Pinnacle Systems Xpress DV - 4.0 User’s Guide

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User´s Guide Supplement

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Avid Xpress

Avid Xpress DV

Pro

make manage move | media

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Avid

Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,063,448; 5,077,604; 5,245,432; 5,267,351; 5,309,528; 5,325,200; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,701,404; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,731,819; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,781,188; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,883,670; 5,889,532; 5,892,507; 5,905,841; 5,912,675; 5,929,836; 5,929,942; 5,930,445; 5,930,797; 5,946,445; 5,966,134; 5,977,982; 5,986,584; 5,987,501; 5,995,079; 5,995,115; 5,999,190; 5,999,406; 6,009,507; 6,011,562; 6,014,150; 6,016,152; 6,016,380; 6,018,337; 6,023,531; 6,023,703; 6,031,529; 6,035,367; 6,038,573; 6,052,508; 6,058,236; 6,061,758; 6,072,796; 6,084,569; 6,091,422; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,128,681; 6,130,676; 6,134,379; 6,134,607; 6,137,919; 6,141,007; 6,141,691; 6,154,221; 6,157,929; 6,160,548; 6,161,115; 6,167,404; 6,174,206; 6,192,388; 6,198,477; 6,201,531; 6,208,357; 6,211,869; 6,212,197; 6,215,485; 6,223,211; 6,226,005; 6,226,038; 6,229,576; 6,239,815; 6,249,280; 6,269,195; 6,271,829; 6,301,105; 6,310,621; 6,314,403; 6,317,142; 6,317,153; 6,317,158; 6,317,515; 6,327,253; 6,330,369; 6,336,093; 6,337,880; 6,339,531; 6,351,557; 6,353,437; 6,353,862; 6,357,047; 6,374,336; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.

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

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

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

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

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

The following disclaimer is required by the Independent JPEG Group:

Portions of this software are based on work of the Independent JPEG Group.

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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

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

The following disclaimer is required by Videomedia, Inc.:

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

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

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

The following disclaimer is required by Ultimatte Corporation:

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

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

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

Attn. Government User(s). Restricted Rights Legend

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

Trademarks

888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, AVIDdrive, AVIDdrive Towers, AvidNet, AVIDstripe, Avid Unity, Avid Xpress, AVX, CamCutter, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DINR, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, NetReview, NewsCutter, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE, SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, and VideoSPACE are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

iNEWS and Media Browse are trademarks of iNews, LLC.

Abekas is a registered trademark of Accom, Inc. Acrobat, Adobe, After Effects, Photoshop, and Reader are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Alias and Wavefront are trademarks of Alias|Wavefront, a division of Silicon Graphics Limited. Amiga is a registered trademark of Amiga, Inc. Chyron is a registered trademark of Chyron Corporation. Cineon and Photo CD are trademarks of Eastman Kodak Company. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. Focusrite is a registered trademark of Focusrite Audio Engineering Ltd. GIF is a Service Mark property of CompuServe Incorporated. IBM and OS/2 are registered trademarks of International Business Machines Corporation. Finder, Macintosh, Mac OS, and QuickDraw are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. media

cleaner is a registered trademark of Autodesk, Inc., in the USA and/or other countries. Microsoft, Windows, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. MIDIMAN and MIDISPORT are trademarks of M-Audio. Paintbrush is a trademark of Zsoft Corporation. Pixar is a registered trademark of Pixar Animation Studios. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. SGI and Silicon Graphics are registered trademarks of Silicon Graphics, Inc. Sun Raster is a trademark of Sun Microsystems, Inc. TARGA is a trademark of Pinnacle Systems, Inc., registered in the U.S. and other countries. Unicode is a trademark of Unicode, Inc. Video Toaster is a trademark of Newtek. X Window System is a trademark of X Consortium, Inc. Yamaha is registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners.

Footage

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

User’s Guide Supplement for Avid Xpress Pro, Avid Xpress DV• Part 030-05717-01 • September 2003

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Who Should Use This Supplement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Accessing the Tutorial and Online Library . . . . . . . . . . . . . . . . . . . . . . . 19

If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . . 20

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Avid Educational Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Appendix A Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Audio Project Settings: Main Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Audio Project Settings: Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . 27

Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . 28

Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Capture Settings: Edit Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Capture Settings: Media Files Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 33

Capture Settings: DV Options Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 34

Correction Mode Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Correction Mode Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . 35

Correction Mode Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . 36

Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Desktop Play Delay Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Export Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Export Settings: Quick Time Reference . . . . . . . . . . . . . . . . . . . . . . 43

Export Settings: Quick Time Movie Export . . . . . . . . . . . . . . . . . . . . 46

Export Settings: QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Export Settings: QuickTime Compression . . . . . . . . . . . . . . . . . . . . 50

Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Export Settings: OMFI and AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Export Settings: AVI (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 58

Export Settings: AVI Video Compression (Windows Only). . . . . . . . 60

Export Settings: Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Export Settings: Graphic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Export Settings: Graphic Format . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Film and 24p Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Interface Settings: Appearance Tab . . . . . . . . . . . . . . . . . . . . . . . . . 80

Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Media Creation Settings: Drive Filtering Tab . . . . . . . . . . . . . . . . . . 82

Media Creation Settings: Other Tabs . . . . . . . . . . . . . . . . . . . . . . . . 83

PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Safe Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Sound Card Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Timeline Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Trim Settings: Play Loop Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Appendix B Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Accessing the AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

D-fx Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Using D-fx Chorus Effectively . . . . . . . . . . . . . . . . . . . . . . . . . . 98

D-fx Chorus Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

D-fx Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Using D-fx Flanger Effectively . . . . . . . . . . . . . . . . . . . . . . . . . 100

D-fx Flanger Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

D-Verb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Using D-Verb Effectively . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

D-Verb Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

D-fx Multi-Tap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Using D-fx Multi-Tap Delay Effectively . . . . . . . . . . . . . . . . . . 104

D-fx Multi-Tap Delay Parameters . . . . . . . . . . . . . . . . . . . . . . 105

D-fx Ping-Pong Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

D-fx Ping-Pong Delay Parameters . . . . . . . . . . . . . . . . . . . . . 106

Broadband Noise Reduction (BNR) . . . . . . . . . . . . . . . . . . . . . . . . 106

Focusrite d3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Digidesign D-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Description of Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . 108

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Using Compression Effectively . . . . . . . . . . . . . . . . . . . . . . . . 109

Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Limiter Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Expander-Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Expander-Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

EQ II Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Duplicate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

DC Offset Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Master Clip Mode Parallel Processing . . . . . . . . . . . . . . . . . . . 122

Time Compression Expansion Parameters . . . . . . . . . . . . . . . 123

Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Pitch Shift Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Appendix C File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Graphic (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Preparing Graphic Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . 134

Graphic File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 134

Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

OMFI Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

MXF Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . 146

Appendix D Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . 151

Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Appendix E Configuring an External Fader or Mixer . . . . . . . . . . . . . . . . 163

Supported Faders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Connecting Serial and MIDI Port Devices . . . . . . . . . . . . . . . . . . . . . . 165

Differences Between the Macintosh G4 System and the Windows

System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Connecting the USB Hub to a G4 System (Macintosh Only). . . . . 166

Connecting the USB Devices to the USB Hub (Macintosh Only) . 167

Connecting the USB-to-MIDI Converter. . . . . . . . . . . . . . . . . . . . . 168

Connecting JL Cooper Fader Controllers . . . . . . . . . . . . . . . . . . . 169

Connecting the Yamaha 01V Mixer . . . . . . . . . . . . . . . . . . . . . . . . 171

Configuring the USB-to-MIDI Software. . . . . . . . . . . . . . . . . . . . . . . . . 172

Installing USB-to-MIDI Software (Windows) . . . . . . . . . . . . . . . . . 173

Installing USB-to-MIDI Software (Macintosh) . . . . . . . . . . . . . . . . 174

Testing the Fader Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

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

(Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

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

(Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Troubleshooting the MIDI Connections . . . . . . . . . . . . . . . . . . . . . 177

Using the FaderMaster Pro and MCS-3000X. . . . . . . . . . . . . . . . . . . . 179

Testing the External Fader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Using the Snap Mode Feature on the MCS-3000X Fader. . . . . . . 181

Ganging Faders on the FaderMaster Pro Fader . . . . . . . . . . . . . . 182

Using the Yamaha 01V Digital Mixing Console . . . . . . . . . . . . . . . . . . 182

Setting Up the Yamaha 01V Digital Mixer . . . . . . . . . . . . . . . . . . . 183

Initializing the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Configuring the Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Starting the Avid application with the Yamaha 01V Attached . . . . 185

Operational Notes for the Yamaha 01V Mixer . . . . . . . . . . . . . . . . 186

Soloing Avid System Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Appendix F International Character Support. . . . . . . . . . . . . . . . . . . . . . . 189

Using a Local Language Operating System

(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Choosing a Locale on an English Language Operating System. . . . . . 190

Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . 191

Setting the Language in System Preferences (Macintosh Only) . .

191

Specifying the Language in the Get Info Dialog Box (Macintosh

Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Non-English Character Support (Windows) . . . . . . . . . . . . . . . . . . 194

Using Foreign Keyboard Mapping . . . . . . . . . . . . . . . . . . . . . . 199

Moving Older Projects to this Version (Windows Only) . . . . . . 200

Recommendations and Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Avid Supports English Plus One Locale . . . . . . . . . . . . . . . . . . . . . 201

Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . 201

EDL Manager Does Not Save Diacritical Marks or Chinese Characters

202

Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . 202

Appendix G Working with Broadcast Wave Format (BWF) Files . . . . . . . 205

Support for BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

BWF Information Displayed in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Importing and Syncing BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Tables

Table 1 Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Table 2 Audio Project Settings Options (Main Tab) . . . . . . . . . . . .23

Table 3 Audio Project Settings Options (Input Tab) . . . . . . . . . . . .26

Table 4 Audio Project Settings Options

(Output Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Table 5 Audio Project Settings Options

(Hardware Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Table 6 Bin Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Table 7 Capture Settings Options (General Tab) . . . . . . . . . . . . . .30

Table 8 Capture Settings Options (Batch Tab). . . . . . . . . . . . . . . .31

Table 9 Capture Settings Options (Edit Tab) . . . . . . . . . . . . . . . . .33

Table 10 Capture Settings Options (Media Files Tab) . . . . . . . . . . .33

Table 11 Capture Settings Options

(DV Options Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Table 12 Correction Mode Settings Options

(Features Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Table 13 Correction Mode Settings Options

(AutoCorrect Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Table 14 Deck Configuration Settings Options . . . . . . . . . . . . . . . . .37

Table 15 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Table 16 Deck Preferences Settings Options. . . . . . . . . . . . . . . . . .39

Table 17 Desktop Play Delay Settings Options . . . . . . . . . . . . . . . .41

Table 18 Export Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Table 19 Export Settings Options

(QuickTime Reference) . . . . . . . . . . . . . . . . . . . . . . . . .43

Table 20 Export Settings Options

(QuickTime Movie Export) . . . . . . . . . . . . . . . . . . . . . . .46

Table 21 Export Settings Options

(QuickTime Movie) . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Table 22 Export Settings Options

(QuickTime Compression) . . . . . . . . . . . . . . . . . . . . . . .50

Table 23 Export Settings Options (DV Stream) . . . . . . . . . . . . . . . .55

Table 24 Export Settings Options

(OMFI and AAF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Table 25 Export Settings Options (AVI) . . . . . . . . . . . . . . . . . . . . . 58

Table 26 Export Settings (AVI Video Compression) . . . . . . . . . . . . 60

Table 27 Export Settings Options (Audio) . . . . . . . . . . . . . . . . . . . . 61

Table 28 Export Settings Options (Graphic) . . . . . . . . . . . . . . . . . . 62

Table 29 Export Settings Options

(Graphic Format) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Table 30 Film and 24p Settings Options . . . . . . . . . . . . . . . . . . . . . 69

Table 31 General Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . 70

Table 32 Import Settings Options (Image Tab) . . . . . . . . . . . . . . . . 71

Table 33 Import Settings Options (OMFI Tab) . . . . . . . . . . . . . . . . 75

Table 34 Import Settings Options

(Shot Log Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Table 35 Interface Settings Options

(General Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Table 36 Interface Settings Options

(Appearance Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Table 37 Media Creation Settings Options

(Drive Filtering Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Table 38 Media Creation Settings Options (Other Tabs) . . . . . . . . 83

Table 39 PortServer Settings Options . . . . . . . . . . . . . . . . . . . . . . . 83

Table 40 Render Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . 84

Table 41 Safe Color Settings Options . . . . . . . . . . . . . . . . . . . . . . . 87

Table 42 Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Table 43 Sound Card Configuration Settings . . . . . . . . . . . . . . . . . 90

Table 44 Timeline Settings Options

(Display Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Table 45 Timeline Settings Options (Edit Tab) . . . . . . . . . . . . . . . . 91

Table 46 Trim Settings Options (Play Loop Tab) . . . . . . . . . . . . . . 92

Table 47 Trim Settings Options (Features Tab) . . . . . . . . . . . . . . . 93

Table 48 Video Display Settings Options . . . . . . . . . . . . . . . . . . . . 93

Table 49 Workspace Settings Options . . . . . . . . . . . . . . . . . . . . . . 94

Table 50 Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . 109

Table 51 Limiter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Table 52 Expander-Gate Parameters . . . . . . . . . . . . . . . . . . . . . . 113

Table 53 Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Table 54 EQ II Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Table 55 Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . .118

Table 56 Time Compression Expansion

Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123

Table 57 Pitch Shift Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . .127

Table 58 Graphic File Import Specifications . . . . . . . . . . . . . . . . . .135

Table 59 Animation File Import Specifications . . . . . . . . . . . . . . . .141

Table 60 QuickTime File Import and Export

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Table 61 AVI File Import and Export

Specifications (Windows Only) . . . . . . . . . . . . . . . . . . .143

Table 62 OMFI File Import Specifications. . . . . . . . . . . . . . . . . . . .144

Table 63 Recommended Field Settings for Two-Field

Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

Table 64 Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . . . .153

Table 65 Avid Log Column Headings . . . . . . . . . . . . . . . . . . . . . . .154

Table 66 Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . . .157

Table 67 Fader Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164

Using This Guide

The appendices in this document contain reference material that supplements the information provided in the User’s Guide for Avid Xpress Pro, Avid Xpress DV. You should consult the Avid Xpress Pro ReadMe or the Avid Xpress DV ReadMe for any late-breaking information that might apply to your system.

