on page 79.

Mapping Modifier Keys

You can add modifier keys to functions already associated with keys and buttons. The Other tab in the Command palette contains the Add Alt Key key button.

For example, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.

After you modify a key or button with a modifier key button, you can use the default function of the key or button by pressing and holding the appropriate modifier key while pressing the key, or by pressing and holding the modifier key while clicking the button.

Mapping Menu Commands

You can map menu commands displayed in the menus on the Avid application menu bar directly onto buttons in any of the Command palettes or onto the keyboard. This is especially useful if you frequently use the Keyboard or Command palette during editing. In some cases, you can avoid using the menus altogether.

Before you can map some commands, you must first establish the condition that enables the command. For example, before you can map the Render In/Out command from the Clip menu, you must first mark IN and OUT points in the Timeline so that the menu command appears.

Using the Command Palette

To map menu commands:

1. Open a window that has user-selectable buttons by doing one of the following:

t Activate a monitor in the Composer window. t Click a Fast Menu button, and drag the Tool palette to open it.

t Open a clip in a pop-up monitor. t Enter Trim mode in the Composer window. t Open the Keyboard palette from the Settings list in the Project window.

2. Select Tools > Command Palette. The Command palette opens.

3. Select Menu to Button Reassignment.

4. Click a target button in the Keyboard palette or other palette (for example, the Command palette under a monitor).

The pointer changes to a small white menu.

5. Select the menu command you want to map to the target button. The initials for the menu command appear on the target button.

Menu command mapped to a button

Chapter 2 Using Tools

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor.

To activate a command from the Command palette:

1. Select Tools > Command Palette. The Command palette opens.

2. Select Active Palette at the bottom of the Command palette.

3. Click the tab from which you want to select a command function.

4. Click the button in the Command palette for the function you want to perform.

Using the Avid Calculator

The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats.

For example, you can:

• Convert drop-frame to non-drop-frame timecode values.

• Convert timecode durations between 30-fps and 25-fps projects.

• Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film.

To use the Avid Calculator:

1. Select Tools > Calculator. The Avid Calculator opens.

2. Click the Format menu, and select a format.

3. Make calculations in one of the following ways:

t Click numbers and functions in the Avid Calculator. t Enter numbers and functions using the numeric keypad. t Enter numbers and functions using the top row of numbers on the keyboard.

You do not need to enter leading zeros, colons, or semicolons for timecode.

Using the Console Window

To convert your totals at any time to another format:

t Click the Format menu, and select a different frame code or key number format.

If drop-frame timecode is entered into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa).

Using the Console Window

The Console window provides a number of features, including:

• Current system information, including your system ID number

• A log of error messages

• Detailed information about sequence segments in the Timeline or about objects in a bin

• A command to display networked drives for use as media drives

• Information after you capture or import

Displaying System Information

Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.)

To display current system information:

1. Select Tools > Console. The Console window opens.

2. Scroll in the Console window to view your system information and ID. Your system ID is on a line beginning

This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support.

Reviewing a Log of Errors

To review errors logged to the Console window:

1. When an error occurs, close the message box and select Tools > Console.

2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support.

System ID:

Chapter 2 Using Tools

Getting Information with the Console

The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin including hidden items. You can also use the Console window to display information about a clip, segment, or sequence in the Timeline.

To get information with the Console window:

1. Select Tools > Console. The Console window opens.

2. Select the item about which you want information, for example:

t In the Timeline, move the position indicator to the selected clip or segment. t In the bin, select an object or Ctrl+click multiple objects.

3. Select File > Get Bin Info or File > Get Position Info. Information about the clip appears in the Console window.

Using the Console Window to Access Network Drives

Your Avid editing application can access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing the appropriate console command displays the mapped drive letter in the appropriate tools in the Avid editing application.

n n

For information about mapping drives to your computer, see your Windows documentation.

You do not need to use this feature to access Avid Unity shared network drives.

When the feature is turned on, the mapped drive letter appears in the Target Drive menu. When you turn the feature off, the mapped drive letter is dimmed. If you quit and restart the application, the mapped drive letter does not appear in the Target Drive menu.

