Pinnacle Systems Xpress Pro - 4.5 User’s Guide

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Avid Xpress® Pro

User´s Guide Supplement

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Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc.

The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement.

Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; D392,269; D396,853; D398,912. Other patents are pending.

No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.

The following disclaimer is required by Apple Computer, Inc.

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

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

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

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

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

The following disclaimer is required by the Independent JPEG Group:

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

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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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 3Prong.com Inc.:

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

Attn. Government User(s). Restricted Rights Legend

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

Trademarks

888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, Avid DNA, AVIDdrive, AVIDdrive Towers, Avid Mojo, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, FluidMotion, 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, Nearchive, NetReview, NewsCutter, Nitris, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE, SPACEShift, Symphony, the Avid|DS logo, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

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

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.

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“Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. Windhorse — Courtesy of Paul Wagner Productions.

GOT FOOTAGE?

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

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

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

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

Avid Xpress Pro User’s Guide Supplement• 0130-06110-01 • June 2004

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Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

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

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

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

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

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

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

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

Audio Project Settings: Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . 26

Audio Project Settings: Hardware Tab. . . . . . . . . . . . . . . . . . . . . . . 27

Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

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

Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Capture Settings: Media Files Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 32

Capture Settings: DV Options Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 33

Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

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

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

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

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

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

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

Desktop Play Delay Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

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

Export Settings: Quick Time Reference . . . . . . . . . . . . . . . . . . . . . . 42

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

Export Settings: QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 48

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

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

Export Settings: OMFI and AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Export Settings: AVI (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 57

Export Settings: AVI Video Compression (Windows Only). . . . . . . . 59

Export Settings: Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Export Settings: Graphic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

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

Film and 24p Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Film Settings - Edit Play Rate Options . . . . . . . . . . . . . . . . . . . . . . . 67

General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Import Settings: Audio Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Interface Settings: Appearance Tab . . . . . . . . . . . . . . . . . . . . . . . . . 78

Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Media Creation Settings: Drive Filtering Tab . . . . . . . . . . . . . . . . . . 80

Media Creation Settings: Other Tabs . . . . . . . . . . . . . . . . . . . . . . . . 80

PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Safe Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

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Sound Card Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Timeline Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Trim Settings: Play Loop Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Appendix B Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Accessing the AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

D-fx Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Using D-fx Chorus Effectively . . . . . . . . . . . . . . . . . . . . . . . . . . 93

D-fx Chorus Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

D-fx Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Using D-fx Flanger Effectively . . . . . . . . . . . . . . . . . . . . . . . . . . 95

D-fx Flanger Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

D-Verb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Using D-Verb Effectively . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

D-Verb Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

D-fx Multi-Tap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Using D-fx Multi-Tap Delay Effectively . . . . . . . . . . . . . . . . . . 100

D-fx Multi-Tap Delay Parameters . . . . . . . . . . . . . . . . . . . . . . 100

D-fx Ping-Pong Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

D-fx Ping-Pong Delay Parameters . . . . . . . . . . . . . . . . . . . . . 101

Broadband Noise Reduction (BNR) . . . . . . . . . . . . . . . . . . . . . . . . 101

Focusrite d3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Digidesign D-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Description of Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . 103

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Using Compression Effectively . . . . . . . . . . . . . . . . . . . . . . . . 104

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Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Limiter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Expander-Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Expander-Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

EQ II Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Duplicate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

DC Offset Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Master Clip Mode Parallel Processing . . . . . . . . . . . . . . . . . . . 115

Time Compression Expansion Parameters . . . . . . . . . . . . . . . 116

Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Pitch Shift Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Appendix C File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Graphic (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Preparing Graphic Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . 123

Graphic File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 124

Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

OMFI Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

MXF Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . 136

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Appendix D Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Understanding Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . 141

Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Appendix E Using an External Fader Controller or Mixer. . . . . . . . . . . . . 153

Using the Digi 002 and Command|8. . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Using the Digi 002 with Your Avid Editing System. . . . . . . . . . . . . 156

Using the Digi 002 with Avid Mojo DNA Hardware

(Windows only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Using the Command|8 with Your Avid Editing System . . . . . . . . . 158

Configuring the Digi 002 or Command|8 . . . . . . . . . . . . . . . . . . . . 159

Mapping Buttons and Menu Commands . . . . . . . . . . . . . . . . . 160

Button Layouts on the Digi 002 and Command|8 . . . . . . . . . . 164

Using Buttons to Change Focus in the Avid Editing Application

Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Using a Foot Pedal as a Foot Switch . . . . . . . . . . . . . . . . . . . 166

Switching Between the Digi 002 and Command|8 . . . . . . . . . 167

Using the Digi 002 and Command|8 for Audio Gain Automation

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Using the Latch Mode Feature on the Digi 002 and

Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Configuring the USB-to-MIDI Software for Third-Party Controllers . . . 169

Installing USB-to-MIDI Software (Windows) . . . . . . . . . . . . . . . . . 169

Installing USB-to-MIDI Software (Macintosh) . . . . . . . . . . . . . . . . 170

Testing the Fader Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Switching Between MIDI Connections on the USB-to-MIDI

Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Troubleshooting the MIDI Connections . . . . . . . . . . . . . . . . . . . . . 172

Using the FaderMaster Pro and MCS-3000X. . . . . . . . . . . . . . . . . . . . 173

MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Using the Snap Mode Feature on the MCS-3000X . . . . . . . . . . . . 175

Page 10

Ganging Faders on the FaderMaster Pro. . . . . . . . . . . . . . . . . . . . 175

Using the Yamaha 01V/96 or the Yamaha 01V . . . . . . . . . . . . . . . . . . 176

