Pinnacle Systems Symphony Nitris - 1.7 User Manual

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Avid® Symphony™ Nitris

Conform and Finishing Guide

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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.

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This document is protected under copyright law. An authorized licensee of Avid Symphony Nitris may reproduce this publication for the licensee’s own use in learning how to use the software. This document may not be reproduced or distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or educational services to others. This document is supplied as a guide for Avid Symphony Nitris. Reasonable care has been taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of this document. Product specifications are subject to change without notice.

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

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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.

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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.

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Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.

Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.

Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "as is" without express or implied warranty.

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Portions of this software licensed from Paradigm Matrix.

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“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.

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

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

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Avid Interplay contains components licensed from LavanTech. These components may only be used as part of and in connection with Avid Interplay.

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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.

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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, FACE ROBOT, FieldPak, Film Composer, FilmScribe, FluidMotion, FXDeko, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, iNEWS, iNEWS ControlAir, Instinct, Interplay, Intraframe, iS9, iS18, iS23, iS36, IsoSync, 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, Thunder station, 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.

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Footage

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

GOT FOOTAGE?

Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content creators of every genre — Just finished an incredible project and want to share it with the world?

Send us your reels and we may use your footage in our show reel or demo!*

For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.

*Note: Avid cannot guarantee the use of materials submitted.

Avid Symphony Nitris Conform and Finishing Guide • 0130-07603-01 • March 2007

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Section 1 Conforming and Mastering

Chapter 1 Conforming and Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Compatibility Between Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Conforming Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Preparing for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Delivery Requirements for Final Masters . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Offline Formats for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

File Transfer for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

System Compatibility for the Online Session. . . . . . . . . . . . . . . . . . . . . . . . 29

Preparing Graphics for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . 30

Preparing Effects for the Online Session. . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Preparing Titles for the Online Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Preparing Audio for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Step 1: Transfer Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Transferring Project Information Only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Transferring Project Files and Media Files . . . . . . . . . . . . . . . . . . . . . . . . . 33

Step 2: Open the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Step 3: Measure the Video Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Step 4: Recapture Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Step 5: Import and Lay in the Final Audio Mix . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Step 6: Batch Import Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Step 7: Re-create Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Redefining a Font Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Step 8: Refine Effects and Perform Color Correction . . . . . . . . . . . . . . . . . . . . 40

Step 9: Render Effects as Needed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Step 10: Create the Final Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Conforming an HDV Sequence on Symphony Nitris . . . . . . . . . . . . . . . . . . . . . . . . 42

Conforming Sequences with Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Conforming Color Correction Sequences with

Symphony Meridien Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Conforming Color Correction Sequences with Media Composer or

Avid Xpress Pro Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Transferring Color Corrections with Color Correction Templates . . . . . . . . . . . 45

Transferring Project and Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Transferring Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Transferring Sound Designer II Audio Files from

Macintosh Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Working with Sound Designer II Audio Files on

Macintosh Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Transferring a Project Using Shared Storage . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Transferring Project Files and Media Files Using Nonshared Storage . . . . . . . 49

Devices and Methods for Transferring Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Transferring Files Between Windows Systems . . . . . . . . . . . . . . . . . . . . . 52

Transferring Files Between Macintosh and Windows Systems . . . . . . . . . 53

Nonshared Storage Issues for Cross-Platform Collaboration . . . . . . . . . . . . . . 54

Transferring Media Files from Media Composer Version 7.2 or

Avid Xpress Version 2.1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Chapter 2 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

High-Definition Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Video-Based Television Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Modifying the Format of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Converting a 24p NTSC Sequence to 1080p/23.976. . . . . . . . . . . . . . . . . . . . . 70

Converting a 23.976p NTSC Sequence to 720p/23.976 . . . . . . . . . . . . . . . . . . 71

Mixing SD and HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Displaying Formats in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Editing at 60 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Working with True 24 FPS Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Transcoding HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Using HD Universal Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Converting Audio for HD Universal Mastering. . . . . . . . . . . . . . . . . . . . . . . 74

Performing a Digital Cut with HD Universal Mastering . . . . . . . . . . . . . . . . 76

Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Section 2 Finishing Tools

Chapter 3 Motion Tracking and Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Understanding Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Understanding the Tracking Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Uses of Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Motion Tracking and Footage Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Workflow for Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Effects and Effect Parameters That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . 85

Understanding the Tracking Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Tracking Controls in the Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Tracking Controls in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . 87

The Tracking Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Setting Up an Effect for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Understanding Video Layers and Motion Tracking . . . . . . . . . . . . . . . . . . . . . . 91

Applying an Effect for Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Making Non-Tracking Parameter Adjustments to an Effect . . . . . . . . . . . . . . . . 92

Preparing to Generate Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Enabling Tracking in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Creating and Mapping Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Understanding Tracker Selectors and Tracker Function . . . . . . . . . . . . . . 95

Creating and Mapping Trackers Manually . . . . . . . . . . . . . . . . . . . . . . . . . 96

Enabling, Disabling, and Deleting Trackers. . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Setting Up Tracking in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . 98

Displaying Tracking Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Adjusting Tracking Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Guidelines for Positioning Tracking Boxes . . . . . . . . . . . . . . . . . . . . . . . . 100

Guidelines for Resizing Tracking Boxes. . . . . . . . . . . . . . . . . . . . . . . . . . 100

Setting Up Tracking in the Tracking Window. . . . . . . . . . . . . . . . . . . . . . . . . . 101

Choosing a Tracking Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Choosing Background or Foreground Tracking . . . . . . . . . . . . . . . . . . . . 102

Understanding Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Generating Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Offset Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Understanding Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Adding and Deleting Tracker Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Moving to a Tracking Region. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Performing Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Understanding Generated Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Tracking Data in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Tracking Data in the Tracker Timelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Customizing Tracking Data Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Setting the Reference Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Using SteadyGlide or Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Modifying Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Finding a Specific Tracker Data Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Selecting Tracker Data Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Deleting Tracking Data From Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Moving Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Moving Tracker Data Points Outside the Frame Boundary . . . . . . . . . . . . . . . 116

Stretching a Range of Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Limiting the Effect of Position Tracking Data to a Single Axis. . . . . . . . . . . . . . . . . 119

Playback of Effects Using Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Understanding Stabilizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Stabilizing an Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Guidelines for Using Multiple Trackers When Stabilizing . . . . . . . . . . . . . . . . . . . . 122

Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Stabilizing an Image with the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . 123

Making Adjustments to the Region Stabilize Region of Interest. . . . . . . . . . . . 125

Editing Segments That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Segment Mode Editing with Segments That Use Tracking Data . . . . . . . . . . . 126

Trimming Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . 126

Adding Transition Effects to Tracked Segments . . . . . . . . . . . . . . . . . . . . . . . 127

Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

When to Reuse Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Copying and Pasting Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Conforming Symphony Meridien Sequences with Tracking Data. . . . . . . . . . . . . . 129

Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Example 1: Replacing the License Plate on a Moving Vehicle . . . . . . . . . . . . 130

Example 2: Special Effects Using Targets for Motion Tracking . . . . . . . . . . . . 133

Chapter 4 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 135

The Composer Window in Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 135

Activating Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Displaying Tracking Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Displaying Images in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Understanding Default Monitor Display. . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Configuring Image Display in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Working with Reference Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Splitting the Image Display in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Hiding the Video in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Displaying 16:9 Video in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Using the Play Loop Button in Color Correction Mode. . . . . . . . . . . . . . . . . . . 142

Reviewing Color-Corrected Clips with the Edit Review Button . . . . . . . . . . . . 143

Controlling Frame Display in the Composer Window . . . . . . . . . . . . . . . . . . . 143

The Color Correction Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Working with Correction Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Understanding Relationship Color Corrections . . . . . . . . . . . . . . . . . . . . 145

Using the Source Clip Name Relationship . . . . . . . . . . . . . . . . . . . . . . . . 147

Converting Relationship Color Corrections . . . . . . . . . . . . . . . . . . . . . . . 147

Working with the Group and Subdividing Tabs . . . . . . . . . . . . . . . . . . . . . . . . 148

Displaying a Group Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Displaying a Subdividing Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Associating Group and Subdividing Tabs with Tab Buttons. . . . . . . . . . . 151

Understanding Interaction Between Color Correction Groups . . . . . . . . . . . . 152

Working with the Enable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Turning Controls On or Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Resetting Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Understanding Interaction Between Enable Buttons . . . . . . . . . . . . . . . . 154

Using the Color Correction Tool Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Customizing Color Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

How Color Correction Handles Color Space and Bit Depth . . . . . . . . . . . . . . 160

Adding Comments to Color Correction Effects . . . . . . . . . . . . . . . . . . . . . . . . 160

Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Understanding How Color Correction Effect Templates Save Settings. . . . . . 163

Using Automatic Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Saving a Color Correction Effect Template to a Bin . . . . . . . . . . . . . . . . . . . . 165

Saving a Color Correction Effect Template to a Bucket . . . . . . . . . . . . . . . . . 166

Clearing Color Correction Effect Templates from Buckets . . . . . . . . . . . . . . . 166

Applying Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Color Correction Effect Templates and Relationship Type Selections . . . . . . 168

Working with Color Correction Effect Templates in the Effect Palette. . . . . . . 169

Displaying Color Correction Information in the Timeline . . . . . . . . . . . . . . . . . . . . 170

Chapter 5 Performing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

General Workflow for Making Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Using Automatic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Understanding Automatic Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Setting AutoCorrect Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Adjusting Contrast and Balance Automatically. . . . . . . . . . . . . . . . . . . . . . . . . 176

Using the Remove Color Cast Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Considerations When Using Automatic Color Correction. . . . . . . . . . . . . . . . . 180

Using the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Making a Correction with the Color Match Control. . . . . . . . . . . . . . . . . . . . . . 182

Selecting Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Understanding NaturalMatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Color Match Example Using NaturalMatch . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Saving Custom Colors to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Getting RGB Information Using the Color Match Control. . . . . . . . . . . . . . . . . 189

The HSL (Hue, Saturation, Luminance) Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Working with the Controls Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Making Corrections Using the Controls Tab . . . . . . . . . . . . . . . . . . . . . . . 191

Using the HSL Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Controls Tab Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Working with the Hue Offsets Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Understanding ChromaWheel Color Wheels. . . . . . . . . . . . . . . . . . . . . . . 195

Making Corrections Using the Hue Offsets Tab . . . . . . . . . . . . . . . . . . . . 197

Examples of Hue Offsets Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Working with the Luma Ranges Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Understanding the Luma Ranges Graph. . . . . . . . . . . . . . . . . . . . . . . . . . 202

Adjusting Luminance Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Manipulating Luminance Range Curves . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Examples of Three-Tone Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

The Channels Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Making Corrections Using the Channels Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 208

Using the Channel Blending Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Considerations When Working with Color Components . . . . . . . . . . . . . . . . . 210

Examples of Channel Blending Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

The Levels Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Understanding Input and Output Levels Adjustments . . . . . . . . . . . . . . . . . . . 214

Examples of Black Point Input and Output Adjustments . . . . . . . . . . . . . 214

Examples of Gray Point Input and Output Adjustments . . . . . . . . . . . . . . 216

Making Corrections Using the Levels Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Working with the Levels Tab Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Understanding Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Using the Histogram Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Using the Text Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Understanding ChromaCurve Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Using the ChromaCurve Graph in the Levels Tab . . . . . . . . . . . . . . . . . . 224

Working with the Composite and Luma Tabs. . . . . . . . . . . . . . . . . . . . . . 224

Examples of Levels Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

The Curves Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Making Corrections Using the Curves Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Adjusting Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Curves and the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Examples of Curve Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

The Secondary Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Understanding Secondary Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Secondary Color Correction Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Understanding Secondary Color Correction Vectors. . . . . . . . . . . . . . . . . . . . 243

Standard and Custom Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Vector Display in Color Wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Customizing a Vector Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Understanding the Selected Vectors Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Selecting Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Enabling and Disabling Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Resetting Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Adjusting Input Vector Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Repositioning Vectors in the Color Wheel. . . . . . . . . . . . . . . . . . . . . . . . . 251

Using the Input Vector Sliders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Locking Vectors While Adjusting an Input Vector . . . . . . . . . . . . . . . . . . . 253

Examples of Softness Adjustments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Using the Color Selection Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Defining a Vector with the Syringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Refining a Vector Definition with the Add to Selection and

Subtract from Selection Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Isolating the Selected Vector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Adjusting Output Vector Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Using the Color Match Control for Secondary Corrections . . . . . . . . . . . . . . . 260

Making a Secondary Correction with the

Color Match Control and the Syringe. . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Making a Secondary Color Correction with the

Color Match Control Only. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Inverting a Vector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Examples of Inverted and Isolated Images . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Understanding How Multiple Vectors Interact . . . . . . . . . . . . . . . . . . . . . . . . . 264

Working with the Waveform Monitors and the Vectorscope Monitor . . . . . . . . . . . 264

Using the Waveform and Vectorscope Information . . . . . . . . . . . . . . . . . . . . . 272

Using the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

When to Use the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Applying a Color Correction Effect from the Color Correction Tool . . . . . . . . . 276

Chapter 6 Managing Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 277

Updating Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Merging Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Using the Merge Correction Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Color Correction Merging Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Flattening Color-Corrected Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Removing Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Chapter 7 Color Correction Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Guiding Principles for Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Goals of Color Correction: Restoration and Adaptation . . . . . . . . . . . . . . . . . 287

Restoring the Original Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Adapting the Original Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Stages of Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Correcting Tonal Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Neutralizing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Achieving Shot-to-Shot Consistency . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Achieving a Final Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Examples of Color Correction Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Example 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Example 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Example 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Chapter 8 Spot Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Using the Spot Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Making Corrections Using the Spot Color Correction Effect . . . . . . . . . . . . . . 307

Using Paint Effect Modes for Color Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Chapter 9 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Overview of Safe Color Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Understanding Safe Color Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Understanding the Graphical View of Safe Color Settings. . . . . . . . . . . . . . . . . . . 311

Understanding Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Safe Color Warnings in the Color Match Control. . . . . . . . . . . . . . . . . . . . . . . 314

Making Adjustments to Achieve Safe Color Values . . . . . . . . . . . . . . . . . . . . 314

Safe Color Limits with Waveform and Vectorscope Information . . . . . . . . . . . . . . 316

Working with the Safe Color Limiter Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Understanding the Safe Color Limiter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Applying the Safe Color Limiter Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Adjusting the Safe Color Limiter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Using the Safe Color Limiter Analysis Display . . . . . . . . . . . . . . . . . . . . . . . . 320

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Tables

Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Graphics Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Default Folder and File Locations (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Default Folder and File Locations (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Options for Transferring Files Between Windows Systems . . . . . . . . . . . . . . . . . . . 52

Options for Transferring Files Between Macintosh and Windows Systems . . . . . . . 53

Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Choices for Modifying Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

HD Universal Mastering Frame Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Effects and Effect Parameters for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Tracking Window Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Options for Enabling Tracking in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Multiple Tracker Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Tracker Timeline Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Tracking Data Point Range Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Source Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Relationship Color Correction Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Correction Mode Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

AutoCorrect Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Automatic Color Correction Buttons in the Curves Tab . . . . . . . . . . . . . . . . . . . . . 178

HSL Group (Controls Tab) Match Type Options. . . . . . . . . . . . . . . . . . . . . . . . . . . 184

HSL Group (Hue Offsets Tab) Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . 184

Channels Tab Match Type Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Levels Tab Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Curves Tab Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Secondary Tab Match Type Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Brightness Subdividing Tabs for the HSL Group . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Controls Tab Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

ChromaWheel Crosshair Pointers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Component Type Options in the Channels Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Secondary Color Correction Vector Display Options . . . . . . . . . . . . . . . . . . . . . . . 247

Input Vector Sliders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Waveform and Vectorscope Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Safe Color Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Safe Color Limits in Waveform Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

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 the task-oriented instructions, conceptual information, and reference material you need to use the conform and finishing features of your Avid Symphony

system. These features include project transfer, HD support, tracking and

Nitris stabilization parameters, and Symphony Nitris color correction.