To make your mapped network drives available:

1. Open the Console window by selecting Tools > Console.

2. In the Console command line, type:

alldrives 1

3. Press Enter. Network drives are now visible in the Avid editor application.

Typi ng returns things to normal where only media drives are available.

alldrives

in the console window turns this feature on and off. Typing

alldrives 2

By default, network drives are filtered by resolution when the option Filter Network Drives Based on Resolution option is selected in the Media Creation settings. For more information, see “Media Creation Settings” on page 614.

Using the Hardware Tool

The Hardware tool provides the following information about the system’s hardware configuration:

• The Drives tab lists each online drive. The shaded portion of the bar next to each drive shows the total size of the drive and the amount of storage space currently filled.

Using the Hardware Tool

If your system is connected to an Avid Unity network, you see two drives tabs, Local Drives and Avid Unity Drives.

• The System tab lists the operating system, its version and build, and the physical memory.

To check the hardware configuration of your Avid system, do one of the following:

t Select Tools > Hardware. t Click the Info tab in the Project window, and then click Hardware.

The Hardware tool opens.

The Hardware tool contains the following information:

• Each online drive is listed on the left side of the Drives tab. The name of each drive and its total size are listed below each Drive icon. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.

• The name of the operating system, version number, service pack, and build number appear in the System tab. The total physical memory is listed in the same location.

Chapter 2 Using Tools

Using External Controllers as Editing Control Surfaces

Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing footage. Avid supports the following controllers for this purpose:

•

Digidesign Command|8

•JL Cooper MCS3

For information about connecting these controllers, see “Connecting Serial and MIDI Port Devices” in the Help. For information about configuring these controllers and using them as editing control surfaces, see “Using the Command|8” on page 352 and “Using the MCS3

Controller” on page 747.

™

Chapter 3

Logging: Advanced

When you import shot log files or log directly into a bin, you provide the Avid system with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project. The following topics provide additional information for preparing log information:

• Preparing Log Files for Import

• Understanding Avid Log Specifications

• Creating Avid Logs

• Transferring Bins from MediaLog

• Logging Directly into a Bin

• Setting the Pulldown Phase

• Logging Film Information

• Modifying Clip Information Before Capturing

• Exporting Shot Log Files

For more information, see “Importing Shot Log Files” in the Help or in the Avid Symphony Nitris Basics Guide, available as a PDF file in the Online Library.

Preparing Log Files for Import

Log files need to conform to the Avid Log Exchange (ALE) format to be imported into your Avid editing application. You can use the ALE utility included with your system to quickly convert shot log files.

Chapter 3 Logging: Advanced

The ALE utility allows you to:

• Modify the text in a log file.

• Convert log files of different formats to ALE files (see “Compatible Log Formats” on

page 92).

• Convert an ALE file to either an ATN or FLX file.

Any options you set in the ALE utility are saved each time you close the ALE utility.

When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale, and so on. The converted output files are stored in the folder containing the original input file.

Converting Log Files with Avid Log Exchange

To convert a log file to an ALE file:

1. Click the Start button, and select All Programs > Avid > Avid Log Exchange. The Avid Log Exchange window opens.

2. Do one of the following:

t If the log file is a Final Cut Pro

, Cinema Tools™, or a Tabbed shot log file, select

File > Import and then choose the file type. t If the log file is another file type, such as .flx or .atn, select File > Open. The Open dialog box opens.

3. Double-click the file you want to convert. The Import Header Options dialog box opens.

4. Select the information you want to appear in the global settings of the .ale file. The global settings appear at the top of the .ale file.

5. Click OK.

6. Depending on the type of file you are opening, one of the following occurs:

- If the file type is recognized by the ALE utility, the file appears in the Avid Log

Exchange window.

Preparing Log Files for Import

- If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens. Select an option from the following table.

Option Description

Display & Save Opens the file in the Avid Log Exchange window and changes the file to the

Windows format.

Display Only Opens the file in the Avid Log Exchange window, but does not change the file.

Ignore Displays the file as is without changes.

The file appears in the Avid Log Exchange window.

- If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you are converting and click OK.

The file appears in the Avid Log Exchange window.