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

Who Should Use This Supplement

This supplement is intended for all Avid Xpress Pro and Avid Xpress DV users, from beginning to advanced. You should be familiar with the Windows

XP operating system or Mac OS®X.

About This Guide

The Contents lists all topics included in the book. They are presented with the following overall structure:

• “Settings Options” lists the options available in the Settings dialog boxes accessed through the Settings Scroll list.

• “Using AudioSuite Plug-Ins” lists the supported AudioSuite and describes the core AudioSuite plug-ins.

™

plug-ins

• “File Format Specifications” describes the file format specifications.

• “Avid Log Specifications” describes the Avid log specifications.

Using This Guide

• “Configuring an External Fader or Mixer” describes how to configure an external fader with your Avid Xpress system.

• “International Character Support” describes how to use international characters in your Avid application.

• Working with Broadcast Wave Format (BWF) Files describes how to work with an audio file format that supports metadata.

• A detailed “Index” helps you quickly locate specific topics.

Symbols and Conventions

Unless noted otherwise, the material in this document applies to the Windows XP and Mac OS X operating systems. When the text applies to a specific operating system, it is marked as follows:

• (Windows) or (Windows only) means the information applies to the Windows XP operating system.

• (Macintosh) or (Macintosh only) means the information applies to the Mac OS X operating system.

The majority of screen shots in this document were captured on a Windows XP system, but the information applies to both Windows XP and Mac OS X systems. Where differences exist, both Windows XP and Mac OS X screen shots are shown.

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.

Symbol or Convention Meaning or Action

Symbols and Conventions

> This symbol indicates menu commands (and

k This symbol represents the Apple or Command key.

Margin tips In the margin, you will find tips that help you

Italic font Italic font is used to emphasize certain words and to

Courier Bold font

A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.

subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command.

This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.

Press and hold the Command key and another key to perform a keyboard shortcut.

perform tasks more easily and efficiently.

indicate variables.

Courier Bold font identifies text that you type.

Click Quickly click and release the left mouse button

(Windows) or the mouse button (Macintosh).

Double-click Click the left mouse button (Windows) or the mouse

button (Macintosh) twice rapidly.

Right-click Quickly click and release the right mouse button

(Windows only).

Drag Click and hold the left mouse button (Windows) or

the mouse button (Macintosh) while you move the mouse.

Ctrl+key

k+key

Press and hold the first key while you press the second key.

Using This Guide

In this document, the term "effects guide" refers to the Effects Guide for Avid Xpress Pro, Avid Xpress DV, which is available on the Avid Xpress

Products Online Library CD-ROM.

If You Need Help

If you are having trouble using your Avid application:

1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow.

2. Check for the latest information that might have become available after the documentation was published in one of two locations:

- If release notes are available, they ship with your application.

- If ReadMe files are available, they are supplied in your Avid

application folder. ReadMe files are also available from Help.

Release notes and ReadMe files are also available on the Avid Knowledge Center.

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

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

5. For Technical Support, please call 800-800-AVID (800-800-2843). For Broadcast On-Air Sites and Call Letter Stations, call

800-NEWSDNG (800-639-7364).

Accessing the Tutorial and Online Library

The Avid Xpress Products Tutorial CD-ROM contains a multimedia tutorial. Avid recommends the multimedia tutorial as your first resource for learning how to use your application. The Avid Xpress Products Online Library CD-ROM contains all the product documentation in PDF format. You can access the tutorial and the library from the Tutorial CD-ROM and the Online Library CD-ROM or from the Help menu.

You need Adobe® Reader® installed to view the documentation online. You can download the latest version of Adobe Reader from the Adobe Web site. The tutorial and the effects reference guide require Apple’s QuickTime application to view the QuickTime movies. You can download the latest version of QuickTime from the Apple

To access the tutorial from the Tutorial CD-ROM:

1. Insert the Tutorial CD-ROM into the CD-ROM drive.

2. Double-click Mainmenu.exe.

To access the online library from the Online Library CD-ROM:

1. Insert the Online Library CD-ROM into the CD-ROM drive.

2. Double-click Mainmenu.pdf.

To access the tutorial or the online library from the Help:

1. Insert the Tutorial CD-ROM or the Online Library CD-ROM into the CD-ROM drive.

2. In your Avid application, select Help > Online Library & Tutorial.

For the latest product information, see the Avid Knowledge Center: www.avid.com/support

Web site.

Using This Guide

If You Have Documentation Comments

We’d appreciate any comments or suggestions you may have about this document or any other piece of documentation. Please restrict your comments to documentation issues.

Please e-mail your documentation comments to:

TechPubs@avid.com

Include the title of the document, its part number, and the specific section you are commenting on in all correspondence.

How to Order Documentation

To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative.

Avid Educational Services

For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).

Appendix A

Settings Options

The following topics describe the Settings options in your Avid application. Settings are accessed through the Settings tab of the Project window.

• Audio Settings

• Audio Project Settings

• Bin Settings

• Capture Settings

• Correction Mode Settings

• Deck Configuration Settings

• Deck Settings

• Deck Preferences Settings

• Desktop Play Delay Settings

• Export Settings

• Film and 24p Settings

• General Settings

• Import Settings

• Interface Settings

• Keyboard Settings

• Media Creation Settings

• PortServer Settings

Appendix A Settings Options

• Render Settings

• Safe Color Settings

• Script Settings

• Sound Card Configuration Settings

• Timeline Settings

• Trim Settings

• Video Display Settings

• Workspace Settings

Audio Settings

Table 1 Audio Settings

Setting Description

Pop-up Scrub Select the number of outgoing and incoming

frames you hear as you scrub in a Source pop-up window or the Source side of the Source/Record monitor.

Timeline Scrub Select the number of outgoing and incoming

frames you hear as you scrub in the Timeline.

Default Pan Select the way you want sound to pan between

speakers.

Audio Tools Response To adjust the audio latency of your system, select a

response speed that corresponds to the speed of your system.

Audio Project Settings

The following topics describe adjusting audio project settings:

• Audio Project Settings: Main Tab

• Audio Project Settings: Input Tab

• Audio Project Settings: Output Tab

• Audio Project Settings: Hardware Tab

Audio Project Settings: Main Tab

Audio Project Settings

Setting Options Description

Sample Rate 32 kHz

The options that appear in this tab depend on your audio configuration and the audio hardware installed on your system. Your options might differ from those listed here.

Table 2 Audio Project Settings Options (Main Tab)

Allows you to select audio rate settings for the entire

44.1 kHz 48 kHz

system for playing and capturing. The default sample rate for DV is 48 kHz.

The broadcast standard for most high-end video postproduction houses is 48 kHz. Select the rate based on the requirements of your facility.

For information on changing the sample rate for individual sequences and audio clips, see “Changing the Sample Rate” in the Help.

Appendix A Settings Options

Table 2 Audio Project Settings Options (Main Tab) (Continued)

Setting Options Description

Audio File Format OMF (WAVE)

OMF (AIFF-C) MXF SDII (Macintosh only)

Audio File Sample Size

16 Bit 24 Bit

DV Audio Pattern Locked Audio

Unlocked Audio

Select the file format for the audio:

• OMF (WAVE) is compatible with Windows

applications.

• OMF (AIFF-C) is compatible with many third-

party applications, including Pro Tools.

• MXF enables easy exchange of material between

file servers, tape streamers and digital archives.

• SDII (Macintosh only) is compatible with

Macintosh applications.

Select the AIFF-C format for all audio media when you need to transfer audio media files directly to a Pro Tools or an AudioVision

system for audio

sweetening.

Select this option to set the sample size used when you work with audio files:

• 16 Bit is for CD-quality audio.

• 24 Bit is for work with higher resolution audio.

DV Audio Pattern works with all devices. However, because some devices check the DV Audio Pattern setting before transferring or capturing, you should select the DV Audio Pattern setting expected by your device.

Render Sample Rate Conversion Quality

High and Slow Balanced Low and Fast

• Locked Audio keeps the audio clock locked

precisely to the video clock, so exactly the same number of audio samples and video frames are captured or transmitted in each cycle of the phase relationship.

• Unlocked Audio allows some imprecision in the

audio sample rate, with a variation of up to +/– 25 audio samples per frame.

Allows you to set the conversion quality of all nonreal-time sample rate conversions.

Table 2 Audio Project Settings Options (Main Tab) (Continued)

Setting Options Description

Audio Project Settings

Convert Sample Rates When Playing

Show Mismatched Sample Rates as Different Color

Real-Time Audio Dissolves

Dissolve Midpoint Attenuation

Always Never

Ye s No

Disabled Enabled

Const Power –3dB Linear –6dB

Allows you to choose whether or not to perform the conversion rate:

• Never plays the segments not set at the sample

rate as silence.

• Always makes the system attempt to perform a

sample rate conversion on-the-fly. Although the resulting audio quality might not be useful for a finished project, it can be useful during an editing session since it prevents audio from playing back with silence.

For information on changing the sample rate for individual sequences and audio clips, see “Changing the Sample Rate” in the Help.

Allows you to identify a specific sample rate by color if you have a sequence with several different sample rates.

Allows you to play audio dissolves (also called crossfades) as real-time effects. Select Disabled if you experience an audio performance delay on your system.

Sets the method used for audio dissolves:

• Const Power –3dB uses constant power to

maintain a consistent sound level through the midpoint of the dissolve.

Optical Connection ADAT

S/PDIF TOSLINK

• Linear –6dB uses a linear gradient to maintain a

consistent amplitude through the midpoint of the dissolve.

Allows you to select an output for use with an optical connection.

Appendix A Settings Options

Audio Project Settings: Input Tab

Some options depend on the audio configuration of your system, so your system might not contain certain features and hardware that are covered in the documentation.

Table 3 Audio Project Settings Options (Input Tab)

Setting Options Description

Input Gain Allows you to calibrate the volume of global audio

input.

• Software only systems: Input Gain is a slider that controls your computer’s volume settings. If you select the +20 dB check box, gain is additionally boosted.

• Systems with an Avid Mojo DNA: You can select 0dB for most situations, or +6 dB in case of low gain inputs.

Input Source AES/EBU

DV OHCI Optical (ADAT) Optical (S/PDIF) RCA (–10dBu) TOSLINK XLR (+4dBu)

Allows you to select the type of input.

Passthrough Mix Tool Opens the Passthrough Mix tool, which allows you to

adjust the mix of tracks for monitoring audio input.

Audio Project Settings: Output Tab

Audio Project Settings

The options that appear in this tab depend on your audio configuration and the audio hardware installed on your system. Your options might differ from those listed here.

Table 4 Audio Project Settings Options

(Output Tab)

Setting Options Description

Output Gain Allows you to calibrate the volume of global audio

output.

Master Volume Allows you to make global level adjustments for

output. These adjustments affect levels for all output tracks to the speakers and to the capture devices.

Bypass panel Clip Gain

RT EQ Auto Gain

Allows you to have the system ignore the volume settings established with the audio tools when playing back or capturing a sequence:

• Clip Gain bypasses the volume settings in the

Audio Mix tool.

• RT EQ bypasses all EQ effects set in the Audio

EQ tool.

Mix Mode Selection Menu button

Stereo Mono

• Auto Gain bypasses all Automation Gain effects

set in the Automation Gain tool.

These buttons function the same as the Bypass buttons in the audio tools.

Modifies the way that the system interprets audio values during playback:

• Stereo mixes the currently monitored audio

tracks into a stereo pair.

• Mono pans all the currently monitored tracks to

center. This mode also ignores pan effects.

Appendix A Settings Options

Audio Project Settings: Hardware Tab

The settings in this tab are for informational purposes only and list defaults set by the system, depending on your audio hardware and configuration.

Table 5 Audio Project Settings Options

(Hardware Tab)

Setting Options Description

Card The type of audio card installed.

Peripheral The type of peripheral audio device (audio interface)

attached to the system.

Slot # The slot where the audio card is located.

Sync Mode Sync is used for audio input and output to ensure the

audio sample clock is always in sync with the video clock. This prevents long-term drift between audio and video.

When you are working with video and digital audio simultaneously, set your digital audio equipment to the same video reference signal as your video equipment.

Changing the audio input selection

automatically selects the correct audio clock source for audio sync.

Bin Settings

Table 6 Bin Settings Options

Option Description

Auto-Save interval n minutes Specifies the length of time between attempts to auto-save project files.

The default is 15 minutes.

To avoid interrupting an edit, the Avid system waits until the system is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at which the system interrupts an edit to make the auto-save.

