Avid Xpress Pro 5.6
Transcription
Avid Xpress Pro 5.6
® Avid Xpress Pro Basics Guide m a k e m a n a g e m ove | m e d i a ™ Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. 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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. Copyright © 2006 Avid Technology, Inc. and its licensors. All rights reserved. The following disclaimer is required by Apple Computer, Inc. APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc. Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics. THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE. The following disclaimer is required by the Independent JPEG Group: Portions of this software are based on work of the Independent JPEG Group. The following disclaimer is required by Paradigm Matrix: Portions of this software licensed from Paradigm Matrix. 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. 2 The following disclaimer is required by Videomedia, Inc.: “Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.” “This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.” The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code: ©1993–1998 Altura Software, Inc. The following disclaimer is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection. The following disclaimer is required by 3Prong.com Inc.: Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc. The following disclaimer is required by Interplay Entertainment Corp.: The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products. Attn. Government User(s). Restricted Rights Legend U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable. Trademarks 888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AirSpeed, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid DS Assist Station, Avid ISIS, Avid Learning Excellerator, Avid Liquid, Avid Mojo, AvidNet, AvidNetwork, Avid Remote Response, AVIDstripe, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, Dazzle, Deko, DekoCast, D-Fi, D-fx, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR, DNxchange, do more, D-Verb, Equinox, ExpertRender, Face Robot, FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, iNEWS, iNEWS ControlAir, Instinct, Interplay, Intraframe, iS9, iS18, iS23, iS36, LaunchPad, Lightning, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Browse, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, MediaStream, Meridien, MetaSync, MissionControl, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, PCTV, Pinnacle MediaSuite, Pinnacle Studio, Pinnacle Systems, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, ScriptSync, SecureProductionEnvironment, Show Center, Softimage, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Symphony, TARGA, Thunder, Trilligent, UnityRAID, Vari-Fi, Video RAID, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries. Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners. 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. "The Big Swell" — Courtesy of Swell Pictures, Inc. 3 “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 Basics Guide • 0130-07601-01 Rev A • June 2006 4 Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Chapter 1 Planning and Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Starting the Avid Application (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Starting the Avid Application (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Opening a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Opening the Startup Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Selecting a Project Format and Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Sample Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . . . . . . . . . 29 Ending an Edit Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Quitting the Avid Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Turning Off Your Equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Chapter 2 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Understanding the Project Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Creating a New Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Opening and Closing a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Using the Format Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Opening Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Basic Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Color Correction Toolset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Source/Record Editing Toolset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Effects Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Audio Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Capture Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Using the Mouse Scroll Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Setting up the Mouse Scroll Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Using the Mouse Scroll Wheel in the Editing Application . . . . . . . . . . . . . . . . . 44 Chapter 3 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Setting Media Creation Resolutions and Selecting Drives . . . . . . . . . . . . . . . . 48 Selecting a Video Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Selecting Drives in the Media Creation Dialog Box . . . . . . . . . . . . . . . . . . 50 Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Setting Deck Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Setting Up the Capture Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Changing the Power Scheme (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . 55 Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Selecting Audio and Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Detecting Valid or Locked Capture Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Targeting Separate Drives for Video and Audio . . . . . . . . . . . . . . . . . . . . . 61 6 Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Selecting an Audio Input Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Adjusting Audio Input Levels (Software-Only Systems) . . . . . . . . . . . . . . . . . . . 65 Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Before You Begin Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Capturing from One Point to Another . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Capturing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Capturing with Time-of-Day Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 DV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Setting Up DV Scene Extraction Before Capturing . . . . . . . . . . . . . . . . . . . . . . 74 Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . . . . . . . . . 75 Capturing DV Media Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Connecting and Selecting a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Capturing DV 25 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Capturing DV 50, DVCPRO HD, or HDV Media. . . . . . . . . . . . . . . . . . . . . . . . . 78 Chapter 4 Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Working with Mixed-Resolution Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Importing Audio Files from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Chapter 5 Organizing with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Manipulating Clips in the Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 7 Showing and Hiding Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Understanding Bin Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Using Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Conserving Screen Real Estate with the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . 93 Enabling the SuperBin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Opening Bins in the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Closing the SuperBin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Moving Bins into and out of the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Moving Clips and Sequences into and out of the SuperBin . . . . . . . . . . . . . . . 94 Copying Clips and Sequences into and out of the SuperBin. . . . . . . . . . . . . . . 95 Deleting a Bin with the SuperBin Enabled. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Chapter 6 Viewing and Marking Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Understanding the Monitor Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Using Dual Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Playing Video to a Full-Screen Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Using the 16:9 Display Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Loading Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Using the Clip Name Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Playing Back to a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Optimizing Your Playback Performance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Understanding Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Setting the Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Using Position Bars and Position Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Using Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Shuttling with J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Navigating with Home, End, and Arrow Keys . . . . . . . . . . . . . . . . . . . . . . 112 Using the Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 8 Understanding Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Using the Tool Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Clearing a Mark and Setting a New One . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Dragging IN and OUT Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Using the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Finding Frames and Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Using Frame Offset Timecode to Cue a Frame . . . . . . . . . . . . . . . . . . . . . . . . 121 Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Chapter 7 First Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Setting Up a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Changing Sequence Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Changing the Start Timecode for Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 125 Setting Up Tracks for the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Making the First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Beginning to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Creating an Instant Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Monitoring Audio While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Proceeding with Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Chapter 8 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Using the Track Selector Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Selecting Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 9 Monitoring Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Monitoring Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Monitoring Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Monitoring a Solo Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Patching Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Adding Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Using the Position Indicator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Using the Timeline Scroll Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Viewing Video Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Editing in the Timeline: Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Performing Segment Mode Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Selecting Segments with the Segment Mode Pointer . . . . . . . . . . . . . . . 143 Lassoing One or More Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Understanding the Four-Frame Display . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Extracting/Splicing-in Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Lifting/Overwriting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Deleting Segments with Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . 148 Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Setting the Duration for Filler at the Start of a Sequence . . . . . . . . . . . . . 149 Cutting, Copying, and Pasting in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . 150 Chapter 9 Working in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Trim Mode Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Trimming On-the-Fly with J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 10 Trimming On-the-Fly with Mark IN and Mark OUT Keys. . . . . . . . . . . . . . . . . . . . . 159 Trimming Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Chapter 10 Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 About Audio Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Accessing Audio Effect Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Audio Editing Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Soloing Audio Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Adjusting Pan Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Adjusting Volume Control (Software-Only Systems) . . . . . . . . . . . . . . . . . . . . 166 Controlling Host Audio Devices (Software-Only Systems). . . . . . . . . . . . . . . . 167 Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline . . . . . . . . . 168 Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Resizing the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Selecting Tracks in the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Using the Track Solo and Track Mute Buttons. . . . . . . . . . . . . . . . . . . . . . . . . 171 Adjusting One Audio Track at a Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Changing an Audio Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Adjusting Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Changing the Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Chapter 11 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Basic Media Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Deleting Media Files with the Media Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Consolidating and Transcoding Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Understanding the Consolidate Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Using the Consolidate Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Consolidate Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Using the Transcode Option. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Transcode Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Refreshing Media Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 11 Chapter 12 Working with Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Real-Time Effects and Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 AVX Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Using the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Applying Effects From the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Sizing Effects to Fit the Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Using the Quick Transition Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Adjusting Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Entering Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Understanding Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Making Basic Effect Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Moving Through an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Using the Fade Effect Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Working with Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Playing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Playback of Video Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Understanding Real-Time Effects Processing. . . . . . . . . . . . . . . . . . . . . . . . . 208 Playing Back at Different Video Qualities . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Understanding Real-Time Playback Information in the Timeline. . . . . . . . . . . 211 Basics of Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Understanding Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Understanding ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Using ExpertRender in Preparation for Output . . . . . . . . . . . . . . . . . . . . . 216 Using the ExpertRender Command Without Timeline Playback Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Using the ExpertRender Command After a Real-Time Playback Attempt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Modifying ExpertRender Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Considerations When Using ExpertRender . . . . . . . . . . . . . . . . . . . . . . . 221 Rerendering Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 12 Chapter 13 Avid Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 How Avid Color Correction Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Color Correction Mode Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Entering and Leaving Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 227 Composer Window Monitors in Color Correction Mode . . . . . . . . . . . . . . . . . . 228 Composer Window Buttons in Color Correction Mode. . . . . . . . . . . . . . . . . . . 229 The Client Monitor in Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Color Correction Tool Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Making Basic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Correcting Color Automatically Using the Color Correction Effect . . . . . . . . . . 231 Correcting Color Automatically in the Hue Offsets Tab . . . . . . . . . . . . . . . . . . 232 Color Match Corrections in the Curves Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Safe Color Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Managing Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 Safe Color Warnings in the Composer Window . . . . . . . . . . . . . . . . . . . . . . . . 236 Chapter 14 Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Opening the Title Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Using Marquee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Understanding the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Previewing Titles with Anti-Aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Displaying Safe Title and Safe Action Guidelines . . . . . . . . . . . . . . . . . . . . . . 242 Selecting a Background for Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Creating Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Sizing and Positioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Basic Text Formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Setting Default Text Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Selecting a Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Changing Point Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Making Text Bold or Italic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 13 Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Modifying and Manipulating Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Saving Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Matching Resolutions When Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Saving a Title and Exiting the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Saving Multiple Titles in a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Using a Keyboard Shortcut to Save a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Using the Fast Save Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Title Effect Clips in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Setting Marks in a Rolling Title or a Crawling Title . . . . . . . . . . . . . . . . . . 258 Splicing or Overwriting a Title into a Sequence . . . . . . . . . . . . . . . . . . . . 259 Dragging a Marked Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . 260 Dragging an Unmarked Title into a Sequence . . . . . . . . . . . . . . . . . . . . . 261 Trimming the Duration of Rolling and Crawling Titles. . . . . . . . . . . . . . . . 262 Chapter 15 Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Preparing for Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Selecting the Device for Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 Selecting Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Preparing for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Audio Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Calibrating Global Output Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Adjusting Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Frame-Accurate Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Manual Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Recording Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 14 Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Output Mode Resolutions with Progressive Projects . . . . . . . . . . . . . . . . . . . . 282 Outputting DV 50 and DVCPRO HD Media Directly to a DV Device . . . . . . . . . . . 283 Crash Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Chapter 16 Exporting and Exchanging Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Sending Clips or Sequences to Other Applications . . . . . . . . . . . . . . . . . . . . . . . . 291 Chapter 17 Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Understanding the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Displaying Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Changing the Settings List Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Working with Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Working with Multiple Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Duplicating Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Naming Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Copying Settings Between Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . 305 Moving Settings Between Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 15 Audio Project Settings: Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Audio Project Settings: Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Audio Project Settings: Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Capture Settings: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Capture Settings: DV Options Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Correction Mode Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Correction Mode Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Correction Mode Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Deck Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Deck Preferences Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Export Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Export Settings: Quick Time Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 Export Settings: HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Export Settings: QuickTime Movie Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Export Settings: QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Export Settings: QuickTime Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 Export Settings: AAF, OMFI, and AFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 Export Settings: AVI (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Export Settings: AVI Video Compression (Windows Only) . . . . . . . . . . . . . . . 