For specific information on the various file types, see “Compatible Log Formats” on

page 92.

7. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2.

After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.

The Track selection only works on non-ALE files being converted to ALE format. When ALE is the incoming format, Track selection does not work.

Chapter 3 Logging: Advanced

8. Select Options > Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected.

When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event.

9. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default.

For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour, the first half of the film has 24 hours, and the second half has 0 hours.

10. Select Convert > ALE. The default output selection is the ALE format. This is the required format for import

into an Avid bin. The Avid Log Exchange window displays the converted ALE file. The converted file has

the same file name as the original file, except the file name extension matches the converted file format.

11. (Option) Select the original file from the Window menu if you want to convert the file again using different options.

12. Select File > Close. If you made changes in the editor, a message box opens.

13. Click Yes. The converted file is stored in the same folder as the original log file.

Using Drag-and-Drop Conversion for Log Files

Use this shortcut to convert files into an ALE file.

Preparing Log Files for Import

If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log

Exchange” on page 88 to convert files of this type.

To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid

Log Exchange” on page 88. The current options are used when you perform

drag-and-drop conversion.

2. Create a shortcut for the ALE utility.

3. Open the folder that contains the files you want to convert, positioning the folder so the Shortcut icon for the ALE utility is visible.

4. Select the files you want to convert.

5. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button.

6. Depending on the type of files you are converting, one of the following occurs:

- If the file type is recognized by the ALE utility, a message box opens, indicating the

conversion was successful.

- If the file type is not recognized, the Select File Type dialog box opens. Select the

type of file you are converting and click OK. A message box opens, indicating the conversion was successful.

Chapter 3 Logging: Advanced

- If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK.

A message box opens, indicating the conversion was successful.

7. Click OK to close the message box. The converted files have the same file names as the original files, except the file name

extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid

format. The converted files are stored in the folder containing the original log files.

Compatible Log Formats

The following table lists the log formats that can be imported directly or converted for import using Avid Log Exchange (ALE).

Compatible Log Formats

Log Format Requirements File Name Extension

AatonBase Conversion required .atn or .atl

Avid Log Import directly .ale

Cinema Tools Conversion required .txt

CMX EDL Conversion required .cmx

Evertz

Excalibur Conversion required .ale or .flx

Final Cut Pro Conversion required .txt

FLEx™ Conversion required .flx

Keyscope Conversion required .ksl

Log Producer™ Conversion required .llp

Log right Import directly .ale

OSC/R (Macintosh

OLE (Windows only) Conversion required .odb

Shotlister Import directly .ale

Tab Delimited Conversion required .txt

only) Conversion required .asc

Conversion required .ftl

Understanding Avid Log Specifications

You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor. You can use the file name extension .txt, but it is not required.

To ensure accuracy, you must follow the Avid log specifications described in this section.

An Avid log is composed of three sections, in this order:

• Global headings

• Standard and custom column headings

• Data headings

When you create an Avid log, you must follow the order precisely. The tables in these topics follow this order.

For an example of a simple log file, see “Sample Avid Log” on page 101.

Avid Log Specifications

The following topics contain tables that show how to enter headings and data to create an Avid log.

The tables use the following conventions:

• A heading appears in the first column, without angled brackets or square brackets. For example, FIELD_DELIM is the first global heading.

• A <supported value> is surrounded by angled brackets. <Alternative supported values> appear underneath, also in angled brackets. You must enter one of these values. For example, <29.97> is one of the supported values for the FPS heading; to specify that

29.97

value, type

• A <variable data value> is also surrounded by angled brackets, but it is italicized. For example, <timecode> is the data entry for the Start heading; type the correct timecode, in the format

• [Tab] and [Enter] keys are surrounded by square brackets.

• A column contains the word “Required” if the heading must be included in the log.

• The final column contains notes about the heading or values.

You can decide not to display a defined heading (including a required heading), except for Name. Name must always be displayed.

08:19:10:00

(or

08;19;10;00

, for drop-frame timecode).

Chapter 3 Logging: Advanced

The maximum number of combined global, standard, and custom headings in a log file is 64.