Inactivity period n seconds Specifies the length of time the Avid system waits when the system is

inactive before automatically saving the project files. The default is 0 seconds.

Force Auto-Save at n minutes Specifies the maximum length of time between auto-saves. When the

system reaches this time, it auto-saves the project files even if it must interrupt an edit to do so. The default is 30 minutes.

Bin Settings

Maximum files in a project’s attic

Max versions of a file in the attic

Double-click loads object in Determines what happens when you double-click an object in the bin.

New Pop-up Monitor

Source or Record Monitor

Specifies the total number of files stored in the Avid Attic folder. When a bin is saved, the Avid system copies the current version of the bin to a special folder called the Avid Attic. The default is 30 files.

Keep more files if there are many editors working on the system. This ensures that all the bins are backed up.

Specifies the total number of single-bin copies stored in the Avid Attic folder. This setting prevents filling the Avid Attic with too many copies of one bin, at the risk of losing the others. The default is five copies.

Creates a new Source pop-up monitor and automatically loads the clip when you double-click an object in the bin.

When you have the Composer monitor stretched into two monitors, loads the clip into the Source monitor or the sequence into the Record monitor.

When you are using the single Composer monitor, loads the clip or sequence into the existing Source pop-up monitor.

Appendix A Settings Options

Table 6 Bin Settings Options (Continued)

Option Description

Enable SuperBin

Enables the SuperBin and its functions. See “Conserving Screen Real Estate with the SuperBin” in the Help.

Capture Settings

See the following topics:

• Capture Settings: General Tab

• Capture Settings: Batch Tab

• Capture Settings: Edit Tab

• Capture Settings: Media Files Tab

• Capture Settings: DV Options Tab

Capture Settings: General Tab

Table 7 Capture Settings Options (General Tab)

Option Description

Stop deck after capture Select this option if you want to stop the deck when the capture

operation is complete.

Pause deck after capture Select this option if you want to pause the deck when the capture

operation is complete.

Preroll Method Select one of four methods from the pop-up menu. For more

information, see “Selecting the Preroll Method” in the Help.

Force unique clip names Select this option if you want the Avid system to automatically

assign a clip name based on the bin’s name and to make sure this name, or another name you select, is not already used by any other object in the bin.

Capture Settings

Table 7

Option Description

Activate bin window after capture

Space bar stops capture Select this option if you want to use the space bar to create clip

Capture across timecode breaks When this option is selected, the system captures sections of

Pause deck while logging When this option is selected, the deck pauses after you set an

Capture Settings Options (General Tab) (Continued)

Select this option if you want the Avid system to change the focus from the Capture Tool window to a bin window after capturing or logging is complete. This allows you to immediately start working in the bin.

names during the capturing process. When you press the space bar during a capture operation, the system stops capturing, creates a clip from the capture material, and places the clip in the active bin.

discontinuous timecode on a tape as separate clips.

Deselect this option to make the system stop capturing and report an error when it encounters a timecode break.

OUT point while you log clips; this allows you time to type the name of the clip. See “Logging Directly to a Bin” in the Help. Deselect this option to allow the camera or deck to continue playing after you set an OUT point.

Capture Settings: Batch Tab

Table 8 Capture Settings Options (Batch Tab)

Option Description

Optimize for disk space When this option is selected, the system captures only the

exact amount of material in the master clips plus any additional handles. The tape pauses and prerolls independently for each master clip that is batch captured.

Appendix A Settings Options

Table 8

Capture Settings Options (Batch Tab) (Continued)

Option Description

Optimize for batch speed When this option is selected, the system speeds up batch

capturing by allowing the deck to continue to roll forward between adjoining clips. To qualify for this operation, the two adjoining clips must meet the following criteria:

There must be 5 seconds or less between the OUT point of the first clip and the IN point of the second clip.

The two clips must have the same video resolution and the same audio rate.

If you select this option, the system might occasionally

capture more than is required.

Switch to emptiest drive if current drive is full

When this option is selected, the system switches to the target media storage drive with the most available space when the current target drive becomes full during batch capturing. The system switches before starting to capture the clip, based on the number of minutes in the clip. For complete instructions, see “Batch Capturing Clips” in the Help.

If you do not select this option, capturing stops when a drive becomes full.

Rewind tape when finished When this option is selected, the system automatically

rewinds tapes after batch capturing is finished.

Eject tape when finished When this option is selected, the tape ejects as soon as the last

shot from that tape has been used. This adds to efficiency since you can do other tasks while the tape is being used and yet still be alerted at the moment the tape is no longer needed.

Log errors to the console and continue capturing

When you select this option, the Avid editing system continues capturing if an error occurs during the capture process.

Capture the tracks logged for each clip When you select this option, the Avid system records the

tracks logged for each clip.

Use the audio sample rate logged for each clip

Select this option if you want the system to use the audio sample rate logged for each clip. Deselect this option to use the audio sample rate set for the audio card (shown in the Main tab in the Audio Projects Settings dialog box).

Capture Settings

Table 8

Option Description

Use the audio sample size logged for each clip

Use the video compression logged for each clip

Capture Settings Options (Batch Tab) (Continued)

Select this option if you want the system to use the audio sample size logged for each clip. Deselect this option to use the audio sample size set for the audio card (shown in the Main tab in the Audio Projects Settings dialog box).

When you select this option, the Avid editing system uses the video compression logged for each clip.

Capture Settings: Edit Tab

Table 9 Capture Settings Options (Edit Tab)

Option Description

Enable edit to timeline (splice, overwrite)

Handles Indicate the amount of footage you want to capture before and

Select this option to display the Splice-in Edit and Overwrite Edit buttons in the Capture tool.

after the IN and OUT points of the clips (when capturing to the Timeline only).

Capture Settings: Media Files Tab

Table 10 Capture Settings Options (Media Files Tab)

Option Description

Capture to a single file, 2 GB limit When this option is selected, capturing stops when the media

captured has taken up 2 gigabytes (GB) of storage space on the media drive.

Capture to multiple files When this option is selected, the system writes captured video or

audio to multiple files across multiple drive partitions. Select this option for clips that might exceed the 2-GB file-size limit.

Appendix A Settings Options

Table 10

Option Description

Maximum (default) capture time n minutes

Switch to emptiest drive when n minutes left

Capture Settings Options (Media Files Tab) (Continued)

When this option is selected, the system preallocates space on the drive partitions to accommodate the specified number of minutes. (The preallocation can take a long time.)

The system captures for only the specified number of minutes; be careful not to underestimate. The default is 30 minutes.

When this option is selected, the system switches to another storage drive when the specified amount of time remains.

Capture Settings: DV Options Tab

Table 11 Capture Settings Options

(DV Options Tab)

Option Suboption Description

DV Scene Extraction When this option is selected, you can automatically

generate subclips and locators based on time-of-day (TOD) information contained in the DV video format. See “DV Scene Extraction” in the Help.

Add Locators Creates locator marks where the TOD information

breaks occur while capturing.

Create Subclips Creates subclips where the TOD information breaks

occur while capturing.

Both Creates locators and subclips where the TOD

information breaks occur while capturing.

Correction Mode Settings

See the following topics:

• Correction Mode Settings: Features Tab

• Correction Mode Settings: AutoCorrect Tab

Correction Mode Settings: Features Tab

Table 12 Correction Mode Settings Options

(Features Tab)

Option Description

Saved Color Labels Select an item from the pop-up menu to control how custom colors are named in

bins. For information on saving custom colors, see “Saving Custom Colors to a Bin” in the Help.

• None When selected, the system does not supply a name.

• RGB When selected, the system uses the 8-bit values for the red, green, and blue components as the name.

• Name When selected, the system uses the name from the standard HTML color scheme that most closely matches the color you are saving.

• Name and RGB When selected, the system uses both the Name and the RGB information as the name. This is the default option.

Real Time Image Updating

When this option is selected, the image in the active monitor updates on-the-fly as you move controls in the Color Correction tool. This provides instant feedback on your adjustments, but the updating process might not always be smooth due to system processing limitations. This is the default option.

You can switch the current setting for Real Time Image Updating on and

off by pressing and holding the Alt key (Windows) or Option key (Macintosh). If Real Time Image Updating is on, pressing and holding the Alt key (Windows) or Option key (Macintosh) will turn updating off temporarily. If Real Time Image Updating is off, pressing and holding the Alt key (Windows) or Option key (Macintosh) will turn updating on temporarily.

Appendix A Settings Options

Table 12 Correction Mode Settings Options

Option Description

(Features Tab) (Continued)

Eyedropper 3 x 3 Averaging

Show Eyedropper Info When this option is selected, the numerical RGB values appear on the color

Eyedropper Picks from Anywhere in Application

When this option is selected, the system calculates the color value to pick by averaging the values of a 3 x 3 sample of pixels centered on the eyedropper’s position. This is often useful for picking up a color accurately by sight because it compensates for shifts in color value from one pixel to another. When this option is deselected, the system selects the color value of the exact pixel at the eyedropper’s position.

swatches in the Color Match controls.

Select to pick colors from anywhere in the application using the Color Match eyedroppers.

Correction Mode Settings: AutoCorrect Tab

Table 13 Correction Mode Settings Options

(AutoCorrect Tab)

Option Selection

When applying Color correction from the Effect Palette, perform the following operations:

Select an option from pop-up menus to define the first, second, and third automatic color correction that Avid Color Correction makes when you apply the Color Correction effect from the Effect Palette.

• Nothing Makes no adjustment. For example, if you only want to make two automatic corrections when you drag the Color Correction effect from the Effect Palette, set the Third Correction pop-up menu in the AutoCorrect tab to Nothing.

• HSL Auto Balance Makes adjustments to the three ChromaWheels to balance the colors in the image. The equivalent of clicking the Auto Balance button in the Hue Offsets subdividing tab of the HSL tab.

Deck Configuration Settings

Table 13 Correction Mode Settings Options

(AutoCorrect Tab) (Continued)

Option Selection

• HSL Auto Black Adjusts the Setup slider in the Hue Offsets subdividing tab of the HSL tab to make the darkest areas of the image as dark as possible. The equivalent of clicking the Auto Black button in the Hue Offsets subdividing tab of the HSL tab.

• HSL Auto Contrast Adjusts the Gain and Setup sliders in the Hue Offsets subdividing tab of the HSL tab to maximize the tonal range in the image. The equivalent of clicking the Auto Contrast button in the Hue Offsets subdividing tab of the HSL tab.

• HSL Auto White Adjusts the Gain slider in the Hue Offsets subdividing tab of the HSL tab to make the brightest areas of the image as bright as possible. The equivalent of clicking the Auto White button in the Hue Offsets subdividing tab of the HSL tab.

• Curves Auto

Balance

• Curves Auto

Contrast

Makes adjustments to the Red, Green, and Blue curves to balance the colors in the image. The equivalent of clicking the Auto Balance button in the Curves tab.

Makes an adjustment to the Master curve to maximize the tonal range in the image. The equivalent of clicking the Auto Contrast button in the Curves tab.

Deck Configuration Settings

Table 14 Deck Configuration Settings Options

Option Description

Configuration name Type a name for the configuration.

Add channel Click to add a new channel box. Opens the Channel dialog box.

Add deck Click to add a deck or DV device. Opens the Deck Settings dialog

box.

Delete Click to remove a deck or DV device

Appendix A Settings Options

Table 14 Deck Configuration Settings Options (Continued)

Option Description

Auto-configure With a deck or DV device already connected to the system, you can

click Auto-configure to bypass the Deck Settings dialog box and automatically configure a deck or DV device with the default settings.

Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only the generic devices.

Verify configuration against actual decks

Select if you want the system to check the deck configuration against the devices physically connected to the system.

Deck Settings

Table 15 Deck Settings Options

Option Suboption Description

Name Type your custom name for the tape deck. The default name

matches the deck type.

Description Enter notes about the deck.

Notes Displays configuration information, supplied by Avid, about the

deck or DV device you have selected. Not all decks or devices include this information. You can supply your own information in the Description field, and then save the configuration.

Device Click the Manufacturer pop-up menu, and select your device

manufacturer. Click the Model pop-up menu, and select your device model.

If your device does not appear in the list, click the Manufacturer pop-up menu, and select Generic, and click the Model pop-up menu, and select the type of device.

While you are capturing, if you continually see a message box that reads “Fail to find preroll,” click the Model pop-up menu, and select GenericDVBasicDevice-NTSC or GenericDVBasicDevice-PAL.

Deck Preferences Settings

Table 15 Deck Settings Options (Continued)

Option Suboption Description

Preroll Specifies how many seconds the tape rolls before capturing or

digital cut starts. The default is based on the type of videotape recorder (VTR).

Fast Cue Speeds up long searches if your decks can read timecode in fast

forward or rewind mode.

Switch to ff/rew (seconds): n

Switch to Search (seconds): n

When this option is selected, the system switches to fast forward or rewind if the target timecode is beyond the specified number of seconds from your current location on the tape.

By default, the deck switches to fast forward or rewind to reach a target timecode that is more than 60 seconds away.

If your deck shuttles very quickly, you can increase this number so that the system uses fast cue only for long searches.

When this option is selected, the system switches out of fast forward or rewind when it is within the specified number of seconds of the target timecode. By default, the system switches to search mode when it is 60 seconds from the target timecode.

Deck Preferences Settings

Table 16 Deck Preferences Settings Options

Option Description

When the deck contains no tape Log as

Select the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck. When a tape is in the deck, the system automatically uses the existing timecode format on the tape.