Setting Up the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . 176

Initializing the Yamaha 01V/96 or Yamaha 01V. . . . . . . . . . . . 177

Configuring the Mixer to Recognize MIDI Control Messages for the

Yamaha 01V and Yamaha 01V/96 . . . . . . . . . . . . . . . . . . . . 178

Configuring the Mixer to Recognize Serial Control Messages for

the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Configuring the Mixer to Recognize USB Control Messages for the

Yamaha 01V/96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

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

Attached . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Operational Notes for the Yamaha 01V/96 and Yamaha 01V . 181

Soloing Avid System Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Appendix F International Character Support. . . . . . . . . . . . . . . . . . . . . . . 183

Using a Local Language Operating System

(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Choosing a Locale on an English Language Operating System. . . . . . 184

Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . 185

Setting the Language in System Preferences

(Macintosh Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Specifying the Language in the Get Info Dialog Box (Macintosh

Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Non-English Character Support (Windows) . . . . . . . . . . . . . . . . . . 188

Using Foreign Keyboard Mapping . . . . . . . . . . . . . . . . . . . . . . 192

Moving Older Projects to this Version (Windows Only) . . . . . . 193

Recommendations and Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Avid Supports English Plus One Locale . . . . . . . . . . . . . . . . . . . . . 194

Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . 194

EDL Manager Does Not Save Diacritical Marks or

Chinese Characters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . 195

Page 11

Appendix G Working with Broadcast Wave Format (BWF) Files . . . . . . . 197

Support for BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

BWF Information Displayed in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Preparing Custom BWF Information. . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Importing and Syncing BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Reimporting BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Appendix H Planning a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Working with 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Working with 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Planning a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

24-fps Film Source, SDTV Transfer, Output . . . . . . . . . . . . . . . . . 206

24-fps Film or HD Video Source, SDTV

Downconversion, Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

25-fps Film or HD Video Source, SDTV

Downconversion, Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Audio Transfer Options for 24p PAL Projects . . . . . . . . . . . . . . . . 215

Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Working in a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . 216

Creating a 23.976p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

23.976-fps Film Transfer or HD Video Source, SDTV

Downconversion, Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Limitations for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Film Shoot Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Viewing Dailies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Video Dailies Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Appendix I Film-to-Tape Transfer Methods . . . . . . . . . . . . . . . . . . . . . . . 227

Understanding the Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Page 12

Transferring 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . 228

Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . 228

Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps

Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . 230

Maintaining Synchronized Sound. . . . . . . . . . . . . . . . . . . . . . . 231

Stage 2: Capturing at 24 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . 233

PAL Method 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

PAL Method 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

How the Avid System Stores and Displays 24p and 25p Media . . . . . . 235

Displaying Media While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Displaying Media During a Digital Cut . . . . . . . . . . . . . . . . . . . . . . 237

Film-to-Tape Transfer Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Additional Film Transfer Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Page 13

Tables

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

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

Audio Project Settings Options (Input Tab). . . . . . . . . . . . . . . . . . . . . . . . . . 25

Audio Project Settings Options

(Output Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Audio Project Settings Options

(Hardware Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Bin Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Capture Settings Options (General Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

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

Capture Settings Options (Edit Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Capture Settings Options (Media Files Tab) . . . . . . . . . . . . . . . . . . . . . . . . . 32

Capture Settings Options

(DV Options Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Capture Settings Options (Keys Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Controller Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Correction Settings Options (Features Tab) . . . . . . . . . . . . . . . . . . . . . . . . . 35

Correction Settings Options (AutoCorrect Tab) . . . . . . . . . . . . . . . . . . . . . . 36

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

Deck Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

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

Desktop Play Delay Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

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

Export Settings Options (QuickTime Reference) . . . . . . . . . . . . . . . . . . . . . 42

Export Settings Options (QuickTime Movie Export) . . . . . . . . . . . . . . . . . . . 46

Export Settings Options

(QuickTime Movie) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Export Settings Options (QuickTime Compression) . . . . . . . . . . . . . . . . . . . 50

Export Settings Options (DV Stream) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Export Settings Options (OMFI and AAF) . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Page 14

Export Settings Options (AVI) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Export Settings (AVI Video Compression) . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Export Settings Options (Audio) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Export Settings Options (Graphic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Export Settings Options (Graphic Format) . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Film and 24p Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Edit Play Rate Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

General Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Import Settings Options (Image Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Import Settings Options (OMFI Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Import Settings Options (Shot Log Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Import Settings Options

(Audio Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Interface Settings Options (General Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Interface Settings Options (Appearance Tab) . . . . . . . . . . . . . . . . . . . . . . . . 78

Media Creation Settings Options (Drive Filtering Tab). . . . . . . . . . . . . . . . . . 80

Media Creation Settings Options (Other Tabs) . . . . . . . . . . . . . . . . . . . . . . . 80

PortServer Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Render Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Safe Color Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Script Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Sound Card Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Timeline Settings Options

(Display Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Timeline Settings Options (Edit Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Trim Settings Options (Play Loop Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Trim Settings Options (Features Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Video Display Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Workspace Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Limiter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Page 15

Expander-Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Gate Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

EQ II Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Time Compression Expansion

Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Pitch Shift Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Graphic File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Animation File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

QuickTime File Import and Export

Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

AVI File Import and Export

Specifications (Windows Only) . . . . . . . . . . . . . . . . . . . . 133

OMFI File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Recommended Field Settings for Two-Field

Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Avid Log Global Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Avid Log Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

External Fader Controller and Mixer Features . . . . . . . . . . . . . . . . . . . . . . 154

Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Ratio of Film to Video with FPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Page 16

Page 17

Using This Guide

The appendices in this document contain reference material that supplements the information provided in the Avid Xpress Pro User’s Guide. You should consult the Avid Xpress Pro 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.

Unless noted otherwise, the material in this document applies to the Windows XP and Mac OS X operating systems.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.

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.

Page 18

Using This Guide

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

> This symbol indicates menu commands (and

k This symbol represents the Apple or Command key.