Global Headings

The global headings must come first in an Avid log file, and you must enter one value for each heading.

The following table shows the format for the global headings and the supported values for each heading.

Avid Log Global Headings

GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64.

Heading [Enter] Required This marks the start of the

global headings.

FIELD_DELIM [Tab] <TABS> [Enter] Required Enter TABS to show that the

file is Tab delimited.

VIDEO_FORMAT [Tab] <NTSC>

<PAL>

FILM_FORMAT [Tab] <16mm>

<35mm,3perf> <35mm,4perf>

AUDIO_FORMAT [Tab] <22kHz>

<24kHz> <44kHz> <48kHz>

TA PE [Ta b] <tape name> [Enter] Required Name of the videotape reel

[Enter] Required

[Enter]

[Enter] Audio sampling rate for

digitizing. You can override this for individual clips.

you are logging. If you omit this heading, the file name becomes the global tape name. You can override this for individual clips.

Understanding Avid Log Specifications

Avid Log Global Headings (Continued)

FPS [Tab] <23.98>

<24> <25> <29.97>

Column Headings

The standard column headings appear after the global headings in the Avid log file.

You do not enter the data for a column heading along with the heading. You enter the data later, in a separate data section.

You must include the five required standard column headings; they are listed first in the following table.

You can create your own custom column headings. Enter them after the standard headings (see the last heading in the following table). To create a custom heading, substitute the custom heading name for <Your_heading>. You can create several custom headings, as long as the total of global, standard, and custom headings does not exceed 64.

[Enter] Required Capture rate is 23.98 fps

(23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC.

[Enter] Press Enter a second time

after entering the FPS value. This marks the end of the global headings.

Avid Log Column Headings

COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note that the first five headings are required. Other headings are optional but might be necessary for your project. This table lists only the column headings that are relevant to shot log files. Some data, such as Creation Date, is gathered by the system. The following table does not include headings for such data. The maximum number of combined global, standard, and custom headings in a log file is 64.

Column [Enter] or

[Return]

Name [Tab] Required Heading for clip name.

Tracks [Tab] Required Heading for tracks you select for digitizing.

Start [Tab] Required Heading for video timecode of sync point — the

End [Tab] Required Heading for timecode OUT for clip. From address track

Required Indicates the start of the column headings.

timecode IN for clip. From address track of video.

of video.

Chapter 3 Logging: Advanced

Avid Log Column Headings (Continued)

Audio [Tab] Heading for the audio resolution (sample rate). If

omitted, the global entry for AUDIO_FORMAT applies.

Auxiliary Ink [Tab] Heading for a second ink number used for the clip.

Auxiliary TC1 [Tab] Heading for auxiliary timecode.

Auxiliary TC2 [Tab] Heading for auxiliary timecode.

Auxiliary TC3 [Tab] Heading for auxiliary timecode.

Auxiliary TC4 [Tab] Heading for auxiliary timecode.

Auxiliary TC5 [Tab] Heading for auxiliary timecode.

Camera [Tab] Heading for the camera used to film this clip. This

feature is used in multicamera shoots.

Camroll [Tab] Heading for the camera roll ID containing this clip.

Duration [Tab] Heading for timecode Start to timecode End, the length

of the video clip.

FPS [Tab] Heading for video frames per second rate for digitizing

the individual clip. If omitted, the global entry applies.

Film TC [Tab] Heading for the timecode used on the film.

Ink Number [Tab] Heading for the ink number used for the clip.

KN Duration [Tab] Heading for the length of the clip, expressed in feet and

frames.

KN End [Tab] Heading for the ending key number for the clip.

KN Start [Tab] Heading for the starting key number for the clip.

Labroll [Tab] Heading for the lab roll ID for the clip. Lab rolls are a

combination of several camera rolls.

Perf [Tab] Heading for the film-edge perforations format used for

3-perf projects.

Pullin [Tab] Heading for the telecine pulldown of the first frame of

the clip (pulldown phase). Pullin can have the values A, B, C, or D.

Pullout [Tab] Heading for the telecine pulldown of the last frame of

the clip (pulldown phase). Pullout can have the values A, B, C, or D.