347 16 Export Settings: Windows Media Export Options. . . . . . . . . . . . . . . . . . . . . . . 348 Windows Media Legacy Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348 Existing Windows Media Custom Profile Options . . . . . . . . . . . . . . . . . . . 348 Windows Media Options Video Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Windows Media Options Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Export Settings: Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Export Settings: Graphic Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Film and 24p Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Film Settings: Edit Play Rate Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Grid Settings: Coordinates Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Grid Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Import Settings: Audio Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 Interface Settings: Appearance Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Media Creation Settings: Drive Filtering Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Media Creation Settings: Capture, Titles, Import, and Mixdown & Transcode Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Media Creation Settings: Motion Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 378 Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378 Media Creation Settings: Media Type Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 Mouse Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 17 PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 Safe Colors Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 Sound Card Configuration Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . 386 Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 Timeline Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 18 Using This Guide Congratulations on your purchase of an Avid Xpress® Pro editing application. You can use your application to create broadcast-quality output incorporating every possible production element from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. This guide contains the basic task-oriented instructions and conceptual information you need to use the capture, editing, and output features of your Avid® application, as well as settings options. The Avid Xpress Pro Advanced Guide and the Avid Xpress Pro Advanced Effects Guide are companions to this Basics Guide. They contain additional information about capture, editing, output, effects, and titling, as well as file format specifications, and other supplementary information. The complete contents of these guides are available in the Help. This guide is intended for beginning Avid Xpress Pro users. 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. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation. Using This Guide Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. > This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command. t This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed. k This symbol represents the Apple or Command key. Press and hold the Command key and another key to perform a keyboard shortcut. (Windows), (Windows only), (Macintosh), or (Macintosh only) 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 Courier Bold font identifies text that you type. Ctrl+key or mouse action k+key or mouse action 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. 20 If You Need Help 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 the ReadMe files for the latest information that might have become available after the documentation was published. ReadMe files are supplied in your Avid application folder. n The latest ReadMe files are available on the Avid Knowledge Base. 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read/join online message-board discussions. Accessing the Online Library The Online Library for your Avid editing application contains all the product documentation in PDF format, including a Master Glossary of all specialized terminology used in the documentation for Avid products. Most Avid online libraries also include multimedia content such as tutorials and feature presentations. This multimedia content is an excellent first resource for learning how to use your application or for helping you understand a particular feature or workflow. The Online Library for your Avid editing application is installed along with the application itself. n You will need Adobe® Reader® to view the PDF documentation online. You can download the latest version from the Adobe web site. To access the Online Library, do one of the following: t From your Avid editing application, select Help > Online Library. t From the Windows desktop, select Start > Programs > Avid > Avid Xpress Pro Online Library. 21 Using This Guide t Browse to the Online Library folder, and then double-click the MainMenu file. The Online Library folder is in the same location as the application itself, for example: C:\Program Files\Avid\Avid Xpress Pro\Online Library Macintosh HD/Applications/Avid Xpress Pro/Online Library How to Order Documentation To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative. Avid Training Services Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment. To learn about Avid's new online learning environment, Avid Learning Excellerator™ (ALEX), visit learn.avid.com. For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843). 22 Chapter 1 Planning and Starting a Project Although most of your work is performed within the Avid application, you need to use a few basic desktop procedures.This chapter describes basic procedures involving the Windows or the Macintosh operating system and the Avid folders. The following topics also give a brief description of video formats and resolutions supported by your Avid editing system and other information that can help you plan your project. Your work in your Avid application begins when you turn on the system, start the application, and open an existing project or create a new project. See the following topics: • Starting the Avid Application (Windows) • Starting the Avid Application (Macintosh) • Creating a New Project • Opening a Project • Opening the Startup Project • Selecting a Project Format and Type • Sample Workflow • Managing the Avid Projects and Avid Users Folders • Ending an Edit Session For information on the Microsoft Windows operating system and terminology, see the Microsoft Windows Help. For information on the Macintosh operating system, see your Macintosh documentation. For information on turning on your system, see “Setting Up Your Software-Only Avid Editing System,” “Using the Avid Mojo,” or “Using the Avid Mojo SDI” in the Help. n (Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter. For more information about planning and starting a project, see “Planning and Starting a Project: Advanced” in the Help. Chapter 1 Planning and Starting a Project Starting the Avid Application (Windows) The Avid application is in the following location: drive:\Program Files\Avid\Avid Xpress Pro To start the Avid application: t Do one of the following: - Double-click the application icon on the desktop. - Select Start > All Programs > Avid > Avid Xpress Pro. After a few moments, the Select Project dialog box opens. n If you install your Avid editing application on a laptop computer, a dialog box might open with a message about incompatible power management schemes. Avid recommends you use the “Always On” power scheme when working with Avid applications. Other power schemes might adversely affect performance of editing functions (for example, capture and digital cuts). For information on changing power schemes, see the Windows documentation. Starting the Avid Application (Macintosh) The Avid application is in the following location: Macintosh HD/Applications/Avid Xpress Pro For most users, the Dock is a more convenient location for starting the application. The application does not start properly if the icon is moved out of the Avid Xpress Pro folder. You can create an alias and drag it to the desktop or onto the Dock. n For information on creating an alias or on using the Dock, see the Mac OS X documentation. To start the Avid application, do one of the following: t Double-click the application alias on the desktop. t Double-click the application alias on the Dock. t Select Go > Applications, and then double-click the application icon. After a few moments, the Select Project dialog box opens. 24 Creating a New Project n n If you install your Avid editing application on a laptop computer, a dialog box might open with a message about the processor running at reduced speed. Avid recommends you disable reduced processor performance in the Energy Saver settings when working with Avid applications. Running at reduced speed might adversely affect performance of editing functions (for example, capture and digital cuts). For more information on disabling reduced processor performance, see the Macintosh documentation. You might also see a message about disks spinning down while idle. Deselect “Hard Disk Sleep” in the Energy Saver settings for best system performance. Creating a New Project To create a new project: 1. Start the Avid application. The Select Project dialog box opens. 2. Select the Private or the Shared option in the Select a Project area. n For more information, see “Selecting a Project” in the Help. 3. Click New Project. The New Project dialog box opens. n Your New Project dialog box might have additional options. For more information, see “Setting Up a Matchback Project” and “Selecting Film Settings” in the Help. 4. Type a project name and select a format. 5. Click OK, and then click OK again. The Project window, the Composer monitor, and the Timeline open with the selected User settings loaded. n For more information, see “Understanding Settings” on page 297. Opening a Project To open a project, do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list. The Project window, the Composer monitor, and the Timeline open with the selected User settings loaded. 25 Chapter 1 Planning and Starting a Project The title bar of the Project window contains the project name and user name you selected in the Select Project dialog box. Project name User name Close button Opening the Startup Project If you choose to install the sample startup project and media when you install your Avid editing application, you can open this project from the Select Project dialog box. The startup project, called Boston Project DV25, contains a complete sequence with rendered effects and titles, as well as all the video and audio clips used in the sequence. The startup project is particularly useful if you want to start learning how to edit with your Avid editing application right away, before you capture any media of your own. You can explore the sequence in the Timeline to learn how it is assembled, and you can use the clips to practice the viewing and editing techniques described in this guide. To open the startup project: 1. In the Select Project dialog box, click the Shared folder button. 2. Double-click Boston Project DV25 in the Project list. The Boston Project DV25 project opens. 3. Use the Bins tab of the Project window to open one or both of the bins in the project: - Boston Seq DV25 contains a complete sequence - Boston Project source contains all the video and audio clips in the project For more information on opening bins, see “Organizing with Bins” on page 87. Selecting a Project Format and Type To begin a project, you need to specify a format in which you capture media and select a project type. For additional information, see “Selecting a Project Format and Type: Advanced” in the Help. 26 Sample Workflow Project formats are as follows: n • An Avid video NTSC project captures and stores 30i-fps media as digital video (SDTV or standard-definition TV). • An Avid video PAL project captures and stores 25i-fps media as digital video (SDTV or standard-definition TV). • Film projects or projects shot with a 24p-enabled camera with advanced pulldown capture and store 23.976p-fps NTSC media. You can do your offline editing on an Avid editing system and finishing on a Symphony™, Media Composer, or Avid DS system. You cannot create 24p or 25p media or multiple output formats from video footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film or HD (high-definition). • Digital video (DV) is an international standard created by a consortium of 10 companies to serve as a consumer digital video format. Your Avid application supports several DV resolutions. • HD projects store HD media as digital video that conforms to the ITU-R 709 standard. Avid Xpress Pro lets you capture and output DVCPRO® HD media. You can play and render 8-bit DNxHD media, but you cannot use Avid Xpress Pro to capture or output DNxHD media. For more information, see “Working with HD Media” in the Help. • HDV projects allow you to work with HD video that has been recorded onto standard DV videocassettes. You can capture or import HDV material, edit it, and output it back to the HDV device. For more information, see “Working with HDV” in the Help. All resolutions are selectable in the Media Creation dialog box (on the Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render tabs). The exact list depends on your Avid editing system model and whether you are working in an NTSC or PAL project. For detailed information about resolutions, see “Resolutions and Storage Requirements” in the Help. You must capture media to begin a project. See “Setting Up Your Software-Only Avid Editing System,” “Using the Avid Mojo,” or “Using the Avid Mojo SDI” in the Help, and “Capturing Media” on page 45. You can also import media from other Avid systems (see “Importing Files” on page 79). Sample Workflow The following steps and illustration describe a possible workflow using a standalone configuration. 1. (Option) Import a log file to create a bin. 2. (Option) Connect your equipment to the Avid Mojo or the Avid Mojo SDI device. 27 Chapter 1 Planning and Starting a Project 3. Capture the media in an available resolution. If you imported a log file, batch capture. Otherwise, log and record or capture on-the-fly. 4. Perform edits and create a final sequence. 5. Output a master tape: DVCPRO HD, HDV, DV, analog, or component. Output NTSC or PAL, depending on your source footage. DV (Step 1) Log Betacam, Digital Betacam, or other VTR DV camera or deck (Step 2) (Step 3) Source footage: NTSC 30 fps or PAL 25 fps Avid Mojo or Avid Mojo SDI device 1394 connection Avid editing system (Step 4) Avid Mojo or Avid Mojo SDI device DV 28 Betacam, Digital Betacam, or other VTR Deck or device (Step 5) Betacam 25-fps or 30-fps master Managing the Avid Projects and Avid Users Folders Managing the Avid Projects and Avid Users Folders Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems. For additional information, see “Managing the Avid Projects and Folders: Advanced” in the Help. When you create a new project or user profile, the system creates the following files and folders: • When you create a new user, the system creates a user profile file, a User Settings file, and a user folder containing them. Each item is named with your operating system user login name. The new folder is stored in the Avid Users folder on the internal hard drive (Windows) or on Macintosh HD (Macintosh). When you create user profiles, the profiles settings are stored in the your user folder named. See “Using User Profiles” in the Help. • When you create a new project, the system creates three items: a project file, a Project Settings file, and a project folder containing both. Each item is given the project name you provide. This new folder is stored in the Avid Projects folder on the internal hard drive (Windows) or on the Macintosh HD (Macintosh). Avid Projects and Avid Users folders allow you to move entire projects or selected Project and User settings between systems by copying and moving files on your desktop. Ending an Edit Session To end an edit session: 1. Quit the application. 2. Turn off your equipment in the order described in this section. Quitting the Avid Application There are three ways to quit the Avid application. To quit the Avid application and leave the application immediately: t (Windows) Select File > Exit. t (Macintosh) Select Avid Xpress Pro > Quit. The project closes, and the Avid application closes. 29 Chapter 1 Planning and Starting a Project To quit the Avid application if you are between projects: 1. Click the Quit button in the Select Project dialog box. A message box opens. 2. Do one of the following: n t Click Leave to quit the Avid application. t Click Cancel to return to the Select Project dialog box and select another project. If you want to turn off your system, see “Turning Off Your Equipment” on page 30. To quit the Avid application from an open project: 1. Click the Close button. The Select Project dialog box opens. 2. Click the Quit button. 3. Click the Leave button. Turning Off Your Equipment To turn off your equipment without damaging your computer or media storage drives: c Quit the Avid application before turning off your equipment. See “Quitting the Avid Application” on page 29. 1. Turn off the system: c t (Windows) Select Start > Shut Down. t (Macintosh) Select P menu > Shut Down. t Turn off your speakers and monitors. Never remove drives from your Avid system while it is turned on. 2. Turn off each drive. 3. Turn off all other hardware. 30 Chapter 2 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can modify User, Project, and Site settings from the Project window and display a list of effects. You can also use predesigned work environments, and you can use the mouse scroll wheel to move about within the Avid editing application. The following topics describe the basics of the Project window: n • Understanding the Project Window • Using the Bins Display • Using the Settings List • Using the Format Display • Using Toolsets • Using the Mouse Scroll Wheel (Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter. For more information about working with the Project window, see “Working with the Project Window: Advanced” in the Help. Chapter 2 Working with the Project Window Understanding the Project Window The Project window has five tabs. The following topics describe the functions of the tabs. • “Using the Bins Display” on page 32 • “Using the Settings List” on page 37 • “Using the Effect Palette” on page 194 • “Using the Format Display” on page 38 • “Using the Info Display” in the Help Using the Bins Display When you create a project, the Avid application automatically creates a bin with the name of the new project, which is displayed in the Bins tab of the Project window. The word bin is a movie industry term referring to a container that holds pieces of film. In the Avid application, bins contain the master clips that are created when you capture source material. (The master clips are linked to the media files.) Bins also contain the sequences, subclips, group clips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins created for another project. 32 Using the Bins Display Viewing a List of Bins To view a list of bins associated with the project: t Click the Bins tab in the Project window. Bins tab The views for working with clips in a bin are Brief view, Text view, Frame view, and Script view. See “Organizing with Bins” on page 87 and “Organizing with Bins: Advanced” in the Help. Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. Either one of these procedures opens a new (empty) bin that is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list of the Project window. A corresponding file is placed in the project folder, and a backup copy is placed in the Avid Attic folder. For more information about the Avid Attic folder, see “Saving Bins Automatically” in the Help. The new bin appears in the Project window with a default name highlighted. 2. Type the name of the new bin, and press Enter (Windows) or Return (Macintosh). To place a bin in a folder: t Drag the bin to the folder icon. 33 Chapter 2 Working with the Project Window Opening and Closing a Bin n If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 93. To open a bin directly: 1. Click the Bins tab in the Project window. 2. Double-click the icon next to the bin name. To open a bin from the File menu: 1. Select File > Open Bin. The Open dialog box opens. Windows 34 Using the Bins Display Macintosh 2. Navigate to the correct folder, if necessary, and select a bin. c Never open a bin that is stored on a diskette; otherwise, the system cannot save your work. Always copy the bin to a project folder on the internal hard drive (Windows) or the Macintosh HD (Macintosh) before you open it. 3. Click the Open button. To close a bin, do one of the following: t Click the Close button. t Select File > Close Bin. Deleting a Bin or Folder You can delete bins and folders along with their contents from the Bins list in the Project window. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash. For more information, see “Viewing Contents in the Trash” in the Help. 35 Chapter 2 Working with the Project Window c Clips, subclips, and effects that are in a bin appear in the Trash after you delete the bin, and can be recovered if you remove the bin from the Trash. However, if you select a clip, subclip, or effect directly and press the Delete key, the item does not appear in the Trash and you cannot recover it. To delete a bin or folder within a project: n If you have the Superbin enabled, see “Deleting a Bin with the SuperBin Enabled” on page 95. 1. Select the bin or the folder you want to delete in the Bins list. 2. Press the Delete key. A Trash icon appears in the Bins list in the Project window. It contains the deleted item. The deleted item is stored in the Trash until you empty it. n The Trash is not visible in the Project window until you select your first item to delete. Saving Bins Manually Bins are saved automatically after a period of time that you can set in the Bin Settings dialog box (see “Saving Bins Automatically” in the Help). For added security, you can save a bin manually. You might want to do this immediately after performing an important edit. There are three ways to save bins manually. To save a specific bin: 1. Click the bin to activate it. 2. Select File > Save Bin. n The Save Bin command appears dimmed if there have been no changes since the last time the active bin was saved. To save selected bins: 1. Click the Bins tab in the Project window. 2. Click a Bin icon to select it. Ctrl+click (Windows) or Shift+click (Macintosh) any additional bin icons. 36 Using the Settings List 3. Select File > Save All. The system saves all the selected bins. To save all the bins: 1. Click the Bins tab in the Project window. 