Margin tips

(Windows), (Windows only), (Macintosh), or (Macintosh only)

A note provides important related information, reminders, recommendations, and strong suggestions.

A caution means that a specific action you take could cause harm to your computer or cause you to lose data.

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

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

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

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

In the margin, you will find tips that help you perform tasks more easily and efficiently.

This text indicates that the information applies only to the specified operating system, either Windows XP or Macintosh OS X.

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

indicate variables.

Courier Bold font

Ctrl+key or mouse action k+key or mouse action

Courier Bold font identifies text that you type.

Press and hold the first key while you press the last key or perform the mouse action. For example, k+Option+C or Ctrl+drag.

Page 19

If You Need Help

If you are having trouble using this Avid editing application:

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

2. Check for the latest information that might have become available after the documentation was published 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

If You Need Help

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

Page 20

Using This Guide

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

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

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

2. Double-click the Mainmenu file.

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

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

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

How to Order Documentation

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

Web s ite .

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).

Page 21

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

• Controller Settings

• Correction 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

• Render Settings

• Safe Color Settings

Page 22

Appendix A Settings Options

• Script Settings

• Sound Card Configuration Settings

• Timeline Settings

• Trim Settings

• Video Display Settings

• Workspace Settings

Audio Settings

Setting Description

Pop-up Scrub Select the number of outgoing and incoming frames

Timeline 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.

you hear as you scrub in the Timeline.

Default Pan Select the way you want sound to pan between

Play Buffer Size in Samples (software only)

Tool Buffer Size in Samples (software only)

Audio Project Settings

The following topics describe adjusting audio project settings:

• Audio Project Settings: Main Tab

• Audio Project Settings: Input Tab

speakers.

Allows you to change the size of the host audio play buffer during play and digital cut. Use this option if you are experiencing problems with play performance to the host audio device.

Allows you to change the size of the host audio play buffer during audio loop play and audio tools play. This should decrease the overall latency between the time an audio parameter is adjusted in the UI and the time that you hear those changes through the speaker.

Page 23

• Audio Project Settings: Output Tab

• Audio Project Settings: Hardware Tab

Audio Project Settings: Main 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.

Audio Project Settings Options (Main Tab)

Setting Options Description

Sample Rate 32 kHz

44.1 kHz

48 kHz

Audio File Format OMF (WAVE)

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

Allows you to select audio rate settings for the entire 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.

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.

Page 24

Appendix A Settings Options

Audio Project Settings Options (Main Tab) (Continued)

Setting Options Description

Audio File Sample Size

16 Bit 24 Bit

DV Audio Pattern Locked Audio

Unlocked Audio

Render Sample Rate Conversion Quality

High and Slow Balanced Low and Fast

Convert Sample Rates When Playing

Always Never

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.

• 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 non-realtime sample rate conversions.

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.

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Audio Project Settings Options (Main Tab) (Continued)

Setting Options Description

Audio Project Settings

Show Mismatched Sample Rates as Different Color

Real-Time Audio Dissolves

Dissolve Midpoint Attenuation

Ye s No

Disabled Enabled

Const Power –3dB Linear –6dB

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.

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.

• Linear –6dB uses a linear gradient to maintain a consistent amplitude through the midpoint of the dissolve.

Audio Project Settings Options (Input Tab)

Setting Options Description

Input Source Input options depend on

your audio hardware connected and installed on your system.

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

Allows you to select the type of input.

For software-only models, the audio inputs

depend on the audio hardware installed on your system.

adjust the mix of tracks for monitoring audio input.

Page 26

Appendix A Settings Options

Audio Project Settings Options (Input Tab) (Continued)

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.

Audio Project Settings: Output Tab

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.

Audio Project Settings Options

(Output Tab)

Setting Options Description

Output Gain Allows you to calibrate the volume of global audio

output.

Master Volume For software-only

systems

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.

Page 27

Audio Project Settings Options

(Output Tab) (Continued)

Setting Options Description

Audio Project Settings

Bypass panel Clip Gain

RT EQ Auto Gain

Mix Mode Selection Menu button

Stereo Mono

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

• RT EQ bypasses all EQ effects set in the Audio EQ

• Auto Gain bypasses all Automation Gain effects set

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

• Mono pans all the currently monitored tracks to

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.

Audio Mix tool.

tool.

in the Automation Gain tool.

into a stereo pair.

center. This mode also ignores pan effects.

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.

Page 28

Appendix A Settings Options

Audio Project Settings Options

(Hardware Tab) (Continued)

Setting Options Description

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

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.

Maximum files in a project’s attic

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.

Page 29

Bin Settings Options (Continued)

Option Description

Capture Settings

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

Enable SuperBin

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.

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: Keys Tab

Capture Settings: General Tab

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.

Page 30

Appendix A Settings Options

Capture Settings Options (General Tab) (Continued)

Option Description

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.

Activate bin window after capture

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

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

Stop capture if a bad frame is detected

Latency for no deck mode n frames

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

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.

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.

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.

When you select this option, the system stops capturing if a correct frame is detected. This setting is selected by default.

If you notice that your captured media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that capturing starts on the correct frame. The option is deselected by default.

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.

Page 31

Capture Settings

Capture Settings: Batch Tab

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.

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

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

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

Log errors to the console and continue capturing

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

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.

after batch capturing is finished.

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.

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

logged for each clip.

Page 32

Appendix A Settings Options

Capture Settings Options (Batch Tab) (Continued)

Option Description

Use the audio sample rate logged for each clip

Use the audio sample bit depth logged for each clip

Use the video compression 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).

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

Capture Settings Options (Edit Tab)

Option Description

Enable edit to timeline (splice, overwrite) Select this option to display the Splice-in Edit and Overwrite Edit

buttons in the Capture tool.

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

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

Capture Settings: Media Files Tab

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.