Understanding Avid Log Specifications

Avid Log Column Headings (Continued)

Reel # [Tab] Heading for the source reel number.

Scene [Tab] Heading for the scene number of the clip.

Shoot date [Tab] Heading for the date the footage was shot.

Sound TC [Tab] Heading for Nagra timecode, Arri

the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps.

Soundroll [Tab] Heading for sound roll ID for clip.

TC 24 [Tab] Heading for 24-fps timecode.

TC 25P [Tab] Heading for 25-fps timecode with pulldown.

TC 25 [Tab] Heading for 25-fps timecode.

TC 30 [Tab] Heading for 30-fps timecode.

Take [Tab] Heading for take ID for clip.

Tape [Tab] Heading for source tape ID for the individual clip. If

omitted, the global entry applies.

code, and so on, at

DESCRIPT [Tab] Heading for description of clip.

COMMENTS [Tab] Heading for comments about clip.

<Your_heading> [Tab] Add any category of information you want. Add as many

headings as you want, but do not use more than a total of 64 global and column headings in the file. Press the Tab key between each heading. Do not press the Tab key after the last heading.

[Enter] or [Return]

[Enter] Press [Enter] twice (do not press Tab) after the last

heading.

Data Entries

The data entries come after the Custom column headings. The following table shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the

Data

data section for each clip with the word

[Enter].

Chapter 3 Logging: Advanced

Avid Log Data Headings

DATA HEADINGS: The word Data marks the start of the data for each clip.

Data [Enter] Required Enter the word Data to mark the start of the logged clip

entries.

DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so it aligns with its column heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press Enter at the end of each line. Your Avid system supports up to four audio tracks in imported and exported logs.

<clip name> [Tab] Required Under Name heading. Enter a clip identifier (32 characters

maximum).

[Tab] Required Under Tra cks heading. Enter the tracks you want captured

for the clip. Enter V for MOS takes. Enter A1, A2, or

A1A2 for wild sound. <VA1A2> <A1A2> <A1> <A2>

<timecode> [Tab] Required Under Start heading. Enter the video timecode for the sync

point, the first frame of the clip. Use colons for

non-drop-frame (for example, 01:00:12:20). Use one or

more semicolons for drop-frame (for example,

01;18;00;02).

<timecode> [Tab] Required Under End heading. Enter the video timecode for the last

frame of the clip.

<22kHz> <24kHz>

[Tab] Under Audio heading. Enter the audio sampling rate for

this clip only. If omitted, global entry applies. <44kHz> <48kHz>

<inknumber> [Tab] Under Auxiliary Ink Number heading. Identify a second

ink number for the start of the clip.

<timecode> [Tab] Under Auxiliary TC heading. Enter a Nagra timecode,

Arri code, and so on, for the sync point. Syncs with the

Start timecode.

<camera ID> [Tab] Under Camera heading. Identify the camera, using letters

or numbers. For multicamera shoots.

Understanding Avid Log Specifications

Avid Log Data Headings (Continued)

<camera roll ID>[Tab] Under Camroll heading. Identify the camera roll, using

letters and numbers.

<timecode>[Tab] Under Duration heading. Enter the length of the video

clip, Start to End.

<23.98> <24> <25> <29.97>

[Tab] Under FPS heading. Enter the video capture rate for this

clip only. If omitted, the global entry applies. Use 23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC.

<timecode>[Tab] Under Film TC heading. Identify the timecode used for the

film, usually at 24 fps.

<inknumber>[Tab] Under Ink Number heading. Identify the ink number for

the start of the clip.

<keynumber>[Tab] Under KN Start heading. Identify the complete key

number for the start of the clip, for example, KU 31 26368903&12.

<keynumber>[Tab] Under KN End heading. Identify the key number for the

end of the clip. You need to identify only feet and frames, for example, 0342&07.

<keynumber>[Tab] Under KN Duration heading. Identify the length of the

clip, in feet and frames.

<lab roll ID>[Tab] Under Labroll heading. Identify the lab roll, using letters

and numbers.

<1>

[Tab] Under Perf heading. Edit the perf for this clip only.