2. Select File > Save All. The system saves all the bins for the project. n The Save All command also saves all the user settings, and it also works with the Composer window or the Timeline active. Using the Settings List From the Settings list of the Project window, you can view, select, open, and alter various settings, as described in this section. To view the Settings list, do one of the following: t Click the Settings tab in the Project window. t Select Edit > Preferences. Settings tab To open a setting: t Double-click the setting in the Settings list. To view Help for a setting: t Open a setting and press F1. 37 Chapter 2 Working with the Project Window Before working in your project, review the following basic system settings: • Bin: Sets parameters for auto-save interval and other bin procedures. See “Bin Settings” on page 315. • Film and 24p: Sets parameters for edit play rate, ink number format, and transfer rate. See “Film and 24p Settings” on page 359. • General: Defines default values such as the default starting timecode. See “General Settings” on page 362. • Interface: Defines the appearance and function of the application’s windows and buttons. See “Interface Settings” on page 372. • Keyboard: Defines how commands are mapped to the keyboard. See “Keyboard Settings” on page 375. Using the Format Display The Format display in the Project window allows you to view basic project information, such as the video format (NTSC, for example). The displayed information lists the options you selected in the New Project dialog box when you created the project. The Project Type menu lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.94 HD project, you can change the project format to 30i NTSC. For more information, see “Changing the Project Format” in the Help. n For 24p PAL projects, the Format display shows the audio transfer rate you selected when you created the project. The actual audio transfer rate might be different from the display if you used the Film Settings dialog box to change the audio transfer rate. For more information, see “Transfer Settings for Film Projects” in the Help. To open the Format display: t 38 Click the Format tab in the Project window. Using Toolsets Using Toolsets You can use predesigned work environments that are suited to your most common Avid tasks: • Basic editing • Color correction • Source/Record editing • Effects editing • Audio editing • Capture The Toolset menu provides you with six environments, or special-purpose workspaces, that include the following: • Tools appropriate for the task • A screen optimized for the task, screen resolution, and number of monitors • A neatly organized workspace with non-overlapping windows You can change the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme. n You can open any of the most frequently used system tools by selecting Tools > tool. For more information about toolsets, see “Customizing Toolsets” and Linking Toolsets to Other Settings” in the Help. 39 Chapter 2 Working with the Project Window Opening Toolsets To open a toolset, do one of the following: t Select Toolset > toolset. t Press one of the following: Press To view Shift+F7 Basic toolset Shift+F8 Color Correction toolset Shift+F9 Source/Record Editing toolset Shift+F10 Effects Editing toolset Shift+F11 Audio Editing toolset Shift+F12 Capture toolset Any open tools close and the screen changes to display windows appropriate to the toolset task. 40 Using Toolsets Basic Toolset The Basic toolset opens with the basic set of Avid windows. Composer window Bin Project window Timeline window You can customize the Basic toolset in any way you want. See “Customizing Toolsets” in the Help. Color Correction Toolset The Color Correction toolset displays the Composer monitor as a three-monitor display and opens the Color Correction tool. For more information about Color Correction, see “Avid Color Correction” on page 225. 41 Chapter 2 Working with the Project Window Source/Record Editing Toolset The Source/Record Editing toolset displays the Composer monitor as dual monitors, with the Source monitor on the left and the Record monitor on the right. You edit source clips in the Source monitor and sequences in the Record monitor. For more information about using dual monitors, see “Using Dual Monitors” in the Help. Effects Editing Toolset The Effects Editing toolset displays the Effect Editor, the Effect Palette in the Project window (Effects tab), the bin, the Composer monitor, and the Timeline. For more information about Effects, see “Working with Effects” on page 191. Audio Editing Toolset The Audio Editing toolset displays the Automation Gain tool, the Audio tool, the Project window, the bin, the Composer monitor, and the Timeline. For more information about working with audio, see “Working with Audio” on page 161. n With screen resolutions set higher than 1024 x 768 or on two-monitor systems, additional audio tools display. Capture Toolset The Capture toolset displays the Capture tool, the Project window, the bin, the Composer monitor, and the Timeline. For more information about capturing media, see “Capturing Media” on page 45. 42 Using the Mouse Scroll Wheel Using the Mouse Scroll Wheel The Mouse Settings dialog box allows you to set the speed of scrolling with the mouse wheel within the editing application. You can also assign functions to 3 additional mouse buttons. If you use a mouse with a wheel or additional buttons, use the following procedures to set the wheel speed and to assign functions to the additional mouse buttons. n You cannot assign functions to the standard left and right mouse buttons. Setting up the Mouse Scroll Wheel To set the mouse scroll speed: 1. Double-click Mouse in the Settings list of the Project window. The Mouse Settings dialog box opens. 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls 4 items at a time. To assign functions to additional mouse buttons: 1. Double-click Mouse in the Settings list of the Project window. The Mouse Settings dialog box opens. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment at the bottom of the Command palette. 43 Chapter 2 Working with the Project Window 4. Click the tab from which you want to select a user-selectable button. 5. Click the mouse, and drag the button from the Command palette to a button location on the Mouse Settings dialog box. This is helpful if you want to assign certain functions to additional mouse buttons. For example, mouse button 3 can have a button function assigned to it. The buttons pressed along with the Shift, Ctrl, or Alt key can also have additional assigned functions. n Be careful when mapping the mouse buttons. Make certain that the modifier key that you are assigning to the button and command doesn't already have an alternate function. Using the Mouse Scroll Wheel in the Editing Application The mouse scroll wheel can be used in a number of ways within the application. Scroll Wheel Functions Using the Scroll Wheel function Action In any window or function area Press Ctrl + scroll wheel with a vertical scroll bar, such as a Bin Scrolls through items. In the Timeline Press Ctrl + scroll wheel Moves the position bar one frame at a time. Press Ctrl + Alt + scroll wheel Moves the position bar 10 frames at a time In a tool or window containing Press Ctrl + scroll wheel a slider (for example, the Effect Editor). n Moves the slider one unit at a time. This does not apply to pop-up sliders. Press Ctrl + Alt + scroll wheel 44 Result Moves the slider 10 units at a time. Chapter 3 Capturing Media Capturing is the process of creating digital media from video or audio input. When you capture, you convert source material into master clips that contain reference information. You also create associated media files that contain the digital audio and video. The basic procedures you need to capture media are described in the following topics: • Importing Shot Log Files • Selecting Settings for Capture • Configuring Decks • Setting Deck Preferences • Setting Up the Capture Tool • Preparing for Audio Input • Before You Begin Capturing • Monitoring Audio • Capturing and Logging at the Same Time • DV Scene Extraction • Capturing DV Media Directly from a DV Device Before capturing, see “Setting Up Your Software-Only Avid Editing System,” “Using the Avid Mojo,” or “Using the Avid Mojo SDI” in the Help to ensure you have properly connected your recording equipment such as a camera, deck, DV device, or an Avid Mojo. For information on capturing HDV material, see “Capturing and Importing HDV” in the Help. For advanced information about logging and capturing media, see “Logging,” “Preparing to Capture,” and “Capturing Media: Advanced” in the Help. Chapter 3 Capturing Media Importing Shot Log Files You can import any log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require capturing. For more information about logs, see “Avid Log Specifications” in the Help. The system imports any additional information logged with each clip. To import shot log files into a bin: 1. Open a bin, click anywhere in an open bin to select it, or create a new bin for the shot log import. 2. Select File > Import. The Select Files to Import dialog box opens. Up One Level menu Windows Files of type menu Options button 46 Importing Shot Log Files Macintosh Show menu From menu Source file list Options button 3. Do one of the following: t If you are importing an .ale file, click the Files of Type menu and select Shot Log (Windows), or click the Show menu and select Shot Log Documents (Macintosh). The system displays file types that belong to the chosen category only. t If you are importing a text file, click the Files of Type menu and select All Files (Windows), or click the Show menu and select Any Document (Macintosh). The system displays all files in a chosen folder, regardless of file type. Use this option if you want to batch import multiple file types. n When batch importing multiple files and file types, you should establish global Import settings in advance. See “Creating and Using Import Settings” on page 80. 4. Click the Options button to open the Import Settings dialog box if you want to select options for combining events on import from the Import settings. 5. Click the Shot Log tab. For more information about shot log options, see “Avid Log Specifications” in the Help. 47 Chapter 3 Capturing Media 6. After selecting the appropriate options, click OK to close the Import Settings dialog box and to return to the Select Files to Import dialog box. 7. Click the Up One Level menu (Windows) or the From menu (Macintosh) to locate the folder containing the source file. 8. Select the file. 9. Click Open. When the system finishes importing the file, the clips appear in the selected bin. 10. Save the bin. Selecting Settings for Capture A number of settings have a direct effect on the capturing process. Before you capture, review the following options: • “General Settings” on page 362 • “Capture Settings” on page 316 • “Transfer Settings for Film Projects” in the Help This section includes information on the Media Creation dialog box. Setting Media Creation Resolutions and Selecting Drives The Media Creation dialog box allows you to set the video resolution and media type, and to select drives for capturing, creating titles, importing, performing audio and video mixdowns, and creating motion effects. Because media is very large, you can also remove your system and application drives from the list of storage locations so you store your media on other drives with ample space. n You can also choose a video resolution and select drives on which to save media in other tools and dialog boxes in the Avid application. Selecting a Video Resolution To select a video resolution in the Media Creation dialog box: 1. Double-click Media Creation in the Settings list of the Project window. The Media Creation dialog box opens. For information about options, see “Media Creation Settings” on page 377. 48 Selecting Settings for Capture 2. Click the Media Type tab, and select either OMF or MXF file format. For information on OMF and MXF formats, see “File Format Specifications” in the Help. If you select OMF, a tab in the Capture Settings dialog box is labelled OMF Media Files. If you select MXF, the tab is labelled MXF Media Files. n HD media must be MXF. Use OMF for compatibility with older Avid systems. 3. Click the Capture tab. 4. Click the Video Resolution menu, and select a video resolution. The Video Resolution menu contains a list of the available resolutions. The list of resolutions depends on the model of your Avid system and the type of project. For HD projects, the list shows Avid DNxHD™ resolutions and DVCPRO HD, depending on your video input. For more information, see “Capturing DV Media Directly from a DV Device” on page 76. For HDV projects, no video resolutions are available for capture, because the Avid application automatically selects the correct resolution. For 720p HDV projects, Avid DNxHD and DVCPRO HD resolutions are listed for other media creation. For 1080 HDV projects, DNxHD-TR resolutions are available for other media creation. c n If you are using Avid Unity LANshare, make sure to specify a supported resolution. For information on supported resolutions, see the LANshare documentation. Clicking Apply to All sets your selected video resolution for the tabs that include video resolution. Your settings are not saved until you click OK. 49 Chapter 3 Capturing Media 5. Click OK to save your settings. For detailed information about resolutions, see “Resolutions and Storage Requirements” in the Help. Selecting Drives in the Media Creation Dialog Box To select drives in the Media Creation dialog box: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Do one of the following: t Double-click Media Creation. t Select Tools > Media Creation. The Media Creation dialog box opens. For information about options, see “Media Creation Settings” on page 377. 3. Click the Drive Filtering tab. You can remove from the list of available drives the drive where your operating system is located and the drive where the Avid application is located. This allows you to choose to store media only on drives with sufficient space. 4. Select one of the following: - Filter Based on Resolution: Removes as a storage choice the drives that cannot support the selected resolution. This option causes the Avid editing system to utilize only Avid MediaDrives. - Filter Out System Drive: Removes as a storage choice the drive on which the operating system resides. - Filter Out Launch Drive: Removes as a storage choice the drive on which the Avid application resides. The drive or drives you select do not appear in the other Media Creation dialog box tabs as possible locations where you can store media. They also do not appear in other drive selection menus in the application except for the Import, Export, and Relink dialog boxes. n You may select none of the options. 5. Click the tab for the area in which you want to work. 6. Choose a video drive and an audio drive. To choose the same drive for both audio and video, click the Single/Dual Drives Mode button until only a single drive menu appears. 50 Configuring Decks n The drive that appears in boldface type has the most available space. 7. (Option) If you are working with the Capture tab, you can select a drive group. Click the bottom of the Video Drive or the Audio Drive menu, and select Change Group. For more information on selecting a drive group, see “Capturing to Multiple Media Files” in the Help. n Because no audio is associated with titles or motion effects, you can select only a video drive in the Titles and Motion Effects tabs. 8. To apply your drive selection to all the Media Creation dialog box tabs and the rest of the application, click Apply to All. This sets your chosen video and audio drives for all the Media Creation dialog box tabs. It also sets them for any place in the application where you select drives. 9. Click OK to save your settings. Configuring Decks Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings, you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global deck control preferences appear as separate items in the Settings list in the Project window. Deck control settings n You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the documentation that came with your hardware. 51 Chapter 3 Capturing Media To configure a deck or multiple decks: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box opens If you are configuring your system for the first time, click the Add Channel button to add a new channel box on the left side of the Deck Configuration dialog box and automatically open a Channel dialog box. 3. Click the Channel Type menu, and select one of the following items, depending on your system configuration: - FireWire, if you are connecting a DV camera or deck by means of a FireWire connection. - Direct, if you are connecting a deck directly to the CPU serial port and using a transcoder or an Avid Mojo or Avid Mojo SDI to bring data into the system. 4. Click the Port menu, and select the port to which you are connecting the deck: n - (Avid Mojo or Avid Mojo SDI systems) Avid DNA if you chose FireWire for the channel. - (Software-only systems) OHCI if you chose FireWire for the channel. - (Windows only) COM1 or COM2 if you chose Direct for the channel. If you are not sure which port to select, check the 9-pin serial port connectors on the back of the system. If the ports are not labeled, see the hardware documentation supplied with your system. 5. Click OK to close the Channel dialog box. A dialog box opens with a question asking if you want to automatically configure the channel now. 6. Click Yes if you want to automatically configure the channel. A new channel appears in the display area of the Deck Configuration dialog box. 52 Configuring Decks Channel box n You can reopen the Channel settings to change the options at any time by double-clicking the channel box. 7. To add a deck or transcoder, do the following: a. n n Click Add Deck to open the Deck Settings dialog box. With a deck already connected to the system, you can click the Auto-configure button to bypass the Deck Settings dialog box and automatically configure a deck 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. b. (Option) When a digital camera or transcoder is attached to your system, click the Device menu in the Deck Settings dialog box, and select the proper device. When a deck with a transcoder is attached, select the applicable deck. If your transcoder does not appear on the list, select Generic and then select DVTranscoder. n Device templates from older Avid systems are not compatible with Avid Mojo or Avid Mojo SDI systems. Do not copy Meridien templates to Avid Mojo or Avid Mojo SDI systems, and do not copy Avid Mojo or Avid Mojo SDI templates to Meridien systems. 53 Chapter 3 Capturing Media c. Select settings based on your device. For information on deck settings, see “Deck Settings” on page 325. d. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box, which now displays the deck. Deck box n You can reopen the Deck Settings dialog box to change the options at any time by doubleclicking the deck box in the Deck Configuration dialog box. 8. Repeat steps 3 through 8 for each additional channel or deck you want to configure. 9. (Option) Select the “Verify configuration against actual decks” option if you want the system to check the deck configuration against the devices physically connected to the system. The system checks the deck configuration after you click Apply in the Deck Configuration dialog box and when you start the Avid application. A message warns you if the configuration does not match the deck. 10. Type a name in the Configuration Name text box to name the deck configuration. n The new deck configuration appears in the Settings list of the Project window. 11. Click Apply to complete the configurations and close the Deck Configuration dialog box. 12. If necessary, double-click Deck Preferences in the Settings list of the Project window to adjust global deck control options. For more information, see “Setting Deck Preferences” on page 55. To delete a deck configuration: 1. Click the names of the currently configured channel and deck in the display area. The entire display area should have a red border. 2. Click Delete. 3. Click Apply to complete the changes and close the dialog box. 54 Setting Deck Preferences Setting Deck Preferences Deck preferences are global settings for basic deck control. These settings apply to all decks connected to your system, regardless of your deck configuration. You can open the Deck Preferences dialog box from the Settings list of the Project window. These options are shown in “Deck Preferences Settings” on page 326. Setting Up the Capture Tool The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations. The following topics discuss the basics; you can also capture to multiple media files, select a preroll method, and capture across timecode breaks. See “Capturing to Multiple Media Files,” “Selecting the Preroll Method,” and “Capturing Across Timecode Breaks” in the Help. Changing the Power Scheme (Windows Only) If you install your Avid editing application on a Windows-based laptop computer, an Incompatible Power Scheme warning button might appear in the top right corner of the Capture tool. Some of the standard power schemes available on laptops running Windows XP might affect the performance of editing functions, including capturing media. Avid recommends you use the “Always On” power scheme when working with Avid applications. Avid also recommends that you do not use a screen saver. You can select a new power scheme by accessing the Power Options Properties dialog box from the Control Panel. For more information on changing power schemes and turning off screen savers, see the Windows documentation. Opening the Capture Tool To open the Capture tool, do one of the following: t Select Toolset > Capture. t Select Tools > Capture. The Capture tool opens. 