This guide is intended for all users who need information for the conform and finishing processes.

The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

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.

™

> This symbol indicates menu commands (and subcommands) in the

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.

Using This Guide

Symbol or Convention Meaning or Action

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

If You Need Help

If you are having trouble using Symphony Nitris:

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 on your Avid application CD or DVD as a PDF document (README_AvidSymphony.pdf) and is also available online.

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.

You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available. To view these online versions, select ReadMe from the Help menu. or visit

the Knowledge Base at www.avid.com/readme.

3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues.

4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.

Related Information

The following documents provide more information about Symphony Nitris:

• Avid Symphony Basics Guide

• Avid Symphony Nitris Advanced Guide

• Avid Symphony Nitris Advanced Effects Guide

• Using the Avid Nitris

These documents are available in PDF form in the Avid Symphony Nitris Online Library.

All product information is included in the Help system, which you can access from the Symphony Nitris application’s Help menu.

Related Information

For the latest product information, see the Avid Knowledge Base:

www.avid.com/onlinesupport.

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.

To access the Online Library, do one of the following:

t From your Avid editing application, select Help > Online Library.

t From the Windows

Nitris Online Library.

desktop, select Start > All Programs > Avid > Avid Symphony

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 Symphony Nitris\Online Library

Using This Guide

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 Training 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).

Section 1

Conforming and Mastering

The following chapters contain information to help you conform and master your project:

• Conforming and Transferring Projects

• Working with HD Media

Chapter 1

Conforming and Transferring Projects

Avid offers a range of editing applications for editing film, video, and audio. Within the Avid family of editing and finishing products, you can work at the system most appropriate for your task. When you are ready for the next step in the process, you can easily move your work to another system. For example, you might start your project on a Media Composer offline system and then move it to a Symphony Nitris online system when you are ready for finishing. You can also send audio media to a Digidesign finished audio into the final sequence.

The following sections contain information about conforming and transferring projects.

• Compatibility Between Applications

• Conforming Workflow

• Conforming an HDV Sequence on Symphony Nitris

• Conforming Sequences with Color Correction

• Transferring Project and Media Files

Pro Tools® system and edit the

Compatibility Between Applications

Avid editing products are designed so you can easily move projects and media from one system to another and preserve your edits and effects. In a typical offline-to-online workflow, you create a program on one Avid editing system — choosing the footage, making edits, adding effects — and then transfer your program to another Avid system for final finishing. This re-creation of the offline project on an online system is called conforming, and Avid’s solution is called Total Conform. Finishing might involve recapturing in a final resolution, making color corrections, adjusting effects, and outputting the final master.

Alternatively, you can use the same media for offline and online editing. You can access the media in several ways, such as sharing media in an Avid Unity transferring removable drives from one system to another. The clips and sequences automatically link to the media, and you can complete the final finishing.

™

environment, or

Chapter 1 Conforming and Transferring Projects

Specific information for transferring projects to Avid DS is contained in the Avid DS Conform Guide, which is available from the Avid DS Support Center or the Avid Customer

Support Knowledge Base. To access the Knowledge Base, go to

www.avid.com/onlinesupport.

If you are moving from one Avid editing product to another in the current release, or from a product in a previous release to a product in the current release, you can move project files and media without losing any of your work.

However, when you move projects from a product in the current release to a product in the previous release, some effects that have been created with features that are new for a particular release do not appear, or appear as unknown effects.

All capturing into Symphony Nitris is done through the Avid Nitris, which does not contain a 1394 connection. DV 25 and DV 50 sources can be captured through a baseband connection to either the SDI or analog inputs on the Avid Nitris (Symphony Nitris does not support capture of DVCPRO HD through a baseband connection). Alternatively, another Avid product such as an Avid Xpress capture native DV 25, DV 50, or DVCPRO HD media over IEEE-1394. You can then share, play, edit, and render the media within Symphony Nitris. You can also transcode to these resolutions; available resolutions depend on the format of the source media.

Conforming Workflow

Pro or Avid Media Composer product can be used to

The following sections provide information to help you transfer projects from one Avid editing system to another and conform the sequence to create one or more finished masters. These steps are based on an offline-to-online workflow that uses Symphony Nitris as the online system.

• Preparing for the Online Session

• Step 1: Transfer Files

• Step 2: Open the Project

• Step 3: Measure the Video Signal

• Step 4: Recapture Media

• Step 5: Import and Lay in the Final Audio Mix

• Step 6: Batch Import Graphics

• Step 7: Re-create Title Media

• Step 8: Refine Effects and Perform Color Correction

Conforming Workflow

• Step 9: Render Effects as Needed

• Step 10: Create the Final Masters

For specific information about HD workflows, see “Working with HD Media” on page 57. For specific information about film-based workflows, see “Working in a Film Project” in the Help.

If you are transferring projects and media but not performing an online edit, refer to

“Transferring Project and Media Files” on page 46.

Preparing for the Online Session

If possible, work with the offline editor to plan the online edit. Planning the online edit makes the online session easier and more efficient.

Review the following information before you begin the online session.

Delivery Requirements for Final Masters

The requirements for your final masters determine factors such as the project type used during the offline edit. Ideally, the offline edit is done with the online edit in mind.

The most important delivery requirements are the formats and frame rates. A broadcast network might require a range of formats: NTSC, PAL, and HD, at 4:3 and 16:9. Avid’s Universal Mastering provides you with the ability to output multiple versions from the same source file—see “Step 10: Create the Final Masters” on page 42. Make sure that the offline edit is done at the same frame rate, or a compatible frame rate, as the online edit.

If you are delivering an HD project, and the offline will be done in SD, consider how the SD media will be downconverted. If the project requires complex effects, use an anamorphic downconvert, rather than center-cut or letterbox, to reduce the adjustments required in the final conform.

Chapter 1 Conforming and Transferring Projects

Offline Formats for HD

If your project requires final mastering in HD, use the corresponding SD project for offline editing, as listed in the following table.

Offline Formats for HD

HD Online SD Offline

720p/23.976 23.976p NTSC

720p/59.94 30i NTSC

1080p/23.976 23.976p NTSC or 24p NTSC

24p NTSC sequences require additional conversion. See “Converting a 24p

NTSC Sequence to 1080p/23.976” on page 70.

1080p/24 24p NTSC or 24p PAL

1080p/25 25p PAL

1080p/29.97 30i NTSC

1080i/50 25i PAL

1080i/59.94 30i NTSC

When you start the online session, you can create a new project in the final format, or use the original project and change the project format. See “Changing the Project Format” on

page 66.

File Transfer for the Online Session

Before you begin moving project files between Avid editing applications, consider the following.

• What files will you transfer? Determine if you need to transfer project information,

video media, audio media, or all three. See “Step 1: Transfer Files” on page 33.

• How will you transfer the files? Determine the most appropriate method for

transferring your project files. See “Devices and Methods for Transferring Files” on

page 51.

System Compatibility for the Online Session

Make sure that files transfer correctly between editing systems, and that both systems include the necessary applications. Consider the following:

• Frame rates: Make sure both editing systems support the same frame rates. For

example, some offline systems support 24p projects and some do not. You might require a 24p project to deliver multiple output formats.

• File naming: To make it easier to move files between products and across platforms,

use the following guidelines when naming files:

- Do not use the following characters in project, bin, or other file names: / \ : * ? ” < > | The Windows system does not recognize these characters in file names and

substitutes other characters, possibly making the file name unrecognizable.

Conforming Workflow

You can use these characters in bin names if you are sharing bins between Symphony Nitris, Media Composer, Avid Xpress, or NewsCutter

products. You cannot use these characters in

bins you share with Avid DS or Pro Tools.

- Do not add spaces at the beginning or end of a file name. The Windows system displays such files but might be unable to open them.

- Do not use a period at the end of a file name. The Windows system displays such files but might be unable to open them.

®®

- On Macintosh

systems, beginning with v7.2, you can enable a setting in the Avid application that prevents you from using restricted characters in file names. This setting automatically adds the correct file name extensions to files for your project. The Use Windows Compatible File Names setting in the General Settings dialog box is selected by default. With this setting selected, the file name extension .avp is added to project files and .avb is added to bin files when they are saved. These file name extensions are also attached to existing files.

• Title fonts: If the project includes titles and you are moving between Macintosh and

Windows systems, make sure you have the same font with exactly the same name (preferably from the same supplier) on both the Macintosh and Windows systems. Check the font carefully because the same font can have slightly different names. For example, Times New Roman on the Macintosh system is named Times New Roman Regular on the Windows system.

If you open a title on the online system that does not have a matching font, a dialog box opens that allows you to substitute the font in the title with a font that exists on your system.

For best results, use OpenType

fonts, which reduce problems when transferring

projects from one platform to another.

Chapter 1 Conforming and Transferring Projects

• AV X™ plug-ins: If your project contains AVX plug-in effects and you are moving

across platforms, make sure the same plug-ins are available on both the Macintosh and Windows systems. If the same AVX plug-in effect is not available, you can mix down or render the effect to a high-quality resolution and then transfer it using an OMFI or an AAF file. However, you cannot change the parameters of the effect.

Preparing Graphics for the Online Session

The most critical step when preparing graphics for online is to make sure that the elements you are going to import are created correctly. The following table summarizes various requirements.

Graphics Requirements

Aspect Requirement Notes

Frame size (4:3)

Frame size (16:9)

Alpha channel White foreground

Color mode RGB

File format Various The Avid application accepts many file formats for input.

Square pixels: 648 x 486 (NTSC) 640 x480 (NTSC DV) 768 x 576 (PAL)

Square pixels: 864 x 486 (NTSC anamorphic) 1024 x 576 (PAL anamorphic) 1280 x 720 (HD) 1920 x 1080 (HD)

(transparent), black background (opaque)

ITU-R 601 ITU-R 709

These are the preferred sizes for NTSC and PAL. 720 x 540 can also be used, in some situations, for both NTSC and PAL. These are stored by the application as non-square pixels. For more information, see “Preparing Graphics Files for Import” in the Help.

Preferred sizes. SD media is stored by the application as non-square pixels.

This is the standard used by graphics, animation, and compositing packages. The graphics need to have the alpha channel inverted on import.

Other formats, including CMYK, can cause import errors. ITU-R 601 is used for SD and ITU-R 709 is used for HD. In HD projects, the Avid application automatically converts the media.

TIFF (.tif) and PICT (.pct) are commonly used formats. See “Import Specifications for Supported Graphics File Formats” in the Help.

Conforming Workflow

Graphics Requirements (Continued)

Aspect Requirement Notes

File field order Odd (Upper field first)

Even (Lower field first)

Preparing Effects for the Online Session

In general, effects from older systems are automatically conformed by newer systems. However, be aware of the following issues:

• If you’re working in an offline SD project with complex effects and you plan to conform as HD, the media should be downconverted anamorphically. Media downconverted as 4:3 or letterbox causes problems when you conform effects such as picture-in-picture.

• If you are conforming a sequence that includes effects created with Avid FX, mix down or render the effects to a high-quality resolution on the offline system and then transfer them using an OMFI or an AAF file. You cannot adjust an Avid FX effect on a Symphony Nitris system.

For interlaced media, the Avid application uses the following order:

• NTSC (601 and DV): lower field first

• PAL 601: upper field first

• PAL DV: lower field first

• HD Interlaced: upper field first If the field order of the graphic is not correct, select the

field order of the graphic during import and the application reverses the fields appropriately.

Field order does not apply to progressive media. See “Field Ordering in Graphic Imports and Exports” in the Help.

• Wipes that include borders that were created in Media Composer Adrenaline v2.2.x or earlier, or Avid Xpress Pro v5.2.x or earlier do not conform precisely. In these versions, borders for the wipes end on screen; in Symphony Nitris borders end off screen.

Chapter 1 Conforming and Transferring Projects

Preparing Titles for the Online Session

You have the option to save titles in multiple aspect ratios. If you’re working with anamorphically downconverted media, save the title as 16:9. After opening the sequence in an HD project, re-create title media, see “Step 7: Re-create Title Media” on page 37. This method lets you correctly create titles that fit in the 4:3 center cut or that extend beyond the center cut.

If you’re working with media downconverted to center cut or letterbox, save the title as 4:3. In this case the titles will appear centered, within the 4:3 center cut.

Preparing Audio for the Online Session

If you are working in 23.976p, 24p, or 25p projects, you can output your project in both NTSC and PAL video formats, and in both 4:3 and 16:9 aspect ratios. You need to save a title at each aspect ratio you need for your output requirements, but video format conversion is handled automatically by your system’s hardware. For more information, see “Saving Multiple Format Titles” in the Help.

Your project might involve audio that is exported from the offline system, sweetened in an audio application such as Pro Tools, and imported into the online system, see “Step 5:

Import and Lay in the Final Audio Mix” on page 36.

If you are sharing files with Pro Tools, you can use the WAVE or AIFF-C format. Pro Tools v6.9 or later also supports MXF files For more information, see “Transferring Audio Files”

on page 46.

DigiTranslator™ v2.0 is required on the Pro Tools system for import and export of OMF and AAF files.

You can also transfer files to Pro Tools through Interplay. For more information, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices.

If you are sharing files between Macintosh and Windows systems, avoid using Sound Designer II

Sound Designer II Audio Files from Macintosh Systems” on page 48.

™

, which is a Macintosh format. For more information, see “Transferring

Step 1: Transfer Files

There are several different methods for transferring project files and media files, depending on the requirements of your project.

Transferring Project Information Only

Project information includes the information about the components of your project (such as settings, bins, master clips, edited sequences, and so on), but does not include the media for these components. This project information is sometimes called metadata. Transfer only project information if you are planning to recapture media (for example, from an offline resolution to an online resolution) or relink media in an Avid Unity environment.

Options for transferring project information include:

• Transferring a project folder from one desktop to another. This option allows you to transfer complete project information, but you need to use the desktop operating system to copy and transfer files. See “Transferring Project Files and Media Files Using

Nonshared Storage” on page 49.

• Creating an OMFI or an AAF file (composition only). This option allows you to export from the Avid editing application, but is limited to a single sequence or master clip. See “Exporting OMFI and AAF Files” in the Help.

Conforming Workflow

• Sharing project information in an Avid Unity environment. See “Transferring a Project

Using Shared Storage” on page 48.