<2> <3>

<A> <B>

[Tab] Under Pullin heading. Identify the telecine pulldown of the

first frame of the clip (pulldown phase). NTSC only. <X> (matchback only) <C> <D>

<A> <B>

[Tab] Under Pullout heading. Identify the telecine pulldown of

the last frame of the clip. NTSC only. <X> (matchback only) <C> <D>

<reel ID>[Tab] Under Reel # heading. Identify the reel, using numbers.

Chapter 3 Logging: Advanced

Avid Log Data Headings (Continued)

<scene ID> [Tab] Under Scene heading. Identify the scene, using letters and

numbers.

<shoot date>[Tab] Under Shoot Date heading. Identify the date the footage

was shot, in numbers or in letters and numbers.

<timecode>[Tab] Under Sound TC heading. Identify the sound timecode at

the sync point. Syncs with the Start timecode.

<sound roll ID> [Tab] Under Soundroll heading. Identify the sound roll, using

letters and numbers.

<timecode>[Tab] Under TC 24 heading. Identify the start of the clip for 24p

timecode.

<timecode>[Tab] Under TC 25p heading. Identify the start of the clip for 25p

timecode (PAL pulldown).

<timecode>[Tab] Under TC 25 heading. Identify the start of the clip for

25-fps timecode (PAL).

<timecode>[Tab] Under TC 30 heading. Identify the start of the clip for

30-fps timecode.

<take ID> [Tab] Under Ta ke heading. Identify the take, using letters and

numbers.

<source tape ID> [Tab] Under Tape heading. Enter the source videotape ID for this

clip only.

<clip description> [Tab] Under DESCRIPT heading. Describe the clip.

<clip comments> [Tab] Under COMMENTS heading. Comment on the clip.

<information>[Tab] Under the headings you created yourself, type the

appropriate information.

[Enter] Press Enter after the last entry for the clip.

Do not press Tab after the last entry for the clip.

Enter an additional line of data for each remaining clip.

100

Pinnacle Systems Symphony Nitris - 1.5 Advanced Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Accessing the Online Library

How to Order Documentation

Avid Educational Services

Working with the Project Window: Advanced

Managing User Profiles

Creating a User Profile

Importing a User Profile

Changing User Profiles

Exporting a User Profile

Updating User Profiles

Deleting User Profiles

Managing Folders and Bins

Creating a Folder in a Project

Managing Bins and Memory

Saving Bins Automatically

Using the Info Display

Viewing Memory

Accessing the Hardware Tool

Displaying Usage Information

Statistics File Structure and Layout

Importing the Statistics File into a Spreadsheet

Displaying Disk Space Statistics

Customizing the Appearance of the Avid User Interface

Changing Interface Component Colors

Changing Button and Toolbar Styles

Using Interface Appearance Templates

Changing Font and Point Size

Customizing Your Workspace

Creating a New Workspace Setting

Linking User Settings and Workspaces

Switching Between Workspaces

Deleting a Workspace

Assigning a Workspace Button

Sharing Bins and Projects in an Avid Unity Environment

Understanding Avid Unity

Sharing Methods

Opening a Shared Project

Working with Locks

Default Locking Mechanism

Overriding the Default Locking Mechanism

Restrictions and Limitations for Locked Bins

Suggestions for Improving Performance When Working with Shared Bins

Shared Bin and Project Limitations

Shared Bin Lock Icon Limitation

Drive Filtering in Networked Workflows

Using Tools

Using the Deck Controller

Using the Command Palette

Understanding Button Mapping

Mapping User-Selectable Buttons

Using the Blank Button

Mapping Modifier Keys

Mapping Menu Commands

Activating Commands from the Command Palette

Using the Avid Calculator

Using the Console Window

Displaying System Information

Reviewing a Log of Errors

Getting Information with the Console

Using the Console Window to Access Network Drives

Using the Hardware Tool

Using External Controllers as Editing Control Surfaces

Logging: Advanced

Preparing Log Files for Import

Converting Log Files with Avid Log Exchange

Using Drag-and-Drop Conversion for Log Files

Compatible Log Formats

Understanding Avid Log Specifications

Avid Log Specifications

Global Headings

Column Headings

Data Entries