55 Chapter 3 Capturing Media Deck Selection menu Selecting a Deck The Deck Selection menu in the Capture tool contains a list of decks or cameras that were connected to the system, powered up, and initialized when you opened the Capture tool. The first deck or camera in the list is selected by default, unless all decks or cameras are offline. To activate playback from an available deck or camera, do one of the following: n n 56 t Click the menu, and select the name of a previously configured deck or camera. t Select Auto-configure to automatically establish the default deck settings for a VTR that is currently connected to the system. Not all DV devices respond to the Auto-configure command. Due to this limitation, Autoconfigure selects only the generic devices. When a digital camera is attached to your system, click the Device menu in the Deck Settings dialog box and select the proper device. When a deck with a transcoder is attached, click the Device menu and select the applicable deck. Device templates from older Avid systems are not compatible with Avid Mojo or Avid Mojo SDI systems. Do not copy Meridien templates to Avid Mojo or Avid Mojo SDI systems, and do not copy Avid Mojo or Avid Mojo SDI templates to Meridien systems. Setting Up the Capture Tool If you forgot to turn on or connect a deck or camera before entering Capture mode: 1. Make sure that the deck is connected and the power is turned on. 2. Click the Deck Selection menu in the Capture tool, and select Check Decks to reestablish deck control. Selecting Audio and Video Input The Video and Audio menus show you the current input settings for the Video Input tool and the Input tab in the Audio Project Settings dialog box. The menus also provide a convenient way to change the settings, if necessary. The choices are as follows (depending on your system configuration): • Video input: Composite, SVideo, Component, Host-1394 • Audio input: RCA (-10 dBu), Host-1394 To select audio input and video input in the Capture tool: t n Click the Audio menu or the Video menu, and select an input option. If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box change automatically. Selecting a Tape To select a source tape: 1. Load a tape into your deck. The Select Tape dialog box opens. n If a tape is already in the camera or deck, click the Source Tape Display in the Capture tool. 2. In an NTSC project, play the tape briefly so that the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape. n Drop-frame timecode appears in the timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. (Drop-frame and non-drop-frame timecode exist only in NTSC projects.) For more information about drop-frame and non-drop-frame timecode, see “Understanding Drop-Frame and Non-DropFrame Timecode” in the Help. 57 Chapter 3 Capturing Media 3. Provide the system with a tape name in one of the following ways: n t Select the name of the tape from the list displayed in the Select Tape dialog box, and click OK. t Expand the list by selecting the “Show other projects” option or by clicking the Scan for tapes button. t Click New if the tape is not in the list. Type the new name in the dialog box, click OK, and then click OK again. For information on naming tapes, see “Naming Tapes” in the Help. Selecting Source Tracks You can select the tracks to capture from the source tape. To select only those tracks that you want to capture: t Click the Channel Selection buttons in the Capture tool. The TC (timecode) track is selected by default. n n When you use an Avid-controlled camera or deck, the TC (timecode) is selected by default, and the system captures the timecode from the source tape. If you deselect the TC button, the system captures with time-of-day timecode. For more information, see “Capturing with Time-of-Day Timecode” on page 73. If you are not seeing the source video or hearing source audio in Capture mode, click the Channel Selection buttons to make sure the correct tracks have been selected. To select or deselect all tracks at once: t Press and hold the Alt key (Windows) or the Option key (Macintosh), and click any Channel Selection button. Detecting Valid or Locked Capture Input On systems with an Avid Mojo device or an Avid Mojo SDI, the Capture tool indicates the kind of signal you have selected to capture, and if the signal you want to capture is valid or locked. When you select a video track you want to capture, the Video Lock icon appears in the Comment area of the Capture tool. If the current source has a valid video signal and the Avid Mojo device can lock to it, the icon is displayed in green. 58 Setting Up the Capture Tool n For more information about selecting tracks in the Capture tool, see “Selecting Source Tracks” on page 58. Video Lock icon When you select only Audio tracks, the icon changes to the Ref (Reference) Lock icon and appears as an unfilled circle. The Avid system checks for a reference signal (for more information about reference signals, see “Using the Avid Mojo” or “Using the Avid Mojo SDI” in the Help). If the system can lock to the reference signal, the icon appears in green. n If you select both video and audio tracks, the Vid (Video) Lock icon is displayed. The Video/Ref Lock icon is also displayed in the Digital Cut tool. Selecting a Resolution in the Capture Tool To set the capture resolution: t Click the Resolution (Res) menu in the Capture tool, and select a video resolution. The resolution list contains a list of the available resolutions, depending on the model of your Avid system. For 25-fps and 30-fps projects, the list shows single-field and two-field interlaced resolutions, and DV. For 24p and 25p projects, the list shows progressive, full-frame resolutions. Select 1:1 for uncompressed media. For HD projects, the list shows DVCPRO HD. For HDV projects, the list shows the HDV resolution of your project. For more information, see “Capturing DV Media Directly from a DV Device” on page 76. n You can set the resolution used for capturing in the Capture tool or in the Media Creation dialog box, accessed through the Settings list of the Project window. See “Setting Media Creation Resolutions and Selecting Drives” on page 48. n For detailed information about resolutions, see “Resolutions and Storage Requirements” in the Help. n Avid Xpress Pro supports recording and digital cuts of 32-kHz, 44.1-kHz, and 48-kHz audio. If you are recording DV audio, set your camera or deck to record 16-bit audio (48 kHz). 59 Chapter 3 Capturing Media Selecting a Target Bin You select a target bin as the destination for the master clips created when you capture onthe-fly. You can also select a target bin containing the logged clips you will use to batch capture your media. To select a target bin, do one of the following: t Click the Bin menu in the Capture tool, and select an existing bin. t Activate a previously created bin by selecting File > Open Bin; then locate and open the bin in the Open Bin dialog box. t Create a new bin by selecting File > New bin and then naming and opening the new bin in the New Bin dialog box. Selecting the Target Drives To target drives for the captured media: 1. Make sure you are in Capture mode. If the Capture tool is in Log mode, click the Capture/Log Mode button to return to Capture mode (that is, the CAP icon appears.) 2. Decide whether to capture audio and video to a single drive or to separate drives. 3. Click the menus, and select the specific target drives. Targeting a Single Drive By default, the Capture tool targets a single media drive for capturing the video and audio for each clip. To target a single drive: 1. Select Tools > Capture. 2. Click the Single/Dual Drives Mode button in the Capture tool until it displays the Single-Drive icon. 60 Setting Up the Capture Tool Time remaining display Single/Dual Drives Mode button Target Drive menu 3. Click the Target Drive menu, and select a drive. The name shown in bold in the menu has the most storage available. The time remaining is calculated based on your resolution selection. Targeting Separate Drives for Video and Audio You can target separate physical drives for audio and video tracks. You might want to target separate drives for media management, such as sending audio files to a Pro Tools system for audio sweetening. Capturing audio and video to separate drives is not necessary for performance. To target separate drives for video and audio: 1. Select Tools > Capture. 2. Click the Single/Dual Drives Mode button in the Capture tool until it displays the DualDrives icon. 3. Click each Target Drive menu, and select separate drives for video and audio. The names shown in bold in the menus have the most storage available. The time remaining on each selected drive is calculated based on your resolution selection. c Targeting separate partitions on the same drive slows playback performance. Interpreting the Time-Remaining Display You can interpret the numbers in the Time-Remaining display in the Capture tool based on the following factors: n • Each captured clip has a maximum file size of 2 GB. Any video clip whose media exceeds 2 GB has more than one media file associated with it. • When you select another resolution, the Time-Remaining display adjusts accordingly. For detailed information about resolutions, see “Resolutions and Storage Requirements” in the Help. 61 Chapter 3 Capturing Media Preparing for Audio Input The Avid system supports direct input of four channels of audio only when a digital camera or a digital deck is connected via FireWire and the audio sample rate is set to 32 kHz. If a digital camera or digital deck is not connected and the audio sample rate is not set to 32 kHz, the Avid application supports input of two channels of audio. Source track assignments are mapped directly to audio tracks in the captured clips. You should also calibrate the input levels for each videotape when you capture to assure continuity of picture quality between tapes. See “Calibrating for Video Input” in the Help. Adjusting Audio Project Settings You can use the Audio Project Settings window to check the current configuration of audio hardware and to choose various input and output options. The Audio Project Settings window has four tabs: Main, Input, Output, and Hardware. n Some options depend on the audio configuration of your system. Your system might not contain certain features and hardware that are covered in the documentation. To open the Audio Project Settings window: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings window appears. For information on Audio Project settings, see “Audio Project Settings” on page 308. Selecting an Audio Input Source You can connect an audio device to your system for audio input, depending on your configuration. To select an audio input device: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings window opens. 3. Click the Input tab. 4. Click the Input Source menu, and select a source for the audio you want to capture. 62 Preparing for Audio Input n The menu displays HD SDI in HD projects and SD SDI in SD projects. Input options depend on the audio hardware installed on your system and connected to it. 5. Close the Audio Project Settings dialog box. Selecting the Audio File Format AIFF-C and WAVE audio media files can be mixed within a project. Audio is written in the selected file format when you: • Capture audio tracks in Capture mode. • Use the Audio tool to create tone media. • Use the Audio Mixer tool to mix down audio tracks. • Use the Import dialog box to import files. • Apply an AudioSuite plug-in that creates new source audio. If you switch the audio format in the middle of a project, all new audio media files are written in the new format with the following exceptions: • Media files written when rendering audio effects: The system uses the file type of the A-side (outgoing audio) media for a transition. For example, if the A-side of an audio dissolve is in AIFF-C (OMF®) format and the B-side (incoming) is in WAVE (OMF) format, the rendered file is AIFF-C (OMF). • Audio media files written when using the Consolidate feature: Media files that are copied or created during a consolidate procedure retain their original file types. See “Consolidating and Transcoding Media” on page 181. To select the audio file format: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings window opens. 3. Click the Main tab. 4. Click the Audio File Format menu, and select either OMF (WAVE) or AIFF-C (OMF). 5. Close the Audio Project Settings window. 63 Chapter 3 Capturing Media Using the Audio Tool Use the Audio tool primarily for mixing and monitoring audio. The Audio tool, along with your hardware’s audio parameters, allows you to do the following in preparation for input: • Check and manage your audio hardware setup. • Set audio levels before recording. In addition, controls in the Audio tool allow you to calibrate, set levels, and generate customized calibration tones for output to the speakers or a record device. For more information about the Audio tool, see the table in this topic. To open the Audio tool, do one of the following: t Select Tools > Audio Tool. t Click the Audio Tool button in the Capture tool. The Audio tool opens and displays meters for two to eight channels, depending on the configuration of your system. Reset Peak button Peak Hold Menu button In/Out toggle buttons Digital scale (fixed) Volume unit scale (adjustable) The following table describes the components in the Audio tool. Audio Tool Components 64 Component Description Reset Peak button Resets the current maximum peak measurements. It also stops the playback of the internal calibration tone. Preparing for Audio Input Audio Tool Components (Continued) Component Description In/Out toggle buttons Switch the meter displays for each channel between input levels from a source device and output levels to the speakers and record devices. I indicates Input, and O indicates Output. Peak Hold Menu button Displays a menu that allows you to select options for customizing the meter displays and for setting and playing back the internal calibration tone. Digital scale to the left of the meters Displays a fixed range of values from 0 to –90 decibels (dB), according to common digital peak meter standards. Volume unit (VU) scale (analog) to the right of the meters Displays a range of values that you can conform to the headroom parameters of your source audio. Meters Dynamically track audio levels for each channel as follows: • Meters show green below the target reference level (default reference level is –14 dBfs on the digital scale). • Meters show yellow for the normal headroom range, above the reference level to approximately –3 dB. • Meters show red for peaks approaching overload, between –3 dB and 0 dB. • Thin green lines at the bottom indicate signals below the display range. Adjusting Audio Input Levels (Software-Only Systems) You can use the Audio tool and the Audio Project Settings window to adjust the audio input levels. To adjust global audio input levels using the Audio Project Settings window: 1. Click the In/Out toggle buttons in the Audio tool for the channels you are using for input. The Audio tool displays an I for Input. 65 Chapter 3 Capturing Media In/Out toggle buttons 2. Play back the source audio (for example, from a digital camera or tape). If the recording includes reference tone, cue to the tone and play it back. 3. In the Project window, click the Settings tab, and then double-click Audio Project. 4. Adjust input by doing the following: a. Click the Input tab. The Input tab displays an Input Level slider. Input Level slider b. 66 Drag the slider to raise or lower the audio input level. Preparing for Audio Input c. (Option) If you want extra gain, drag the slider toward the bottom of the Input Gain control, click the +20 dB Gain check box, and adjust the volume on the Input Level meter. Establishing Sync for Audio-Only Input When you capture audio with video, the video input signal provides the timing reference for digitizing analog audio. This ensures that the audio and video remain in synchronization. When you capture audio only, the audio timing reference is taken from the same source as the video output timing. You set the sync source for capture and output timing through the Video Output tool. For more information about reference signals, see “Using the Avid Mojo” or “Using the Avid Mojo SDI” in the Help. If you are capturing audio only, and the material being captured must be resynchronized with video, you must make sure that the audio captured remains synchronized with the associated video. There are several cases to consider: • Analog audio input (XLR and RCA) • Digital audio input (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio) Analog Audio Input If you are capturing audio-only from an analog source, sync is taken from the sync source, either black burst or tri-level, as selected in the Video Output tool. If no sync source is connected, sync is generated from internal timing. c If you need to synchronize audio with video clips captured separately, Avid recommends that you connect a sync source to both the Avid Mojo or Avid Mojo SDI and the audio deck. Otherwise you might experience drifting of the audio during editing. Digital Audio Input Digital audio inputs (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio) provide their own timing reference.No other connections are required to achieve sync, so long as the source deck is genlocked. c When using the AES/EBU inputs, the lowest numbered channel that is enabled for input in either the Capture tool or the Audio tool is used as the timing reference. It is important that all AES/EBU inputs that are used simultaneously be locked to the same timing reference. 67 Chapter 3 Capturing Media Before You Begin Capturing Depending on your immediate needs and chosen capturing method, use the following guidelines: • If you want to add clip names and comments on-the-fly while you capture, see “Adding Clip Names and Comments On-the-Fly” in the Help. • If you have no logs and want to begin capturing right away, see “Capturing Without Logging First” in the Help. • If you want to capture video to multiple media files across multiple drives, see “Capturing to Multiple Media Files” in the Help. • If you have logs already entered in a bin and want to automate the capturing process with playback from an Avid-controlled deck, see “Batch Capturing from Logged Clips” in the Help. • If you are recapturing deleted media or have imported a sequence that lacks the associated media files, see “Recapturing Your Material” in the Help. • If you have not already prepared a structure of bins for your project, as described in “Managing Folders and Bins” in the Help, consider the following tips before capturing: - You can create one bin for each source tape. This method avoids slowing the system with large bins, associates each bin with a source tape for better organization, and simplifies recapturing. - You can name the bin after the tape so that when you autocapture or capture on-thefly without noting a tape name, the system automatically names each clip after the bin (tape) and numbers them sequentially for easy reference. • If you want to capture DV 50 or DVCPRO HD media, see “Capturing DV Media Directly from a DV Device” on page 76. • If you want to capture HDV media, see “Working with HDV” in the Help. Monitoring Audio You can monitor audio gain levels while you capture media by clicking the Passthrough Mix Tool button on the Capture tool. For information on using the Passthrough Mix tool, see “Using the Passthrough Mix Tool” in the Help. If you have a Digi 002 connected, see “Monitoring DV Audio while Recording with Avid Mojo and Digi 002 Connected” in the Help. 68 Capturing and Logging at the Same Time Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, the system creates clips and associated media files while you capture. Capturing in this manner involves manually cueing source footage with an Avid-controlled deck using the deck controls in the Capture tool. There are several ways to capture and log at the same time: • Capturing from one point to another. This method lets you specify the exact timecode location to begin and end capturing. You can also specify only an IN point or an OUT point and enter the other mark on-the-fly. These procedures are described in “Capturing from One Point to Another” on page 69. • Capturing on-the-fly. This method is easier than setting marks, but it is less precise. It involves using the deck controls in the Capture tool to cue, play, and stop the source footage manually while capturing. These procedures are described in “Capturing Onthe-Fly” on page 71. • Capturing with time-of-day timecode. See “Capturing with Time-of-Day Timecode” on page 73. You can also capture material as described in the following topics in the Help: • “Capturing from a Non-Avid Controlled Deck” • “Autocapturing” Capturing from One Point to Another Capturing from an IN point to an OUT point allows you to specify exactly where to begin and end capturing. You can specify only an IN point or an OUT point, and enter the other mark on-the-fly. Use this method in the following circumstances: • If logs exist in written or printout form but not in the proper format for quick import into the system • If the IN and OUT points are rough and need to be double-checked for accuracy • If you are familiar enough with the source material to estimate the timecode for the IN point, the OUT point, or both, quickly and accurately 69 Chapter 3 Capturing Media Setting Both Marks To capture by specifying an IN point and an OUT point: 1. Make sure you have selected the proper Capture settings as described in “Selecting Settings for Capture” on page 48 and have set up the Capture and Audio tools, as described in “Setting Up the Capture Tool” on page 55 and “Preparing for Audio Input” on page 62. 2. Set either an IN point or an OUT point for the clip you want to capture, using one of the following methods: t Use the deck controls in the Capture tool. Cue your source tape to where you want to start or end the clip, and click the Mark IN or the Mark OUT button. t If the material starts at a known IN point or ends at a known OUT point, you can type the timecode in the display area next to the mark. Press Enter (Windows) or Return (Macintosh) to enter the mark. To double-check the accuracy of the IN or OUT point, click the Go to IN button. The system cues the tape and pauses the deck at the mark. You can play the tape and reset the mark, if necessary. 3. To finish logging the clip, use either of the following methods: t Set the corresponding IN or OUT point. t Type a timecode for the clip’s duration in the display area next to the Duration mark (below the OUT point) in the format HH:MM:SS:FF. The system automatically calculates the appropriate timecode for the corresponding IN point, OUT point, or duration. 4. Click the Capture button in the Capture tool. The Capture tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play. The box to the right of the Capture button flashes bright red, and the message bar displays the message that the system is capturing. 