Page 33

Capture Settings Options (Media Files Tab) (Continued)

Option Description

Capture Settings

Maximum (default) capture time n minutes

Switch to emptiest drive when n minutes left

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

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.

Page 34

Appendix A Settings Options

Capture Settings: Keys Tab

The following table describes the options available in the Keys tab of the Capture Settings dialog box.

Capture Settings Options (Keys Tab)

Option Suboption Description

Function Key Commands (while capturing/logging)

Timed Subclip Before mark (m:ss)

After mark (m:ss)

Controller Settings

Controller Settings Options

Option Description

Controller Choose a control surface. Choices are as follows:

Port Choose a port for a control surface. Choices are as

Allows you to change the commands mapped to the function keys on your keyboard. These mappings apply to Capture mode only.

Allows you to specify a preset duration for subclips created while capturing.

• Digidesign 002 (Windows only)

• Digidesign Command|8

follows:

• Windows - “Digi 002 Control Port” or “C|8 Surface”

• Macintosh - Digidesign Inc, Command|8 Port 1

Edit Settings Opens a dialog box that allows you to map buttons

and menu commands to controls on the control surface.

Gain Controller Port Choose a port for a fader or mixer that you will use to

record audio gain information with the Automation Gain tool. The options on this menu differ depending on the COM or MIDI ports you have configured on your system.

Page 35

Correction Settings

See the following topics:

• Correction Mode Settings: Features Tab

• Correction Settings: AutoCorrect Tab

Correction Mode Settings: Features Tab

Correction 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.

Eyedropper 3 x 3 Averaging

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

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.

on the color swatches in the Color Match controls.

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

Page 36

Appendix A Settings Options

Correction Settings: AutoCorrect Tab

Correction Settings Options (AutoCorrect Tab)

Option Suboption Description

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.

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

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.

Page 37

Deck Configuration Settings

Correction Settings Options (AutoCorrect Tab) (Continued)

Option Suboption Description

• Curves Auto Contrast 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

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

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

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.

Page 38

Appendix A Settings Options

Deck Settings Options (Continued)

Option Suboption Description

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.

When you are configuring a DVCPro deck, select a compatible

Panasonic template. The template will automatically set locked audio in the Audio Project Settings dialog box. This will ensure proper audio output when performing a Digital Cut.

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.

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.

Page 39

Deck Preferences Settings

Deck Preferences Settings Options

Option Description

Deck Preferences Settings

When the deck contains no tape Log as

Allow assemble edit for digital cut

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

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

Stop any paused decks when quitting

Poll deck during digital cut

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.

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.

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.

speed instead of stopping when you release it.

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.

DV Capture Offset (frames) & Digital Cut Offset (software only)

Override Recommended Digital Cut Offset

Digital Cut Offset (frames)

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.

Page 40

Appendix A Settings Options

Desktop Play Delay Settings

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

• 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

Page 41

Export Settings Options

Export Settings

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

Export Settings Options

Export As Option Description

OMF 1.0 OMF 2.0

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

QuickTime Reference

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

Select one of these options to export a standard OMFI composition for transfer to a thirdparty 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.

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

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.

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

AV I (Windows only)

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

Windows Media Select this option to export your sequence as native Windows Media. See “Exporting as

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

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 “Export Settings Options (AVI)” on page 57.

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

Windows Media (Windows Only)” in the Help.

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.

Page 42

Appendix A Settings Options

Export Settings Options (Continued)

Export As Option Description

Avid Log Exchange

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

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.

ASCII text file.

Export Settings: Quick Time Reference

Export Settings Options (QuickTime Reference)

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 or mark the entire clip or sequence.

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.

Page 43

Export Settings Options (QuickTime Reference) (Continued)

Option Suboption Description

Export Settings

Flatten Video Tracks

Fill Spaces with Black

Render All Video Effects

Mixdown Audio 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.

When this option is selected, blank spaces in video tracks are filled with 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.

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.

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, a sample rate, and a sample bit depth.

Page 44

Appendix A Settings Options

Export Settings Options (QuickTime Reference) (Continued)

Option Suboption Description

Width x Height This pop-up menu lets you select an image size for the video you

want to export: Native, 4x3, or 16x9. The Width x Height 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, can interpret this metadata and scale the image at display time.

Width x Height 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 4x3 and another that uses 16x9.

The menu selections depend on how you open the Export Settings dialog box and whether you have done a prior export.

Audio Format Select the format that is supported by the application into which you

will be importing the QuickTime reference movie.

• WAV E is compatible with Windows applications.

• AIFF-C is compatible with many third-party applications, including Pro Tools.

• 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.

Page 45

Export Settings Options (QuickTime Reference) (Continued)

Option Suboption Description

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 Bit Depth Select one of the following:

• 16 bit: When this option is selected, the system exports a 16-bit audio sample depth, the industry standard for CD-quality audio.

• 24 bit: When this option is selected, the system exports a 24-bit audio sample bit depth for work with higher resolution audio.

Export Settings

Use Network Media References

Add Shares for Media Drives

Use Avid DV Codec

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.

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.

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.

Page 46

Appendix A Settings Options

Export Settings: Quick Time Movie Export

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

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.

or media cleaner®.

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.

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 third-party application or you want to use the audio in a multimedia project.

Page 47

Export Settings Options (QuickTime Movie Export) (Continued)

Option Suboption Description

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.

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 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 odd-numbered 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.

Export Settings

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

QuickTime movie.

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Appendix A Settings Options

Export Settings Options (QuickTime Movie Export) (Continued)

Option Suboption Description

Display Aspect Ratio

The display aspect ratio allows you to apply a scaling to the video: native, 4x3, or 16x9.

Display aspect ratio is useful for the Same as Source option because that option also preserves the original format. When you select Same as Source, the selections in the Display Aspect Ratio area are based on the resolution of the media you are exporting and the project type (NTSC or PAL).