Allow assemble edit for digital cut

When this option is selected, you can use the assemble-edit features in the Digital Cut tool along with the assemble-editing capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance. For more information about digital cuts and assemble editing, see “Output Options” in the Help.

Appendix A Settings Options

Table 16 Deck Preferences Settings Options (Continued)

Option Description

Stop key pauses deck This option defines the function of the Stop key (space bar) on the

keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button.

If the videotape heads are down in “Stop key pauses deck” mode, pressing the space bar brings up the heads and pauses the deck.

The Stop button in the Capture tool always stops the decks.

Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a

constant speed instead of stopping when you release it.

Stop any paused decks when quitting

Poll deck during digital cut

DV Capture Offset (frames) & Digital Cut Offset

Override Recommended Digital Cut Offset

Digital Cut Offset (frames)

When this option is selected, any paused decks are stopped when you quit the Avid application. Selecting this option saves wear on the deck heads.

This option is selected by default. When it is selected, the Avid system checks the deck for the current timecode and displays it in the timecode window of the deck controller. If you see degraded image quality on your digital cut (particularly visible as noise during black), deselect this option and record the digital cut again. With the option deselected, the Record button does not flash and the timecode display in the deck controller is not updated for the duration of the digital cut.

Type the number of frames by which you want to offset while you capture. See “Capturing Without Logging First” in the Help.

Select this option to set a digital cut offset. See “Digital DV Cut Offset” in the Help.

Type the number of frames by which you want to offset the digital cut.

Desktop Play Delay Settings

Table 17 Desktop Play Delay Settings Options

Option Description

Frames Move the slider to increase or decrease the amount of

frame offset.

Export Settings

See the following topics:

• Export Settings Options

• Export Settings: Quick Time Reference

• Export Settings: Quick Time Movie Export

Desktop Play Delay Settings

• Export Settings: QuickTime Movie

• Export Settings: QuickTime Compression

• Export Settings: DV Stream

• Export Settings: OMFI and AAF

• Export Settings: AVI Video Compression (Windows Only)

• Export Settings: Audio

• Export Settings: Graphic

• Export Settings: Graphic Format

Export Settings Options

If you installed additional QuickTime Export formats, they appear in the pop-up menu with tildes (~) before their names. This indicates they have not been qualified and are not supported by Avid.

Appendix A Settings Options

Table 18 Export Settings Options

Export As Option

Description

OMF 1.0 OMF 2.0

Select one of these options to export a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both. See “Exporting Through OMF Interchange” in the Help.

AAF Select this option to create an Advanced Authoring Format (AAF) file.You can

choose to export composition only, or embed the video and audio, or both. See “Exporting OMFI and AAF Files” in the Help.

QuickTime Reference

Select this option to create a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. See “QuickTime Reference Movies” in the Help.

DV Stream Select this option to create a standard DV stream. The DV Stream format is often

used for distribution on a CD-ROM or over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. Requires a video track. See “Exporting Video in DV Stream Format” in the Help.

QuickTime Movie

AVI (Windows only)

Select this option to create a self-contained QuickTime movie. See “Exporting as a QuickTime Movie” in the Help.

Select this option to export an AVI file through an AVI compression tool. For more information, see .

Audio Select this option to export audio tracks in the WAVE format, SD2 (Macintosh

only), or AIFF-C audio format. See “Exporting Tracks as Audio Files” in the Help.

Graphic Select this option to export a single frame, a series of frames, or a file type that

supports multiple frames as a graphic file. Select a file type from the pop-up menu. See “Exporting as a Graphic File” in the Help. For information about supported file types, see Appendix C.

Avid Log Exchange

Select this option to export the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see “Converting Log Files with Avid Log Exchange” in the Help.

ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included.

Table 18 Export Settings Options (Continued)

Export As Option

Tab Delimited Select this option to export the selected bin as a shot log file in the form of a tab-

Description

delimited ASCII text file.

Export Settings: Quick Time Reference

Table 19 Export Settings Options

(QuickTime Reference)

Option Description

Use Marks When this option is selected, the system uses current IN and OUT points

in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence.

Export Settings

Use Enabled Tracks When this option is selected (default), the system uses tracks that are

enabled in the Timeline. To export all the tracks in the sequence, deselect this option.

Defaults • Fast Draft: Select this option for a faster export. This option

automatically selects Flatten Video Tracks and Fill Spaces with Black. It automatically deselects Render All Video Effects and Mixdown Audio Tracks.

• Digital Mastering: Select this option to render all video effects and

to premix audio tracks before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Mixdown Audio Tracks.

Flatten Video Tracks When this option is selected, the composition is exported as one video

track. When this option is deselected, one QuickTime video track is generated for each video track in the composition, and you cannot select Fill Spaces with Black. Because most third-party applications do not understand multiple QuickTime video tracks, it is a good idea to select this option. This option is automatically selected if you selected the Fast Draft Defaults or the Digital Mastering Defaults option.

Appendix A Settings Options

Table 19 Export Settings Options

Option Description

Fill Spaces with Black When this option is selected, blank spaces in video tracks are filled with

(QuickTime Reference) (Continued)

black in the QuickTime reference movie. Because QuickTime reference movies do not recognize blank spaces, it is a good idea to select this option. When this option is deselected, a QuickTime reference movie might interpret spaces in the video track as gray or as the background of the player. This option is automatically selected if you selected the Fast Draft Defaults or Digital Mastering Defaults option.

Render All Video Effects

When this option is selected, all unrendered video effects, including matte keys and titles, are rendered before export. When this option is deselected, any unrendered effects are ignored. This option is automatically selected if you selected the Digital Mastering Defaults option.

Pixel Aspect Ratio The pixel aspect ratio allows you to apply a scaling to the video: square,

4:3 non-square, or 16:9 non-square. The pixel aspect ratio allows you to control the display format without modifying the source file.

This feature creates metadata — additional data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player and Avid ePublisher, can interpret this metadata and scale the image at display time.

Pixel aspect ratio is useful for QuickTime reference movies because you do not modify the source files of referenced movies. For example, if your source movies are stored at the standard 720 x 486 for NTSC (720 x 576 for PAL), you can create two different QuickTime reference movies that use the same referenced source files — one that uses 4:3 and another that uses 16:9.

Export Settings

Table 19 Export Settings Options

(QuickTime Reference) (Continued)

Option Description

Mixdown Audio Tracks When this option is selected, the audio tracks in the composition are

mixed to stereo files created at the same location as the movie. When this option is deselected, the Quick Time Reference movie references the original audio media. This option is selected automatically if you select the Digital Mastering Defaults option.

If you select the Mixdown Audio Track option, you can also select an audio format. Select the format that is supported by the application into which you will be importing the QuickTime reference movie.

• WAVE: Select this option to export audio tracks in the WAVE format (.WAV file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.

• AIFF-C: Select this option to export audio tracks in the industrystandard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications.

• You can also select an Audio sample rate and Audio sample size.

Use Network Media References

When this option is selected, the exported movie uses the machine and drive share name of the media drive in the QuickTime reference movie instead of a drive letter. Select this option when the media files referenced by the movie are accessed remotely over the network. If the media files are stored on the same drive as the QuickTime reference movie, you do not need to select this option. When this option is deselected, you cannot select Add Shares for Media Drives.

Add Shares for Media Drives

When this option is selected, the system creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden; that is, other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie.

Use Avid DV Codec Deselect this option when you are working in a cooperative environment

where one or more non-Avid systems also have access to the media. This option is selected by default. Select this option if the non-Avid systems have the Avid DV Codec.

Appendix A Settings Options

Export Settings: Quick Time Movie Export

Table 20 Export Settings Options

(QuickTime Movie Export)

Option Suboption Description

Use Marks When you select this option, the system uses current IN and

OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Use Enabled Tracks

When you select this option, the system exports only the currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option.

Same as Source When you select this option, the system copies the media

files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files. Selecting Same as Source is the best method to use if

Use Avid DV Codec

you plan to process the video on another system, using a third-party application like After Effects

Deselect this option when you are working in a cooperative environment where one or more non-Avid systems also have

or media cleaner®.

access to the media. This option is selected by default.

Custom When you select this option, the system decompresses the

files, processes them, and compresses the files at the requested resolution. This method is slower and often loses quality. You should only use the Custom option if you have to directly export a clip or sequence in a particular file format.

Format Options Click the Format Options button to open the Movie Settings

dialog box. For more information, see “Selecting QuickTime Codecs” in the Help.

Video and Audio Select this option if you want to export both the audio and

video.

Export Settings

Table 20 Export Settings Options

(QuickTime Movie Export) (Continued)

Option Suboption Description

Video Only Select this option if you want to export only the video. For

example, use this option if you want to add effects in a thirdparty application or to use only the video in a multimedia project.

Audio Only Select this option to export only the audio. For example, use

this option if you want to use or enhance audio in a thirdparty application or you want to use the audio in a multimedia project.

Video Format Width x Height Select this option to set the width of the clip.

Size to Fit: This option sizes to fit the specified width and height. You can type in values or select from the predefined values in the Fast menu.

The values in the Fast menu suggest a typical use for each size. For example, 320 x 240 (Internet video, large).

Crop/Pad: This option instructs the system not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size.

Color Levels Select this option to set the color to RGB or ITU-R 601.

Appendix A Settings Options

Table 20 Export Settings Options

(QuickTime Movie Export) (Continued)

Option Suboption Description

File Field Order These options allow you to select the field that is the upper

field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

Odd (Upper Field First): Select this option if you are in a PAL project. In forming the export frame, Field 1 becomes the upper field, that is, Field 1's lines become the oddnumbered lines in the frame (counted starting from 1). Field 2's lines become the even-numbered lines.

Even (Lower Field First): Select this option if you are in an NTSC project. In forming the export frame, Field 1 becomes the lower field, that is, Field 1's lines become the evennumbered lines in the frame. Field 2's lines become the oddnumbered lines.

Single Field: Select this option if you want the output file to consist of only Field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) is resized to fit the frame as specified in the width and height selection.

Create Preview Select this option if you want to create a preview of the

QuickTime movie.

Pixel Aspect Ratio The pixel aspect ratio allows you to apply a scaling to the

video: square, 4:3 non-square, or 16:9 non-square. The pixel aspect ratio allows you to control the display format without modifying the source file.

Pixel aspect ratio is useful for the Same as Source option because that option also preserves the original format.

Export Settings: QuickTime Movie

Table 21 Export Settings Options

(QuickTime Movie)

Option Suboption Description

Video

Settings Compression Settings See “Export Settings: QuickTime Compression” in the

Help.

Filter Choose Video Filter Allows you to apply a single effect filter during an

export.

Size Export Size Settings QuickTime allows you to set a size, but Avid

recommends you set the size in the Width and Height text boxes of the Export Settings dialog box. Both settings have the same effect, and the QuickTime size setting overrides the Avid size setting.

Export Settings

Sound

Settings Compressor Allows you to select a sound compression setting for

your export, along with other options.

Prepare for Internet Streaming

Fast Start Allows a movie to begin playing over the Internet

without downloading the entire movie first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server.

Fast Start Compressed header

A better choice for progressive downloading. This option works the same as Fast Start (see previous entry), but compresses the header information. The header is the portion of the file that allows the movie to start playing before the entire movie is downloaded. Compressing the header allows it to download faster. This is important for large movies (movies that are longer than several minutes).

Appendix A Settings Options

Table 21 Export Settings Options

(QuickTime Movie) (Continued)

Option Suboption Description

Hinted Streaming Select this option if you are putting the exported file on a

streaming video server. The file does not stream without a hint track for each track in the movie. The hint tracks allow the streaming video server to split the file into packets for the streaming.

A file with hinted streaming also plays as a progressive download. However, it will probably play more slowly than a Fast Start movie because it contains additional information and is therefore larger.

For additional options, click Track Hinter Settings. The RTP (Real Time Protocol) Track Settings dialog box opens. For more information, see QuickTime Help at the Apple web site.

Export Settings: QuickTime Compression

Table 22 Export Settings Options

(QuickTime Compression)

Format Options

Compressor Animation For high-quality, lossless compression (in which no picture

Suboption Description

information is lost).

Uses a run-length-encoded (RLE) scheme to encode each pixel, resulting in a file that is 70% to 95% the size of the uncompressed file.

At maximum quality, this is a lossless compression (in which no picture information is lost). See the description of the Quality option in this table.

Avid DV For compression compatible with Avid Xpress DV and Avid

NewsCutter DV/MPEG option. Allows fast import.

products or with Avid Meridien products with the

Format Options

Export Settings

Table 22 Export Settings Options

(QuickTime Compression) (Continued)

Suboption Description

Avid Meridien Compressed

For compression compatible with Avid Meridien products. Allows fast import. See “Using the Avid Codecs for QuickTime” in the Help.

Avid Meridien Uncompressed

For 1:1 resolution used in Avid Meridien products. Allows fast import. See “Using the Avid Codecs for QuickTime” in the Help.

For export at the same resolution as your current clips, select Same as Source instead of Custom. See “Exporting as a QuickTime Movie” in the Help.

Avid ABVB

For backward compatibility with systems using AVRs. NuVista (Windows only)

BMP For internal encoding of individual frames as BMP (Windows

native bitmap format) files.

Cinepak For export at low resolution where high quality is not an issue,

such as presentations or educational uses, or for small-screen-

size playback from CD-ROM or hard drive. Uses compression

algorithm optimized for CD-ROM playback.