5. While the system is capturing, you can type a clip name. To enter comments about the clip, press the Tab key after typing a clip name and enter comments in the comment box. The information that you type does not appear on the screen until you have completed capturing. (After you log clips, you can modify information to correct input errors or to add information.) When the tape reaches the clip’s OUT point or you click the Capture button again, capturing stops, and the system creates a new clip in the bin. 70 Capturing and Logging at the Same Time Setting Only One Mark To set only one mark and enter the other mark on-the-fly, do one of the following: t Mark an IN point, and click the Capture button to begin capturing. Then, click the Capture button again to stop capturing on-the-fly and mark an OUT point. This method is useful if you do not need a precise OUT point. You save time because you do not have to shuttle to locate the OUT point before capturing. t Set an OUT point only, and then move to a position on the tape that is a few seconds before where you want to start capturing. Play the tape, and then immediately click the Capture button to begin capturing on-the-fly. When the tape reaches the clip’s OUT point, capturing stops. This method is useful if you do not need a precise IN point but do need to stop at a precise OUT point, for example, just before a timecode break. Capturing On-the-Fly Use the capturing on-the-fly method in any of the following circumstances: n • If you are eager to begin editing immediately and no adequate logs exist for importing to the system or setting marks • If you are capturing from a source deck that cannot be controlled by the Capture tool • If your source tape does not have timecode • If you are capturing from a digital source such as a CD-ROM or a DV camera • If you are capturing from a live source, such as a studio feed or an inhouse router There is a slight delay of several frames after you manually select a spot to start and to stop capturing. Use this method when you don't need precise beginning and end points in your clip. 71 Chapter 3 Capturing Media To capture on-the-fly: 1. Click the Capture/Log Mode button in the Capture tool until the CAP icon appears. The Capture tool is ready to capture. Capture/Log Mode button Toggle Source button Capture button Trash button Triangular opener (to display comments) Name Comment Deck controls 2. (Option) Click the triangular opener in the Capture tool to display the Name and Cmnt (Comment) text boxes, if you plan to enter clip names or comments during capturing. 3. Use the deck controls in the Capture tool to locate the position on the tape where you want to start capturing. Fast Forward button Step Backward button Rewind button Stop button Step Forward button Pause button 72 Eject button Play button DV Scene Extraction 4. Click the Play button and when the deck gets up to speed, click the Capture button. n Make sure you have cleared any previous marks so that the deck does not begin cueing to the previous location. 5. While the system is capturing, you can type a clip name in the Name text box. Press the Tab key after typing a clip name to enter comments about the clip. 6. Click the Pause button at any time to pause play. You can also stop the capture procedure by clicking the Trash button in the Capture tool. The clip is discarded. 7. To stop capturing and enter the OUT point of the clip: t Click the Capture button. t Press the Esc key. The system creates a new clip in the bin. n There is a slight delay of several frames after you manually select a spot to start and to stop capturing. Therefore, use this procedure when you don’t need precise beginning and end points in your clip. Capturing with Time-of-Day Timecode When you capture with an Avid-controlled deck, you can capture your footage with time-of-day timecode rather than source timecode. To capture with time-of-day timecode: 1. Open the Capture tool and prepare to capture, as described in “Setting Up the Capture Tool” on page 55. 2. When selecting tracks, deselect the TC button. 3. Capture using any of the techniques described in “Capturing On-the-Fly” on page 71. 4. Remember to select the TC button before capturing with source timecode again. DV Scene Extraction When you are capturing, the DV Scene Extraction feature allows you to automatically generate subclips and locators based on time-of-day (TOD) information contained in the DV video format. Discontinuities in the DV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV camera. Using this feature, you can capture an entire DV tape as a single master clip and have the system automatically locate all the takes for you, eliminating the need to manually log. 73 Chapter 3 Capturing Media You can perform DV scene extraction in two ways: • Set up the DV Scene Extraction option before capturing. When capturing is performed, subclips and locator marks appear in the bin. See “Setting Up DV Scene Extraction Before Capturing” on page 74. • Perform DV scene extraction after capturing. Select those clips in the bin for which you want to generate subclips and locator marks. See “Setting Up DV Scene Extraction After Capturing” on page 75. Consider the following: • You can perform DV scene extraction on any existing DV clip or subclip in a bin that has TOD information breaks. • DVCPRO format does not provide TOD metadata; you cannot use DV scene extraction with DVCPRO format. • DV scene extraction does not work on audio-only clips. Setting Up DV Scene Extraction Before Capturing To set up DV scene extraction before capturing: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Capture Settings. The Capture Settings dialog box appears. 3. Click the DV Options tab. 4. Click DV Scene Extraction. 5. Select one of the following options: - 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 subclips and locator marks where the TOD information breaks occur while capturing. 6. Click OK. 7. In the Capture tool, click the Capture button. When capturing has finished, subclips are created with the same source clip name and the extension .sub.01 where TOD information breaks occurred. Locator marks appear in the master clip where TOD information breaks occurred. 74 DV Scene Extraction Setting Up DV Scene Extraction After Capturing To set up DV scene extraction after capturing: 1. Open a bin. 2. Click the clip for which you want to create subclips or locator marks. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips. 3. Select Bin > DV Scene Extraction. The DV Scene Extraction dialog box appears. 4. Select one of the following options: - 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 subclips and locator marks where the TOD information breaks occur while capturing. 5. If you have chosen to create subclips, select the bin where you want these subclips stored. 6. Click OK. In the bin, subclips are created with the same source clip name and the file name extension .sub.01 where TOD information breaks occurred. Locator marks appear in the master clip where TOD information breaks occurred. If you select a clip that is non-DV or audio only, an error message appears, informing you that an incompatible clip was selected. These clips are bypassed during the DV scene extraction process. n To cancel the process at any time, press Ctrl+period (Windows) or k+period (Macintosh). 75 Chapter 3 Capturing Media Capturing DV Media Directly from a DV Device You can capture DV 25, DV 50, DVCPRO HD, and HDV media directly from a DV camera or deck. The way you connect the DV device depends on your system configuration and which DV resolution you want to capture. The following topics provide more information about capturing DV media. Connecting and Selecting a DV Device Your Avid editing application lets you capture, play, and output directly to a DV camera or deck (a DV device). Depending on your configuration and requirements, you can connect a DV device to one of the following ports: • The 1394 port on your Avid DNA hardware (Avid Mojo or Avid Mojo SDI) • A 1394 port on your computer (Host 1394). Connecting a DV Device The following table describes the recommended DV connections available for each DV resolution and system configuration. n On Windows systems with an Avid Mojo, you can capture DV 50, DVCPRO, or HDV only through an optional IEEE-1394 card installed in your computer. This card must be on a bus separate from the one used by the Avid Mojo. On systems with an Avid Mojo SDI, you can use the 1394 port on the Avid Mojo SDI or a 1394 port on your computer. DV Connections for Capture, Play, and Digital Cut DV Resolution Avid Mojo Avid Mojo SDI Software-only DV 25 Avid Mojo or Host 1394 Avid Mojo SDI or Host 1394 Host 1394 DV 50 Host 1394 Avid Mojo SDI or Host 1394 Host 1394 DVCPRO HD Host 1394 Avid Mojo SDI or Host 1394 Host 1394 HDVa Host 1394 Avid Mojo SDI or Host 1394 Host 1394 a. For HDV media, playback directly to an HDV device is not supported. You need to export a transport stream. For more information, see “Outputting HDV” on page 750. 76 Capturing DV Media Directly from a DV Device Selecting a DV Device When you want to use the DV device for capture, play, or output, you need to select it in the Avid editing application. You can use the Special > Device menu or the DNA/1394 button in the Timeline window to select the device without disconnecting your equipment. DNA/1394 Button If your system has Avid DNA hardware attached, the system default is DNA, and when a new project is selected, the system automatically selects DNA. If your system does not have Avid DNA hardware attached, the system default is 1394 and you cannot switch to DNA. To select a DV device for capture, play, or output, do one of the following: t Click the DNA/1394 button above the Timeline to display DNA or 1394, depending on how the DV device is connected. t Select Special > Device, and then select Avid DNA or IEEE 1394, depending on how your Client monitor is connected. A check mark appears next to IEEE 1394 in the Device menu. The Video Input tool, Capture tool, Video Output tool, and Digital Cut tool all reflect your device selection. n n On software-only systems, the only option available is IEEE 1394. If you are capturing through the 1394 port on an Avid Mojo SDI, you must select IEEE 1394. The 1394 port on the Avid Mojo SDI passes the signal through to a 1394 port on your computer. Capturing DV 25 Media For systems with Avid DNA hardware, you can capture DV 25 through either of the following connections: • The 1394 port on your Avid hardware (Avid Mojo or Avid Mojo SDI) 77 Chapter 3 Capturing Media • A 1394 port on your computer (Host 1394). For Windows systems with an Avid Mojo, this port needs to be on an optional IEEE-1394 card installed on a bus separate from the one used by the Avid Mojo. You specify the DV input device by using the DNA/1394 button above the Timeline window or commands in the Device menu (see “Connecting and Selecting a DV Device” on page 76). DV 25 Software Codec If you capture through the Avid Mojo, you have the option of using the Avid DNA hardware codec or the DV 25 software codec. If you capture through the Avid Mojo SDI or a separate IEEE 1394, the application automatically uses the DV 25 software codec. c Select the DV 25 software codec when you are in an NTSC 23.976p or 24p project capturing DV 25 from analog or SDI. The DV 25 software codec lets you capture with standard or advanced pulldown. If you do not select the DV 25 software codec, you can capture only advanced pulldown. To select the DV 25 software codec: 1. Double-click Capture in the Settings list. 2. Click the DV Options tab. 3. Select “Use software DV 25 codec.” 4. Click OK. Capturing DV 50, DVCPRO HD, or HDV Media For Avid Mojo systems, you can capture DV 50, DVCPRO HD, or HDV media only through a IEEE-1394 port on your computer. For Windows systems, this port needs to be on an optional IEEE-1394 card installed on a bus separate from the one used by the Avid Mojo. You specify the DV input device by using the DNA/1394 button above the Timeline window or commands in the Device menu (see “Connecting and Selecting a DV Device” on page 76). For Avid Mojo SDI systems, you can use the 1394 port on the Avid Mojo SDI or a port on a separate 1394 card. In either case, select IEEE 1394 as the device input. n 78 For information on playing back DV 50 and DVCPRO HD media, see “Playing Back to a DV Device” on page 104. Chapter 4 Importing Files When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify. You can import files using the procedures in the following topics: • Preparing to Import Files • Working with Mixed-Resolution Projects • Creating and Using Import Settings • Importing Files • Importing Audio Files from a Music CD • Using the Drag-and-Drop Method to Import Files You can import both single-layer and multilayered graphics created in Adobe Photoshop®. If you import multilayered graphics, you can preserve the original layers, and then edit them individually in your Avid application. See “Importing Photoshop Graphics” in the Help. You can import and edit XDCAM DVCAM media files. For more details, see “Importing XDCAM Media” in the Help. However, Avid Xpress Pro does not support editing, exporting, or recording either XDCAM proxy media or XDCAM high-resolution MPEG IMX media. For information on importing HDV material, see “Capturing and Importing HDV” in the Help. For other details about importing, see “Importing Files: Advanced” in the Help. Chapter 4 Importing Files Preparing to Import Files Before you begin the import process, make sure the system and the files are ready for import as follows: • Read about issues and tips for mixed-resolution projects in “Working with MixedResolution Projects” on page 80. • For graphics file and OMFI (Open Media Framework Interchange) file import, prepare the files in advance according to specifications described in “File Format Specifications” in the Help. • For a complete description of all options in the Import Settings dialog box, see “Import Settings” on page 365. Working with Mixed-Resolution Projects You can work with mixed resolutions in the same sequence. This feature allows you to import graphics that match the resolution of the final sequence. You cannot, however, mix clips with different frame rates. For example, you cannot mix NTSC with PAL. Avid recommends that you not mix interlaced resolutions with progressive resolutions. Mixing interlaced resolutions with progressive resolutions might result in problems with scrolling titles, export, and performing Digital Cut. For more information on mixing resolutions, see “Resolutions and Storage Requirements” in the Help. n To reimport imported graphics at a higher resolution, use the Batch Import feature, which maintains links to the original master clips and sequences. For more information, see “Reimporting Files” in the Help. Creating and Using Import Settings You can create one or more sets of import parameters and save them as an Import setting. For example, you can create one setting for importing QuickTime files and another for importing files from another application. This feature is especially useful when you use the drag-and-drop method to import multiple files (see “Using the Drag-and-Drop Method to Import Files” on page 86). 80 Importing Files The default Import setting and any additional Import settings you create appear in the Settings list (see “Using the Settings List” on page 294). After you select a setting in the Settings list, the parameters remain the default settings for all imported files, unless you change them during import. For more information about Import settings, see “Creating and Using Import Settings: Advanced” in the Help and “Import Settings” on page 365. Importing Files You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a diskette, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types. Consider copying all graphics files to a single folder before you import the files. Using this folder helps you manage graphics from multiple sources and streamlines the reimporting process because all graphics point to the same original path. To import files: 1. If you created one or more Import settings, select the Import setting you want to use from the Settings list (see “Creating and Using Import Settings” on page 80). 2. Select the format MXF or OMF in the Media Creation Settings Media Type tab. 3. Open the bin in which you want to store the imported files. 81 Chapter 4 Importing Files 4. Select File > Import. The Select Files to Import dialog box opens. n (Windows only) For more information about the files displayed in the Select Files to Import dialog box, click the Views button and then select Details. Look In menu Views button Windows Source file list File to import Files of Type menu Options button Single/Dual Drives button Video Resolution menu Video and Audio Drive menus 82 Importing Files Macintosh Show menu From menu Source file list Options button Resolution pop-up menu Single/Dual Drives button Video and Audio Drive menu 5. Click the Files of Type menu (Windows) or the Show menu (Macintosh), and select an import file type to display only files of the chosen file type in the source file list: n t Select either Graphic (Windows) or Graphic Documents (Macintosh) or Audio (Windows) or Audio Documents (Macintosh) to import one of more than 30 supported graphics and audio file types. For more information on the various file types and their import specifications, see “File Format Specifications” in the Help. t Select AAF to import files that have been saved in the AAF file format. Select HDV to import an HDV transport stream. For more information, see “Capturing and Importing HDV” in the Help. t Select OMFI to import files that have been saved in the OMFI file format, such as sequences transferred from an effects or digital audio workstation. Avid Xpress Pro does not support editing, exporting, or recording either XDCAM proxy media or XDCAM high-resolution MPEG IMX media. 83 Chapter 4 Importing Files n t Select MetaSync Files to import XML files that have been created by MetaSync Manager. These files must use the .aeo file name extension. For more information, see the Avid MetaSync Setup and User’s Guide. t Select Shot Log to import Avid Log Exchange (.ale) files containing clip information to a bin. For more information about Avid log specifications, see “Avid Log Specifications” in the Help. t Select CamCutter to import clips recorded with Editcam™ or Editcam-station products. See “Importing Editcam Files” in the Help. By default, the system displays only file types that belong to the chosen category in the file browser (Windows) or the Source file list (Macintosh) section of the dialog box. Click the Files of Type menu (Windows), and select All Files or click the Show menu (Macintosh), and select All Documents to display all files in a chosen folder, regardless of file type. Use this option if you want to batch import from multiple file types. 6. To import a series of sequentially numbered files, select the first file in the sequence. To automatically select the entire sequence of files, you must select Autodetect Sequential Files in the Import Settings dialog box. n c For sequentially numbered files (for example, myfile_001.jpg, myfile_002.jpg, and so on), the system combines all of the files into one clip. If the files are sequentially numbered but they are not actually sequential, they do not import correctly. Deselect Autodetect Sequential Files in the Import Settings dialog box. 7. (Option) Click Options to adjust the Import settings. The Import Settings dialog box opens, in which you can select various parameters. The contents of the Import Settings dialog box depend on the file type you selected. n For information about options, see “Import Settings” on page 365. 8. (Option) Select audio options in the Audio tab to ensure that imported media matches the current project sample rate and bit depth. These options are deselected by default. Your Avid system attempts to import all audio media at the source sample rate and bit depth, and only automatically converts sample rates or bit depths to the project rate or bit depth if the source is at a rate or depth the system does not support. Select one or more audio options if you do not want the audio media imported at the source sample rate or bit depth. 9. Select the other options you want, and then click OK to save the settings. 10. Close the Import Settings dialog box and return to the Select Files to Import dialog box. 84 Importing Audio Files from a Music CD 11. Click the Look In menu (Windows) or the From menu (Macintosh) to locate the folder containing the source files. 12. Select files or deselect files from the source file list by using the standard selection methods for your operating system (Windows or Macintosh). n If you are importing a sequential series of image files, you must select Autodetect Sequential Files in the Import Settings dialog box. Then select only the first file in the series in the source file list. 13. Click the Video Resolution menu (Windows) or the Resolution menu (Macintosh), and select a resolution for the imported media. See “Working with Mixed-Resolution Projects” on page 80. n The Avid system imports XDCAM media at the native resolution of the media on the XDCAM drive. The system ignores other video resolution settings. 14. Click the Single/Dual Drives button and select a destination drive for the imported file from the menu. 15. Click Open. When the system finishes importing the files, the clips appear in the selected bin. Importing Audio Files from a Music CD To import audio files from a music CD: 1. Follow the procedure in “Importing Files” on page 81. 2. In step 5, select Files of Type > Audio (Windows) or Show > Audio Documents (Macintosh). 3. In steps 11 and 12, navigate to the music CD and select the track or tracks you want to import. 4. Finish the procedure. Your track or tracks appear in the bin you opened in the procedure. 85 Chapter 4 Importing Files Using the Drag-and-Drop Method to Import Files To import one or more files using the drag-and-drop method: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Select the setting you want to use for import. Select either the default Import setting or one you have created. To view or modify the parameters, double-click the setting. For more information, see “Creating and Using Import Settings” on page 80. 3. Open the bin in which you want to store the imported files. 4. From the desktop, open the folder that contains the files you want to import. You might have to resize the Avid application to access the desktop. 