When you select Custom, your Avid system calculates the Display Aspect Ratio selections on the values you enter for Width x Height in the Video Format tab.

Export Settings: QuickTime Movie

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.

Sound

Settings Compressor Allows you to select a sound compression setting for your export,

along with other options.

Page 49

Export Settings Options

(QuickTime Movie) (Continued)

Option Suboption Description

Export Settings

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).

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.

Page 50

Appendix A Settings Options

Export Settings: QuickTime Compression

Export Settings Options (QuickTime Compression)

Format Options Suboption Description

Compressor Animation For high-quality, lossless compression (in which no picture 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 1:1x For high quality, lossless compression (in which no picture information

is lost) and for use in MXF files. This format cannot be used by Meridien-based systems. It can be used by both SoftImage DS and systems with Avid DNA devices. It uses 4:2:2 sampling.

Avid ABVB

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

Avid DV For compression compatible with Avid Xpress DV and Avid

NewsCutter

products or with Avid Meridien products with the

DV/MPEG option. Allows fast import.

Avid Meridien Compressed

Avid Meridien Uncompressed

For compression compatible with Avid Meridien products. Allows fast

import. See “Using the Avid Codecs for QuickTime” in the Help.

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.

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.

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Export Settings Options (QuickTime Compression) (Continued)

Format Options Suboption Description

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.

Export Settings

DV-PAL DV/DVCPro NTSC

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.

DVCPRO-PAL

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.

H.261 For low-quality video conferencing.

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

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Appendix A Settings Options

Export Settings Options (QuickTime Compression) (Continued)

Format Options 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

image format for newer Internet browsers.

as a bitmap still-

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.

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Export Settings

Export Settings Options (QuickTime Compression) (Continued)

Format Options Suboption Description

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

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

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

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.

Motion Frames per

second

Key frame every n frames

Limit data rate to n KBytes/sec

Select a frame rate from the pop-up menu. Select 30 to maintain fullmotion 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.

Page 54

Appendix A Settings Options

Export Settings: DV Stream

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.

Use Enabled Tracks 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.

Use Avid DV Codec Select this option to use the Avid DV codec.

Format Options Click this button to select a DV format, a video format, and an audio format

for export.

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

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.

Export Settings: OMFI and AAF

Export Settings Options (OMFI and AAF)

Option Suboption Description

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

not support OMFI Version 2.0.

Page 55

Export Settings Options (OMFI and AAF) (Continued)

Option Suboption Description

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

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

AAF Select this option if the application to which you are exporting

supports AAF.

Export Settings

Include All Video Tracks in Sequence

Include All Audio Tracks in Sequence

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.

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

Export Method: Link to Current

Media

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.

Copy Media and Link to Copied Media

Consolidate and Link to Consolidated Media

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.

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.

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

OMFI or the AAF file.

Consolidate and Embed Media

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.

The following options appear in the Video Details tab only, depending on the export method:

Render Video Effects Select this option to render video effects during export.

Transcode Video to: Resolution pop-up

Select a resolution to which you want to transcode the video to during export.

The following options appear with some export methods:

Page 56

Appendix A Settings Options

Export Settings Options (OMFI and AAF) (Continued)

Option Suboption Description

Destination Folder: Set Click Set to select the drive and folder to which you want to copy

the media files.

Target Drive for Consolidate:

Handle Length: nn Frames

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, depending on the export method:

Include Rendered

Select this option to include rendered audio effects during export.

Audio Effects

Render All Audio

Select this option to render all audio effects during export.

Effects

Convert Audio Sample Rate 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 Sample Bit Depth to:

Project rate, 16 bit, 24 bit

Select this option if your sequence has a mix of sample bit depths and you need to create a single sample bit depth. (You set the project bit depth 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 bit depth if the application to which you are exporting does not support the current sample bit depth.

Page 57

Export Settings Options (OMFI and AAF) (Continued)

Option Suboption Description

Export Settings

Convert Audio File Format to:

If your sequence has a mix of audio file formats, and you want to embed media, you must choose a single audio file format. (You set

Project rate

OMF (WAVE)

OMF (AIFF-C) Select AIFF-C to link to or embed audio tracks in the industry-

SD II (Macintosh only)

MXF (PCM) (AAF only)

the project format in the Audio Project Settings window. For more information see “Audio Project Settings” in the Help.) 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 fo rm at .

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.

PCM is the only audio file format available for AAF export.

Export Settings: AVI (Windows Only)

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.

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.

Page 58

Appendix A Settings Options

Export Settings Options (AVI) (Continued)

Option Suboption Description

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 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.

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

For more information, see “Export Settings (AVI Video Compression)”

on page 59.

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 01.

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

Audio Format Mono

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.

Exports audio to a single channel.

Stereo

Exports audio to two channels.

Page 59

Export Settings Options (AVI) (Continued)

Option Suboption Description

Sample Rate Select this option to select the sample rate.

• 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.

Sample Bit Depth Select this option to select the sample bit depth.

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

• 16 bit: When this option is selected, the system exports a 16-bit audio sample depth, the industry standard for CD-quality audio.

Export Settings: AVI Video Compression (Windows Only)

Export Settings

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-screen-size 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.

Intel Indeo

Video

4.5

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.

Page 60

Appendix A Settings Options

Export Settings (AVI Video Compression) (Continued)

Option Suboption Description

Full Frames (Uncompressed)

TechSmith Screen Capture Codec

Compression Quality Slider

Key Frame Every n frames

Data Rate n KB/sec

Export Settings: Audio

Export Settings Options (Audio)

Option Description

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.