Component Video

For high-quality, lossless compression (in which no picture

information is lost). Uses the same algorithm as the Animation

method but saves the file in YUV RLE format, which separates

the luminance from the chrominance. All QuickTime

applications can read this format, but only some can write to

this format.

DV-PAL DV/DVCPro NTSC DVCPRO-PAL

For storing original or edited DV (digital video) footage in

QuickTime files. DV-PAL does 4:2:0 chroma sampling;

DV/DVCPRO-NTSC and DVCPRO-PAL do 4:1:1 chroma

sampling.

Graphics For export at low resolution where high quality is not an issue,

such as presentations or educational uses, or for small-screen-

size playback from CD-ROM or hard drive. Uses a limited

color palette version (16 colors) of Animation compression.

Appendix A Settings Options

Table 22 Export Settings Options

Format Options

Suboption Description

H.261 For low-quality video conferencing.

H.263 For video conferencing. Optimized for low data rates and low

(QuickTime Compression) (Continued)

motion.

Intel Indeo Video 4.4 (Windows only)

For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screensize playback from CD-ROM or hard drive. Files do not export at 720 x 540 and 720 x 486 frame sizes, even though these sizes are listed.

Motion JPEG A For medium-quality, lossy compression (in which some picture

information is lost) requiring much storage space and additional hardware support for real-time playback.

Motion JPEG (M-JPEG) is a variant of the ISO JPEG specification for use in digital video. Considered the standard for Motion JPEG, format A is supported by chips from Zoran Corporation and C-Cubed, Inc.

Motion JPEG B For medium-quality, lossy compression (in which some picture

information is lost) requiring much storage space and additional hardware support for real-time playback.

Motion JPEG (M-JPEG) is a variant of the ISO JPEG specification for use in digital video. Format B cannot use the markers that ISO JPEG and format A do; supported by chips from LSI Logic Corporation.

None Does not compress the file; results in very large files.

Format Options

Export Settings

Table 22 Export Settings Options

(QuickTime Compression) (Continued)

Suboption Description

Photo - JPEG For medium-quality, lossy compression (in which some picture

information is lost) requiring moderate storage space and data

throughput on playback.

Uses the Joint Photographic Experts Group (JPEG) algorithm

for image compression; results in files that are 20% to 30% the

size of the uncompressed files. Some data is lost during

compression, and the export process takes longer to complete

(typically six times longer than the Animation compression, for

example).

Planar RGB For high-quality, lossless compression (in which no picture

information is lost). Results in large files.

Encodes each image plane separately, using a run-length-

encoded (RLE) scheme. Used primarily to support Photoshop

files, which are usually stored using a planar run-length

algorithm.

PNG Portable Network Graphics, used to replace GIF

as a bitmap

still-image format for newer Internet browsers.

Sorenson Video For medium-quality, lossy compression (in which some picture

information is lost) at a low data rate and low storage

requirements. This codec is particularly suited for Web or

CD-ROM delivery.

Sorenson Video 3 An improved version of the Sorenson Video codec. Movies

created with this codec require the QuickTime 5 viewer.

TGA Saves exported file in TARGA

format.

TIFF Tagged Image Format, a cross-platform bitmap still-image

format, used often in pre-press production.

Video For export at low resolution where high quality is not an issue,

such as presentations or educational uses, or for small-screen-

size playback from CD-ROM or hard drive.

Appendix A Settings Options

Table 22 Export Settings Options

Format Options

Suboption Description

Depth Select the colors that you want included in the exported file.

Quality Drag this slider to adjust the image quality for the exported file.

(QuickTime Compression) (Continued)

The selections vary according to the codec you select. Some codecs have only one color setting.

If you select the Sorenson codec, Millions of Colors is selected automatically.

Do not select the option Millions of Colors +. This option creates an alpha channel that is not used for export from your Avid system.

If you use one of the Avid Codecs for QuickTime with other applications that support alpha channels, you can select the Millions of Colors + option to create an alpha channel that can be imported into your Avid system.

The selections vary according to the codec you select. Some codecs have only one Quality setting.

Motion Frames per

second

Key frame every n frames

Limit data rate to n KBytes/sec

This slider does not adjust quality for the Avid Codecs for QuickTime.

If you select Avid Meridien Compressed or Uncompressed, a dialog box opens, allowing you to select a resolution.

Select a frame rate from the pop-up menu. Select 30 to maintain full-motion video/animation. A frame rate of 29.97 conforms to NTSC video frame-rate standards. Select 25 for PAL 25p projects.

Use this option to have the system use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Generally, type a value of 1/2 the play rate.

Allows you to specify the target data rate for the compressed movie.

Export Settings: DV Stream

Table 23 Export Settings Options (DV Stream)

Option Description

Use Marks When you select this option, the system uses current IN and OUT points in the

selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Export Settings

Use Enabled Tracks

Use Avid DV Codec

Format Options Click this button to select a video format and an audio format for export.

Color Levels Select this option to set color to RGB or ITU-R 601.

File Field Order These options allow you to select the field that is the upper field during export.

When this option is selected (default), the system uses tracks that are enabled in the Timeline. To export the entire clip or sequence, deselect this option.

Select this option to use the Avid DV codec.

For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

Odd (Upper Field First): Select this option if you are in a PAL project. In forming the export frame, Field 1 becomes the upper field, that is, Field 1's lines become the odd-numbered lines in the frame (counted starting from 1). Field 2's lines become the even-numbered lines.

Even (Lower Field First): Select this option if you are in an NTSC project. In forming the export frame, Field 1 becomes the lower field, that is, Field 1's lines become the even-numbered lines in the frame. Field 2's lines become the oddnumbered lines.

Appendix A Settings Options

Export Settings: OMFI and AAF

Table 24 Export Settings Options

(OMFI and AAF)

Option Suboption

Export As: OMF 1.0 Select this option if the application to which you are

OMF 2.0 Select this option if the application to which you are

AAF Select this option if the application to which you are

Include All Video Tracks in Sequence

Include All Audio Tracks in Sequence

The following options appear in both the Video Details tab and the Audio Details tab:

Export Method: Link to Current

Media

Copy Media and Link to Copied Media

Description

exporting does not support OMFI Version 2.0.

exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0.

exporting supports AAF.

Select this option to include all video tracks from the sequence in the OMFI or the AAF file. The Video Details tab appears.

Select this option to include all audio tracks from the sequence in the OMFI or the AAF file. The Audio Details tab appears.

Select this option when you want to export an OMFI or an AAF composition with links to the media in its current location. Media is not embedded in the file.

Select this option when you want to copy media to another drive and export an OMFI or an AAF composition with links to the copied media.

Consolidate and Link to Consolidated Media

Embed Media Select this option to include (embed) video or audio media in

Select this option when you want to export an OMFI or an AAF composition with links to media that you have consolidated. For more information about consolidating, see “Consolidating and Transcoding Media” in the Help.

the OMFI or the AAF file.

Table 24 Export Settings Options

(OMFI and AAF) (Continued)

Export Settings

Option Suboption

Consolidate and Embed Media

Description

Select this option to first consolidate, then embed media in the OMFI or the AAF file. Select the drive from the Target Drives list. The default handle length is 60 frames. If you want to change the default, type the length of the handles, in frames. For more information about consolidating, see “Consolidating and Transcoding Media” in the Help.

Destination Folder:

Target Drive for Consolidate:

Handle Length: nn Frames

Set Click Set to select the drive and folder to which you want to

copy the media files.

Select the drive where you want to create the consolidated media files.

Enter the number of frames you want to use as handles for consolidated clips. Handles refer to material outside the IN and OUT points and are used for dissolves and trims with the new, shorter master clips. The default is 60.

The following options appear in the Audio Details tab only:

Include Rendered

Select this option to render audio effects during export.

Audio Effects

Convert Audio File Format to:

Project rate, 32 kHz, 44.1 kHz, or 48 kHz

Select this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings window. For more information see “Audio Project Settings” in the Help.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate.

Convert Audio File Format to:

Project rate

WAV E

If your sequence has a mix of audio file formats, and you want to embed media, you must choose a single audio file format. Audio files are converted to this format during export. This choice is optional if you want to consolidate and link media.

Select WAVE (.WAV file name extension) to link to or embed audio tracks in the WAVE format. Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.

Appendix A Settings Options

Table 24 Export Settings Options

(OMFI and AAF) (Continued)

Option Suboption

AIFF-C Select AIFF-C to link to or embed audio tracks in the

SD II (Macintosh only)

Description

industry-standard AIFF-C format. Note that your Avid system does not compress audio media.

Select SD II to link to audio tracks in the SD II (Sound Designer II) format, for export to AudioVision or another product that supports the SD II format. SD II audio media cannot be embedded in an OMFI or an AAF file. The converted files are located in a folder labeled Exported Audio Media at the top level of the drive with the most available space.

Export Settings: AVI (Windows Only)

Table 25 Export Settings Options (AVI)

Option Suboption Description

Use Marks When this option is selected, the system uses current IN and

OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Use Enabled Tracks

Video and Audio Select this option if you want to export both the audio and the

Video Only Select this option if you want to export only the video.

Audio Only Select this option if you want to export only the audio. For

When this option is selected, the system exports only the currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option.

video.

example, use this option if you want to use or enhance audio in a third-party application or use the audio in a multimedia project.

Table 25 Export Settings Options (AVI) (Continued)

Option Suboption Description

Export Settings

Video Format

Codec Options When you click this button, the Video Compression dialog box

opens. For more information, see Table 26 on page 60.

Width x Height This option allows you to set the width and height of the clip.

Click the Fast Menu button, and select from a list of standard dimensions.

Scale to Fit: This option sizes to fit the specified width and height.

Crop/Pad: Crop/Pad never scales or resizes frames. If necessary, the system adds black lines to the top and bottom to achieve the correct size.

Color Levels This option allows you to set color to RGB or ITU-R 601.

FPS This option sets the frame-per-second (fps) rate for AVI export.

File Field Order These options allow you to choose the field that will be the

upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

Audio Format

Mono

Stereo

Exports audio to a single channel.

Exports audio to two channels.

Appendix A Settings Options

Table 25 Export Settings Options (AVI) (Continued)

Option Suboption Description

Sample Rate Select this option to select the sample rate.

Sample Size Select this option to select the sample size.

• Project Rate: The native rate of the chosen audio media

(44.1 kHz or 48 kHz).

• 22.050 kHz: Half the sample rate of 44.1-kHz media.

• 11.025 kHz: One quarter the sample rate of 44.1-kHz

media.

• 16 bit: When this option is selected, the system exports a

16-bit audio sample size (currently the industry-standard bit rate for audio).

• 8 bit: When this option is selected, the system exports an 8-

bit audio sample size for use in third-party systems that do not support 16-bit. This option is also used to minimize the data throughput requirements (for example, to improve playback in multimedia projects).

Export Settings: AVI Video Compression (Windows Only)

Table 26 Export Settings (AVI Video Compression)

Option Suboption Description

Compressor Cinepak Codec

by Radius

For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screensize playback from CD-ROM or hard drive. This codec uses a compression algorithm optimized for CD-ROM playback.

Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can then choose to compress to color or to black and white.

Table 26 Export Settings (AVI Video Compression) (Continued)

Option Suboption Description

Microsoft Video 1 Use this option when you create files that will play with Video

for Windows.

Click Configure to open the Configure dialog box. You can then adjust the quality of the compressed file using the Temporal Quality Rate slider.

Export Settings

Full Frames (Uncompressed)

Compression Quality Slider

Key Frame Every n frames

Data Rate n KB/sec

Export Settings: Audio

Table 27 Export Settings Options (Audio)

Option Description

Mono Stereo

Select this option to export audio tracks in either mono or stereo.

For high-quality export in which no picture information is lost. This option does not compress the file and can result in very large files. To export an uncompressed file at 1:1, use the Avid Codec for AVI.

Use this option to adjust compression quality for certain codecs. This slider does not adjust quality for the Avid AVI codec.

Use this option to have the system use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. This option is not available for uncompressed files.

Use this option to set a specific data rate for the compressed file, in kilobytes per second. This option is not available for uncompressed files.

WAVE Select this option to export audio tracks in the WAVE format (.wav file name

extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.

Appendix A Settings Options

Table 27 Export Settings Options (Audio) (Continued)

Option Description

AIFF-C Select this option to export audio tracks in the industry-standard AIFF-C format,

which is compatible with many third-party sound editing and multimedia applications.

Sample Rate Select one of the following:

• Project Rate

• 32 kHz

• 44.1 kHz

• 48 kHz

You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings” in the Help.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate.

Sample Size Select one of the following:

• 16 bit: When this option is selected, the system exports a 16-bit audio sample

size (currently the industry-standard bit rate for audio).

• 8 bit: When this option is selected, the system exports an 8-bit audio sample

size for use in third-party systems that do not support 16-bit. This option is also used to minimize the data throughput requirements (for example, to improve playback in multimedia projects).

Export Settings: Graphic

Table 28 Export Settings Options (Graphic)

Option Suboption Description

Use Marks When this option is selected, the system uses current IN and

OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Table 28 Export Settings Options (Graphic) (Continued)

Option Suboption Description

Export Settings

Use Enabled Tracks

When this option is selected, the system exports only the currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option.

Graphic Format Format

Options

This option allows you to select a graphic format for export. The Format Options button allows you to set export parameters.