5. Click the file you want to import and drag the file to the bin. To select multiple files, Ctrl+click (Windows) or k+click (Macintosh) the files and drag them to the bin. 86 Chapter 5 Organizing with Bins Your Avid system provides powerful database tools for organizing and managing your captured material. You can work with bins using four different views. These topics are covered in the following topics: • Manipulating Clips in the Bin • Using Text View • Using Brief View • Using Frame View • Using Script View • Changing the Bin Background Color • Conserving Screen Real Estate with the SuperBin You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins. This and other information about bins is covered in “Organizing with Bins: Advanced” in the Help. Manipulating Clips in the Bin There are some basic procedures that you can use in any of the bin display views for manipulating clips in the bin. They include selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you are working with bins, an asterisk (Windows) or a diamond (Macintosh) precedes the bin name in the bin’s title bar. This asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed. n To view a complete list of the bins in your project, see “Using the Bins Display” on page 32. Chapter 5 Organizing with Bins Using Text View Text view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs. To enter Text view: t Click the Text tab in the Bin window. Showing and Hiding Columns You can select individual or multiple headings to be displayed or hidden in the bin. For a complete description of each column heading, see “Bin Column Headings” in the Help. To select column headings: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Select the headings you want to add to or remove from the bin: t Click the name of a heading to select it. t Click a highlighted heading to deselect it. t Click All/None to select or deselect all of the headings in the bin. 3. Click OK. Only the headings highlighted in the dialog box appear in the bin. 88 Using Text View Understanding Bin Icons The following table describes the icons that represent the different kinds of bin objects. Object Icon Descriptions Object Icon Object Name Object Description Master Clip A clip that references audio and video media files formed from captured footage or imported files. Subclip A clip that references a selected portion of a master clip. Sequence A clip that represents an edited program, partial or complete, that you create from other clips. Source A clip that references the original videotape source footage for master clips. Audio Clip A clip that references audio media files formed from captured audio or imported files Effect A clip that references an unrendered effect that you create. Motion Effect A clip in the bin that references effect media files generated when you create motion effects. Rendered Effect A clip that references an effect media file generated when you render an effect. ITV Enhancement Clips that represent Interactive Television (ITV) enhancements that conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide or the Help. Opaque Enhancement Clips that represent ITV enhancements that do not conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide or the Help. 89 Chapter 5 Organizing with Bins Using Brief View Brief view can help you manage your screen real estate. It displays only five standard columns of information about the clips and sequences in your bins. To see Text view with only five standard bin columns showing: t Click the Brief tab. n You cannot customize the column headings in Brief view. n A different set of column headings appears for film projects. 90 Using Frame View Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default, but you can play back the footage within any clip and select any frame to represent the footage. You can make the pictures larger to see more detail or smaller to see more clips in the window. You can also rearrange the frames in any order. Each frame appears on your screen with its assigned name directly beneath it. Clip frame Clip name n A long clip name might not appear in its entirety. 91 Chapter 5 Organizing with Bins Using Script View In Script view, the system combines the features of Text view with Frame view, and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a script text box to the right of each clip. Clip information is displayed above the text box. You cannot change the size of the frames displayed in Script view. Changing the Bin Background Color Bin color changes affect one bin at a time. Bin color changes can be applied to Frame view or Script view only. Text view remains black and white. To change the bin background color: 1. Activate the bin you want to change, and make sure you are in Frame view or Script view. 2. Select Edit > Set Bin Background, and select a color from the palette. The bin color changes, based on your selection. 92 Conserving Screen Real Estate with the SuperBin Conserving Screen Real Estate with the SuperBin You can use the SuperBin to conserve screen real estate. The SuperBin lets you open different bins in a single bin window and switch between the bins, keeping them open with only one visible at a time. You can also switch a bin between being open in its own window and being open in the SuperBin, and you can move or copy clips and sequences into or out of the SuperBin. Enabling the SuperBin To enable the SuperBin: 1. Click the Settings tab in the Project window. 2. Double-click Bin in the Settings list. The Bin Settings dialog box opens. 3. Select Enable SuperBin, and then click OK. The next time you click a bin in the Project window, it opens in the SuperBin. Opening Bins in the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. See “Enabling the SuperBin” on page 93. 2. Click the Bins tab in the Project window, and then single-click a bin icon. n Double-clicking a bin opens it in its own window, not in the SuperBin. The bin opens in the SuperBin. The SuperBin button appears in the upper left corner, and the title is SuperBin: bin name. SuperBin button 93 Chapter 5 Organizing with Bins To view a bin previously opened in the SuperBin, do one of the following: n t Click the Bins tab in the Project window, and single-click the bin name. t Click the SuperBin button, and select a bin. If you have no other bins open in the SuperBin, you do not see a pop-up menu when you click the SuperBin button. The bin reappears in the SuperBin. Closing the SuperBin To close the SuperBin: t Click the Close button. All bins opened in the SuperBin close. Moving Bins into and out of the SuperBin You can move bins currently displayed in their own windows into the SuperBin. You can also move a bin displayed in the SuperBin into its own window. To move an opened bin into the SuperBin: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The individual bin window closes and the bin appears in the SuperBin. To move a bin out of the SuperBin and into its own window: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The bin disappears from the SuperBin and appears in its own window. Moving Clips and Sequences into and out of the SuperBin To move a clip or sequence into the SuperBin: t Drag the clip or sequence from another open bin window into the bin displayed in the SuperBin. The clip or sequence moves into the SuperBin. You can copy a clip or sequence from the SuperBin directly to a bin in the Project window. 94 Conserving Screen Real Estate with the SuperBin To move a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence moves into the bin in the Project window and the bin opens in its own window. Copying Clips and Sequences into and out of the SuperBin To copy a clip or sequence into the SuperBin: t Press and hold the Alt key (Windows) or the Option key (Macintosh), and then drag a clip or sequence from another open bin window into the bin displayed in the SuperBin. The clip or sequence is copied into the SuperBin. n Any change you make to the copy affects the original as well. You can copy a clip or sequence from the SuperBin directly to a bin in the Project window. To copy a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Press and hold Alt key (Windows) or the Option key (Macintosh), and then drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence is copied into the bin in the Project window and the bin opens in its own window. Deleting a Bin with the SuperBin Enabled To delete a bin while the SuperBin is enabled: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the bin name in the Project window, and select Delete Selected Bins. The bin is deleted. 95 Chapter 5 Organizing with Bins 96 Chapter 6 Viewing and Marking Footage Before making your first edit, you can review your footage, add locators to clips, mark IN and OUT points, or create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip. Techniques for playback, viewing, and subcataloging clips are described in the following topics: • Viewing Methods • Understanding the Monitor Displays • Loading and Clearing Footage • Playing Back to a DV Device • Optimizing Your Playback Performance • Controlling Playback • Using the Command Palette • Using the Tool Palette • Marking and Subcataloging Footage • Finding Frames and Clips For more information about viewing and marking footage, see “Viewing and Marking Footage: Advanced” in the Help. Viewing Methods You can work with clips and sequences in several different ways, depending on your needs and preferences. Each method has its own uses and advantages, as follows: • Viewing in bins: You see pictorial images of the clips in your bins using Frame view. See “Using Frame View” on page 91. You can also list the clips by name using Text view. See “Using Text View” on page 88. Chapter 6 Viewing and Marking Footage • Viewing in the Source pop-up monitors: You can load clips and sequences into the Source pop-up monitors to view and mark or subcatalog clips for use in a sequence that you build in the Composer monitor. • Viewing in the Composer monitor: You can load a sequence into the Composer monitor to view, mark, or modify an existing sequence. You cannot load clips directly into the Composer monitor. • Viewing in dual monitors: If you stretch the Composer monitor into dual monitors, you can load clips into the left Source monitor and sequences into the right Record monitor. • Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence. Understanding the Monitor Displays The following illustration shows the basic set of windows in the default single monitor display: Source pop-up monitor Composer monitor Bin Project window Timeline window 98 Understanding the Monitor Displays For information about customizing the display, see “Customizing the Monitor Displays” in the Help. Using Dual Monitors You can stretch your Composer monitor into two monitors. This lets you open a source clip in the left monitor (Source monitor); the right monitor (Record monitor) displays your sequence and provides the usual Composer monitor functions. To view dual monitors: t (Windows) Click either edge of the Composer monitor and drag it to the outside. t (Macintosh) Do the following: a. Click the Composer monitor title bar and drag it to the left. b. Click the bottom right corner of the Composer monitor and drag it to the right. The monitor splits into two. When you double-click a sequence icon in a bin (see “Understanding Bin Icons” on page 89), the sequence appears in the right (Record) monitor. 99 Chapter 6 Viewing and Marking Footage To open a clip in the left monitor: t Drag a clip from the Bin window into the left (Source) monitor. The clip appears in the left monitor. n If you have the “Double-click loads object in” option set to “Source or Record Monitor” in the Bin Settings dialog box, you can also double-click a clip or a sequence in the Bin window to have it appear in the right or left monitor as appropriate. See “Bin Settings” on page 315. To switch between the monitors: t 100 Press Esc or click the other monitor. Understanding the Monitor Displays The following illustration shows the basic set of windows in the dual-monitor display: Source monitor Record monitor Bin Project window Timeline window To return to a single monitor: t (Windows) Click an edge of the dual monitors and drag it to the center. t (Macintosh) Click the lower right corner of the Record monitor and drag it to the left. The dual monitors return to a single Composer monitor. n When you are using a single monitor, double-clicking a clip opens it in a free-standing Source pop-up monitor. 101 Chapter 6 Viewing and Marking Footage Playing Video to a Full-Screen Monitor The Full Screen Playback option allows you to view your video on a full-screen monitor. To enable full screen playback: 1. Make sure your system is properly setup for full-screen monitor play. See “Preparing the System for Full Screen Playback” in the Help. 2. Make sure any DNA device (Avid Mojo or Avid Mojo SDI) is disabled by clicking the DNA/1394 button in the Timeline. Ensure it is set to 1394. 3. Check the Full Screen Playback Settings to make sure you have them set properly. See “Full Screen Playback Settings” on page 361. 4. Select Special > Full Screen Playback. To disable full screen playback: t Type Shift+Ctrl+F (Windows) Shift+Commnd+F (Macintosh). Using the 16:9 Display Format The Avid application supports the 16:9 aspect ratio for the display of wide-screen images used in high-definition television (HDTV) as well as in some feature film formats. The 16:9 display allows you to offline edit wide-screen footage that was squeezed during shooting or transferred anamorphically to NTSC or PAL tapes. Selecting the 16:9 option returns the squeezed image to its normal aspect ratio. Once you are finished with the offline phase, you can generate an edit decision list (EDL) or cut list using matchback for conforming the final master or cut with the original high-definition footage. To enable the 16:9 display: 1. Click in the Composer monitor to make it active. 2. Select Clip > 16:9 Monitors. A check mark appears next to the 16:9 option. The Composer monitor displays media as 16:9. n If you shoot footage as anything other than 16:9 and choose to display the Composer monitor as 16:9, the media appears distorted. n To view the footage on a client monitor, you need an HD monitor or 16:9-compatible fullscreen NTSC or PAL monitor. 102 Loading and Clearing Footage Loading and Clearing Footage You load individual or multiple clips into the Source monitor, and you load sequences into the Composer monitor using different methods. You can also use the Clip Name menu to display clips and sequences. Loading Footage To load a clip or sequence into the Source monitor: 1. Open a bin and locate the clip or sequence. See “Understanding Bin Icons” on page 89. 2. Double-click the clip or sequence. Ctrl+click (Windows) or Shift+click (Macintosh) to load multiple clips or sequences. For each clip or sequence that you selected, a Source pop-up monitor opens. n You can also load sequences by clicking the sequences and dragging them from the bin to the monitor. To load a sequence into the single Composer monitor: 1. Open a bin and locate the sequence. 2. Drag the sequence into the Composer monitor or the Timeline. Ctrl+click (Windows) or Shift+click (Macintosh) to load multiple sequences. The sequence loads into the Composer monitor and the Timeline, clearing the Timeline of the previous sequence and resetting the Undo list. n When you start a new sequence, you must drag the first clip into the Timeline; you cannot drag it into the Composer monitor. To load a sequence into the dual Source/Record monitors: 1. Open a bin and locate the sequence. 2. Double-click the sequence icon. The sequence loads into the Record monitor and the Timeline, clearing the Timeline of the previous sequence and resetting the Undo list. 103 Chapter 6 Viewing and Marking Footage Using the Clip Name Menu When you have clips loaded in a monitor, you use the Clip Name menu located above each monitor to switch between various loaded clips or to clear clips from monitors. See the following topics in the Help: • Switching Between Loaded Sequences • Clearing Sequences from Monitors Playing Back to a DV Device Your options for playback of media to a DV device vary, depending on whether the media is played back as DV 25, DV 50, or DVCPRO HD (DV 100). • You can play back DV 25 media either through Avid DNA hardware or through a DV device attached to a 1394 port on your computer. When capturing or playing back DV 25, you have the choice of using a hardware codec or a software codec (see “Capturing DV 25 Media” on page 77). • You can play back DV 50 or DVCPRO HD media only through a 1394 port on your computer or the 1394 port on an Avid Mojo SDI. For information on switching from a DNA device to a 1394 port on your computer, see “Connecting and Selecting a DV Device” on page 76. n On a Windows system with an an Avid Mojo, the DV device needs to be attached to a port on an optional IEEE-1394 card installed on a bus separate from the one used by the Avid Mojo. When you are playing back to a DV device, you have the option of enabling real-time encoding of effects and mixed resolutions. To play back to a DV device connected through a 1394 port: 1. Do one of the following: 104 - Click the DNA/1394 button in the Timeline so that the button label is 1394. - Select Special > Device > IEEE 1394. Playing Back to a DV Device 2. Right-click the Video Quality menu button and select Output to DV Device. Playback to the DV device and playback to the desktop occur simultaneously. n If you do not have a device connected to a 1394 port, these options are grayed out. 3. Right-click the Video Quality button, select Format, and then select the native format to be sent to the DV device: - DV 25 411 - enabled in any SD project - DV 25 420 - enabled only in PAL SD projects - DV 50 - enabled in any SD project - DVCPRO HD - enabled only in HD 720p 59.94, 1080i 50, and 1080i 59.94 projects 4. (Option) If you are in an SD project, right-click the Video Quality button, and then select Realtime Encoding. n n - If you select Realtime Encoding, you are in real-time effects mode. The media in your sequence is encoded to the format selected in the Video Quality menu. Enabling Realtime Encoding is helpful if you have a faster processor because it allows you to bypass rendering many of your effects to disk. - If you do not select Realtime Encoding, you are in native play mode. You must render all effects and any media not matching the selected format will be played as black. The Video Quality menu only allows you to select Full Quality (green/green) playback. Disabling Realtime Encoding is helpful if your machine has a slower processor. - Select Realtime Encoding to output 24p media to a DV device. You must also select Full Quality playback. Realtime Encoding applies only to playing DV 25 and DV 50 media to a DV device. You can also select the DV playback options in the Video Display Settings dialog box. 105 Chapter 6 Viewing and Marking Footage Optimizing Your Playback Performance The following topics describe how to get the best performance from your Avid editor when playing back to the application monitors, full-screen playback monitor, and the Client monitor. The following topics provide information about optimizing your playback performance: • Understanding Video Quality for Playback • Setting the Video Quality for Playback Understanding Video Quality for Playback The Avid application provides you with a choice of three video qualities for playback: • Full Quality (green icon) • Draft Quality (yellow/green icon) • Best Performance (yellow icon) The following table describes how the Video Quality menu and the Video Display settings function with different hardware and software configurations. The following terms are used in this table: n 106 • Avid DNA refers to an Avid Mojo or an Avid Mojo SDI. • Host 1394 refers to a 1394 (Forewire) port on your computer. On Windows systems with an Avid Mojo, this port must be on a 1394 card on a bus separate from the one used by the Avid Mojo. On systems with a Avid Mojo SDI, the 1394 port on the Avid Mojo SDI functions like a 1394 port on your computer. • Playback to the desktop refers to playback through the Source, Record, or full-screen play monitors. Full-screen playback can be useful if you are working on a software-only system. For more information, see “Playing Video to a Full-Screen Monitor” on page 102. • 1/4-frame playback and 1/16-frame playback refer to the amount of detail contained in the video image. For information about video quality and effects processing, see “Playing Back at Different Video Qualities” on page 209. Optimizing Your Playback Performance Video Qualities for Playback Video Quality Name Icon Playback to Avid DNA Playback to a DV Device Attached to a Host 1394 Port Playback to the Desktop Full-frame native playback of DV 25, DV 50, and DVCPRO HD. Full-frame realtime effects playback of DV 25 and DV 50. Full-frame real-time effects playback of SD 1/4 resolution, single field. 1/4-frame real-time effects playback of SD or HD to the desktop only. 1/4-frame real-time effects playback of DV 25 and DV 50. 1/4-frame real-time effects playback of SD. Best 1/16 resolution, single field. 1/16 resolution, single field. Performance 1/16-frame real-time 1/16-frame real-time effects playback of SD. playback of SD or HD to the desktop only. 1/16-frame real-time effects playback of DV 25 and DV 50. 1/16-frame real-time effects playback of SD. Full Quality V Highest quality resolution, two fields. Full-frame real-time effects playback of SD. Full-frame native playback of Avid DNxHD. Draft Quality 1/4 resolution, single field. 1/4-frame real-time effects playback of SD. With Full Screen Playback enabled, full-frame real-time effects playback of HD. Consider the following about video quality: Full Quality (Green) • If you want to work with effects at full resolution, select Full Quality. • In an HD project, on a system with DNA hardware that does not include an HD board, DNxHD media plays back to the desktop only. DVCPro HD media plays back to a device connected to a Host 1394 port. • In an HD project, with Full Screen Playback enabled, playback performance relies heavily on CPU performance. You might notice missing frames during playback. Group Clip • When you enter Group Clip mode, the Avid editing application automatically adjusts the video quality. The application maintains a quality setting for Group Clip mode separately from the quality setting for normal playback. 107 Chapter 6 Viewing and Marking Footage Setting the Video Quality for Playback To set the video quality for playback: 1. Do one of the following, depending on how your external device is connected: t Click the DNA/1394 button above the Timeline to display DNA or 1394. t Select Special > Device, and then select Avid DNA or IEEE 1394. 2. Right-click the Video Quality menu button, and select a quality, as described in the previous section. 3. Right-click the Video Quality menu button, and select Video Display Settings. This opens the Video Display Settings window and allows you to select additional video display settings. For information about the Video Display settings, see “Selecting the Video Display Settings” and “Video Display Settings” in the Help . Controlling Playback There are several ways to play, view, and cue clips: • Instantly access frames or move through footage using the position indicator within the position bar under the monitors. • Play through the footage using user-selectable buttons or the mouse. • Play using keyboard equivalents. Using Position Bars and Position Indicators To quickly access frames within a clip loaded into a monitor or to move through the footage, do one of the following: 108 t Use the position indicators that appear in the position bars under the Source pop-up and Composer monitors. The position indicator also appears in the Timeline when you are viewing a sequence. t Move the position indicator within the position bar under the monitor by clicking anywhere in the position bar or by dragging the position indicator to the left or right. The speed with which you drag the position indicator determines the speed at which you move through the footage. Controlling Playback Position bar Position indicator t Click anywhere in the Timeline to relocate the position indicator, or drag the position indicator through footage at varying speeds. In the Timeline, the position indicator shows your position within the sequence. It is always in the same position as the position indicator in the Composer monitor’s position bar. t Click at the far left or far right of the position indicator on the Timeline to go directly to the beginning or end of a clip or sequence. Position indicator in Timeline Using Buttons You can use the buttons that appear under the Composer monitor, in the Source pop-up monitors, and in the Tool palette to play and step (jog) through your footage. You can also use the keyboard to manipulate footage. To step (or jog) through footage: 1. Load a clip into the Source monitor or a Source pop-up monitor or a sequence into the Composer monitor. 