Mono Stereo

Sample Rate Select one of the following:

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

• Project Rate

• 32 kHz

• 44.1 kHz

• 48 kHz

Page 61

Export Settings

Export Settings Options (Audio) (Continued)

Option Description

Sample Bit Depth Select one of the following:

• 16 bit: When this option is selected, the system exports a 16-bit audio sample depth, the industry standard for CD-quality audio.

• 24 bit: When this option is selected, the system exports a 24-bit audio sample bit depth for work with higher resolution audio.

Audio Format 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.

SDII (Macintosh only): Select this option to export audio tracks in the Sound Designer II format, which is compatible with Pro Tools and other third-party applications.

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.

Export Settings: Graphic

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.

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.

Page 62

Appendix A Settings Options

Export Settings Options (Graphic) (Continued)

Option Suboption Description

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 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.

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

Export Settings Options (Graphic Format)

File Type Parameters Description

Alias This option creates files that are compatible with

™

/Wavefront™ systems.

Alias

Page 63

Export Settings

Export Settings Options (Graphic Format) (Continued)

File Type Parameters Description

BMP Windows This option creates files that are compatible with systems running

the Microsoft Windows operating system.

OS/2 This option creates files that are compatible with systems running

the IBM

Chyron Developed by Chyron Corporation for use with video frame

buffers of Chyron

Cineon Blackpoint

(Windows) Black Point

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.

OS/2® operating system.

character generator titles.

(Macintosh)

Whitepoint (Windows) White Point (Macintosh)

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 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 32-bit (raw) color depth.

Framestore The Framestore format is a 16-bit video image format used on the

Amiga

in conjunction with Newtek's Video Toaster™ 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.

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Appendix A Settings Options

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.

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.

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Export Settings

Export Settings Options (Graphic Format) (Continued)

File Type Parameters Description

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.

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.

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Appendix A Settings Options

Export Settings Options (Graphic Format) (Continued)

File Type Parameters Description

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 cross-platform 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.

XWindows Developed by the MIT X Consortium, and is supported by many

X Window System personal computers.

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

Smooth YUV This option enhances the fidelity of images saved in YUV color

space (if originating in RGB color space).

™

applications on workstations and some

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Film and 24p Settings

Film and 24p Settings Options

Option Description

Edit Play rate Selects the play rate for Timeline play. See “Film Settings - Edit Play Rate

Options” on page 67.

For a 23.976p project the Edit Play Rate is automatically set at 23.976

fps.

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.

Video Pulldown Cadence See “Transfer Settings for Film Projects” in the Help.

Set Pulldown Phase of Timecode

Allows you to set a default pulldown phase for an NTSC project. See

“Entering Pulldown Information” in the Help.

Film Settings - Edit Play Rate Options

Edit Play Rate Options

Project Type Option Description

24p PAL 24 fps Selects playback at 24 fps of all output except for digital cut

25 fps Selects playback at 25 fps of all output except for digital cut

24p NTSC 23.976 fps Selects playback at 23.976 fps of all output except for digital cut

24.000 fps Selects playback at 24 fps of all output except for digital cut

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Appendix A Settings Options

General Settings

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.

Effect Aperture This option allows you to control the number of horizontal lines of an image

that are used to create an effect.

• DV25 (720x480): Select this setting when you are using DV media exclusively. For more information, see “Preparing to Work with Effects” in the Help.

• ITU601 (720x486): Select this setting when you are using uncompressed media or mixed resolutions.

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.

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Import Settings

See the following topics:

• Import Settings: Image Tab

• Import Settings: OMFI Tab

• Import Settings: Shot Log Tab

• Import Settings: Audio Tab

Import Settings: Image Tab

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 720 x 540.

This option is selected by default.

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Appendix A Settings Options

Import Settings Options (Image Tab) (Continued)

Option Suboption Description

Maintain, nonsquare

Select this option for an image that was created in a non-squarepixel 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

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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.

Odd (Upper Field First)

Even (Lower 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.

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

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Appendix A Settings Options

Import Settings Options (Image Tab) (Continued)

Option Suboption Description

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.

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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

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.

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

resolution setting. The system disregards the source file resolution.

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Appendix A Settings Options

Import Settings Options (OMFI Tab) (Continued)

Option Description

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

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.

Combine events based on camera roll 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.

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.

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.

You must select the clips that you want to

merge before selecting this option.

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Import Settings Options (Shot Log Tab) (Continued)

Option Description

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.

Import Settings: Audio Tab

Import Settings Options

(Audio Tab)

Option Description

Import Settings

Sample Rate: Convert source sample rate to project

sample rate on import

Convert source sample rates with audio pull-up or pull-down to project sample rate on import

Select this option to convert incoming media to the sample rate of the current project (deselected by default).

Deselect this option to import audio media at the source sample rate. If the Avid application does not support the source sample rate, the application autoconverts it to the current project sample rate.

Select this option to convert incoming media marked with pull-up or pull-down sample rates to the sample rate of the current project (deselected by default).

Deselect this option to import audio media at the source sample pull-up or pull-down rate, but with the file marked at a rate the Avid application supports.

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Appendix A Settings Options

Import Settings Options

(Audio Tab) (Continued)

Option Description

Sample Bit Depth: Convert source sample bit depth to project

sample bit depth on import.

Interface Settings

See the following topics:

• Interface Settings: General Tab

• Interface Settings: Appearance Tab

Interface Settings: General Tab

Interface Settings Options (General Tab)

Option Description

Select this option to covert the incoming media to the bit depth of the current project (deselected by default).

Deselect this option to import audio media at the source sample bit depth. If the Avid application does not support the source sample bit depth, the application autoconverts it to the current project sample bit depth.

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.

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Interface Settings

Interface Settings Options (General Tab) (Continued)

Option Description

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

Standard Alt Key Behavior

(Windows Only)

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.