• Creating an AFE file. This option allows you to transfer complete project information, but is currently limited to transfers to an Avid DS system. See “Exporting Projects and Bins Using AFE Files” in the Help.

Transferring Project Files and Media Files

Transfer project files and media files if you want to transfer media files to another Avid editing system, for example, if the offline sequence uses a broadcast-quality resolution and you want to add Symphony color correction. Options include:

• Transferring a project folder along with a removable media drive. This option allows you to transfer complete project information, but you need to use the desktop operating system to copy and transfer files. See “Transferring Project Files and Media Files Using

Nonshared Storage” on page 49.

• Creating an OMFI or an AAF file that references a removable media drive. This option allows you to work within the Avid editing application, but is limited to a single sequence or master clip. You can link to media files that you have copied or consolidated to a single drive. See “Exporting OMFI and AAF Files” in the Help.

Chapter 1 Conforming and Transferring Projects

• Creating an OMFI or an AAF file with embedded media. This option allows you to create a single OMF or AAF file, which you can consolidate onto a single drive.

If you want to transfer audio media to a digital audio workstation, such as a Pro Tools, system, see “Transferring Audio Files” on page 46 or “Using Pro Tools and Interplay” in Avid Interplay Best Practices.

Step 2: Open the Project

Depending on the project requirements and your personal preference, you can open a project in the following ways:

• Start a new project.

- Use the Select Project dialog box to create a new project with the format you want

to use for final mastering. Starting a new project lets you configure the project settings and eliminate any errors or problems caused by the offline project’s settings.

You can then use the File > Open Bin command to open the bins that you’ve transferred from the original project and load the final sequence. If you are finishing an HD project, and the offline project was done in SD, use the Modify command to change the sequence format, see “Modifying the Format of a Sequence” on page 68.

- If you transferred an OMFI or an AAF file with embedded media, create a new

project and bin and import the OMFI or the AAF file. The sequence automatically links to the media.

If the clips and sequences do not link automatically, select File > Refresh Media Directories.

• Open a transferred or shared project.

- If you transferred project files, the original project appears in your list of projects.

(Depending on the location into which you copied the files, you might need to use the Browse button in the Select Project dialog box to locate the project.) Open the project, and all project settings and bins are displayed.

- If you transferred both project files and media, and your media is compatible, the

original project appears in your list of projects. Open the project and all project settings and bins are displayed. Clips and sequences automatically link to the media.

- If you are finishing an HD project, and the offline project was done in SD, change

the project format, see “Changing the Project Format” on page 66 and then change the sequence format. See “Modifying the Format of a Sequence” on page 68.

For information about working with shared projects and media in an Avid Unity environment, see “Transferring a Project Using Shared Storage” on page 48.

Step 3: Measure the Video Signal

When working with analog material, measure the actual video signal during both input and output to make sure the signal does not exceed the broadcast specification.

Conforming Workflow

For SDI or HD-SDI formats, you cannot adjust input or output levels by using the video controls in your Avid system. For HD media, you can calibrate only HD component output, which is usually used for monitors.

For more information, see the following topics in the Help:

• Preparing for Video Input

• Calibrating for Video Output

• Advanced Video Output Calibration

Symphony Nitris requires that the deck and the Avid Nitris hardware be genlocked to the same timing source when capturing or outputting. For more information, see “Selecting the Sync Source for Capture” and “Selecting the Sync Source for Output” in the Help.

Step 4: Recapture Media

If you did not transfer media, or you need to recapture your media at a higher resolution, use one of the following options:

• Recapture master clips: Offers complete flexibility to make revisions, but takes the

most time and disk space.

• Recapture a sequence: Provides a one-step process, but limits your options during

capturing. You can make revisions using only assigned handle lengths.

• Decompose the sequence and recapture the new clips: Captures only enough media

to re-create the sequence. You can specify the length of handles, which you can use for minor revisions. This method is more flexible than capturing from the sequence because new clips are created, which you can sort and selectively capture. This method uses minimal storage and can be one of the fastest methods for recapturing.

In most cases, do not decompose clips created from imported graphics, which is an option in the Decompose dialog box. These decomposed clips might cause problems when batch importing, particularly if the sequence uses only part of an imported animation.

• Use the Show Reference Clips option: Lets you reveal the source clips of a sequence

in a single bin by selecting the “Show reference clips” option in the Bin Display dialog box, and then recapturing the source clips. This method can be faster than recapturing a sequence or decomposing if the lengths of the new audio and video clips created differ

Chapter 1 Conforming and Transferring Projects

from the original master clips. Because two passes are necessary to capture audio and video from a single source if the lengths are not the same, it is sometimes faster to capture a slightly longer master clip than to capture the new clips once for audio and once for video. This method also gives you more opportunity for revisions. However, this method uses more disk space and capturing can take longer. It can be a good compromise between capturing all the original clips and capturing only the clips needed to re-create the source.

For instructions on recapturing, see “Recapturing Your Material” in the Help.

When you recapture from SD source tapes, Avid recommends that you readjust the video levels. You can transfer video input settings from another system, but the existing settings have been calibrated to a different set of hardware and might not operate properly.

If you are capturing serial digital video (SDI), your Avid editing application ignores the video input settings.

Step 5: Import and Lay in the Final Audio Mix

In most cases, the final audio mix was done as part of the offline edit or was done by an audio editor on a digital audio workstation, possibly using Digidesign Pro Tools. In either case, import the OMFI or the AAF file. “Using Pro Tools and Interplay” in Avid Interplay Best Practices.For more information, see “Transferring Audio Files” on page 46 and “Importing Files” in the Help.

After importing the audio mix, calibrate the audio hardware and channels as described in the following topics in the Help:

• “Changing the Audio Hardware Calibration Setting”

• “Calibrating Audio Input Channels”

• “Calibrating Audio Output Channels”

Then use the Audio tool to monitor the audio levels. See “Using the Audio Tool” in the Help.

You can quickly check the peak values of the sequence. See “Using the Console Window to Check Audio Levels” in the Help.

Step 6: Batch Import Graphics

If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the source files. For example, you might want to:

• Upgrade the video resolution of the imported files to an online resolution.

• Replace low-quality material with high-quality material finished with other applications.

• Create new media files when the media files are lost or accidentally deleted.

Conforming Workflow

Reimporting requires your original source files. Do not delete the media files for imported files unless you have access to the source files.

Here are two tips for making batch importing easier:

• Placing a “graphics” folder inside the project folder of your offline project makes the batch import process easier because the path will be the same, or at least faster to find.

• It is easy to edit revised graphics into your project by giving them the same names as the original graphics, copying the revised graphics to the folder that contains the original graphics, and batch importing the revised graphics. You can also edit new graphics into your project by deleting the media for your original graphics, batch importing your sequence, and pointing the old clips to the revised graphics files.

For instructions on batch importing, see “Reimporting Files” in the Help.

Step 7: Re-create Title Media

After you transfer or import all files, you might need to re-create title media if you did not render the titles, or if you want to change the resolution of the titles.

To re-create the title media:

1. Select all video tracks that contain titles.

2. Mark an IN point and an OUT point to create a segment that includes all your titles.

Chapter 1 Conforming and Transferring Projects

3. Select Clip > Re-create Title Media.

- If you have the same font on both systems, the equivalent font appears automatically.

Because the mapping process changes the exact appearance of the font, check your titles carefully. It might be easier to check your titles from the bin than from the sequence.

- If a title opens and the system does not recognize the font, you see a dialog box that allows you to substitute the font in the title for one that is installed on the system.

This replacement creates a font mapping, which is saved as a Site setting. For information on changing the font mapping, see “Redefining a Font Replacement”

on page 39.

If more than one font in the title needs replacement, the dialog box remains open after you click OK, and a new message identifies the next font that needs replacement.

4. Select a drive and resolution for the re-created title media, and click OK.

For more information, see “Re-creating Title Media” in the Help.

Note the following:

• For best results, use OpenType fonts, which reduce problems when transferring projects from one platform to another.

• If you are moving across platforms and the transferred title text uses a single style (the same font and type size), the title text aligns as closely as possible to its original position. The size of the text bounding box adjusts to accommodate the differences between the Macintosh and Windows versions of the font used. You might see a changed leading value in the Title Tool leading field to adjust for multiline text.

Because the Macintosh and Windows systems handle fonts differently, you might see variations in the appearance of titles between the two systems. If necessary, adjust the size of the bounding box, leading values, or kerning information.

For example, bounding boxes that were set on a Macintosh system might appear in a different size on a Windows system. Some clipping of the new text might occur and words can be lost. If this clipping occurs, you need to open the title, select the text box, and manually change the size of the text box or the size of the fonts to display all the text.

For more information on differences between the Macintosh and Windows versions of a font, contact the font supplier.

Conforming Workflow

• If the original system used any applications to manipulate font display (such as Adobe Type Manager (such as character anti-aliasing or character spacing) will not transfer to a system not using the application.

• Titles created in an offline project with anamorphically downconverted media should be saved as 16:9. See “Preparing Titles for the Online Session” on page 32.

Redefining a Font Replacement

You can redefine a font replacement at any time. However, your new font choice is applied only to a title currently in the Title tool and future replacements. It does not affect the font replacement information in titles you have worked with previously.

Font relationships are saved as a site settings file named AvidFontSub.avt. This file is located in the Settings folder, which is located in the Avid Symphony Nitris folder on your internal drive.

Once you have defined a font replacement, the Avid application uses that definition across all projects and all users of the system. If you want to switch to a different replacement font for a title, you must redefine the font replacement.

If you replace the font for a title and return that title to an Avid editing application on a Macintosh system, the new font information will be associated with the title. You must reapply the Macintosh font to restore the title to its original Macintosh style.

), the enhancements these applications provided on the original system

To redefine a font replacement:

1. Open a title in the Title tool.

2. Select Object > Font Replacement. The Font Replacement dialog box opens.

3. Click the Unknown Fonts menu on the left, and select the original font.

4. Click the Available Fonts menu on the right, and select the replacement font you want to use.

When you select a font from the Available Fonts menu, a preview of that font appears in the text boxes.

5. Click OK.

The system updates the font in the open title and records the new replacement information for future use.

Chapter 1 Conforming and Transferring Projects

Step 8: Refine Effects and Perform Color Correction

After reviewing the sequence, you might find you need to adjust effects, add effects, or perform color correction.

Color Correction: You can use Symphony Nitris Color Correction tools for a variety of tasks, including review and adjustment of the chroma and luma levels and color adjustments to selected areas (secondary color correction). For more information, start with “Symphony Nitris Color Correction: Basics” in the Help and then see the chapters in Section 2 of this guide, starting on page 135

For information about conforming sequences that contain color correction, see

“Conforming Sequences with Color Correction” on page 43.

Motion Effects: You might need to choose a different rendering method for motion effects after recapturing media in a final online resolution. If a traditional motion effect is used, consider promoting it to a Timewarp effect. For more information, see “Playing and Rendering Motion Effects” in the Help.

Chroma and luma keys: Chroma and luma keys conform in Symphony Nitris as they were created in the offline system. However, you might find problems with the keys, especially when working in an uncompressed resolution. For maximum options in adjusting keys, promote 2D keys to 3D. The 3D Warp effect in Symphony Nitris includes parameters for the SpectraMatte effect. For more information, see “Creating Key Effects” in the Help.

The following topics in the Help provide information about other finishing tools:

• “Motion Tracking and Stabilization” on page 81

• “Using the Reformat Effects” in the Help

• “Understanding the Intraframe Effects” in the Help

• “Getting Started with the Paint and AniMatte Effects” in the Help

• “Scratch Removal” in the Help

For complete information about effects, see the Avid Symphony Nitris Advanced Effects Guide, which is included in the Help and is also available as a PDF file in the Avid Online Library.

Conforming Workflow

Conforming Sequences Created on Other Avid Editing Systems

A few effects created on other Avid editing systems might not match exactly when conformed on Symphony Nitris. You should check these effects carefully as part of the online conform process:

• Borders for wipes or PIPs: Border position might vary. For wipes created on Media Composer Adrenaline v2.2.x or earlier, or Avid Xpress Pro v5.2.x or earlier, borders end on screen; for wipes created on or conformed on Symphony Nitris, borders end off screen.

• ChromaKey, Luma Key: Due to changes in hardware processing, a key created on a

™

Symphony Meridien

system might not be properly keyed on a Symphony Nitris system. Promote all Chroma Keys to SpectraMatte keys and remake the effects. Promote all Luma keys to 3D Warp Luma Keys and remake the effect using the Luma Range parameters.

• Color Effect: For Color effects created on Media Composer or Avid Xpress Pro, the Chroma Adjust parameter values might not match.

• 3D Effects Parameters: 3D effects on Meridien systems include additional shapes that are not included on Symphony Nitris. The supported shapes might behave differently than they do on Meridien systems. This is especially true for Page Folds when applied with a backing, to a title, or to an imported graphic. For more information, see “3D Effects Parameters” in the Help.

Step 9: Render Effects as Needed

On a Symphony Nitris system, most effects play in real time. However, you might need to render some complex effects or plug-in effects. For more information, see “Real-Time Playback of Video Effects” and “Basics of Effects Rendering” in the Help.

The ExpertRender feature includes a special setting called Prepare for Digital Cut. For more information, see “ExpertRender” in the Help.

Chapter 1 Conforming and Transferring Projects

Step 10: Create the Final Masters

Avid’s Universal Mastering features offer you a range of output formats you can use for your final master. The output formats that are available depend on the format of your source footage.

• If your source footage is 23.976p, 24p or 25p, you can use the Digital Cut tool to output broadcast masters in NTSC and PAL formats, both from the same sequence. You can use the Reformat effect or the Pan and Scan effect to create 4:3, 14:9, and 16:9 versions of the sequence. In addition, the Digital Cut tool includes the option to automatically output titles as 4:3 or 16:9 to match your sequence. You can also output versions for special purposes, such as NTSC 24, for recording audio at the film rate.

For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” in the Help.

• If your source footage is HD, you can use the Video Output Tool to crossconvert to a compatible HD format, and downconvert to an NSTC or PAL format. For more information, see “Crossconverting and Downconverting HD Formats” in the Help.

• All formats let you use the Export tool to output in popular file formats, including QuickTime and Windows Media. Avid codecs for QuickTime let you input and output files quickly, and you can install the codecs on graphics workstations for the most efficient input and output. For more information, see “Exporting Frames, Clips, or Sequences: Advanced” in the Help.

™

• You can use FilmScribe an EDL. For more information, see “Using FilmScribe” and “Using EDL Manager” in the Help.

to create cut lists and change lists, and EDL Manager to create

Conforming an HDV Sequence on Symphony Nitris

Symphony Nitris does not support HDV media. To conform a sequence or part of a sequence that was created with HDV media, you need to transcode the media to a DNxHD resolution on a system that supports HDV and then transfer the media.

To conform an HDV sequence on Symphony Nitris:

1. On an Avid system that supports HDV, capture the HDV media in an HDV project (for example, HDV 1080i/59.94).

2. Perform the offline edit.

3. In the Project window, click the Format tab and change the project format to a compatible HD format (for example, 1080i/59.94).