2. Click the appropriate button to: - Step one frame forward. - Step one frame backward. To play the clip backward or forward in one-frame increments: t Click the Step buttons under the monitors. 109 Chapter 6 Viewing and Marking Footage To play forward or backward in 10-frame increments: t Press the 1 key (backward) or the 2 key (forward) on the keyboard. t Press and hold the Alt key (Windows) or the Option key (Macintosh) while clicking the Step buttons under the monitors. t In the Move tab of the Command palette, click the Step 10 Frames button or the Step 8 frames (24p) button. To jump backward to transitions or locators: 1. Click the Fast menu button. The Tool palette opens. 2. Click the Rewind button to rewind to the previous transition in the Timeline. Press and hold the Alt key (Windows) or Option key (Macintosh) to go to the previous locator on the selected track. To jump forward to transitions or locators: 1. Click the Fast menu button. The Tool palette opens. 2. Click the Fast Forward button to jump to the next transition in the Timeline. Press and hold the Alt key (Windows) or Option key (Macintosh) to go to the next locator on the selected track. Step Backward button 110 Step Forward button Controlling Playback Shuttling with J-K-L Keys To shuttle through the footage using the J-K-L keys on the keyboard: 1. Load a clip into the Source pop-up monitor or a sequence into the Composer monitor. 2. Use the J-K-L keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. You can increase the speed according to the following table: Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 2 times 2x normal speed 60 fps 50 fps 48 fps 3 times 3x normal speed 90 fps 75 fps 72 fps 4 times 5x normal speed 150 fps 125 fps 120 fps 5 times 8x normal speed 240 fps 200 fps 192 fps n t Press the J key to move backward at the same shuttle speed increments. t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6 fps for 24p projects). t Press the K and J keys together for slow backward. t Press the K key and tap the L key or the J key to step through footage one frame at a time. Audio plays back at up to 3x normal speed. To slow or change play direction one speed at a time: t Press Alt (Windows) or Option (Macintosh) while you tap the J or L key. Play slows or changes play direction one speed at a time from the speed at which you are currently playing. Backward -8x -5x Forward -3x -2x -1x 0 1x 2x 3x 5x 8x For example, you are shuttling backward with the J key at 2x normal speed. Press and hold Alt and tap the L key once. Play slows to backward at normal speed (1x speed). Hold Alt (Windows) or Option (Macintosh) and tap L once again. Play stops. Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes forward 111 Chapter 6 Viewing and Marking Footage at normal speed. Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes forward at 2x normal speed. Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes forward at 3x normal speed. Release the keys to continue playing forward at 3x normal speed. To pause the shuttling: t Press the K key. To stop shuttling: t n Press the space bar. You can also perform smooth audio scrub with the J-K-L keys. For more information, see “Performing Smooth Audio Scrub” in the Help. Navigating with Home, End, and Arrow Keys In addition to using the buttons in the application, you can use the following keys on your keyboard to navigate through clips and sequences: Press To Home key Move to the beginning of a clip or sequence. End key Move to the end of a clip or sequence. Left Arrow key Move the footage one frame backward. Pressing and holding the Alt key (Windows) or the Option key (Macintosh) while pressing the Left Arrow key moves 10 frames backward (8 frames in 24p projects). Right Arrow key Move the footage one frame forward. Pressing and holding the Alt key (Windows) or the Option key (Macintosh) while pressing the Right Arrow key moves 10 frames forward (8 frames in 24p projects). Using the Command Palette The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse. 112 Using the Command Palette The Command palette organizes buttons by editing function. Tabs are displayed for each editing function, and the buttons that perform those functions are displayed within each tab. The functions are: Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam, Other, and More. You can use the Command palette to: n • Map buttons to the Tool palette or the keyboard. See “Mapping User-Selectable Buttons” on page 114. • Map menu commands to various buttons and keys. See “Mapping Menu Commands” in the Help. • Directly activate a command. See “Activating Commands from the Command Palette” in the Help. For information about each button on the Command palette, right-click a button (Windows) or Ctrl+Shift+click a button (Macintosh), and select What’s This?. Understanding Button Mapping Mapping user-selectable buttons allows you to reconfigure Command palettes or the keyboard in various combinations to suit different editing needs. n When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up or Page Down keys revert to the default functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function. The following examples illustrate button mapping: • Subcataloging clips: You can map the Make Subclip button and other clip management buttons. Make Subclip Find Bin Add Locator 113 Chapter 6 Viewing and Marking Footage • Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, and Fade Effect. Motion Effect Remove Effect Fade Effect When you remap buttons or commands, the system stores your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes. n For more information on multiple settings, see “Working with Multiple Settings” on page 303. The Avid application stores button configurations as follows: • Changes to the Keyboard palette are stored in the Keyboard settings. • Changes to the Tool palette are stored in the Interface settings. Both of these settings are stored in the User settings. Mapping User-Selectable Buttons To map buttons or keys on the keyboard to the Tool palette or the Keyboard palette, using the Command palette: 1. Open a window that has a user-selectable button palette by doing one of the following: t Activate the Composer monitor, the Source pop-up monitor, or the dual monitors, click the Fast Menu button, and drag to tear off the Tool palette. t Double-click Keyboard in the Settings list in the Project window to open the Keyboard palette. 2. Select Tools > Command Palette. The Command Palette window opens. 114 Using the Tool Palette 3. Select Button to Button Reassignment. Button to Button Reassignment 4. Click the tab from which you want to select a user-selectable button. 5. Drag the button from the Command palette to a button location on the Tool palette or the Keyboard palette (whichever one you opened previously). You can also map menu items. For more information, see “Using the Command Palette: Advanced” in the Help. Using the Tool Palette The Tool palette provides additional buttons for editing and navigating. You can have the Tool palette buttons appear with or without labels. You can “tear off” the Tool palette to have it displayed in another screen location. You can also map other tools or functions to the Tool palette. See “Mapping User-Selectable Buttons” on page 114. To open the Tool Palette window: t Click the Fast Menu button under the Source pop-up or the Composer monitor. The Tool Palette window opens. n If a subset of the buttons appears on the Tool palette, click the lower right corner and drag it to the right and down to reveal the full Tool palette and blank, mappable buttons. 115 Chapter 6 Viewing and Marking Footage To see the names of the buttons on the Tool palette: t Hold the mouse pointer over a button. The name of the button appears in a yellow ToolTip box. To display labels on the Tool Palette buttons: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Interface. The Interface dialog box opens. 3. Select “Show Labels in Tool palette.” 4. Click OK. The names of the buttons appear on the buttons under the icons. To tear off the Tool palette and move it to another location: 1. Click the Fast Menu button under the Source pop-up or the Composer monitor. 2. Click the Tool palette and drag it to another location in the application. Marking and Subcataloging Footage You can speed the editing process by marking clips with IN and OUT points in advance, using locators to subcatalog footage, and by creating subclips. Marking IN and OUT Points You can mark IN and OUT points for your clips in advance, which provides several advantages: 116 • You can quickly build a sequence by dragging the marked clips into place one after another. • You can use the process of rough cut or storyboard editing, which allows you to instantly splice several prepared clips into a sequence. See “Creating an Instant Rough Cut” on page 127. Marking and Subcataloging Footage • You can play back and mark clips in the bin before loading a single clip, saving several steps. Even if your marks are not accurate now, the Avid application allows you to trim the edit points and fine-tune the sequence later without reediting the material. To mark IN and OUT points before adding them to a sequence: 1. Load a sequence into the Composer monitor, or load a clip into the Source monitor or a Source pop-up monitor. See “Loading Footage” on page 103. 2. Play or step through the material. Use the J-K-L keys when playing a clip in a bin. See “Shuttling with J-K-L Keys” on page 111. 3. Select tracks corresponding to the cuts you want to mark. See “Selecting Tracks” on page 134. 4. Mark an IN point by doing one of the following: t Click the Mark IN button under the monitor to mark an IN point and stop playback. t Press the Mark IN key on the keyboard to mark a clip in a bin. (Mark IN on the keyboard does not stop playback.) The Sawtooth icon appears on the left side of the monitor to indicate the mark IN frame. Sawtooth icon Mark IN button Mark OUT button 5. Continue playing or stepping (jogging) through the material. 117 Chapter 6 Viewing and Marking Footage 6. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point and stop playback. t Press the Mark OUT key on the keyboard to mark a clip in a bin. The Sawtooth icon appears on the right side of the monitor to indicate the mark OUT frame. Clearing a Mark and Setting a New One You can clear marks and set new ones. To clear the IN point: t Click the Clear IN button (or press the D key). To clear the OUT point: t Click the Clear OUT button (or press the F key). To clear both the IN and OUT points: t Click the Clear Both Marks button (or press the G key). To set a new IN point: t Click the Mark IN button when you reach a different frame. To set a new OUT point: t Click the Mark OUT button when you reach a different frame. Dragging IN and OUT Points To drag IN and OUT points: t Press the Alt key (Windows) or the Option key (Macintosh) and drag marked IN and OUT points to visible locations. Marking an Entire Clip or Segment A segment in a sequence consists of the material between any two edit points. To mark an entire clip or segment: 1. Load a sequence into the Composer monitor, or load a clip into the Source monitor or a Source pop-up monitor. See “Loading Footage” on page 103. 2. For a sequence, move the position indicator to the segment that you want to mark. 118 Marking and Subcataloging Footage 3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark. See “Selecting Tracks” on page 134. 4. Click the Mark Clip button under the monitor. Mark Clip button Using the Timeline Top Toolbar The Avid application provides you with a top toolbar in the Timeline. You can use the top toolbar for editing; you can also map additional buttons to it. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 114. You can choose to hide or show the Timeline top toolbar. To show the Timeline top toolbar: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Timeline. The Timeline Settings dialog box opens. 3. Click the Display tab. 4. Select Show Toolbar, and then click OK. Creating Subclips When you mark footage with IN and OUT points, you can either save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This is similar to creating circle takes of all of your best footage before editing. Subclips do not directly reference the original media. Subclips remain linked to the master clips from which they are created, and the master clips, in turn, reference the captured media files located on your storage drives. As a result, none of the original footage is lost. 119 Chapter 6 Viewing and Marking Footage Subclips do not limit your access to the original, captured master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT points of the subclip to make it longer or shorter, your system accommodates the adjustments during the trim. For more information on trimming, see “Working in Trim Mode” on page 151. When subclips are created in 24p or 25p projects, they are always created as “hard” subclips. This means that you cannot trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film tracking information errors for editing and cut lists. You can also create a subsequence, which is a subclip created from a sequence. You can create subclips directly from the marked section of material in the monitors using one of the following methods. To use the Alt key (Windows) or the Option key (Macintosh) to create a subclip: 1. Press and hold the Alt key (Windows) or the Option key (Macintosh). 2. Drag the picture from the monitor to the bin in which you want to store the subclip. To use the Make Subclip button to create a subclip: 1. Click the Fast Menu button under the monitor. The Tool palette appears. 2. Click the Make Subclip button to create the subclip and place it into the active bin by default. If you press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button, a dialog box allows you to select the destination bin for the subclip. The new subclip is listed in the bin, preceded by a subclip icon and identified with a numbered .Sub.n file name extension. New subclip To create a subsequence: 1. Mark IN and OUT points in a sequence. 2. Click the Subsequence button above the Record monitor, and drag it to a bin. 120 Finding Frames and Clips Finding Frames and Clips Once you have captured, viewed, marked, and subcatalogued numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins. The Avid application allows you to quickly locate and cue footage. Using Frame Offset Timecode to Cue a Frame To cue a frame using frame offset timecode: 1. Using the numeric keypad, type a plus (+) sign to move forward or a minus sign (–) to move backward from the current position. 2. Type a number for the frame offset, and press Enter on the numeric keypad. Use the following formats: n - One or two digits: Type 1 through 99 to specify a number of frames forward or backward. For instance, type –42 to move backward 42 frames. - Three digits: Type 100 or a greater number to move forward or backward a specified number of seconds and frames. For instance, if you type +100 and the master track timecode is selected on the Tracking Information menu, you move forward 1 second and 0 frames. If you type “f” after a 3-digit frame number, the Avid system interprets the number as frames, not as seconds and frames. For example, +123f moves forward 123 frames, not one 1 second and 23 frames. Using Timecode to Find a Frame At any time during editing you can type timecode values, using the numeric keypad on the right side of the keyboard, to cue a loaded clip or sequence to a specific frame. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds plus frames using positive or negative frame-offset values. The system interprets the numbers you type with the numeric keypad according to the type of tracking format you have chosen in the row of information displayed above the monitor. To cue to a frame based on a known timecode: 1. Type the timecode for the frame using the numeric keypad on the right side of the keyboard. A text box opens in the middle of the monitor. 121 Chapter 6 Viewing and Marking Footage Master track Type a master timecode to find a frame in the sequence. 2. Use one of these formats: - SMPTE timecode: Use two digits each for the hours, minutes, seconds, and frames with no leading zeros. For example, type 1230200 to enter 01;23;02;00. - Current timecode: If you are finding a timecode that starts at the same time as the current timecode, just type the last digits. For example, if the current timecode is 1;05;12;13 and you type 4;25, the system finds the frame at 1;05;04;25. 3. Press Enter on the numeric keypad. 122 Chapter 7 First Edits After you have viewed and marked your clips or have created subclips, you are ready to create a sequence and a rough cut. This chapter introduces you to procedures that you use to build a basic sequence, as described in the following topics: • Setting Up a New Sequence • Making the First Edit • Editing Additional Clips into the Sequence • Lifting, Extracting, and Copying Material • Playing the New Sequence • Proceeding with Editing For more information about beginning to edit, see “First Edits: Advanced” in the Help. Setting Up a New Sequence For information about setting up a new sequence, see the following sections: • Creating a New Sequence • Changing Sequence Information • Changing the Start Timecode for Sequences • Setting Up Tracks for the New Sequence Chapter 7 First Edits Creating a New Sequence To create a new sequence: 1. Select Clip > New Sequence. One of the following occurs: - If just one bin is open, or if several bins are open and you clicked a specific bin to activate it, the new sequence appears in the bin. It also appears in the Composer monitor and in the Timeline, with the generic title “Untitled Sequence n.” Each new sequence is numbered incrementally until you rename it. - If several bins are open but none is activated, the Select dialog box appears. 2. Select the bin in which to store the new sequence, or click the New Bin button to create and open a new bin. 3. Click OK. An untitled sequence appears in the bin, in the Composer monitor, and in the Timeline. To rename the new sequence: t n Immediately type a new name while the name is highlighted in the bin. If you click anywhere in the interface after creating the new sequence, you deactivate the sequence name field. You must click the sequence name again to rename the sequence. Changing Sequence Information The following optional procedure allows you to rename the new sequence and to set a customized start timecode using the Get Sequence Info command. To rename a sequence and set a customized timecode: 1. With your sequence loaded and the Composer monitor active, select File > Get Sequence Info. The Sequence Info dialog box appears. 2. Type a new name in the Name text box. 3. Drag the pointer across the Start timecode, and then type a new timecode. 124 Making the First Edit 4. (Option) For 24p or 25p projects, drag the pointer across the start key number (Starting EC) and type a new start key number. 5. Click OK. Changing the Start Timecode for Sequences To change the start time of a sequence that has already been created: 1. Click the sequence start time in the bin. 2. Type a new timecode. Setting Up Tracks for the New Sequence When you create a new sequence using the New Sequence command, and no material is loaded into the Source pop-up monitor, the Timeline is empty. To add a new track to a sequence loaded in the Composer monitor: t Select Clip > New Audio Track or select Clip > New Video Track. The new track appears in the Timeline. When you add a new track to a sequence, the Avid system assigns a consecutive number to it. You can change the numbering scheme of tracks rather than use the consecutive numbering default. See also “Adding Tracks” on page 139. Making the First Edit Making the first edit involves the following procedures: • Beginning to Edit • Creating an Instant Rough Cut • Undoing or Redoing Edits • Monitoring Audio While Editing 125 Chapter 7 First Edits Beginning to Edit To begin editing: 1. Load the first clip into the Source monitor or into a Source pop-up monitor. If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary. Source Track buttons Source Track Monitor buttons 2. Click buttons in the Track Selector panel in the Timeline to select the tracks you want to include in the edit. For more information on using the Track Selector panel, see “Using the Track Selector Panel” on page 133. Only the tracks that have been captured for the clip appear as source tracks in the Timeline. For example, with a talking head, you might select tracks V1 (picture) and A2 (sound), if the voice was recorded on that track. You would deselect track A1, which might have unwanted wild sound picked up from a second microphone or no sound at all. As another example, if you are laying down a music track first, you would select track A1 or A2, depending upon where the music was captured, and deselect V1. 3. Click the clip and drag it from the Source monitor into the Timeline. The Composer monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or the position bar under the Composer monitor to review the clip.) The edit also generates a graphical display of the cut in the Timeline. 126 Making the First Edit Screen display of the first edit in a sequence Source clip The end of the last frame of the new edit Timeline generated by the edit Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can quickly create a rough cut by selecting and loading multiple clips directly from the bin in Frame view and by dragging them into the Timeline. To create a rough cut from a bin: n To create a more accurate rough cut, view and mark clips in the bin in advance. See “Marking IN and OUT Points” on page 116. 1. Click the Frame tab to enter Frame view. 2. In the bin, sort the clips in the order in which you want them to appear in the sequence. 