Automatic Num Lock Activation (Windows Only)

Automatically Launch Last Project at Startup

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.

Opens your last project when the application starts.

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Appendix A Settings Options

Interface Settings: Appearance Tab

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

Shading Depth 5% – 50%, in 5%

increments

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.

Controls the three-dimensional “rounding” of buttons and toolbars. See “Changing Shading Depth” in the Help.

Monitor Button Separation Maximum

Moderate

None

Timeline Button Separation Maximum

Moderate

None

Controls the spacing of the Monitor buttons. See “Changing Button Separation” in the Help.

Controls the spacing of the Timeline buttons. See “Changing Button Separation” in the Help.

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Interface Settings Options (Appearance Tab) (Continued)

Option Selection Description

Keyboard Settings

Button Style Oval

Octagonal

Rounded

Square

Swoosh

Antique

Keyboard Settings

The following illustration displays the default keyboard settings. For more information about using keyboard shortcuts, see “Shortcuts” in the Help.

Play button

Controls the shape of the buttons. See “Changing Button Style” in the Help.

Workspace buttonsStep buttons

Delete key

Home key

End key

Stop/Play button

Play buttons Arrow keys

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

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Appendix A Settings Options

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

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

Filter Out Launch Drive Removes as a storage choice the drive on which

Media Creation Settings: Other Tabs

Media Creation Settings Options (Other Tabs)

Setting Description

Video Resolution Select a resolution.

OMF/MXF Select a file format: Open Media Format (OMF)

the operating system resides. Selected by default.

the Avid application resides. Selected by default.

or Material Exchange Format (MXF). For more information, see “File Format Specifications” on

page 121.

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Media Creation Settings Options (Other Tabs)

Setting Description

Apply to All This sets your chosen resolution for all the Media

Video/Audio Drive Select a drive or drives.

Apply to All This sets your chosen video and audio drives for

Same As Source In Render tab, select to render effects at their

PortServer Settings

Creation dialog box tabs. It also sets it for any place in the application where you select a resolution.

all the Media Creation dialog box tabs. It also sets them for any place in the application where you select drives.

source resolutions.

PortServer Settings Options

Setting Description

Auto-connect to LANshare at Launch

Connect/Disconnect Starts or severs the connection.

Render Settings

Render Settings Options

Option Selection Description

Render Completion Sound

None Disables the rendering completion sound. This is the default.

Sets a sound for your Avid application to activate once the rendering process is complete. This is useful when you are rendering multiple effects.

LANshare workspaces are recognized when you start the Avid application.

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Appendix A Settings Options

Render Settings Options

Option Selection Description

System Beep Sets the rendering completion sound to match the sound set for

your operating system.

Render Sound Sets the rendering completion sound to a customized sound.

Motion Effects Render Using

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.

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-to-tape 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.

Effects created using this option take the longest amount of time to render.

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Render Settings Options

Option Selection Description

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.

Render Settings

Timewarps Render Using

Select an option to determine the processing method when Timewarp effects are rendered or rerendered.

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.

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Appendix A Settings Options

Render Settings Options

Option Selection Description

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.

Effects Quality Render Using

Quality Set in Each Effect

Standard Quality Causes all effects to render with the standard implementation.

Highest Quality Effects render with the HQ implementation, if one exists for a

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.

given effect. If an HQ implementation does not exist for a given effect, the effect renders with the standard implementation.

Safe Color Settings

Safe Color Settings Options

Setting Description

Composite Sets safe color values for the composite video signal.

Luminance Sets safe color values based on brightness.

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Script Settings

Safe Color Settings Options

Setting Description

RGB Gamut Sets safe color values based on color range.

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 values for reference black 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

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.

War n — 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

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.

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Appendix A Settings Options

Script Settings Options (Continued)

Option Description

Left Margin (pixels) This option specifies the left margin size. The default is 40 pixels.

Take Coloring This option specifies the color that the Avid system will apply to takes.

Show Frames When this option is selected, the system shows frames in take slates.

Show All Takes When this option is selected, the system shows all takes in each 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.

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 dialog

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.

box and allow the Windows mixer to map input sources to output sources.

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Timeline Settings

Sound Card Configuration Settings (Continued)

Setting Options Description

Mute Overrides Output sources Select an output source to override the Avid system

and leave the mute settings as they are set in the operating system.

Timeline Settings

See the following topics:

• Timeline Settings: Display Tab

• Timeline Settings: Edit Tab

Timeline Settings: Display Tab

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.

Show Marked Wav ef orms

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.

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Appendix A Settings Options

Timeline Settings: Edit Tab

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

Auto-Patching When this option is selected, the system automatically patches the enabled

Auto-Monitoring When this option is selected, the track you patch to is monitored. This option is

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 chosen

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.

source tracks to the tracks enabled in the Timeline sequence.

selected by default.

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.

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

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Trim Settings: Play Loop Tab

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.

Play Loop Intermission Click the text box and type the value you want.

Trim Settings: Features Tab

Trim Settings Options (Features Tab)

Setting Description

J-K-L Trim Select to turn on J-K-L Trim.

Video Display Settings

Video Display Settings Options

Option suboption Description

Pre-filled Frames: Seconds of Video to Pre-Fill:

Open GL Hardware: Preview DVE effects with:

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 video

Select the Open GL board for your video display. Selecting hardware gives you better performance.

board

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Appendix A Settings Options

Video Display Settings Options (Continued)

Option suboption Description

Enable Confidence View Enable confidence view if you want to view

incoming or outgoing media in the Composer monitor as you are capturing media or creating a digital cut.

Maximum Real Time Streams Indicates minimum and

maximum

Workspace Settings

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.

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Appendix B

Using AudioSuite Plug-Ins

The following topics describe how to access and use the AudioSuite plug-ins, 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 Plug-Ins” in the Help.