4. Select the sequence and transcode the HDV media to a DNxHD resolution. DNxHD 145 is an appropriate choice for HDV media.

Conforming Sequences with Color Correction

5. Depending on your storage configuration, do one of the following: a. Transfer the bins and media to the Symphony Nitris system and open them in an HD

project that matches the project on the offline system.

b. In an Interplay environment, open the bins and link to the media.

6. Finish the sequence.

Conforming Sequences with Color Correction

The following sections explain how sequences with color correction conform as they are moved between Symphony Nitris and certain other Avid editing applications, and how you can transfer color correction adjustment values from one type of color correction to another in cases where color corrections do not conform as you want.

Conforming Color Correction Sequences with Symphony Meridien Systems

In Symphony Nitris, if you open a Symphony Meridien sequence containing relationship color corrections, a message box appears informing you that you are attempting to open a sequence with an older type of color correction. You can choose to continue working with the existing sequence or to create a duplicate sequence with updated color corrections.

• If you continue to open the original sequence, the older relationship color corrections do not appear on the Timeline and cannot be played or adjusted.

• If you choose to create an updated duplicate sequence, Symphony Nitris converts the older relationship color corrections to color corrections that you can view, play, and further adjust in Symphony Nitris. The unaltered original sequence is also retained.

In Symphony Nitris, if you open a Symphony Meridien sequence containing Color Correction effects, those effects conform correctly in Symphony Nitris and are available for further adjustment.

Color corrections created in Symphony Nitris have limited backward compatibility with Symphony Meridien systems. In a Symphony Meridien system, if you open a Symphony Nitris sequence, you see the following behavior with color corrections:

• Color Correction effects appear and are available for further adjustment.

You must enter Color Correction mode and click one of the Segment Mode buttons to see the parameter settings in the Color Correction tool.

Chapter 1 Conforming and Transferring Projects

• Relationship color corrections appear as Color Correction effects, not as relationship color corrections, so the relationship aspect of the corrections is lost. However, you can usually recreate the relationships using color correction templates, as described in

“Transferring Color Corrections with Color Correction Templates” on page 45

• When segments contain both a Source and a Program relationship color correction, only one of those corrections (the one applied first in time) appears as a color correction effect.

You can also use a Console command to convert Symphony Nitris sequences with color correction relationships, and then transfer them to a Symphony Meridien system.

To convert a Symphony Nitris sequence with Color Correction relationships and transfer it to a Symphony Meridien system:

1. Load the sequence you want to transfer into the Timeline.

2. Select Tools > Console.

3. In the Console command line, type:

backrevcc

4. Press Enter.

5. Transfer the sequence to the Symphony Meridien system.

6. On the Symphony Meridien system, render the effects.

You cannot convert sequences that contain Color Correction relationships applied to Freeze Frames and Motion Effect Strobe effects.

Conforming Color Correction Sequences with Media Composer or Avid Xpress Pro Systems

In Symphony Nitris, if you open a sequence created on a Media Composer or Avid Xpress Pro system, all existing Color Correction effects conform. You can view and play the Color Correction effects in the Timeline, and you can make further adjustments to the Color Correction effects in the Color Correction tool.

If you want to convert existing Color Correction effects to relationship color corrections, you can do so using color correction templates, as described in “Transferring Color Corrections

with Color Correction Templates” on page 45.

Conforming Sequences with Color Correction

In an Avid editing application that works with Media Composer or Avid Xpress Pro, if you open a Symphony Nitris sequence, you see the following behavior with color corrections:

• All color corrections (whether relationship or Color Correction effect) that use color correction controls available in Media Composer or Avid Xpress Pro conform as Color Correction effects.

• Color correction adjustments that are unique to Symphony Nitris, for example adjustments on the Channels, Levels, or Secondary tabs, do not conform in Media Composer or Avid Xpress Pro. A color correction that uses these adjustments appears in the Timeline (and if it also contains HSL or Curves adjustments they are available), but you cannot view or further adjust the adjustments that are unique to Symphony Nitris.

• When segments contain both a Source and a Program relationship color correction, only one of those corrections (the one applied first in time) appears as a color correction effect.

Transferring Color Corrections with Color Correction Templates

In many situations where a color correction does not conform between one Avid editing application and another in the way that you want, all of the color correction adjustment values that you need are still intact, so you can work around the problem by using color correction templates to transfer the color correction adjustment values to a new type of correction.

For example, if you want to convert a Color Correction effect in a sequence originally created in an Avid Media Composer product to a relationship color correction, you can do so by following these steps:

1. In Color Correction mode, move the position indicator to the Color Correction effect whose adjustment values you want to transfer, and make sure that you are monitoring the track in the Timeline that contains the effect.

2. Drag the Color Correction template icon from the Color Correction tool to a bin. The application saves a color correction template in the bin. If you want, you can

rename the template to clarify its origin.

3. Click the Remove Effect button to remove the original Color Correction effect from the segment.

4. (Option) If you intend to use a relationship color correction that will apply to multiple segments, taking the place of multiple individual Color Correction effects, you might need to move to each of the other segments and remove the existing Color Correction effects from each.

Chapter 1 Conforming and Transferring Projects

5. In the Correction Type menu, select the relationship color correction you want to use.

6. Do one of the following:

- To apply all of the adjustment values stored in the template, drag the Color Correction template icon that you created in step 2 from the bin, and drop it on the monitor containing the current segment.

- To apply only those adjustment values from the template that appear in one Color Correction tool tab, drag the Color Correction template icon that you created in step 2 from the bin, and drop it on the appropriate tab in the Color Correction tool.

For example, drop the icon on the Curves tab to apply only Curve adjustments to the new relationship.

Transferring Project and Media Files

The following sections describe the options and methods you can use to transfer project files and media between Windows systems, between Macintosh systems, and between Windows and Macintosh systems:

• Transferring Audio Files

• Transferring a Project Using Shared Storage

• Transferring Project Files and Media Files Using Nonshared Storage

• Devices and Methods for Transferring Files

• Nonshared Storage Issues for Cross-Platform Collaboration

• Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1

Transferring Audio Files

You might need to transfer audio separately from video. One workflow might involve sending audio from an offline system to a Pro Tools system for sweetening, and then sending the finished audio to a Symphony Nitris system for syncing with final video.

Transferring Project and Media Files

When you are moving your sequence to an audio-editing application, you need to export the sequence as an OMFI or an AAF file, see “Exporting OMFI and AAF Files” in the Help. If you are working with a Pro Tools system, you can streamline your workflow by using the Send To feature, see “Send To Digidesign Pro Tools” in the Help. The Send To Digidesign Pro Tools templates export an AAF file.

• If the audio-editing application to which you are moving your sequence supports the audio format used to create your sequence, you can export the sequence as an OMFI or an AAF composition without audio media and move the original media files to the audio-editing workstation.

• If the audio editing application to which you are moving your sequence does not support the audio format in your sequence, you must export the sequence as an OMFI or an AAF composition with audio media and convert the audio media to the appropriate format.

OMFI files have a 2-GB file-size limit.

The following table lists Pro Tools support for embedded audio. Pro Tools does not support embedded video.

Pro Tools Version Audio embedded in OMFI Audio embedded in AAF

AIFF-C WAVE MXF AIFF-C WAVE MXF

Pro Tools v7 or later Yes Yes No Yes Yes Yes

Pro Tools v6.9 or later Yes Yes No Yes Yes No

Pro Tools v6.7 or earlier Yes Yes No No No No

For information on importing into and exporting from the audio-editing application, see the documentation for the audio-editing application.

DigiTranslator v2.0 is required on the Pro Tools system for import and export of OMF and AAF files.

• “Using Pro Tools and Interplay” in Avid Interplay Best Practices.

Chapter 1 Conforming and Transferring Projects

Transferring Sound Designer II Audio Files from Macintosh Systems

Sound Designer II audio media is a Macintosh format and is not supported on Windows.

To transfer Sound Designer II media to a Windows system, export an OMFI or AAF composition that includes the media and convert the media to AIFF-C or WAVE. Use the Export command or the Send To command.

Working with Sound Designer II Audio Files on Macintosh Systems

Sound Designer II audio media has limited support on Media Composer Macintosh systems.

The following features are supported:

• You can play Sound Designer II audio that was created on another system and transferred.

• You can export audio as Sound Designer II media through the Audio option of the Export command.

The following features are not supported:

• You cannot select Sound Designer II as the file format for a project or output Sound Designer II media in a digital cut.

• You cannot export or convert Sound Designer II media through OMF or AAF.

You can use the Consolidate or Transcode feature to convert Sound Designer II media to another audio file format, or you can convert it as part of an OMF or AAF export.

Transferring a Project Using Shared Storage

If you are using your Avid editing system in an Avid Unity environment, you can use Avid Interplay to share media files, projects, and bins between systems. For more information, see your Avid Unity and Avid Interplay documentation.

You can also share bins and projects in an Avid Unity environment that does not use Avid Interplay. See “Sharing Bins and Projects in an Avid Unity Environment” in the Help and in the Avid Unity documentation.

Transferring Project and Media Files

Transferring Project Files and Media Files Using Nonshared Storage

To transfer project files (information about the components of your project, such as bins, master clips, edited sequences, and so on) and user profiles between Avid systems, you must transfer specific folders directly into the Avid Projects or Avid Users folder before starting the application. You can also transfer the Site Settings file between systems.

For information about these files and folders, see “Managing the Avid Projects and Avid Users Folders” in the Help.

If the media is compatible, you can transfer media files between systems by using a removable media drive. For information about media compatibility, see “Compatibility

Between Applications” on page 25. For information on devices for transfer, see “Devices and Methods for Transferring Files” on page 51.

Transferring a project folder does not transfer accompanying media files.

To transfer project files and associated media files to another Avid system:

1. (Option) Consolidate the media for the project onto an appropriate drive for transfer to the other system.

- For more information on consolidating, see “Consolidating Media” in the Help.

- For more information on devices for transfer, see “Devices and Methods for

Transferring Files” on page 51.

Do not rename the folder named OMFI MediaFiles or Avid MediaFiles (for MXF files) located on the media drive. The target system uses the folder name to locate the media files.

2. Select the project folder, user folder, or Site Settings file you want to transfer (the folder uses the project name or user name you provide). You do not need to copy the Statistics folder, which is located in the project folder. This folder can be large and is not needed by the transferred project.

The default locations for application folders are listed in the following tables.

Chapter 1 Conforming and Transferring Projects

Default Folder and File Locations (Windows)

Folder or File Location

Project folder Private projects:

• drive:\Documents and Settings\Windows login name\My Documents\Avid Projects

Shared projects:

• drive:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects

For information about private projects and shared projects, see “Select Project Dialog Box”

in the Help.

User folder drive:\Program Files\Avid\Avid editing application\Avid Users

Site Settings file drive:\Program Files\Avid\Avid editing application\Settings

Default Folder and File Locations (Macintosh)

Folder or File Location

Project folder Private projects:

• Macintosh HD/Users/Mac login name/Documents/Avid Projects Shared projects:

• Macintosh HD/Users/Shared/Avid editing application/Shared Avid Projects

User folder Macintosh HD/Users/Shared/Avid editing application\Avid Users

Site Settings file Macintosh HD/Applications/Avid editing application/Settings

The exact location depends on your Avid application, its version, and how it was installed on your system. Older versions store projects in an Avid Projects folder that is located in the same folder as the application.

3. Copy the folders or files you want to maintain at the new location onto a storage device or a location on a server.

Alternatively, create a folder at the top level of the media drive and copy the folders or files to that folder.

4. If you are transferring a removable drive, quit the Avid application and shut down your system.

Transferring Project and Media Files

5. Remove the drives containing the media files, and take them and the storage device to the new location.

6. With the system at the new location turned off, insert or connect the drives and start the system.

7. Copy the folders or files to the appropriate folder. The folder locations might be slightly different, depending on the product and how it

was installed. Ignore any Resource folders or files that appear.

8. Start the Avid application. The new project appears in the Project window. New user settings appear in the Users

list. Site settings are active for all projects at the new location.

Do not open a project directly from the transfer device. You must copy the folder to the system drive first.

9. Select a user, open the project, and resume work.

The Avid application reconstructs the MediaFiles database the first time you start the application to incorporate the new media into the system’s internal directory.

Do not rename the project folder. The project settings do not link to the project if you rename the project folder.

Devices and Methods for Transferring Files

There are different options for transferring files, depending on the source and destination systems. The tables in the following sections provide options for moving project files, media files, or both. These tables list the various ways to transfer data, the prerequisite hardware or software, and any restrictions.

For specific information about cross-platform transfers, see “Nonshared Storage Issues for

Cross-Platform Collaboration” on page 54.

Chapter 1 Conforming and Transferring Projects

Transferring Files Between Windows Systems

The following table shows the available methods for transferring files between Windows systems.

Options for Transferring Files Between Windows Systems

Method Requirements Restrictions

All Files (can be used as media drives)

External SCSI drive None For compatibility information, see the Avid Drive Striping

Tables, which are available on the Avid Customer Support Knowledge Base.

Fibre Channel drive None For compatibility information, see the Avid Drive Striping

Tables.

External 1394 (FireWire) drive

Project Files, OMF Files, and AAF Files (including embedded media)

Server-based network None None.

External 1394 (FireWire) drive or USB2 drive

Floppy disk PC-formatted disk Holds 1.4 MB.

CD-ROM None Do not use ISO 9660 format, which truncates the file

DVD None None, if you use the native DVD format.

E-mail E-mail software that

None Cannot be used as a media drive for Symphony Nitris.

For compatibility information, see the Avid Drive Striping Tables.

None Size of the disk.

names. Files copied from a CD-ROM to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation

Files copied from a DVD to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation.

See the documentation for the e-mail software.

supports attachments

Options for Transferring Files Between Windows Systems (Continued)

Method Requirements Restrictions

Transferring Project and Media Files

FTP Network access and FTP

See the FTP software documentation.

software on both systems

DigiDelivery

™

Installation of

None. See www.digidesign.com/products/digidelivery/. DigiDelivery hardware and software

Transferring Files Between Macintosh and Windows Systems

The following table shows the available methods for transferring files between Macintosh and Windows systems.

Options for Transferring Files Between Macintosh and Windows Systems

Method Requirements Restrictions

All Files (can be used as media drives)

Macintosh external drive (SCSI or Fibre Channel)

HFS+ format and an application that enables the Windows system to read Macintosh drives.

See “Nonshared Storage Issues for Cross-Platform

Collaboration” on page 54.

For compatibility information, see the Avid Drive Striping Tables, which are available on the Avid Customer Support Knowledge Base.

External 1394 (FireWire) drive

HFS+ format and an application that enables the Windows system to read Macintosh drives.

Cannot be used as a media drive for Symphony Nitris. For compatibility information, see the Avid Drive Striping

Tables.

Project Files, OMF Files, and AAF Files (including embedded media)

Server-based network Macintosh and

Windows integration

External 1394

HFS+ format Size of the disk.