Width x Height This option allows you to set the width and height of the clip.

Click the Fast Menu button, and select from a list of standard dimensions.

Scale to Fit: This option sizes to fit the specified width and height.

Crop/Pad: Crop/Pad never scales or resizes frames. If necessary, the system adds black lines to the top and bottom to achieve the correct size.

Color Levels This option allows you to set color to RGB or ITU-R 601.

Sequential Files This option produces a series of still images, numbered

sequentially. The fps rate of the source file determines the number of still image files that are produced.

Appendix A Settings Options

Table 28 Export Settings Options (Graphic) (Continued)

Option Suboption Description

File Field Order This option allows you to choose the field that will be the

upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

Export Settings: Graphic Format

Table 29 Export Settings Options

(Graphic Format)

File Type Parameters Description

Alias This option creates files that are compatible with

BMP Windows This option creates files that are compatible with

OS/2 This option creates files that are compatible with

™

Alias

/Wavefront™ systems.

systems running the Microsoft Windows operating system.

systems running the IBM

OS/2® operating system.

Export Settings

Table 29 Export Settings Options

(Graphic Format) (Continued)

File Type Parameters Description

Chyron Developed by Chyron Corporation for use with video

frame buffers of Chyron

Cineon Blackpoint

(Windows) Black Point (Macintosh)

Whitepoint (Windows) White Point (Macintosh)

This option allows you to adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses.

This option allows you to adjust a film exposure value that corresponds to filming a 90% white card. Values can be between 1 and 1023.

If the files came from and will be transferred back to a Cineon

™

system, use a white point of 1023. The

character generator titles.

default value of 685 is appropriate if the final destination is not a Cineon system — for example, a video display.

Gamma This option specifies an adjustment to correct for any

gamma inconsistencies in the output display. Values can be between 0.01 and 100.0.

Use a value of 1.0 (the default) for images displayed on a PC monitor. Use a value of 0.59 for a Silicon Graphics

or a Macintosh monitor.

Use a value of 0.45 for ITU-R 601 (CCIR 601) video.

ERIMovie Pack 24 bits This option controls whether the image data is packed

into 24-bit color depth (compressed) or is saved as 32bit (raw) color depth.

Framestore The Framestore format is a 16-bit video image format

used on the Amiga Video Toaster

in conjunction with Newtek's

™

hardware. HIIP supports both

compressed and uncompressed Framestore formats.

IFF Developed by Electronic Arts. IFF (Interchange File

Format), or more specifically IFF-ILBM (InterLeaved BitMap), is the standard file format by which applications on the Amiga platform transfer image files.

Appendix A Settings Options

Table 29 Export Settings Options

(Graphic Format) (Continued)

File Type Parameters Description

JPEG Quality This option controls the output file size and quality.

Higher values produce better images but larger file sizes. Conversely, lower values reduce the image quality but result in smaller file sizes.

Baseline This option is selected by default. To see if this option

is required, see the documentation that came with your JPEG-supported applications.

Progressive This option allows you to save progressive JPEG files,

which divide the file into a series of scans of the image that increase in quality. Each scan progressively improves the recognizability of the image.

Progressive JPEG files can be recognized only by applications with progressive JPEG support, such as some Web browsers.

OMF Compression This option controls the compression ratio and,

therefore, the size of the file. You can choose from all the compression ratio options used by the Avid system when recapturing. For more information on Avid compression ratios, see “Compression Resolutions and Storage Requirements” in the Help.

Frame Rate

NTSC/PAL

These options appear when you select a compression ratio that allows you to select either NTSC or PAL. When you select an option, the system displays the required image size and the default frame rate.

PCX Developed by Zsoft Corporation for use with their

PC PaintBrush

™

paint software.

Photoshop Compression This option controls the size of the file on disk.

Disabling compression creates larger files on disk.

Export Settings

Table 29 Export Settings Options

(Graphic Format) (Continued)

File Type Parameters Description

PICT (Windows only)

Create MacBinary header

This option creates a file with a MacBinary header.

MacBinary is a file format for representing all the information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh system.

Pixar This option allows you to save the file in the Pixar

format.

PNG Color Depth The 8 bits option saves 8-bit files. The 16 bits option

saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Interlaced This option allows you to save the file for progressive

display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves.

Interlaced PNG files can be recognized only by applications with interlaced PNG support, such as some Web browsers.

QRT Developed on the Amiga personal computer to run on

several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer.

Rendition Developed by Numerical Design, Ltd.

SGI Color Depth The 8 bits option saves 8-bit files. The 16 bits option

saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Softimage Developed by Softimage

, Inc. for use in their

Softimage software.

Sun Raster

™

Developed by Sun Microsystems, Inc. and supported mainly in Sun applications.

Appendix A Settings Options

Table 29 Export Settings Options

(Graphic Format) (Continued)

File Type Parameters Description

TARGA Color Depth This option controls how images are saved. The 5-bit

option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format.

Compression This setting controls the size of the file on disk.

Disabling compression creates larger files on disk.

TIFF Color Depth The 8 bits option saves 8-bit files. The 16 bits option

saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Compression This setting controls the size of the file on disk. With

None, image data is not compressed and can produce large file sizes. RLE (run length encoded) produces relatively small and fairly portable files. JPEG produces files that can vary in size, depending on the quality you have set using the JPEG quality slider. The higher the quality setting, the larger the file size.

JPEG Quality This option adjusts the image quality of the JPEG file

on a sliding scale from 0 to 100. The higher the number you set, the higher the image quality of the JPEG file.

Wavefront Format Type This option specifies one of two output file formats

supported by Wavefront (either RLA or RLB).

Color Depth The 8 bits option saves 8-bit files. The 16 bits option

saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Gamma

This option specifies an adjustment to correct for gamma differences between Macintosh and Windows PC output display. This option is intended for crossplatform applications that require adjustment.

To see if you need to adjust this value, check the

documentation that came with your Wavefront application. Usually, you can use the default setting.

Film and 24p Settings

Table 29 Export Settings Options

(Graphic Format) (Continued)

File Type Parameters Description

XWindows Developed by the MIT X Consortium, and is supported

YUV Format This option controls the video format of saved images.

Smooth YUV This option enhances the fidelity of images saved in

Film and 24p Settings

Table 30 Film and 24p Settings Options

Option Description

by many X Window System workstations and some personal computers.

If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped.

YUV color space (if originating in RGB color space).

™

applications on

Edit Play rate Select a rate for playing footage while you edit.

Ink Number Format Select one of these industry-standard ink number formats to meet your

production lab standards and your film format.

Ink Number displayed as Select the format for the ink number display in bins and cut lists.

Auxiliary Ink Format Select the format for the auxiliary ink number (this is useful for tracking

additional information for different film gauges). The choices are the same as for Ink Number Format.

Auxiliary Ink displayed as Select the format for the auxiliary ink number display. The choices are the

same as for Ink Number displayed as.

Audio Source Tape TC Rate

Set Pulldown Phase of Timecode

Select the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This setting does not appear in 32.976 projects.

Allows you to set a default pulldown phase for an NTSC project. See “Entering Pulldown Information” in the Help.

Appendix A Settings Options

General Settings

Table 31 General Settings Options

Option Description

Project Format This option displays the format currently selected for the project (NTSC or

PAL). It cannot be changed.

Temporary File Directory When you use the Drag and Drop Export or an export that creates an

intermediate movie file, the Avid application must store the intermediate file, which can be as large as the final export. By default, the Temporary File Directory is located in the same directory as the Avid application.

To improve efficiency or to avoid DISK_FULL errors when exporting, you can type in a different directory for these temporary files. The ideal setting for this field is to type in a directory on the drive to which you are exporting, or simply one with plenty of free space.

Default Starting TC This option specifies the timecode value you want the system to use as the

default starting timecode for each new sequence.

NTSC Has Setup This option allows systems using NTSC-EIAJ to use the correct color

mapping. NTSC-EIAJ users should not select this option. All other users should select this option.

Use Windows compatible file names (Macintosh only)

Allow file names to exceed 27 characters (Macintosh only)

Prevents you from using the characters /\:*?”<>| and adding leading spaces, trailing spaces, or a trailing period in bin, project, or user names. These characters are not allowed in Windows file names. This option is useful for moving bins and projects from Macintosh to Windows platforms.

Lets you override the Windows file name limit of 27 characters (not including the four characters reserved for the file type extension). Set this option if you do not plan to move your bins or projects to a Windows system, and if you want to use file names longer than 27 characters.

Import Settings

See the following topics:

• Import Settings: Image Tab

• Import Settings: OMFI Tab

• Import Settings: Shot Log Tab

Import Settings: Image Tab

Table 32 Import Settings Options (Image Tab)

Option Suboption Description

Import Settings

Aspect Ratio, Pixel Aspect

601, non-square

Select this option to import images with the dimensions used by the Avid system: 720 x 480 (NTSC) or 720 x 576 (PAL). Also use this option for 720 x 540 images, or for other images that fit the 4:3 aspect ratio. You can use this option to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions.

The system converts the existing pixel dimensions, if necessary, so that the image fills the screen.

If the aspect ratio of the original frames does not match the 4:3 aspect ratio used by the Avid system, the imported frames might appear distorted.

For best full-screen resolution of files created in a square-pixel environment, use 648 x 480 (NTSC) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720x540.

This option is selected by default.

Appendix A Settings Options

Table 32 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

Maintain, nonsquare

Select this option for an image that was created in a nonsquare-pixel environment, but does not match exact NTSC or PAL dimensions. Maintain, non-square preserves up to 480 (NTSC) or 576 (PAL) lines, and either removes additional lines or pads with video black if there are fewer lines.

This option might be most useful with the Avid application when you use material that has been created for non-DV products with a standard NTSC size of 720 x 486. In this situation, the top four lines and the bottom two lines are cropped.

Maintain, non-square never scales or resizes.

Maintain, square Select this option for an image that was created in a square-

pixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen.

The Avid system maintains the source file pixel aspect ratio for the imported frames, translating the square-pixel aspect ratio to the digital video non-square-pixel environment.

The system fills the rest of the screen with video black. If the image has an alpha channel, this black is keyed out in the alpha channel.

Do not use this option if you are importing:

• Images in the 720 x 480 (NTSC) or 720 x 576 (PAL) nonsquare-pixel dimensions

• A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions

Table 32 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

Import Settings

File Field Order

Maintain and Resize, square

Select this option for an image that was created in square-pixel terms.

The system fits the longest dimension to the screen size and fills in the missing pixels in the shorter dimension with video black, creating a border. If the image has an alpha channel, this black is keyed out in the alpha channel.

For example, a 540 x 300 image would have its longer dimension resized to 720, and the shorter dimension resized in proportion (to 400). The remaining “short side” pixels are replaced with black.

For best full-screen resolution of files created in a square-pixel environment, use 648 x 480 (NTSC) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720 x 540.

Do not use this option if you are importing:

• Images in the 720 x 480 (NTSC) or 720 x 576 (PAL) nonsquare-pixel dimensions

• A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions

This section allows you to select the temporal field ordering (sometimes referred to as field dominance) of the media you are importing.

When the field dominance of the imported media matches the field dominance of the project format, no special processing is required. For more information, see “Field Ordering in Graphic Imports and Exports” in the Help.

This setting does not apply to OMFI imports when the import resolution matches the OMFI file.

Non-interlaced This option allows you to import still images to all formats

without concern for the temporal ordering of the fields.

This is the default value.

Appendix A Settings Options

Table 32 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

Odd (Upper Field First)

Select this option for the odd field to occur temporally first during import. The first line in the image belongs to the odd field.

Even (Lower Field First)

Select this option for the even field to occur temporally first during import. The first line in the image belongs to the even field.

Color Levels RGB Select this option if the imported graphics file uses RGB

graphics levels. Most computer-generated graphics use RGB graphics levels. The RGB color values are remapped to ITU-R 601 (formerly CCIR 601) video color values appropriate for the Avid system.

RGB, dithered Select this option if the imported graphics file uses complex

color effects, such as a gradation. Do not use this option to reimport an image that has already been imported with dithering.

601 Select this option if the imported graphics file uses video levels

based on the ITU-R 601 (formerly CCIR 601) standard. These graphics include Avid color bars or images that include superblack (zero black) for keying purposes.

Alpha Use Existing Select this option to import the image, using the existing alpha

channel information.

Invert Existing Select this option to reverse the black and white elements of the

alpha channel if they differ from the matte key requirements of the system: a white background, a black foreground, and a gray transparency blend between the two.

Ignore Select this option to import an image that contains alpha

channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin.

If an image contains an embedded alpha channel but the system does not support alpha channel import for the file type, select this option to import the image successfully. For information on alpha channel support, see “Graphic File Import Specifications” in the Help.

Table 32 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

Import Settings

Single Frame Import

Autodetect Sequential Files

Duration n seconds

Select this option to specify the duration of the single frame created from the import. The default is 10 seconds. This option does not apply to importing sequential image files because each file represents one frame of the clip; therefore, the total number of files determines the total duration.

Importing an image with alpha channel creates a matte key effect as a single frame, with no associated media file.

Importing as a single frame takes less time and requires less storage than importing as a media file. However, a single frame has limited real-time playback capabilities, particularly at high resolutions. This occurs because the system loads the frame into memory and handles it in real time, rather than playing it back from a disk.

Select this option if you are importing sequential files and you want the system to recognize that a sequence of connected files is present and to automatically import the whole sequence.