Accessing the AudioSuite Plug-Ins

To access the plug-ins:

t Select Tools > AudioSuite.

The AudioSuite window opens.

Plug-in Selection pop-up menu

Drive Selection pop-up menu

Status display

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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.

• 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.

— Provides a studio-quality reverberation or ambience

• 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.

• 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.

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D-fx Chorus

Core AudioSuite Plug-Ins

• 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 analog-todigital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed.

• 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.

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.

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Appendix B Using AudioSuite Plug-Ins

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).

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 0 to 20 milliseconds.

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.

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D-fx Flanger

Core AudioSuite Plug-Ins

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.

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.

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.

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Appendix B Using AudioSuite Plug-Ins

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.

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.

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. Use the LFO Waveform selector to select either a sine wave or a triangle wave as a modulation source.

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.

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.

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D-Verb

Digital reverberation processing can simulate the complex natural reflections and echoes that occur after a sound has been produced. Reverberation can take relatively lifeless mono source material and create a stereo acoustic environment that gives the source a perceived weight and depth in a mix. In addition, digital signal processing can be used creatively to produce reverberation characteristics that do not exist in nature.

The character of reverberation depends on a number of factors. These include proximity to the sound source, the shape of the space, the absorptivity of the construction material, and the position of the listener. D-Verb provides control over these reverberation parameters so that extremely natural sounding reverb effects can be created and applied.

Using D-Verb Effectively

The D-Verb plug-in can be used in either mono or stereo. If you plan to use it in stereo, be aware of the following:

• If you want to process a mono track and obtain a stereo result, select the

Core AudioSuite Plug-Ins

desired track or mark an IN point and an OUT point, and then either select an empty track or add a new one. When you process the audio, the result will be two tracks or regions that represent the right and left channels of the processed audio. You should then pan these tracks hard right and hard left in your mix.

• If you choose to use D-Verb in Stereo mode, and then select an odd number of tracks for processing. D-Verb processes the selected tracks in pairs to create the stereo effect; however, the last odd (unpaired) track will be processed as mono, using the left channel settings of the stereo D-Verb plug-in. If you want the last track to be processed in stereo, you must select an additional track to pair it with an empty one, if necessary.

• When you use D-Verb in Stereo mode, a Sum Inputs button appears. 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.

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Appendix B Using AudioSuite Plug-Ins

D-Verb Parameters

The D-Verb plug-in has the following parameters:

Input Level

Allows you to adjust the input volume of the reverberation.

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.

Algorithm

Allows you to select one of seven reverberation algorithms. Selecting an algorithm changes the preset provided for it.

• Hall — Good, general-purpose concert hall with a natural character

• Church — Dense, diffuse space simulating a church or cathedral

• Plate — Simulation of the acoustic character of a metal plate–based reverberation, which has the general effect of thickening the initial sound itself

• Room 1 — Medium-sized, natural, rich-sounding room that can be effectively varied in size between very small and large

• Room 2 — Smaller, brighter reverberant characteristic than Room 1, with a useful adjustment range that extends to very small

• Ambient — Transparent response useful for adding a sense of space without adding a lot of depth or density

• Nonlin — Nonlinear reverberation with a natural buildup and an abrupt cutoff similar to a gate

Size

In conjunction with the Algorithm parameter, allows you to adjust the overall size of the reverberant space. There are three sizes: Small, Medium, and Large. The character of the reverberation changes with each setting (as does the relative value of the Decay parameter).

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Core AudioSuite Plug-Ins

Diffusion

Sets the degree to which initial echo density increases over time. High settings result in high initial buildup of echo density. Low settings cause low initial buildup. This control interacts with the Size and Decay parameters to affect the overall reverberation density.

Decay

Controls the rate at which the reverberation decays after the original direct signal stops. The value of the Decay parameter is affected by the Size and Algorithm parameters. This parameter can be set to infinity on most algorithms for infinite reverberation times.

Pre-Delay

Allows you to determine the amount of time that elapses between the original audio event and the onset of reverberation.

Hi Freq Cut

Controls the decay characteristic of the high frequency components of the reverberation. It acts in conjunction with the LP Filter control to create the overall high frequency contour of the reverberation.

LP Filter

Controls the overall high frequency content of the reverberation by allowing you to set the frequency above which a 6-dB-per-octave filter attenuates the processed signal.

D-fx Multi-Tap Delay

The D-fx Multi-Tap Delay plug-in adds up to four independently controlled delays (or “taps”) to the original audio signal. By allowing you to control the delay time and number of repetitions of each tap individually, the D-fx MultiTap Delay plug-in provides greater flexibility than standard single-delay devices.

The D-fx Multi-Tap Delay plug-in is ideal for adding spatialization or complex rhythmic echo effects to virtually any instrument or sound.

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Appendix B Using AudioSuite Plug-Ins

Using D-fx Multi-Tap Delay Effectively

When you use the D-fx Multi-Tap Delay 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.

D-fx Multi-Tap Delay Parameters

The D-fx Multi-Tap Delay plug-in has the following parameters:

Gain

Controls the input level of each of the four delay lines for individual delay taps. Adjust Gain to prevent clipping or increase the level of the processed signal.

Feedback

Controls the amount of feedback applied from the output of the delay into its input. It also controls the number of repetitions of the delayed signal. For the feedback parameter to function, the Gain slider must be raised above its lowest setting.

Delay

Sets the delay time between the original signal and the delayed signal. The higher the setting, the longer the delay. This parameter is adjustable from 0 to 1500 milliseconds (1.5 seconds).

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.

D-fx Ping-Pong Delay

The D-fx Ping-Pong Delay plug-in modifies an audio signal by adding a controllable delay to the original signal. It is ideal for adding spatialization and creating a characteristic ping-pong echo effect.

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