Rename files to avoid problems with illegal characters. See

“System Compatibility for the Online Session” on page 29.

(FireWire) drive or USB2 drive

Floppy disk PC-formatted disk Holds 1.4 MB.

Chapter 1 Conforming and Transferring Projects

Options for Transferring Files Between Macintosh and Windows Systems

Method Requirements Restrictions

CD-ROM An application that

enables the Windows system to read Macintosh drives.

DVD None None, if you use the native DVD format.

E-mail E-mail that supports

attachments

FTP Network access and

FTP software on both systems

DigiDelivery Installation of

DigiDelivery hardware and software

HFS+ format is recommended. Do not use ISO 9660 format, which truncates the file names. Do not use hybrid CD-ROMs, unless you create them with the Joliet extension, which supports long file names. Properly created hybrid CD-ROMs do not require an application that enables the Windows system to read a Macintosh-formatted CD-ROM.

Files copied from a CD-ROM to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation.

Files copied from a DVD to a Windows system retain the readonly attribute. To change this attribute, see the Windows documentation.

See the documentation for the e-mail software.

For more information on using Fetch on Macintosh systems, see www.fetchsoftworks.com.

None. See www.digidesign.com/products/digidelivery/.

Nonshared Storage Issues for Cross-Platform Collaboration

When you share media files by using a nonshared storage device — either peer-to-peer, over a network, or using removable storage — the following restrictions apply:

• NTFS drives formatted on a Windows system can be read only on Macintosh systems running Mac

• Striped or nonstriped drives formatted as HFS or HFS+ on a Macintosh system can be read on a Windows system, if an application that lets Windows systems read the drives is installed on the Windows system.

OS X 10.4 or later.

Transferring Project and Media Files

To avoid problems when reading a connected HFS or HFS+ drive, do the following:

• On the Macintosh system, after transferring the media files to the HFS or HFS+ drive, give the media folder a name other than “OMFI MediaFiles” or “Avid MediaFiles”. You cannot change the name of the OMFI folder after you connect the drive to the system.

• Make sure the permissions on the HFS or HFS+ volume allow access by other users: a. Select the drive in the Finder. b. Select File > Get Info c. Select “Ignore ownership on this volume.”

• On the Windows XP system, after connecting the drive and transferring the media files to an NTFS drive, turn off the system, disconnect the drive, reboot, and then restart the Avid system.

Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1

Video media from Media Composer v7.2 or Avid Xpress v2.1 is not directly compatible with later releases.

To transfer video media from v7.2 or Avid Xpress v2.1 to a later release:

t In the Export Format dialog box, select OMFI Composition Standard -AIFC, Video

Only, OMFI 1.0, With Media. You can then import the OMFI file.

The import process might be slow and your media loses some quality.

For more information about working with Media Composer v7.2, Avid Xpress v2.1, and other versions of Avid editing products released before July, 2001, see the Avid Products Collaboration Guide, which is available on the Customer Support Knowledge Base.

Chapter 1 Conforming and Transferring Projects

Chapter 2

Working with HD Media

Avid Symphony Nitris includes support for capture, editing, and output of high-definition (HD) media in the following resolutions:

• 1:1 HD (uncompressed 8-bit and 10-bit)

• Avid DNxHD (8-bit and 10-bit)

Avid DNxHD encoding technology delivers mastering-quality HD media at standard definition (SD) data rates and file sizes.

Symphony Nitris also includes support for editing of DVCPRO HD media. Symphony Nitris does not include support for capture, editing, or output of HDV media, see “Conforming an

HDV Sequence on Symphony Nitris” on page 42.

All capturing into Symphony Nitris is done through the Avid Nitris, which does not contain a 1394 connection. DV 25 and DV 50 sources can be captured through a baseband connection to either the SDI or analog inputs on the Avid Nitris (Symphony Nitris does not support capture of DVCPRO HD through a baseband connection). Alternatively, another Avid product such as an Avid Xpress Pro or Avid Media Composer product can be used to capture native DV 25, DV 50, or DVCPRO HD media over IEEE-1394. You can then share, play, edit, and render the media within Symphony Nitris. You can also transcode to these resolutions; available resolutions depend on the format of the source media.

The following sections describe the features and options that let you capture, edit, and output HD media:

• High-Definition Television

• HDTV Workflows

• Editing in HD

Chapter 2 Working with HD Media

High-Definition Television

High-definition television (HDTV) is a digital broadcasting technology that delivers a larger, clearer, more detailed picture than standard definition television (SDTV). HDTV refers to specific digital television (DTV) formats that have been standardized by the Advanced Television Systems Committee (ATSC) and adopted by the United States Federal Communications Commission (FCC). HDTV for PAL has been standardized by the Digital Video Broadcasting (DVB) consortium.

For a table that lists the HDTV digital formats and resolutions that are supported in your Avid application, see “Resolution Specifications: HD” in the Help.

HDTV uses a 16:9 aspect ratio in place of the standard definition 4:3 ratio. The following illustration compares the pixel size of the most common HD formats — 720p and 1080i — to that of the digital version of standard definition NTSC media (ITU-R 601). Both 1080i and 720p formats fill the 16x9 screen on HD television sets.

1920 pixels

1080i HD

1280 pixels

720p HD

1080 lines

720pixels

720 lines

NTSC SD

486 lines

For more information about HD technology, see the Avid HD Handbook: An A to Z Guide, which is available on the Avid web site, www.avid.com.

HDTV Workflows

This section describes three common workflows for creating HDTV output:

• Creation of film-based television programs

• Creation of video-based television programs

• Creation of video graphics for broadcast

For a more detailed description of the conform workflow, see “Conforming Workflow” on

page 26.

Film-Based Television Workflow

The following workflow describes the steps in creating film-based television programs that originate on film footage and that are planned for NTSC HDTV broadcast. This workflow uses features that let you change the project and sequence format, eliminating the need to create a new project and sequence. Modifying the format of the sequence lets you keep both offline SD material and online HD material available in the same project.

For PAL broadcast, transfer film at 1080p/25, edit offline in a 25p PAL project, and edit online in a 1080p/25 project.

HDTV Workflows

“Offline Workflow: 24-fps Film Source for HDTV” on page 61 shows the offline stage of

the workflow for such programs, and “Online Workflow: 24-fps Film Source for HDTV” on

page 62 shows the online stage.

For a more detailed description of the conform workflow, see “Conforming Workflow” on

page 26.

To create a film-based HDTV program:

1. Use a telecine process to transfer 24-fps film footage to HD 1080p/23.976 video at 1:1. The transfer should also create a shot log (for example, a FLEx file).

2. Create a 23.976p SD project in any Avid editing application that supports a 23.976p project.

3. Convert the shot log file with ALE and import it into the project to create one or more bins.

4. Use a 24p deck to downconvert the HD video to ITU-R 601 SD video and batch capture the logged clips in an offline resolution, based on the shot log. The deck adds 2:3 pulldown (NTSC) or 4.1% speedup (PAL). The Avid system removes the extra pulldown fields and creates 23.976p media.

5. Edit at 23.976 fps, apply effects, and create a final sequence.

Chapter 2 Working with HD Media

6. (Option) If a retransfer is needed, use FilmScribe to create an OCN (original camera negative) pull list for another telecine process, to retransfer footage used in the final edit.

7. (Option) Export an OMFI or AAF file to a Pro Tools digital audio workstation to create a final audio mix. For more information, see “Transferring Audio Files” on page 46.

8. A negative cutter uses the pull list to create a reel of selects from the original negative (picture only). The telecine process uses the assembled reel to create a full color-corrected or flat-grade transfer to tape. The process also creates a new transfer file.

9. Transfer the project files to an Avid editing application. If you are using an Avid Unity shared storage system, the project links to the existing SD media. If you are not using Avid Unity, transfer the SD media for reference.

10. Open the project and change its format to 1080p/23.976, see “Changing the Project

Format” on page 66. Review the offline sequence. Then modify the format of the

sequence to create a new 1080p/23.976 sequence, see “Modifying the Format of a

Sequence” on page 68.

11. Convert the transfer file with ALE and import it.

12. Relink by KeyKode: relink the 1080p/23.976p sequence and clips by key numbers (FTFT). Then batch capture clips as HD media, using an HD resolution.

13. (Option) Import the final audio mix.

14. Complete any other finishing, using the original offline sequence for reference.

15. Use the Digital Cut tool to output a 1080p/23.976 master tape. Then convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast. Optionally, use the Avid editing application to crossconvert to 720p/59.94 or 1080i/59.94 for preview or reference. The HD VTR can also create 1080i/50 for PAL broadcast.

Offline Workflow: 24-fps Film Source for HDTV

Telecine transfer process

HDTV Workflows

DAT

Sound recording (DAT)

DAT playback system

Telecine controller

and record deck

Log file

1080p

Film shot at 24 fps

1:1 transfer 1080p/23.976 HD format

HD VTR

Avid offline system

23.976p project

Pull list

To the telecine system

OMFI or AAF file

To Pro Tools system

Chapter 2 Working with HD Media

Online Workflow: 24-fps Film Source for HDTV

Telecine transfer process (picture only)

From the offline session

Pull list

Assembled reel at 24 fps

310

OMFI or AAF file

Log file

1080p

1:1 transfer 1080p/23.976 HD format

24p HD VTR

Avid online system

1080p

1080p/23.976 HD master

Video-Based Television Workflow

The following workflow describes the steps in creating video-based television programs that originate on video footage and are planned for HDTV broadcast.

The workflow for creating such programs uses a single system for offline and online editing, but you can adapt it to use one system for offline editing and another for online editing. This workflow uses features that let you change the project and sequence format, eliminating the need to create a new project and sequence. Modifying the format of the sequence lets you keep both offline SD material and online HD material available in the same project.

You can use this workflow for video footage shot at 720p/23.976, 720p/59.94 or 1080p/29.97. In these cases, however, you cannot simply change the project format (step 6). Instead, you need to create a new project that matches the source footage, open the bin or bins from the NTSC 30i project, change the sequence format, decompose, and batch capture.

For a more detailed description of the conform workflow, see “Conforming Workflow” on

page 26.

To create a video-based HDTV program:

1. Shoot HD video.

HDTV Workflows

2. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p PAL.

3. Create an offline project, as shown in “Offline Formats for HD” on page 66. For example, if you plan to finish at 1080i/59.94, create a 30i NTSC project.

4. Capture your material. Edit, apply effects, and create a final sequence.

5. (Option) Export an OMFI or AAF file to a Pro Tools digital audio workstation to create a final audio mix. For more information, see “Transferring Audio Files” on page 46.

6. Change the project format to the corresponding HD online format, see “Changing the

Project Format” on page 66. Duplicate the final sequence, and then modify the format of

the sequence to create a new sequence in the corresponding HD format, see “Modifying

the Format of a Sequence” on page 68.

7. Decompose the new HD sequence and batch capture from the source tape.

8. (Option) Import the final audio mix.

9. Finish the sequence by batch capturing graphics, recreating title media and reviewing the program for effects that need fine-tuning. Use the original offline sequence for reference.

10. Render all effects and output a master tape.

Chapter 2 Working with HD Media

Offline/Online Workflow: HD Video Source for HDTV

1080i

30i

HD VTR

30i NTSC SD format

1080i

1080i/59.94 HD master

1080i/59.94 HD format

Avid editing system

OMFI or AAF file

Pro Tools system

Broadcast Graphics Workflow

Another HDTV workflow produces graphics, such as bumpers and promos that are created in graphics programs for HDTV broadcast.

1. Create files on a graphics workstation, using either 1280x720 for 720p or 1920x1080 for 1080i.

2. Export the files to a location that the Avid editing system can access.

3. Create a 720p or 1080i project, import the files, edit, and finish.

4. Create a broadcast master tape in the desired format. Cross-convert to output an alternative format.

Broadcast Graphics Workflow

HDTV Workflows

720p

720p/59.94 broadcast master

1080i/59.94 broadcast master

Graphics workstation

Files created for 720p or 1080i

Avid editing system

1080i

Chapter 2 Working with HD Media

Editing in HD

The following sections describe features that are specific to HD projects.

Changing the Project Format

The Format tab in the Project window lets you change the format of the project to another format that shares the same frame rate.

This feature is especially useful if you are working with downconverted HD material in an offline-to-online workflow, see “Video-Based Television Workflow” on page 63. Each HD format has an equivalent SD format that you can use for offline editing, as shown in the following table.

Offline Formats for HD

HD Online SD Offline Notes

720p/23.976 23.976p NTSC You cannot change between these project formats

because the edit rates are different. See “Converting

a 23.976p NTSC Sequence to 720p/23.976” on page 71.

720p/50 25p PAL You cannot change between these project formats

because the edit rates are different.

720p/59.94 30i NTSC You cannot change between these project formats

because the edit rates are different, see “Editing at

60 fps” on page 73. Use an NTSC 30i project for

offline editing, then open a new 720p/59.94 project for online editing. Open the desired NTSC 30i bins and modify the final sequence, as described in

“Modifying the Format of a Sequence” on page 68.

1080p/23.976 23.976p NTSC or

24p NTSC

For 23.976p NTSC, change the project format and modify the sequence. 24p NTSC sequences require additional conversion. See “Converting a 24p NTSC

Sequence to 1080p/23.976” on page 70.

Editing in HD

Offline Formats for HD (Continued)

HD Online SD Offline Notes

1080p/24 24p NTSC or 24p

PAL

1080p/25 25p PAL Change the project format and modify the sequence.

1080p/29.97 30i NTSC You cannot change between these project formats

1080i/50 25i PAL Change the project format and modify the sequence.

1080i/59.94 30i NTSC Change the project format and modify the sequence.

Change the project format and modify the sequence.

because the edit rates are different. Use an NTSC 30i project for offline editing, then open a new 1080p/29.97 project for online editing and open the desired NTSC 30i bins. You do not need to modify the sequence. Duplicate the sequence. Then batch capture the duplicated sequence or decompose and batch capture.

Another use for this feature is if you are working in an HD project and need to capture SD material. In an HD project, you can capture only HD material, and in an SD project, you can capture only SD material. Temporarily changing from an HD project to an SD project gives you access to the SD compressions. You can capture the material you need, then change back to the HD project and work with both SD and HD clips, see “Mixing SD and HD” on

page 71.

To change the project format:

1. Click the Format tab on the Project window.

2. Select the corresponding format for your workflow.

You can select only projects with the same edit rate.

When you change the project format, the following changes take place:

• The hardware changes to support input and output for the new project.

• The available resolutions change to those of the new project.

• Any new sequences you create use the format of the new project.

If necessary, you can then modify the format of an existing sequence, see “Modifying the

Format of a Sequence” on page 68.

Chapter 2 Working with HD Media

Modifying the Format of a Sequence

When your Avid editing application creates a sequence, it uses the format of the current project. You can change the format of an existing sequence by selecting Clip > Modify.

The choice of formats is limited to compatible frame rates of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94, but not to 1080p/23.976. (You can, however, convert a 24p NTSC sequence to 23.976p. See

“Converting a 24p NTSC Sequence to 1080p/23.976” on page 70).