When this option is deselected, the system does not automatically import a whole sequence of files that have sequential extensions. You can then select any single file for import.

You can import sequential files for any of the supported stillimage formats. For information on preparing a sequence of image files, see “Animation Files” in the Help.

Import Settings: OMFI Tab

Table 33 Import Settings Options (OMFI Tab)

Option Description

Use the source file’s resolution. Select this option to maintain the source file’s

resolution. The system disregards the resolution setting in the Select Files to Import dialog box as well as resolution set in the Import tab of the Media Creation dialog box.

Appendix A Settings Options

Table 33 Import Settings Options (OMFI Tab) (Continued)

Option Description

Use the current import resolution. Select this option to use the current import

resolution setting. The system disregards the source file resolution.

Ask me to set the resolution for each file that is different from the current import resolution setting.

Select this option to have the system display a query about resolution selection for each imported file when the resolution of the source file is different from the current import resolution setting.

Import Settings: Shot Log Tab

Table 34 Import Settings Options

(Shot Log Tab)

Option Description

Maintain events as logged. Select this option to maintain all events as

originally logged.

Combine events based on scene and automatically create subclips.

Select this option to combine all the events for a scene into a single master clip and then link the master clip to subclips that represent the original events for that scene. To use this option, you must have scene numbers logged in a scene column in the bin.

Combine events based on camera roll and automatically create subclips.

Select this option to combine all the events from a camera roll into a single master clip and then link the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged in a camera roll column in the bin for a film project.

Interface Settings

Table 34 Import Settings Options

(Shot Log Tab) (Continued)

Option Description

Merge events with known sources and automatically create subclips.

Select this option to create subclips for events that are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene, and have subsequently logged all the events related to those clips for import.

Merge events with known master clips. Select this option to merge information in the shot

log onto selected master clips based on the matching tape name. Use this option if you have already logged (or captured) master clips in a bin for each take.

You must select the clips that you want to merge before selecting this option.

Interface Settings

See the following topics:

• Interface Settings: General Tab

• Interface Settings: Appearance Tab

Appendix A Settings Options

Interface Settings: General Tab

Table 35 Interface Settings Options

(General Tab)

Option Description

Show Labels in Tool Palette When you select this option, the system displays text labels

with the icons on the Tool palette. This is the default option.

To tear off the Tool palette, click anywhere on the palette, press and hold the mouse button, and drag the palette to the location you want.

Show ToolTips When you select this option, the system displays labels for

buttons and icons when you position the mouse pointer over them. This is the default option.

You can also turn ToolTips on and off from the Help menu.

Delay n seconds before showing If you select Show ToolTips, you can delay the label display by

entering a value in this text box. A delay allows you to move the mouse pointer across the interface without displaying the labels on items between the starting point and the destination of the mouse pointer.

Windows Behavior (Windows Only)

Standard Alt Key

This option switches between standard Windows Alt key behavior and Avid system Alt key behavior. When you select this option, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus).

When you deselect this option, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut, while pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Avid functions. This is the default option.

For more information on Windows shortcuts, see the Windows documentation.

For more information on Avid shortcuts, select Help > Shortcuts.

Interface Settings

Table 35 Interface Settings Options

(General Tab) (Continued)

Option Description

Automatic Num Lock Activation (Windows Only)

When you select this option, the Avid application automatically sets the numeric keypad in numeric mode the next time you start the application. If you deselect this option, the Num Lock key on the keyboard controls the mode of the numeric keypad.

With either selection, you can use the Num Lock key to change the mode of the numeric keypad.

Automatically Launch Last Project at

Opens your last project when the application starts.

Startup

Appendix A Settings Options

Interface Settings: Appearance Tab

Table 36 Interface Settings Options

(Appearance Tab)

Option Selection Description

Color Background

Button

Button Contents

Button Highlight

Button Spotlight

Text

Timeline Background

Timeline V Tracks

Timeline A Tracks

Timeline TC Tracks

Project Background

Bin Default Background

Shading Style Convex

Dim Radial

Convex Radial

Bright Radial

Controls the color of the given interface component. See “Changing Interface Component Colors” in the Help.

Controls the shading of buttons and toolbars. See “Changing Shading Style” in the Help.

Shading Depth 5% – 50%, in 5%

increments

Monitor Button Separation Maximum

Moderate

None

Controls the three-dimensional “rounding” of buttons and toolbars. See “Changing Shading Depth” in the Help.

Controls the spacing of the Monitor buttons. See “Changing Button Separation” in the Help.

Table 36 Interface Settings Options

(Appearance Tab) (Continued)

Option Selection Description

Keyboard Settings

Timeline Button Separation Maximum

Button Style Oval

Keyboard Settings

The following illustration displays the default keyboard settings. For more information about using keyboard shortcuts, see “Shortcuts” in the Help.

Moderate

None

Octagonal

Rounded

Square

Swoosh

Antique

Controls the spacing of the Timeline buttons. See “Changing Button Separation” in the Help.

Controls the shape of the buttons. See “Changing Button Style” in the Help.

Workspace buttonsStep buttons

Delete key

Play button

Stop/Play button

Home key

End key

Play buttons Arrow keys

Appendix A Settings Options

When you open the Keyboard palette from the Settings scroll list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard. If the Windows operating system is set to French or German regional settings, and you click the center of the Enter key in the Keyboard palette, a message box opens that says foreign keyboard mapping mode has been turned off. Select Standard, and then select Map Foreign Keyboard again to return to foreign keyboard mapping mode.

Media Creation Settings

See the following topics:

• Media Creation Settings: Drive Filtering Tab

• Media Creation Settings: Other Tabs

Media Creation Settings: Drive Filtering Tab

Table 37 Media Creation Settings Options

(Drive Filtering Tab)

Setting Description

Filter Based on Resolution Removes as a storage choice the drives that

cannot support the selected resolution. This option causes the Avid editing system to utilize only Avid MediaDrives.

Filter Out System Drive Removes as a storage choice the drive on which

the operating system resides. Selected by default.

Filter Out Launch Drive Removes as a storage choice the drive on which

the Avid application resides. Selected by default.

Media Creation Settings: Other Tabs

Table 38 Media Creation Settings Options (Other Tabs)

Setting Description

Video Resolution Select a resolution.

OMF/MXF Select a file format: Open Media Format

Apply to All This sets your chosen resolution for all the

Video/Audio Drive Select a drive or drives.

Apply to All This sets your chosen video and audio drives

PortServer Settings

(OMF) or Material Exchange Format (MXF). For more information, see “File Format Specifications” in the Help.

Media Creation dialog box tabs. It also sets it for any place in the application where you select a resolution.

for all the Media Creation dialog box tabs. It also sets them for any place in the application where you select drives.

Same As Source In Render tab, select to render effects at their

PortServer Settings

Table 39 PortServer Settings Options

Setting Description

Auto-connect to LANshare at Launch

Connect Starts the connection.

source resolutions.

LANshare workspaces are recognized when you start the Avid application.

Appendix A Settings Options

Render Settings

Table 40 Render Settings Options

Option Selection Description

Render Completion Sound

Motion Effects Render Using

Sets a sound for your Avid application to activate once the rendering process is complete. This is useful when you are rendering multiple effects.

None Disables the rendering completion sound. This is the

default.

Render Sound Sets the rendering completion sound to a customized

sound.

System Beep Sets the rendering completion sound to match the sound set

for your operating system.

Determines the processing method when existing motion effects are rendered or rerendered.

Original Preference Causes effects to be rendered as whatever type they were

when originally created.

Duplicated Field Displays a single field in the effect. For two-field media,

this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media).

With JFIF resolutions, selecting this option causes the effect to render in the shortest amount of time. With DV and MPEG resolutions, the effect renders approximately as quickly as it would if you selected Both Fields as the rendering option.

Table 40 Render Settings Options (Continued)

Option Selection Description

Both Fields Displays both fields in the effect. For example, the first two

frames of a half-speed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice. This option is good for shots without inter-field motion, NTSC or PAL film-totape transfers, and still shots. With footage that includes inter-field motion, this method might result in minor shifting or bumping of the image because it disturbs the original order of fields: a Field 1 will appear both before and after the corresponding Field 2.

The effect renders relatively quickly. For best results, you should use evenly divisible frame rates with this option.

Interpolated Field Creates a second field for the effect by combining scan line

pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid application considers all fields and does not disturb the original order of fields, the smoothest effect results.

Render Settings

Timewarps Render Using

Effects created using this option take the longest amount of time to render.

VTR-Style Creates a second field for the effect by shifting selected

video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed. This option also creates the motion effect at the field level rather than the frame level; however, because pixels are not filtered, the final image is sharper than that created by the Interpolated Field option. The image might display some slight jitter at certain speeds.

The time needed to render effects created with this option is longer than the time for effects created using either Duplicated Field or Both Fields but similar to the time needed for Interpolated Field.

Select an option to determine the processing method when Timewarp effects are rendered or rerendered.

Appendix A Settings Options

Table 40 Render Settings Options (Continued)

Option Selection Description

Original Preference

Duplicated Field

These rendering options are the same as those for Motion Effects Render Using. See the preceding descriptions.

Both Fields Interpolated Field

VTR-Style

Blended Interpolated

The application blends, or averages, pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, the system creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%. The second blended image weights the pixels from Image A at 50% and Image B at 50%. The third blended image weights the pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to Image B appear to fade out of Image A and fade in to Image B.

Timewarp effects created using Blended Interpolated or Blended VTR render less quickly than Interpolated Field or VTR-Style.

Blended VTR The application first creates a second field for the effect by

shifting selected video fields of the original media by a full scan line. Then it blends, or averages, pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, the system creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%. The second blended image weights the pixels from Image A at 50% and Image B at 50%. The third blended image weights the pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to Image B appear to fade out of Image A and fade in to Image B.

Timewarp effects created using Blended Interpolated or Blended VTR render less quickly than Interpolated Field or VTR-Style.

Table 40 Render Settings Options (Continued)

Option Selection Description

Safe Color Settings

Effects Quality Render Using

Quality Set in Each Effect

Standard Quality Causes all effects to render with the standard

Highest Quality Effects render with the HQ implementation, if one exists

Safe Color Settings

Table 41 Safe Color Settings Options

Option Description

Sets a global override for effects that have HQ (Highest Quality) software implementations. You select the HQ implementation or the standard implementation for individual effects by clicking the HQ button in the Effect Editor.

Causes effects to render at the quality determined by the HQ setting in the individual effects. This is the default.

implementation.

for a given effect. If an HQ implementation does not exist for a given effect, the effect renders with the standard implementation.

Composite Sets safe color values for the composite video signal.

Luminance Sets safe color values based on brightness.

RGB Gamut Sets safe color values based on color range.

Appendix A Settings Options

Table 41 Safe Color Settings Options (Continued)

Option Description

Units buttons Define the units of measurement for the three types of safe color values.

The Composite Units pop-up menu allows you to select either IRE or mVolts (millivolts).

The Luminance and RGB Gamut pop-up menus allow you to select from the following options:

8 Bit — Measures the adjustment on a scale from 0 to 255.

The RGB value for a color in the Color Correction tool will not be identical

to the RGB value for the same color in a graphics application such as

Adobe and reference white are 16 and 235 respectively.

Percent — Measures the adjustment on a percentage scale from 0 to 100.

IRE — Measures the adjustment in IRE units.

mVolts — Measures the adjustment in millivolts.

Photoshop®. For example, the 8-bit RGB values for reference black

Actions buttons Define how the system implements the safe color settings. The top menu controls

both the Composite and the Luminance limit types; the bottom menu controls the RGB Gamut limit type. Each Actions menu allows you to select from the following options:

Ignore — The system does not limit based on these settings. This is the default setting.

Warn — The system provides warnings when these limits are exceeded. For more information on safe color warnings, see “Understanding Safe Color Warnings” in the Help.

Script Settings

Table 42 Script Settings Options

Option Description

Font This option selects the font for imported scripts.

Size This option selects the font size. The default is 12 points.

Left Margin (pixels) This option specifies the left margin size. The default is

Take Coloring This option specifies the color that the Avid system will apply

Show Frames When this option is selected, the system shows frames in take

Show All Takes When this option is selected, the system shows all takes in each

Script Settings

40 pixels.

to takes.

slates.

slate. If you deselect this option, the Avid system displays only one take per slate.

Interpolate Position When this option is selected, you can click in a take line within

a script, and the image in the Source pop-up monitor updates to the approximate position in the take where you have clicked. If you deselect this option, the Source pop-up monitor does not respond when you click in a take line.

Hold Slates Onscreen Set this option to keep the slates on the screen when you scroll

through a script in the Script window. Each slate remains on the screen as long as the take lines to which it is linked remain on the screen.

Appendix A Settings Options

Sound Card Configuration Settings

Table 43 Sound Card Configuration Settings

Setting Options Description

Record/Input list Lists the input sources available with the audio

hardware installed on your system.

Playback/Output list Wave

SW Synth CD Player Microphone Aux Line In Phone <No Match>

Use Windows Mixer Select this option to deselect all options in the

Audio device name Lists the sound card installed on your system.

Maps input sources to the output sources available with the audio hardware installed on your system. The options available on your system might vary from those listed here.

Select the <No Match> option if you do not

want an input source mapped to an output source.

dialgog box and allow the Windows mixer to map input sources to output sources.