In some cases, where the timecode format needs to be changed, your Avid application creates a new, modified sequence. Media for this new sequence is offline. In other cases, where the timecode format does not need to be changed, the application modifies the existing sequence and media stays online.

You can check the format of the sequence in the Format column of the bin. (For instructions on adding a column to a bin, see “Displaying Formats in a Bin” on page 72.)

New 720p sequence

Modified 1080i sequence

Editing in HD

The following table shows the choices you have for modifying sequences and how each type of sequence is modified.

Choices for Modifying Sequences

Original Sequence Choices for Modifying How Sequence is Modified

23.976p NTSC 1080p/23.976 Existing sequence is duplicated with the extension 1080p. Media in the duplicated sequence is offline.

To convert to 720p/23.976, see “Converting a

23.976p NTSC Sequence to 720p/23.976” on page 71.

24p NTSC 1080p/24

23.976 NTSC

24p PAL 1080p/24 Existing sequence is duplicated with the

25p PAL 1080p/25 Existing sequence is modified. Media remains

25i PAL 1080i/50 Existing sequence is modified. Media remains

30i NTSC 720p/59.94

1080i/59.94

Existing sequence is duplicated with the extension 1080p. Media in the duplicated sequence is offline.

Existing sequence is duplicated with the extension 23.976 fps. Media is offline. See

“Converting a 24p NTSC Sequence to 1080p/23.976” on page 70.

extension 1080p. Media in the duplicated sequence is offline.

online.

Existing sequence is duplicated with the extension 60 fps. Media in the duplicated sequence is offline.

Existing sequence is modified. Media remains online. Not available in 720p projects.

For 1080p/29.97 projects, you can work with the 30i NTSC sequence without converting it.

To modify the format of clips not used in the sequence, create a sequence of the selected clips and then modify the sequence. One way to create a sequence of clips is to select the clips, hold down the Alt key, and select Bin > AutoSequence. See “Using the AutoSequence Command” in the Help.

Chapter 2 Working with HD Media

To modify the format of a sequence:

1. (Option) Duplicate the sequence.

2. Select the sequence you want to modify.

3. Select Clip > Modify. The Modify dialog box opens.

4. Select Set Format from the top list.

5. Select the format to which you want to convert from the Format menu.

6. Click OK. A message box tells you whether the sequence has been duplicated or modified. Your Avid editing application changes the format of the sequence. In cases where

timecode needs to be converted, the application creates a new sequence and unlinks the media. No media is converted.

Converting a 24p NTSC Sequence to 1080p/23.976

The most efficient offline format for a project that needs to be delivered as 1080p/23.976 is

23.976p (NTSC). In some cases, however, you might need to edit the offline sequence at 24 fps — for example, if the offline system does not support 23.976p NTSC projects. To convert a 24p NTSC sequence to 1080p/23.976p, you need to take an intermediate step and first convert it to 23.976p NTSC.

Several limitations apply to this conversion:

• Audio captured without pulldown (60 Hz) needs to be recaptured with pulldown (NTSC reference at 59.94 Hz).

• Media for the new 23.976p sequences and clips is offline. Sequences and clips cannot be linked to the original 24p media.

• You need to batch capture and import media. In most cases, you would do this after converting the sequence to 1080p/23.976.

The last two limitations also apply to other sequence conversions that create new sequences.

To convert a 24p NTSC sequence to 1080p/23.976:

1. On the HD online system, open a 1080p/23.976p project or create a new one.

2. Switch the project format to 23.976p NTSC.

3. Open the bin that contains the original 24p sequence and select the sequence.

4. Select Clip > Modify. The Modify dialog box opens.

5. Select Set Format from the top list and select 23.976 NTSC from the Format menu.

6. Click OK. The application creates a new sequence labeled with the extension 23.976 fps.

7. Switch the project format back to 1080p/23.976p project.

8. Select the new 23.976p sequence.

9. Select Clip > Modify.

10. Select Set Format from the top list and select 1080p/23.976 from the Format menu.

11. Click OK.

12. Batch capture, import graphics, and finish the sequence.

Converting a 23.976p NTSC Sequence to 720p/23.976

Because the source edit rates are different for these formats, you cannot simply change the project and sequence format. The following sequence is based on source material shot or transferred to 720p/23.976 and edited offline in a 23.976p NTSC project.

To convert a 23.976p NTSC sequence to 720p/23.976:

1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin.

Editing in HD

2. Decompose the sequence.

3. Select the master clips and export them as a shot log file.

4. Create a 720p/23.976p HD project.

5. Import the shot log file into a bin.

6. Batch capture the clips.

7. Open the SD bin containing the duplicated sequence.

8. Relink the SD sequence to the new HD clips. See “Relinking Clips to a New Project Format” in the Help.

Mixing SD and HD

You can mix SD and HD material in the same project. You can even mix SD and HD material in the same Timeline if the edit rates match. For example, you can edit both NTSC 30i and 1080i/59.94 into the same sequence and then play the sequence in real time. This feature is useful if you want to preview SD material in an HD project. For more information, see “Mixing Resolutions” in the Help.

• In an HD sequence, an SD image is stretched to fill a 16:9 monitor.

• In an SD sequence, an HD image is anamorphically squeezed to fit the 4:3 monitor.

Chapter 2 Working with HD Media

You cannot output a sequence that mixes SD and HD material. To output a mixed sequence as HD, you need to transcode the clips that use the unsupported resolution to an HD resolution, see “Transcoding HD Media” on page 73. All master clips then share the same format.

You might also need to apply an effect, such as Reformat or Resize, in which case you need to render the effects. This process creates new media in the format of the sequence.

You can set an option to highlight clips that do not match the project format. See “Highlighting Clips in a Mixed-Format Timeline” in the Help.

If you have a sequence that mixes SD and HD clips, and you need to recapture the SD clips in an HD resolution, you can create a subsequence of the SD clips, modify the format of the subsequence, see “Modifying the Format of a Sequence” on page 68, decompose, and recapture.

Displaying Formats in a Bin

The Format column displays the format of a clip or sequence as determined by the project type, such as 30i NTSC or 1080i/59.94. This is especially useful if you have both SD and HD clips in the same bin.

Format column

For information on displaying a colum, see “Manipulating Bin Columns” in the Help.

Editing at 60 fps

The project type 720p/59.94 uses a screen resolution of 1280 x 720 at a frame rate of 60 frames per second. Editing at 60 fps is similar to editing at 24 fps because both resolutions are progressive — they use full frames instead of interlaced fields. Note the following:

• Single-frame step commands move at 1/60th of a second. Single-field step commands are deactivated; if you click a button, the application beeps.

• You can mark IN and OUT points at 1/60th of a second increments.

• You can trim at 1/60th of a second increments.

• Transition effects default to one-second duration (60 frames).

• Deck control for capture and digital cut is limited to 30 fps. A message box warns you if you try to mark an odd timecode value (such as 01:00:00:03).

Editing in HD

1080i/50 and 1080i/59.94 are interlaced resolutions that you edit at 25 frames per second and 30 frames per second.

Working with True 24 FPS Timecode

Avid HD editing applications support direct device control at 24 fps, enabling you to capture true 24-fps timecode from HD decks. When you are capturing 23.976-fps or 24-fps material in HD, the Capture tool displays 24-fps timecode for the Mark IN and Mark OUT points. After you capture a clip, the Start and End timecodes are also shown as 24-fps timecode.

Transcoding HD Media

For HD projects, the Consolidate/Transcode dialog box lists compatible HD resolutions. For resolution information, see ”Resolution Specifications: HD” in the Help. For information on transcoding media, see “Using the Transcode Command” in the Help.

Using HD Universal Mastering

HD Universal Mastering allows 1080p high-definition sequences (both NTSC and PAL) edited at one frame rate to be played back in real time at a different frame rate and with audio conversion that matches the video conversion.

If you create a sequence in one frame rate (for example, 24 fps), you can then output the sequence at an alternate frame rate (for example, 25 fps). This modifies the duration of the sequence to roughly 96% of its original length.

Chapter 2 Working with HD Media

HD Universal Mastering preserves synchronization with the converted video by remastering audio at a different sample rate to generate replacement audio tracks from previously mixeddown audio clips. Once replacement audio tracks have been generated, you can edit them into a new sequence, or edit them into the original sequence as alternative tracks, and then use the Digital Cut tool to output the sequence.

The following frame rates are supported for HD Universal Mastering of sequences (sample rates are included as examples of remastered audio):

HD Universal Mastering Frame Rates

Original Frame Rate Mastered Frame Rate Original Sample Rate Mastered Sample Rate

23.976 fps 24 fps 48000 47952

23.976 fps 25 fps 48000 46034

24 fps 23.976 fps 48000 48048

24 fps 25 fps 48000 46080

25 fps 24 fps 48000 50000

25 fps 23.976 fps 48000 50050

HD Universal Mastering applies only to sequences created in a 1080p project format, and the audio quality is best if you are working with 48 kHz audio.

Converting Audio for HD Universal Mastering

Before you output your sequence with HD Universal Mastering, you need to convert the audio tracks so that they match the frame rate of the video tracks.

To prepare audio tracks for HD Universal Mastering:

1. Load a sequence in the Record monitor or the Timeline.

2. Click the Track buttons in the Track Selector panel in the Timeline to select the audio tracks you want to mix down.

3. Perform an audio mixdown (for information on how to mix down audio, see “Mixing Down Audio Tracks” in the Help).

The audio is mixed down, and your Avid editing application displays the new master clip in the bin.

4. Select the mixed-down audio clip in the bin, and do one of the following:

t Select Clip > Change Sample Rate. t Right-click the clip and select Change Sample Rate.

The Change Sample Rate dialog box opens.

5. Click the Sample Rate menu, and select the appropriate conversion option:

- 23.97fps -> 24fps for Universal Mastering

- 23.97fps -> 25fps for Universal Mastering

- 24fps -> 23.97fps for Universal Mastering

Editing in HD

- 24fps -> 25fps for Universal Mastering

- 25fps -> 23.97fps for Universal Mastering

- 25fps -> 24fps for Universal Mastering

Chapter 2 Working with HD Media

6. (Option) Click the Quality menu and select one of the following conversion quality options:

-High

-Medium

-Low

Avid recommends you accept the default Quality setting of High. Selecting a lower Quality setting might lead to degraded audio quality in your media output.

7. (Option) Select the Delete Original Media option if you want the system to delete the original media automatically after the conversion process is complete.

8. (Option) Click the Target Drive menu and select a drive for the new media files different from the drive setting in the Audio Project settings. For more information on Audio Project settings, see “Understanding Audio Project Settings” in the Help.

Make sure that you choose a target drive with enough storage space for the generated media files and the ability to play back media.

9. Click OK. The Avid editing application creates a new audio master clip in the bin with the name of

the original clip followed by the file name extension .new.n, where n is the number of new clips created from the original clip.

10. Select Clip > New Audio Track twice to create two new audio tracks in the Timeline.

11. Use the Track Selector buttons to select only the two new audio tracks.

12. Mark an IN point on the first frame of the sequence.

13. Make sure the position indicator in the Timeline is on the first frame of the sequence.

14. Click the Overwrite button to add the converted audio to original sequence.

Performing a Digital Cut with HD Universal Mastering

Once you have mixed down your audio tracks and added the new audio clip to your sequence, you can output your sequence at a new frame rate by performing a digital cut.

To perform a digital cut with HD Universal Mastering:

1. Make sure your sequence is loaded in the Source monitor.

2. Select Output > Digital Cut. The Digital Cut tool opens.

Sequence Tr a ck buttons

Output Format menu

SD Downconver t menu

Editing in HD

Play Digital Cut button

3. Select the video tracks you want represented in the digital cut by using the Sequence Track buttons.

4. Deselect all audio tracks except the converted tracks by using the Sequence Track buttons (see “Converting Audio for HD Universal Mastering” on page 74).

5. Click Output Format, and select the appropriate frame rate option:

- 23.976

-24

-25

6. (Option) Click SD Downconvert, and select the appropriate resize option. The options available depend on the selected Output Format option. For more information on SD Downconvert, see “Video Output Tool Settings: HD Tab (Adrenaline Only)” in the

Help.

Chapter 2 Working with HD Media

7. Select the appropriate options for your digital cut. For more information on using the Digital Cut tool, see “Using the Digital Cut Tool” in the Help.

8. Click the Play Digital Cut button. Your Avid editing application cues the record deck, then plays and records the sequence

at the remastered frame rate. The playback appears in the Record monitor and in the Client monitor. Once the digital cut completes (or is aborted), the DNA hardware resets to the original project frame rate.

If you select a deck or tape for your digital cut that is set for a frame rate different from the current sequence format, a message reminds you to switch the genlock signal to match the selected output rate and indicates the genlock changes that best match the output. Also, there might be a slight delay in playback as the DNA hardware adjusts the frame rate.

Video Color Space for HD

Color space determines how the color components of the video signal are stored and processed. HD video uses an international specification for the YCbCr color space called ITU-R 709. It is an expansion of the earlier YCbCr specification for SD called ITU-R 601. ITU-R 601 and ITU-R 709 share some information: for example, for 8-bit components, black is mapped to 16 and white is mapped to 235. However, color values can change when you are converting from SD to HD, and vice versa. Avid HD editing applications automatically compensate for these differences.

YCbCr and YPbPr refer to the same color space. Avid editing systems use YPbPr to designate HD analog output, both in the Video Output tool and on the back of the Avid Nitris hardware. The HD tab of the Video Output tool provides sliders to adjust the YPbPr analog output through the YPbPr connectors on the back of the Avid Nitris.

For information on transferring and conforming HDV sequences on Symphony Nitris or DS Nitris, see “Conforming an HDV Sequence on Symphony Nitris” on page 42.

Section 2

Finishing Tools

Avid Symphony Nitris offers a wide range of tools for adding the finishing touches to your project. The following chapters describe features that are unique to Symphony Nitris:

• Motion Tracking and Stabilization

• Symphony Color Correction

- Understanding Color Correction Mode

- Performing Color Corrections

- Managing Color-Corrected Sequences

- Color Correction Techniques

- Spot Color Correction

- Safe Colors

For information about other tools and features you might use, see the following topics in the Help:

• Using the Reformat Effects

• Understanding the Intraframe Effects

• Getting Started with the Paint and AniMatte Effects

• Scratch Removal

Chapter 3

Motion Tracking and Stabilization

Your Avid editing application can track the motion of a selected area in an image over time. Once you have obtained tracking data, you can use it to control the motion of a digital video effect such as a Picture-in-Picture or a Paint effect. You can also use tracking data to stabilize an image to compensate for camera motion.

This chapter includes the following sections:

• Understanding Motion Tracking

• Workflow for Motion Tracking

• Effects and Effect Parameters That Use Tracking Data

• Understanding the Tracking Interface

• Setting Up an Effect for Tracking

• Preparing to Generate Tracking Data

• Understanding Tracking Data

• Offset Tracking

• Understanding Generated Tracking Data

• Customizing Tracking Data Display

• Setting the Reference Frame

• Using SteadyGlide or Smoothing

• Modifying Tracking Data

• Limiting the Effect of Position Tracking Data to a Single Axis

• Playback of Effects Using Tracking Data

• Understanding Stabilizing

• Guidelines for Using Multiple Trackers When Stabilizing

• Using the Region Stabilize Effect

Chapter 3 Motion Tracking and Stabilization

• Editing Segments That Use Tracking Data

• Reusing Existing Tracking Data

• Conforming Symphony Meridien Sequences with Tracking Data

• Examples of Effects Using Motion Tracking

Understanding Motion Tracking

This section includes conceptual information that helps you to understand how tracking works and when you might want to use it.

Understanding the Tracking Process

Motion tracking works by searching for a distinctive pattern of pixels in each frame of a video segment. As the pattern moves over time, your Avid application records the movement as a series of points, one for each frame or field in the segment. For example, if a car is moving across a segment, you can track a distinctive pattern on the side of the car, such as the shape of its side mirror. The result is a set of tracking data points that represent the movement of the car over time.

Once you have a set of data points, you can associate them with an effect parameter to control how an effect moves. For example, if you needed to hide the identity of the person driving the car in your segment, you could associate the tracking data with the Position parameter of a Blur effect. The tracking data would then control the movement of the Blur effect so that the blurred area remained over the person’s head throughout the segment.

Each set of data points is contained within a structure called a tracker. Depending on the kind of motion you need to track, you might need one, two, or more trackers. For simple two-dimensional movement, a single tracker is sufficient. If you need to track rotational movement or scaling information, you need two trackers so that the system can calculate the position of one point in the image relative to a second point. For even more complex motion, such as that involved in corner pinning an image, you might need three or four distinct points to correctly track perspective or the angle at which the image is tilted.

Uses of Motion Tracking

One common use for motion tracking is to replace a moving area in one image with new material. For example, you can track the motion of a distinctive area on a vehicle and then use that data to replace an advertising sign on the vehicle or to replace or blur the license plate. In many cases, especially when the motion of the vehicle is complex, using tracking

Understanding Motion Tracking

data to control the movement of the foreground replacement is much quicker than using keyframes to define the movement by hand. For an example of this use of motion tracking, see “Example 1: Replacing the License Plate on a Moving Vehicle” on page 130.

Sometimes a shot is designed from the outset with motion tracking in mind. A director might attach a target to the moving vehicle so that it can be tracked easily. You could create a replacement sign as a graphic and import it or shoot a replacement sign against a keying background. During editing, you use tracking data to control the movement of the replacement material in a Picture-in-Picture or a chroma key effect promoted to 3D Warp.

Another use for motion tracking is to create an effect in which a foreground object follows a background object but remains offset from it. For example, you might track the movement of a hand in a background clip and then use that tracking data to control the movement of a foreground object so that the object’s movement appears to be controlled by the moving hand.

When you stabilize an image, you use tracking information somewhat differently. By tracking an object that should be motionless — for example, part of a building — you collect information about the movement of the camera from one frame to the next. The Stabilize effect then applies the inverse of that movement to each frame in order to eliminate the camera motion.

Motion Tracking and Footage Characteristics

Your Avid editing application provides motion tracking tools that make it possible to track movement in many kinds of footage successfully.

However, there will always be some footage that is difficult or even impossible to track successfully because there is no consistent pattern to track across multiple frames or because there is insufficient distinction between the pattern you want to track and the surrounding material. Typically, tracking requires a distinct edge in the target area, for example the edge of a moving vehicle against a background, or the edge of an advertising sign against the body of a vehicle.

In some cases, you might be able to temporarily apply a color correction or a Color Effect that you can use to make a pattern more distinct. For example, if a blue vehicle does not track well against a sky background that is a similar shade of blue, you could use a secondary color correction on the vehicle to change its color temporarily.

Chapter 3 Motion Tracking and Stabilization

Workflow for Motion Tracking

The following workflow outlines the main stages of the motion tracking process and indicates where to find more detailed information and procedures for each stage.

Motion tracking provides considerable workflow flexibility. As you become a more experienced user of motion tracking, you can modify the order of these stages or merge them together to suit your editing style and the requirements of a particular project.

1. (Option) Before you begin working with the motion tracking tools, develop a general concept and design for the effect you want to create.

In some cases, you can design your shoot itself with tracking in mind, for example, by attaching a distinctive target to a moving object that you can later track and replace with an effect.

2. Set up the effect that you want to control using tracking information. You access motion tracking from within an effect parameter for a specific effect, so you

must set up the effect first. For more information, see “Setting Up an Effect for

Tracking” on page 91.

3. Prepare to generate tracking data by creating trackers and customizing how the system will conduct the tracking operation. For more information, see “Preparing to Generate

Tracking Data” on page 93.

4. Generate tracking data. Depending on the complexity of the movement you want to track, you might need to

track one, two, or more distinct points in the image. Also, if you are not able to track one target area successfully throughout your segment, you might need to add one or more additional tracker regions and track each additional region.

For more information, see “Generating Tracking Data” on page 103 and “Performing

Offset Tracking” on page 107.

5. If necessary, process or modify the tracking data. For example, you might want to smooth the path of the tracking points, or adjust some

of the points by hand. For more information, see “Using SteadyGlide or Smoothing” on

page 112 and “Modifying Tracking Data” on page 113.

6. Play back the effect. The system calculates the motion of the effect by incorporating the tracking data and

displays the result. For more information, see “Playback of Effects Using Tracking

Data” on page 119.

7. If necessary, continue to adjust the tracking information or other effect parameters until you are satisfied with the look of the effect.

Effects and Effect Parameters That Use Tracking Data

You can enable tracking and use tracking data for most segment effects that can move over time, including Picture-in-Picture, keys, Intraframe some cases, you must promote an effect to 3D to access tracking for the effect or to access the full range of tracking options.

Effect parameters that can use tracking data divide into two groups:

• The Position, Scaling, and Rotation parameters allow you to use tracking data to control the specific kinds of motion associated with each parameter. You can work with tracking enabled in any combination of these parameters at the same time. For example, you can work with tracking enabled in both the Position and the Scaling parameters to control both the position of an effect on the X and Y axes and the size of the effect.

• The Tracking parameter category provides a more flexible way to define and use tracking data by allowing you to enable up to four trackers. The Tracking parameter is the only parameter that allows you to work with more than two trackers at one time and is therefore the only option for controlling complex motions that involve perspective changes or tilting of the effect.

You can also use the Tracking parameter with only one or two trackers enabled to control simpler motions such as position and scaling. This is the only option for such control in effects that do not have Position, Scaling, and Rotation parameters, such as Intraframe effects. This is also an alternative method for controlling simpler motions in effects that do have Position, Scaling, and Rotation parameters.

It is important to understand that the two groups of parameters that use tracking data are mutually exclusive. When you enable the Tracking parameter, tracking is automatically disabled in the Position, Scaling, and Rotation parameters. When you enable tracking in the Position, Scaling, or Rotation parameters, the Tracking parameter is automatically disabled.

™

effects, titles, and all 3D effects. In

The following table provides a complete list of the effects and effect parameters that can use tracking data. For reference information on these effects and their parameters, see “2D Effects Reference” and “3D Effects Reference” in the Help.

Chapter 3 Motion Tracking and Stabilization

Effects and Effect Parameters for Tracking

Effect Available Parameters

Picture-in-Picture (2D) Position, Scaling

Paint AniMatte Blur Effect Mosaic Effect Scratch Removal Spot Color Correction

Stabilize Position, Scaling, Tracking

Matte Key effect (applied from Key category in the Effect Palette)

Imported Matte Key clip (2D) Position, Scaling

Titles (2D) Position, Scaling

3D Warp (including promoted Picture-in-Picture effects, keys, 3D Xpress shape effects, and titles)

Tracking

Position, Scaling

Position, Rotation, Scaling, Tracking

Understanding the Tracking Interface

The interface items that you use when tracking divide into three groups according to their locations. These groups are described in the following topics.

Tracking Controls in the Effect Editor

The Effect Editor includes tracking controls within those effect parameter categories that can use tracking information. These controls allow you to enable tracking for the parameter and to define which trackers apply to that parameter.

The appearance of tracking controls in the Effect Editor varies somewhat depending on whether or not the effect has been promoted to advanced keyframes.

The following illustration shows the tracking controls for the Position parameter category in both standard keyframes and advanced keyframes.

Tracker controls for Position parameter category — effect with standard keyframes

Tracker controls for Position parameter category — effect promoted to advanced keyframes

For more information, see:

• “Effects and Effect Parameters That Use Tracking Data” on page 85

• “Enabling Tracking in the Effect Editor” on page 93

• “Creating and Mapping Trackers” on page 95

Tracking Controls in the Effect Preview Monitor

The Effect Preview monitor displays tracking controls that you can manipulate directly. The monitor displays the tracking boxes that you use to define the target area and the search area on the first frame or field of the region that you want to track. As tracking takes place, the monitor displays the generated data points for each frame or field. Once tracking data has been generated, you can display tracking data points in various ways and manipulate them in the monitor. For more information, see the following sections:

Understanding the Tracking Interface

• “Setting Up Tracking in the Effect Preview Monitor” on page 98

• “Tracking Data in the Effect Preview Monitor” on page 108

• “Customizing Tracking Data Display” on page 109

• “Modifying Tracking Data” on page 113

The following illustration shows a typical display of tracking boxes and data points.

Chapter 3 Motion Tracking and Stabilization

The Tracking Window

Many of the controls that you use to create, customize, and modify trackers are located in the Tracking window.

To open the Tracking window, do one of the following in the Effect Editor:

t Enable tracking in an effect parameter for a tracker that is not currently mapped.

For more information, see “Creating and Mapping Trackers” on page 95.

t Click the Tracking Tool button.

You might need to resize the Effect Editor to see the Tracking Tool button in the column of buttons on the right side.

The Tracking window has the following main features:

• An area containing controls for setting up and performing tracking, controlling the display of tracking data, and modifying tracking data

• A timeline representation of each tracker for the current effect

The following illustration shows the Tracking window.

The following table provides a brief description of each interface item in the window and indicates where to find more detailed information.

Understanding the Tracking Interface

Tracking Window Controls

Control Description

Start Tracking Starts a tracking operation from the current location

of the position indicator. For more information, see

“Generating Tracking Data” on page 103.

New Tracker Creates a new tracker. For more information, see

“Creating and Mapping Trackers Manually” on page 96.

Go to Previous Region and Go to Next Region

Click one of these buttons to move to the previous or next region boundary in the tracker timelines. For more information, see “Moving to a Tracking

Region” on page 106.

Tracking Engine Allows you to choose between the two available

tracking engines, Correlation Tracker and FluidTracker. For more information, see “Choosing

a Tracking Engine” on page 101.

Track Background/Foreground

Allows you to choose between tracking the background shot and tracking the foreground shot, In the great majority of cases, you will want to track the background shot. For more information, see

“Choosing Background or Foreground Tracking” on page 102.

Point Range Controls how many of the tracking data points

appear in the Effect Preview monitor. For more information, see “Customizing Tracking Data

Display” on page 109.

Display Controls the display in the Effect Preview monitor,

allowing you to view either the tracking data or the results of the effect. For more information, see

“Customizing Tracking Data Display” on page 109.

Stretch Points Mode Allows you to stretch data points. For more

information, see “Stretching a Range of Tracker

Data Points” on page 117.

Chapter 3 Motion Tracking and Stabilization

Tracking Window Controls (Continued)

Control Description

Enable Tracker button (Tracker timeline displays)

Offset Tracking (Tracker timeline displays)

SteadyGlide (Tracker timeline displays)

Smoothing (Tracker timeline displays)

When the Enable Tracker button is active for a tracker, tracking boxes and tracking data points display in the Effect Preview monitor. Also, when the Enable Tracker button is active for a tracker, the system generates tracking data for that tracker during a tracking operation. The button is purple when active and gray when inactive. For more information, see “Enabling, Disabling, and Deleting

Trackers” on page 97.

When this option is selected, the tracker uses offset tracking to calculate a continuous motion for the effect from multiple regions of tracking data. For more information, see “Offset Tracking” on

page 104.

When this option is selected, the tracking data for the tracker is processed to remove unwanted jittery motion while preserving underlying smooth movement such as a camera pan or zoom. The value set in the Smoothing Value text box controls the extent of the processing. For more information, see

“Using SteadyGlide or Smoothing” on page 112.

When this option is selected, the tracking data for the tracker is processed to smooth the path between selected points. The value set in the Smoothing Value text box controls the amount of smoothing applied. For more information, see “Using

SteadyGlide or Smoothing” on page 112.

Smoothing Value (Tracker timeline displays)

Tracker Color box (Tracker timeline displays; also visible in the Effect Editor)

Enter a value in this text box between 1 and 100 to control the amount of smoothing performed by the SteadyGlide or Smoothing processes. The larger the value, the more smoothing is performed. For more information, see “Using SteadyGlide or Smoothing”

on page 112.

Shows the color the system uses to display information for this tracker in the Effect Preview monitor and allows you to change the tracker’s display color. For more information, see

“Customizing Tracking Data Display” on page 109.

Tracking Window Controls (Continued)

Control Description

Setting Up an Effect for Tracking

Tracker Name text box (Tracker timeline displays; also visible in the Effect Editor)

Tracker timeline (Tracker timeline displays)

Tracker Close button (Tracker timeline displays)

Shows the name of the tracker and allows you to change the name of the tracker. For more information, see “Creating and Mapping Trackers

Manually” on page 96.

Shows information about the tracking data in the tracker. Color coding indicates the status of the data. For more information, see “Adjusting Tracking

Boxes” on page 99 and “Tracking Data in the Tracker Timelines” on page 108.

Closes the tracker and permanently deletes any information within it. For more information, see

“Enabling, Disabling, and Deleting Trackers” on page 97.

Setting Up an Effect for Tracking

The first stage of the motion tracking workflow is to set up the effect to which you want to apply tracking data. To do this, you need to edit the necessary footage into a sequence and apply the effect. In most cases, you will also want to make initial parameter adjustments to the effect.

Understanding Video Layers and Motion Tracking

Since motion tracking either controls the movement of an effect in relation to a moving area in a clip or controls the stabilization of a clip, you need one of the following situations for motion tracking to be useful:

• Two (or more) layers in the Timeline, where one contains the video you intend to track and another contains the material to which you will apply the effect (that material might be video, an imported graphic, or a title clip).

• A single video layer on which you draw one or more Intraframe objects. When you track movement in the video, you can use that tracking data to control the movement of the Intraframe objects.

• For stabilizing only, a single video layer that you intend to stabilize.

Chapter 3 Motion Tracking and Stabilization

In most circumstances when you are working with two video layers, the material you intend to track forms the background layer and the effect is on the foreground layer. However, the system can track either the foreground or the background layer, so you can place the material you want to track on top of the material that receives the effect if necessary.

Applying an Effect for Motion Tracking

You apply an effect for motion tracking in the same way that you apply any effect that either operates on a multilayer sequence or allows you to draw a foreground object on top of a video layer. For more information, see “Applying Effects” in the Help.