Timeline Settings

See the following topics:

• Timeline Settings: Display Tab

• Timeline Settings: Edit Tab

Timeline Settings: Display Tab

Table 44 Timeline Settings Options

(Display Tab)

Option Description

Show Toolbar Displays the Timeline top toolbar.

Show Marked Region Highlights the region from the IN point to the OUT point.

Timeline Settings

Show Marked Waveforms

Highlight Suggested Render Areas After Playback

Show Four-Frame Display

Shows waveforms drawn between an IN point and an OUT point instead of over the entire composition.

This option allows you to display thin colored indicator lines in the Timecode track of the Timeline. These thin colored lines display information about the real-time effects in your sequence. For more information, see “Real-Time Preview of Video Effects” in the Help.

When this option is selected, the system shows the head and tail of incoming or outgoing frames of video when you drag a segment.

Timeline Settings: Edit Tab

Table 45 Timeline Settings Options (Edit Tab)

Option Description

Start Filler Duration Type the amount of filler you want to appear by default when you select Clip

> Add Filler at Start.

Find Flash Frames Shorter Than n frames

Type the maximum number of flash frames you want the system to detect. The default is 10, which tells the system to detect clips with 9 frames or fewer. See “Finding Flash Frames” in the Help.

Auto-Patching When this option is selected, the system automatically patches the enabled

source tracks to the tracks enabled in the Timeline sequence.

Auto-Monitoring When this option is selected, the track you patch to is monitored. This option

is selected by default.

Appendix A Settings Options

Table 45 Timeline Settings Options (Edit Tab) (Continued)

Option Description

Segment Drag Sync Locks

Default Snap-To Edit Allows a clip, when dragged from a bin to the Timeline, to either snap to a

Dupe Detection Handles Select the size of the handles, in frames, to use for dupe checking. The

When this option is selected and sync locks are enabled, you can move segments in the Timeline and maintain sync between audio and video. After moving a segment in the Timeline, this option maintains sync by adding filler to the location from which the segment was moved, and to the location on all other sync-locked tracks that corresponds to the new location of the segment you moved. You can move either an audio clip or a video clip.

transition point or move freely on the track. If the option is selected, the clip snaps to an existing transition endpoint. If the option is deselected, the clip moves freely to any position on the track. This option is selected by default.

chosen number of frames is added at the beginning and the end of each clip before checking for overlap. The handles are used only for internal calculations.

Dupe Detection is available only if you have Avid Xpress Pro. See

“Using Film Options” in the Help.

Trim Settings

See the following topics:

• Trim Settings: Play Loop Tab

• Trim Settings: Features Tab

Trim Settings: Play Loop Tab

Table 46 Trim Settings Options (Play Loop Tab)

Setting Description

Play Loop Preroll Click the text box and type the value you want.

Play Loop Postroll Click the text box and type the value you want.

Table 46 Trim Settings Options (Play Loop Tab) (Continued)

Setting Description

Play Loop Intermission Click the text box and type the value you want.

Trim Settings: Features Tab

Table 47 Trim Settings Options (Features Tab)

Setting Description

J-K-L Trim Select to turn on J-K-L Trim.

Video Display Settings

Table 48 Video Display Settings Options

Option Sub-option Description

Pre-filled Frames: Seconds of Video to Pre-Fill:

Open GL Hardware: Preview DVE effects with:

Enable Confidence View Enable confidence view if you want to

n seconds Type the number of seconds by which to

delay playback. By accepting a delay at the beginning of playback, you increase the likelihood that the system will play the material successfully. The maximum delay is 10 seconds.

Video boards installed on your system

Software Open GL Select if you do not have an Open GL

Select the Open GL board for your video display. Selecting hardware gives you better performance.

video board

view incoming or outgoing media in the Composer monitor as you are capturing media or creating a digital cut.

Appendix A Settings Options

Table 48 Video Display Settings Options (Continued)

Option Sub-option Description

Maximum Real Time Streams Indicates minimum and

maximum

Workspace Settings

Table 49 Workspace Settings Options

Setting Description

Activate Settings Linked By Name

Continually Update This Workspace

Manually Update This Workspace

Select this option to link other settings to the workspace.

Select this option to automatically preserve the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.

Select this option to save the workspace in its current arrangement when you click Save Workspace Now (which appears only after you select Manually Update This Workspace). Future changes to the arrangement of the tool windows are disregarded unless you return to the Workspace Settings dialog box and click Save Workspace Now again.

Set the Stream Limit if you are moving from a more capable project to a less capable project. In Avid Unity environments, decrease the number if performance is being degraded by too much demand on the Avid Unity connection.

Appendix B

Using AudioSuite Plug-Ins

The following topics describe how to access and use the AudioSuite plugins, including the set of core plug-ins that comes with your Avid system. They also provide a list of other plug-ins that are supported.

• Accessing the AudioSuite Plug-Ins

• Core AudioSuite Plug-Ins

• Additional Supported Plug-Ins

• Description of Core AudioSuite Plug-Ins

For details on installing the plug-ins, see “Digidesign AudioSuite PlugIns” in the Help.

Accessing the AudioSuite Plug-Ins

To access the plug-ins:

t Select Tools > AudioSuite.

The AudioSuite window opens.

Appendix B Using AudioSuite Plug-Ins

Core AudioSuite Plug-Ins

The following basic plug-ins are installed automatically as part of the Avid system software installation:

• D-fx Chorus — Provides time-delay and pitch-shift effects, added to the clip to create a multi-layered sound.

• D-fx Flanger — Creates a flange effect that approximates a true tapegenerated flange.

• D-Verb processing to single or multiple tracks.

™

— Provides a studio-quality reverberation or ambience

Plug-in Selection pop-up menu

Drive Selection pop-up menu

Status display

• D-fx Multi-Tap Delay — Allows you to control up to four independent delays applied to the audio clip.

• D-fx Ping-Pong Delay — Allows you to add a delay to an audio clip to create a ping-pong echo effect.

• Compressor — Reduces the dynamic range of signals that exceed a selected threshold by a specific amount.

• Limiter — Prevents signal peaks from exceeding a chosen level so that they don’t overload amplifiers or recording devices.

• Expander-Gate — Performs the same function as the Gate plug-in with the addition of expander features. Expanders are particularly useful for reducing noise or signal leakage that creeps into recorded material as the signal level falls, which often occurs with headphone leakage.

• Gate — Reduces noise by decreasing the gain of signals that fall below a user-selectable threshold.

Core AudioSuite Plug-Ins

• EQ — Allows you to adjust frequency equalization on individual audio clips.

• Invert — Inverts the polarity (phase of the audio file).

• Duplicate — Creates a new master clip from a selected audio clip. The plug-in uses the IN and OUT points on the selected clip to define the boundaries of the new clip.

• Mod Delay — Provides time-delay-based effects. Effects obtained through the use of Mod Delay include slap echo, doubling, chorusing, and flanging.

• Normalize — Finds the peak value in the source audio file and scales the entire file proportionally to that maximum value.

• Gain — Same as Normalize, but allows positive or negative gain adjustment.

• Reverse — Rewrites the selected audio in reverse.

• DC Offset Removal — Removes an audio artifact that is common in digital audio files. A DC offset is caused by poorly calibrated analogto-digital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed.

D-fx Chorus

• Signal Generator — Produces audio test tones in a variety of frequencies, waveforms, and amplitudes.

• Time Compression Expansion — Allows you to adjust the duration of a selected clip by creating a new master clip. This increases or decreases the selection’s length without changing pitch.

• Pitch Shift — Changes pitch with or without changing length.

The D-fx™ Chorus plug-in modifies an audio signal by combining a timedelayed, pitch-shifted copy with the original signal. It is ideal for thickening and adding a shimmering quality to guitars, keyboards, and other instruments.

Appendix B Using AudioSuite Plug-Ins

Using D-fx Chorus Effectively

When you use the D-fx Chorus plug-in in Stereo mode, a Sum Inputs button appears next to the right channel Input Level slider. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them.The source signal then appears in the center of the stereo field, and the processed signal is output in stereo. When you click the Sum Inputs button, the LFO waveform on the right channel is automatically phase inverted to enhance the mono-stereo effect.

D-fx Chorus Parameters

The D-fx Chorus plug-in has the following parameters:

Input Level

Allows you to adjusts the input volume of the chorus to prevent clipping or increase the level of the processed signal. This slider is set to a default of +3 dB. If your source audio has been recorded very close to peak level, this +3 dB default setting could cause clipping. Use this control to reduce the input level.

Mix

Allows you to adjust the balance between the Dry (source) signal and the Wet (processed) signal, giving you control over the depth of the effect.

Low Pass Filter

Controls the cutoff frequency of the Low Pass Filter, allowing you to attenuate the high frequency content of the feedback signal. The lower the setting, the more high frequencies are removed from the feedback signal. The range of the Low Pass Filter is 20 Hz to 19.86 kHz, with a maximum value of Off (which effectively means bypass).

Core AudioSuite Plug-Ins

Delay

Sets the delay time between the source signal and the processed signal. The higher the setting, the longer the delay and the wider the chorusing effect. Delay is adjustable from 0to20milliseconds.

LFO Rate

Allows you to adjust the rate of the low frequency oscillator (LFO) applied to the delayed signal as modulation. The higher the setting, the more rapid the modulation. You can select either a sine wave or a triangle wave as a modulation source, using the LFO Waveform selector.

LFO Width

Allows you to adjust the intensity of the LFO applied to the delayed signal as modulation. The higher the setting, the more intense the modulation. Use the LFO Waveform selector to select a sine or a triangle wave as a modulation source.

D-fx Flanger

Feedback

Controls the amount of feedback applied from the output of the delayed signal back into its input. Negative settings provide a more intense effect.

The D-fx Flanger plug-in combines a time-delayed, pitch-shifted copy of an audio signal with itself. The D-fx Flanger differs from other digital flangers in that it uses a through-zero flanging algorithm that results in a truer tape-like flange. This technique delays the source signal very slightly (approximately 256 samples), and then modulates the delayed signal back and forth in time in relation to the source signal, passing through its zero point on the way.

The D-fx Flanger plug-in is ideal for thickening and adding a swirling, moving quality to guitars and other instruments.

Appendix B Using AudioSuite Plug-Ins

Using D-fx Flanger Effectively

When you use the D-fx Flanger plug-in in Stereo mode, a Sum Inputs button appears next to the right channel Input Level slider. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them.The source signal then appears in the center of the stereo field, and the processed signal is output in stereo. When you click the Sum Inputs button, the LFO waveform on the right channel is automatically phase inverted to enhance the mono-stereo effect.

D-fx Flanger Parameters

The D-fx Flanger plug-in has the following parameters:

Input Level

Allows you to adjust the input volume of the flanger to prevent clipping or increase the level of the processed signal. This slider is set to a default of +3 dB. If your source audio has been recorded very close to peak level, this +3 dB default setting could cause clipping. Use this control to reduce the input level.

100

Mix

Allows you to adjust the balance between the Dry (source) signal and the Wet (processed) signal, giving you control over the depth of the effect.

High Pass Filter

Controls the cutoff frequency of the High Pass Filter, allowing you to attenuate the frequency content of the feedback signal and the frequency response of the flanging. The higher the setting, the more low frequencies are removed from the feedback signal.

Pinnacle Systems Xpress DV - 4.0 User’s Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Who Should Use This Supplement

About This Guide

Symbols and Conventions

If You Need Help

Accessing the Tutorial and Online Library

If You Have Documentation Comments

How to Order Documentation

Avid Educational Services

Settings Options

Audio Settings

Audio Project Settings

Audio Project Settings: Main Tab

Audio Project Settings: Input Tab

Audio Project Settings: Output Tab

Audio Project Settings: Hardware Tab

Bin Settings

Capture Settings

Capture Settings: General Tab

Capture Settings: Batch Tab

Capture Settings: Edit Tab

Capture Settings: Media Files Tab

Capture Settings: DV Options Tab

Correction Mode Settings

Correction Mode Settings: Features Tab

Correction Mode Settings: AutoCorrect Tab

Deck Configuration Settings

Deck Settings

Deck Preferences Settings

Desktop Play Delay Settings

Export Settings

Export Settings Options

Export Settings: Quick Time Reference

Export Settings: Quick Time Movie Export

Export Settings: QuickTime Movie

Export Settings: QuickTime Compression

Export Settings: DV Stream

Export Settings: OMFI and AAF

Export Settings: AVI (Windows Only)

Export Settings: AVI Video Compression (Windows Only)

Export Settings: Audio

Export Settings: Graphic

Export Settings: Graphic Format

Film and 24p Settings

General Settings

Import Settings

Import Settings: Image Tab

Import Settings: OMFI Tab

Import Settings: Shot Log Tab

Interface Settings

Interface Settings: General Tab

Interface Settings: Appearance Tab

Keyboard Settings

Media Creation Settings

Media Creation Settings: Drive Filtering Tab

Media Creation Settings: Other Tabs

PortServer Settings

Render Settings

Safe Color Settings

Script Settings

Sound Card Configuration Settings

Timeline Settings

Timeline Settings: Display Tab

Timeline Settings: Edit Tab

Trim Settings

Trim Settings: Play Loop Tab

Trim Settings: Features Tab

Video Display Settings

Workspace Settings

Using AudioSuite Plug-Ins

Accessing the AudioSuite Plug-Ins

Core AudioSuite Plug-Ins

D-fx Chorus

Using D-fx Chorus Effectively

D-fx Chorus Parameters