Making Non-Tracking Parameter Adjustments to an Effect

The final look of an effect that uses tracking is almost always the result of combining the tracking data with standard effect parameter adjustments. You will usually need to define the appearance of the effect in the first frame or field of the segment; you might also need keyframe adjustments at other points in the segment.

In most cases, you can choose whether to make these adjustments before or after you generate the tracking data itself. As long as the standard adjustments as well as the tracking data are in place when you play the effect, you see the final result of all the adjustment data.

For example, if you are replacing a sign on a moving vehicle, you need to use standard effect parameter adjustments to set the initial size, shape, and position of the sign. Depending on the complexity of the material, you might make these adjustments using basic parameters such as Position and Scaling, or you might need to place each corner independently using the Corner Pin parameter.

If you want the effect to be offset from the moving area that you plan to track, you can establish that offset by adjusting the Position parameters. The final motion of the effect maintains that offset from the tracking data points as it moves. If you want the size of the effect to change in a manner that is not dependent on changes in the moving area, you can set up that change in size by using keyframes and the Scaling parameters.

When you are working with Intraframe effects, you must draw the foreground object that you want to control with tracking information and select it with the Selection tool before you can generate tracking data. As with other effects, however, you can establish the precise size, shape, and position of the object either before or after generating tracking data.

You can choose which frame in a tracked segment is the reference frame — the frame at which the tracking data makes no change to the look of the effect. For more information, see

“Setting the Reference Frame” on page 111.

Preparing to Generate Tracking Data

There are several procedures that you need to follow before you can generate tracking data. These procedures control how the system operates as it creates the tracking data.

Enabling Tracking in the Effect Editor

The first step in creating tracking data is to enable tracking for an effect parameter in the Effect Editor. Once you do this, other tracking controls become available.

The basic procedure for enabling tracking in an effect parameter is simple, but there are slight variations depending on:

• The parameter type

• Whether the effect you are working with is 2D or 3D

• Whether the effect you are working with is using standard keyframes or advanced keyframes

To enable tracking for an effect parameter:

t Perform the appropriate steps for your effect type and effect parameter, as described in

the following table.

Once you have enabled tracking for a parameter, the Tracking window opens. For more information on the Tracking window, see “The Tracking Window” on page 88.

When you first enable tracking for a parameter, the system creates appropriate default trackers and maps them to the parameter, as described in the table. For more information, see “Creating and Mapping Trackers” on page 95.

For Intraframe effects, trackers can be enabled only when an Intraframe object is selected.

Chapter 3 Motion Tracking and Stabilization

Options for Enabling Tracking in the Effect Editor

Parameter and Keyframe Type Procedure and Result Illustration

Position, Rotation, or Scaling in any effects using standard keyframes

Position or Scaling in 2D effects using advanced keyframes

Position, Rotation, or Scaling in 3D Warp effects using advanced keyframes

t Click the Use Tracking button.

The application creates an appropriate number of trackers (one for Position, two for Rotation or Scaling) and maps them to the parameter.

t Open the Position or Scaling category, then

click the enable button for the Tracking subcategory.

The application creates an appropriate number of trackers (one for Position, two for Scaling) and maps them to the parameter. You must open the Tracking subcategory to see the list of mapped trackers and any additional controls.

t Open the Position, Rotation, or Scaling

category, and then click the enable button for the Position Tracking, Rotation Tracking, or Scale Tracking subcategory.

The application creates an appropriate number of trackers (one for Position, two for Rotation or Scaling) and maps them to the parameter. You must open the Position Tracking, Rotation Tracking, or Scale Tracking subcategory to see the list of mapped trackers and any additional controls.

Tracking in any effect using standard keyframes

t Click one or more of the individual tracker

enable buttons. The application creates and maps a tracker

for each tracker enable button you click, and also enables the Tracking parameter category.

Preparing to Generate Tracking Data

Options for Enabling Tracking in the Effect Editor (Continued)

Parameter and Keyframe Type Procedure and Result Illustration

Tracking in 2D effects using advanced keyframes

Tracking in 3D Warp effects using advanced keyframes

t Open the Tracking parameter category, and

then click one or more of the individual tracker enable buttons.

The application creates and maps a tracker for each tracker enable button you click, and also enables the Tracking category.

t Open the Corner Tracking parameter

category, and then click one or more of the individual tracker enable buttons.

The application creates and maps a tracker for each tracker enable button you click, and also enables the Corner Tracking category.

Creating and Mapping Trackers

Your Avid editing application performs initial tracker creation and mapping automatically when you first enable tracking for an effect parameter, but you can also create and map trackers manually when necessary.

Understanding Tracker Selectors and Tracker Function

Each parameter includes a number of tracker selectors appropriate to its function in controlling movement. When you enable tracking in a parameter, the application looks for existing trackers and maps them to the parameter’s tracker selectors. If trackers do not yet exist, the system creates them and then maps them to the parameter’s tracker selectors. In the Tracking parameter category, new trackers are created and mapped as you enable individual tracker selectors.

When you are working in the Position, Scaling, and Rotation parameters, the number of trackers you can use is limited by the type of movement controlled by the parameter. For example, the Position parameter includes a single tracker selector since only one point is required to define movement in X and Y.

When you are working in the Tracking parameter, you can use any number of trackers up to a total of four. The following table describes the kinds of motion that you can control with a given number of trackers.

Chapter 3 Motion Tracking and Stabilization

Multiple Tracker Function

Number of Trackers Description

One Allows control of position on the X and Y axes only. Use one tracker if you want

your effect to move in only two dimensions on the plane of the screen.

Two Allows control of position, scaling, and rotation. Use two trackers if you want your

effect to change size or rotate.

Three Allows control of position, scaling, rotation, and skew. Skew refers to a

transformation that tilts or squashes an object along one axis while retaining its orientation along the other axis. This has the effect, for example, of transforming a rectangle into a parallelogram. Use three trackers if you want your effect to skew in this manner.

Four Allows control of position, scaling, rotation, skew, and perspective. Perspective

refers to the way parallel lines appear to converge and changes depending on the angle from which an object is viewed. Use four trackers if you want to control perspective for your effect.

Creating and Mapping Trackers Manually

For most tracking work, there is no need to create additional trackers beyond those that are created automatically by the system. Accepting the defaults and creating your tracking information with them is quicker and more straightforward.

In some situations, however, you might want to create extra trackers. For example, you might want to track more than the minimum number of points necessary for a parameter so that you can experiment with different combinations of tracking points. You also might want to change the mapping of trackers so that an effect parameter uses a different tracker or combination of trackers from that originally created by the application.

The system allows up to eight trackers for each effect.

Preparing to Generate Tracking Data

To create a new tracker manually:

1. In the Tracking window, click the New Tracker button. For more information, see “The

Tracking Window” on page 88.

A new tracker timeline display appears in the bottom area of the Tracking window. The system names the tracker using the next letter of the alphabet that is not already in use, up to the letter D. If all of the letters A through D are in use, subsequent new trackers are named “Untitled Tracker.”

2. (Option) If you want to rename the new tracker, click the Tracker Name text box, and type a new name.

Tracker Name text box

The new tracker appears as an option in all the tracker selector Fast menus in the Effect Editor.

To map a tracker manually, do one of the following depending on the interface style in the Effect Editor:

t Click the Fast Menu button for the appropriate tracker selector in the parameter, and

then select the tracker you want.

t Click the tracker selector in the parameter, and then select the tracker you want.

Enabling, Disabling, and Deleting Trackers

Once you have created a tracker, you can enable and disable it as necessary. Enabling and disabling a tracker has a different effect depending on whether you do it in the Tracking window or in the Effect Editor.

• When you enable or disable a tracker in the Tracking window, you control whether or not the tracker displays in the Effect Preview monitor and whether or not your application generates tracking data for that tracker.

• When you enable or disable a tracker in the Effect Editor, you control which sets of tracking data your application uses to control the effect. This allows you to compare the look of an effect under the control of different tracker combinations.

You can also delete existing trackers. When you do so, you permanently erase that tracker and any tracking data associated with it.

Chapter 3 Motion Tracking and Stabilization

To enable or disable a tracker in the Tracking window:

t Click the Enable Tracker button for the tracker in the tracker’s timeline.

Alt+click the Enable Tracker button for any tracker to enable or disable all trackers at once.

To enable or disable a tracker in the Effect Editor:

t Click the Enable button for the appropriate tracker selector.

In the Tracking (or Corner Tracking) parameter category, clicking the Enable button that controls the whole parameter disables all the trackers at the same time but does not change the enable status or the mappings of the individual trackers. When you click the Enable button for the whole parameter again, the system reenables all the individual trackers.

To delete a tracker:

t In the Tracking window, click the Close button in the top right corner of the tracker’s

timeline.

Setting Up Tracking in the Effect Preview Monitor

You define the region of interest (the area of an image that each tracker tracks) and the larger area it searches within by making direct adjustments to the tracking box display in the Effect Preview monitor.

Displaying Tracking Boxes

To display tracking boxes in the Effect Preview monitor:

1. If you have not already done so, enable, create, and map the trackers with which you want to work.

2. In the Display Tracking Data area of the Tracking window, make sure that Tracking Data is selected in the Display menu.

3. Make sure that the Enable Tracker button is active (purple) in the tracker timeline display of the Tracking window for each tracker that you want to display.

4. Make sure that you are monitoring the track in the Timeline that contains the material you want to track.

5. Move the position indicator to the first frame or field of the segment, or to the first frame or field of the tracker region.

A tracking box display appears in the Effect Preview monitor for each tracker. For more information on tracking regions, see “Performing Offset Tracking” on page 107.

Adjusting Tracking Boxes

Each tracking box display includes three elements:

• An inner rectangle used to define the target area

• An outer rectangle used to define the search area

• A data point locator, which appears at the center of the rectangles

Each rectangle has a corner adjustment handle.

The following illustration shows the tracking box display.

Preparing to Generate Tracking Data

Search Area box

Adjustment handles

Data point locator

Target area box

You can change the color of the tracking boxes display for a tracker. This might make it easier to see the display against the background image. For more information, see

“Customizing Tracking Data Display” on page 109.

To move a tracking box display in the monitor:

t Click anywhere within the boxes except the adjustment handles, and drag the boxes to a

new position.

To resize a box in a tracking box display:

t Drag the adjustment handle for the box.

For more information on what to consider when making these adjustments, see

“Guidelines for Positioning Tracking Boxes” on page 100.

If you have multiple trackers enabled, you might find it difficult to select one. You can disable some of the trackers temporarily in the Tracking window to simplify the display in the Effect Preview monitor and make it easier to select and manipulate a particular tracker.

Chapter 3 Motion Tracking and Stabilization

Guidelines for Positioning Tracking Boxes

When you position tracking boxes, consider the following factors:

• Locating the boxes over material that the system can track successfully

• Locating the boxes so that the tracking data you generate accurately represents the movement you want to track

The system tracks most successfully on an area of the image that is easily distinguishable from the parts of the image that surround it. For example, a bright dot tracks extremely well if it is generally surrounded by darker material. You will often need to scrub through the entire clip to get a sense of which areas are good candidates for tracking.

To represent the movement you want to track accurately, you need to consider the geometry of the motion that you want to achieve. For complex movement such as controlling a replacement sign for a bus that is receding into the distance as well as moving across the screen, you need to track enough points to represent the change in shape and size of the sign over time. Tracking two corners allows you to control changes in scale and rotation (the corners should be diagonally opposite if scaling on the X axis differs from scaling on the Y axis). Adding third and fourth trackers fills in the other two corners as needed for more complex transformations.

Remember that you do not have to track points at the exact location where you want the finished effect to appear. You can track any set of points that represent the right movement. For example, you might want to add a small sign to the door of a moving car. Since the door panel is a uniform surface you cannot track areas on it. However, you can gather tracking data to control the positioning and scaling you need for the sign, for example by tracking two or more of the corners of the car’s window.

Guidelines for Resizing Tracking Boxes

When you make adjustments to resize either of the tracking boxes, you should consider the following factors:

• Defining material that the system can track successfully

• Ensuring that tracking proceeds successfully from frame to frame or from field to field throughout the range of frames or fields you are tracking

• Minimizing the length of time the system spends generating tracking data

In general, the smaller you can make the boxes, the less image information the tracking engine has to search and the faster it can work. However, if you set the boxes too small, you increase the possibility that the system will lose the search pattern between one frame or field and the next.

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Pinnacle Systems Symphony Nitris - 1.7 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Related Information

Accessing the Online Library

How to Order Documentation

Avid Training Services

Conforming and Mastering

Conforming and Transferring Projects

Compatibility Between Applications

Conforming Workflow

Preparing for the Online Session

Delivery Requirements for Final Masters

Offline Formats for HD

File Transfer for the Online Session

System Compatibility for the Online Session

Preparing Graphics for the Online Session

Preparing Effects for the Online Session

Preparing Titles for the Online Session

Preparing Audio for the Online Session

Step 1: Transfer Files

Transferring Project Information Only

Transferring Project Files and Media Files

Step 2: Open the Project

Step 3: Measure the Video Signal

Step 4: Recapture Media

Step 5: Import and Lay in the Final Audio Mix

Step 6: Batch Import Graphics

Step 7: Re-create Title Media

Redefining a Font Replacement

Step 8: Refine Effects and Perform Color Correction

Step 9: Render Effects as Needed

Step 10: Create the Final Masters

Conforming an HDV Sequence on Symphony Nitris

Conforming Sequences with Color Correction

Conforming Color Correction Sequences with Symphony Meridien Systems

Conforming Color Correction Sequences with Media Composer or Avid Xpress Pro Systems

Transferring Color Corrections with Color Correction Templates

Transferring Project and Media Files

Transferring Audio Files

Transferring Sound Designer II Audio Files from Macintosh Systems

Working with Sound Designer II Audio Files on Macintosh Systems

Transferring a Project Using Shared Storage

Transferring Project Files and Media Files Using Nonshared Storage

Devices and Methods for Transferring Files

Transferring Files Between Windows Systems

Transferring Files Between Macintosh and Windows Systems

Nonshared Storage Issues for Cross-Platform Collaboration

Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1

Working with HD Media

High-Definition Television

HDTV Workflows

Film-Based Television Workflow

Video-Based Television Workflow

Broadcast Graphics Workflow

Editing in HD

Changing the Project Format

Modifying the Format of a Sequence

Converting a 24p NTSC Sequence to 1080p/23.976

Converting a 23.976p NTSC Sequence to 720p/23.976

Mixing SD and HD

Displaying Formats in a Bin

Editing at 60 fps

Working with True 24 FPS Timecode

Transcoding HD Media

Using HD Universal Mastering

Converting Audio for HD Universal Mastering

Performing a Digital Cut with HD Universal Mastering

Video Color Space for HD

Finishing Tools

Motion Tracking and Stabilization

Understanding Motion Tracking

Understanding the Tracking Process

Uses of Motion Tracking

Motion Tracking and Footage Characteristics