3. Select the tracks for the edit. 127 Chapter 7 First Edits 4. Do one of the following: t Ctrl+click (Windows) or Shift+click (Macintosh) the clips. t Lasso the clips by dragging left to right and down to select more than one clip. For help with lassoing, see “Lassoing Objects” in the Help. t Select Edit > Select All if there are no other clips in the bin. 5. Drag the highlighted clips to the Timeline to splice the clips into place. The clips are spliced together to form a new sequence based on the order in which they were listed in the bin. Undoing or Redoing Edits You can undo or redo up to 32 previous actions listed in the Edit menu. To undo only the previous edit or function: t Select Edit > Undo. To redo only the previous edit or function: t Select Edit > Redo. Monitoring Audio While Editing You can use the Audio tool to monitor audio levels while you edit. If you have the Audio tool open and you play footage that includes audio, the audio levels are tracked in the Audio tool. For more information on using the Audio tool, see “Using the Audio Tool” on page 64. Editing Additional Clips into the Sequence The primary edit function is dragging and dropping. In most cases, you perform three-point edits in which you set three marks — two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. You can also use the splice-in and overwrite functions. See “Performing a Splice-in Edit” and “Performing an Overwrite Edit” in the Help. 128 Lifting, Extracting, and Copying Material Lifting, Extracting, and Copying Material Lifting, extracting, and copying allow you to remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Lifting, extracting, and copying place the removed material into the Clipboard. You can then paste the material elsewhere in the sequence or in another sequence altogether. Lifting Material The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same. Lifted Clip X Clip W Black Filler Material is placed in the Clipboard. Clip Y Clip Z To lift material: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to lift. 2. Select the tracks containing the material. The system performs the function on selected tracks only. See “Using the Track Selector Panel” on page 133. 3. Click the Lift button in the Timeline top toolbar, or press the Lift key (Z) on the keyboard, to complete the edit. 129 Chapter 7 First Edits Extracting Material The Extract function cuts selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence. Extracted Clip Y Before Extract Clip X After Extract Clip X Clip Y Material is placed in the Clipboard. Clip Z Track is shortened. Clip Z To extract material: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to extract. Select the tracks containing the material. The system performs the function on selected tracks only. See “Using the Track Selector Panel” on page 133. 2. Click the Extract button in the Timeline top toolbar, or press the Extract key (X) on the keyboard, to complete the edit. 130 Playing the New Sequence Playing the New Sequence You can play a sequence at any time and view it in the Composer monitor. To play a sequence: 1. Make sure that the Video Track Monitor icon is located on the topmost video track to display all video tracks and effects during playback. Video Track Monitor button with Monitor icon Audio Track Monitor button with gold speaker icon 2. Make sure the Audio Track Monitor buttons for the audio tracks are selected to ensure proper playback of all audio tracks. 3. Go to the start of the sequence in the Composer monitor or Timeline by clicking the left side of the position bar to reposition the position indicator at the beginning or by pressing the Home key on the keyboard. 4. Use the position indicator, buttons, or keyboard to play through footage, viewing it in the Composer monitor. Proceeding with Editing When you have finished a rough cut, you are ready to fine-tune the sequence. See the following topics: • “Using the Timeline” on page 133 • “Working with Audio” on page 161 • “Working with Effects” on page 191 • “Syncing Methods” in the Help 131 Chapter 7 First Edits 132 Chapter 8 Using the Timeline The Avid system represents each edit and effect in a graphical Timeline structure to help you track and manipulate the elements of your sequence. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Composer monitor. You can continually edit your sequence and review your changes in the Composer monitor until you are pleased with the result. These features are described in the following topics: • Using the Track Selector Panel • Navigating in the Timeline • Editing in the Timeline: Basics You can edit effects in the Timeline. For more information on effects editing and nesting, see “Working with Effects” on page 191 and “Creating Layered and Nested Effects” in the Help. For more information about working with the Timeline, see “Using the Timeline: Advanced” in the Help. The Avid Group Clip editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process. For more details, see “Group Clip Editing” in the Help. Using the Track Selector Panel As your project progresses, you might need to add an edit with additional audio or video tracks. You use multiple tracks of video primarily for effects. The Avid system allows you to edit up to eight tracks of video and eight tracks of audio. While working with multiple tracks, you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and other effects. Chapter 8 Using the Timeline n Multiple video tracks do not immediately play back at the same time until you apply an appropriate effect that composites the layers. Multiple audio layers, however, do play back immediately if correctly monitored. Source Track Monitor buttons Source Track buttons Sync Lock and Lock buttons Record Track buttons Record Track Monitor buttons Video Track Monitor button with Monitor icon Audio Track Monitor button with gold Speaker icon Sync Lock All button Audio Track Monitor button with black Speaker icon Timecode button The source side of the panel displays only those tracks available for the clip currently loaded. For instance, a clip that has audio captured only for track A1 does not display an A2 track in the Track Selector panel. The record side of the panel displays only those tracks currently in use for the sequence. However, if you edit source material with a track selected that does not yet exist on the record side, by default the track appears on the record side after the edit takes place. Selecting Tracks Consider the following when you select tracks on either the record side or the source side of the Track Selector panel: 134 • You can edit selected tracks on the source side directly into the sequence, assuming you have selected parallel tracks on the record side. • You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections. • You cannot edit deselected tracks on the record side into the sequence, regardless of source track selections. Using the Track Selector Panel You can select tracks in several ways: • Use standard keyboard keys to select tracks, as shown in the Keyboard palette. See “Understanding the Keyboard” in the Help and in the following table. Track Selection Keys Key Track Key Track 7 V2 Shift+7 V4 8 V1 Shift+8 V3 9 A1 Shift+9 A5 0 A2 Shift+0 A6 - (hyphen) A3 Shift+- (hyphen) A7 = A4 Shift+= A8 • Click the Track button of any inactive track to select the track. (To deselect the track, click the Track button of any active track.) • Drag a lasso around multiple tracks to select all of them at the same time. See “Lassoing Objects” in the Help. • With the Timeline window active, select Edit > Select All Tracks to select all tracks on the record and source sides. • Click the Cycle Picture/Sound button in the Edit tab of the Command palette to cycle among selected video tracks, audio tracks, and all tracks. • Click the V and A buttons in the Edit tab of the Command palette. For example, you might select the source and record tracks for V1, A1, and A2 to edit the picture and audio from the source clip into the sequence. Select only V1 source and record tracks to edit the picture without the sound, or select only A1 and A2 source and record tracks to edit the sound without the picture. Monitoring Tracks To determine the monitoring of tracks: t Click the monitor column of either the source-side or record-side tracks to activate or deactivate the monitor buttons. Video and Audio Track Monitor buttons behave differently in some circumstances. 135 Chapter 8 Using the Timeline Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback. When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track. This feature is especially useful when you have multiple layers of video effects and need to see one track without additional layers. You can also monitor a solo track, as described in “Monitoring a Solo Track” on page 137. To monitor video tracks: t n Click the Video Track Monitor button for the track you want to monitor. To view all tracks, monitor the top track. If you reposition the Video Track Monitor icon, be sure to return it to the topmost track to view, render, or output all the tracks together. Unmonitored tracks are not included in playback. Monitoring Audio There are two types of monitor icons that appear in the monitor column for audio tracks: a black Speaker icon and gold Speaker icon. Your Avid system allows you to monitor up to eight audio tracks at a time, depending on your configuration. Consider the following: 136 • A gold Speaker icon on the Audio Track Monitor button indicates that the track is not dropped when the play speed increases during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon. For more information about setting an audio track to ensure it is not dropped during scrubbing, see “Selecting Tracks for Scrubbing” in the Help. • The Audio Track Monitor button changes to green with a black Speaker icon when selected for soloing. For more information, see “Monitoring a Solo Track” on page 137. • The system pans odd-numbered tracks to the left speaker and even-numbered tracks to the right speaker by default. • If your sequence includes more than 16 audio tracks, you can select any 16 tracks to monitor at one time by clicking the Audio Track Monitor button for each audio track you want to monitor. The Audio Track Monitor button changes to purple with either a black or gold Speaker icon when the audio track is selected for monitoring playback and output. Using the Track Selector Panel • To hear more than 16 tracks at once, you must mix down some of them to a maximum of 16. For more information, see “Changing the Sample Rate” on page 174. • By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see “Soloing Audio Tracks in the Timeline” on page 163. Monitoring a Solo Track You can isolate an individual video or audio track for monitoring when editing without having to deselect monitoring of all other tracks. Solo monitoring has several advantages: • You can monitor the upper layers of a composited effect apart from the lower layers. • You can isolate an individual audio track for monitoring without having to click several audio tracks to deselect monitoring of all other audio tracks. • You can overcome slow cueing and playback when working with a complex sequence by isolating tracks for monitoring. To select a track or tracks for solo monitoring: t Ctrl+click (Windows) or k+click (Macintosh) the Track Monitor button for the chosen track or tracks. The Track Monitor button changes to green with a black Monitor icon (video track) or black Speaker icon (audio track) to indicate solo monitoring. To deselect solo monitoring: t Click the soloed track monitors in the Track Selector panel. The Monitor icon returns to normal functionality. Patching Tracks When working with multiple tracks, you might encounter a circumstance where you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track. You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track, and you can perform several patches prior to an edit. Audio can patch only to audio, and video only to video. n You can also patch tracks using the Auto-Patching option in the Edit tab of the Timeline Settings dialog box. For more information, see “Timeline Settings Options (Edit Tab)” on page 387. 137 Chapter 8 Using the Timeline To perform a patch: t Drag from a source track (audio or video) to the targeted record track. A white arrow appears during the patch. An audio patch from a source track to a record track. During patch New source track order identifies the patch. After patch To undo a patch: t Manually repatch to the previous track. The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit. n When you patch from one video track to another, the Video Track Monitor icon moves to the track you are patching if Auto-monitoring is selected in the Edit tab of the Timeline Settings dialog box (see “Timeline Settings Options (Edit Tab)” on page 387). Return to monitoring the topmost track, when necessary, to play back and output all video tracks. Sync Locking Tracks The Sync Lock feature allows you to maintain synchronization among several tracks while adding or removing frames in Trim mode or in Source/Record mode. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between them. There are several aspects unique to sync locking: 138 • Sync locking applies to single-roller trims only; dual-roller trims do not break sync. • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. Using the Track Selector Panel • Sync locking affects entire tracks. This means that parallel segments in other synclocked tracks are affected when you trim anywhere in the sequence. Sync locking is especially useful when you are working with multiple tracks and want to maintain sync between two or more tracks while trimming. To sync lock the tracks: t Click in the center column between track selectors to activate the Sync Lock icon for each synchronized track. To resume editing on individual tracks: t Click again to remove the Sync Lock icon. Adding Tracks To add a new track to a sequence, do one of the following: 1. Load a sequence in the Composer monitor or the Source pop-up monitor. 2. Do one of the following: t Select Clip > New Audio Track t Select Clip > New Video Track The new track appears in the Timeline. To manage the numbering scheme of new tracks rather than use the consecutive numbering default: 1. Press and hold the Alt key (Windows) or the Option key (Macintosh) and select Clip > New Audio Track or select Clip > New Video Track. The Add Track dialog box opens. 2. (Option) Click the New Track Type menu, and select the type of track you want to add by selecting that option. 3. (Option) Select a track number other than the default number displayed in the dialog box by selecting another number from the Track Number pop-up menu. 4. Click OK. One of the following occurs: - The new track appears in the Timeline and in the Track Selector panel. - If you chose the number of an existing track in step 3, a dialog box asks if you want to insert the new track. Click the Insert button to add the new track below the current track with that number. The new track is labeled with the number you chose and the existing tracks are renumbered in consecutive order. 139 Chapter 8 Using the Timeline Deleting Tracks To delete one or more tracks from the sequence: n Make sure you deselect any tracks you want to keep before you delete others. 1. Click the Record Track buttons for the tracks, and press the Delete key. The Delete Track dialog box opens. 2. Click OK. The tracks are deleted. To restore a deleted track: t Select Edit > Undo. Navigating in the Timeline The Timeline provides various controls in the Timeline bottom toolbar for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator or the Timeline scroll bar to navigate within the Timeline. In addition, marked sections of the sequence are highlighted in the Timeline for visual reference. Bottom toolbar 140 Video Quality Menu button Position indicator Navigating in the Timeline Using the Position Indicator The position indicator in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted. When you drag the position indicator in the Timeline, the smaller position indicator within the Composer monitor’s position bar also moves. Focusing the Timeline The Focus button allows you to zoom in on a section of the Timeline. It is located in the Timeline toolbar next to the Timeline Fast Menu button. Focus button The Focus button allows you to center the position indicator quickly and expand the Timeline. The position indicator is centered in the window. When you click the Focus button again, the Timeline returns to its previous size. To focus the Timeline: 1. Move the position indicator to the frame or transition you want to expand. 2. Click the Focus button. The region of the Timeline immediately surrounding the position indicator is centered and enlarged. 3. Click the Focus button again to return to the previous view. Using the Timeline Scroll Bar The Timeline scroll bar appears along the bottom of the Timeline on the right side of the Timeline bottom toolbar. The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll box to reposition yourself within the Timeline, or click the arrows to scroll left or right. Viewing Video Quality Using the Video Quality Menu button in the Timeline bottom toolbar, you can play back media in several ways: • Full Quality mode uses full-image resolution but can handle only limited real-time effect complexity 141 Chapter 8 Using the Timeline • Draft Quality mode lets you view greater effect complexity in real time with a lower quality image • Best Performance plays even more real-time effects with the lowest resolution For more information about the Video Quality Menu button, see “Playing Back at Different Video Qualities” on page 209. Editing in the Timeline: Basics The following sections describe basic editing you can do in the Timeline: • “Performing Segment Mode Edits” on page 142 • “Adding Filler” on page 148 • “Cutting, Copying, and Pasting in the Timeline” on page 150 For additional information, see “Editing in the Timeline: Advanced” in the Help. Performing Segment Mode Edits Segment editing is a unique feature of digital, nonlinear editing. Unlike traditional tape editing, segment editing allows you to instantly reposition entire segments as though you were physically “dragging” portions of your sequence across a tape. You can move audio and video tracks separately or together, and you can reposition individual or multiple segments at the same time. There are two methods for editing segments or adding clips: • Extract/Splice-in, indicated by a yellow arrow • Lift/Overwrite, indicated by a red arrow Consider the following when editing segments: 142 • Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved. • Moving segments snap to other segments in the Timeline. Head frames snap by default together; pressing the Alt key (Windows) or the Option key (Macintosh) causes tail frames to snap together. Segments also snap to existing cuts, marks, or the position indicator. Editing in the Timeline: Basics Observe the following guidelines when selecting tracks: • You cannot simultaneously move segments that are separated along the same track. You can, however, move segments separated on different tracks. • You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps). • With a group, you can click any one of the selected segments to drag the entire group to a new position. • You can select black filler as a segment. See “Adding Filler” on page 148. Selecting Segments with the Segment Mode Pointer When you enter Segment mode, the pointer becomes enlarged and changes to yellow to indicate Extract/Splice-in mode or red to indicate Lift/Overwrite mode. Outside the Timeline, the pointer changes back to the standard arrow or I-beam, allowing you to perform other functions while in Segment mode. To select segments with the pointer: 1. Click one of the Segment Mode buttons located in the Timeline bottom toolbar next to the scroll bar. The arrow changes to a pointing hand. 2. Click a segment in any track to select it. Shift+click additional segments to select a group. Lassoing One or More Segments The system automatically enters Segment mode when you lasso segments from left to right. To lasso segments: t Click in the area above the tracks in the Timeline. Drag left to right and down to select more than one segment. Begin Lasso box Segment End To switch to Lift/Overwrite mode: t Click the Lift/Overwrite button after drawing the lasso. 143 Chapter 8 Using the Timeline Observe the following guidelines when lassoing segments: • Position the pointer above the tracks before dragging. If you click within the tracks, you simply relocate the position indicator to that position. To lasso segments in the middle of the Timeline between multiple tracks, press and hold the Alt key (Windows) or the Ctrl key (Macintosh), click above the tracks, and drag the lasso. • Lasso at least two transitions or all transitions included in multiple segments. If your lasso surrounds only one transition, you enter Trim mode. • Drag from upper left to lower right. Deselecting Segments You can deselect one or more selected segments. To deselect an entire track: t Click the Track button in the Track Selector panel. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 track buttons to leave only the segment on the middle track, V1, selected. To deselect one or more segments: t Use the Segment Mode pointer to Shift+click specific segments on any track, leaving the remaining segments selected. Understanding the Four-Frame Display When you begin to drag the segments, the Source and Record monitors change to a fourframe monitor display. The two outer frames are updated while you drag the segment forward or backward in the Timeline, indicating the frames you pass as you drag the segment. The two outer frames in the four-frame display make it easy to view and analyze the frames between which you might want to drop the selected segment. 144 Editing in the Timeline: Basics Four-frame display The two outer frames indicate ending and beginning frames of clips before and after the segment. The two inner frames represent the start and end frames of the segment. When you drag the segments, the original highlighted segment remains in place, while a “ghost” segment enclosed in a dotted white box moves along with the pointer until you release it at a new edit point. Selected segment is dragged to new positions. When you release the segment into its new position, the actual lift (Overwrite) or extract (Splice-in) occurs. Until then, the segment position is preserved in the Timeline, allowing you to maintain your perspective of the sequence while selecting the new edit point. Extracting/Splicing-in Segments Use Extract/Splice-in to move the selected segments in the Timeline without affecting the adjacent material. The total duration of the sequence is unaffected. 145 Chapter 8 Using the Timeline Like the standard Splice-in function, the Extract/Splice-in edit inserts the segment into the new position. However, as an additional function, it also extracts (removes) the segment from its previous position and closes the gap. Before Splice-in Clip W (selected clip) After Splice-in Clip W Clip Y n Clip Y Clip Z Surrounding clips are unchanged. (selected clip) Clip Z For information on maintaining sync in the sequence when you use Extract/Splice-in, see “Maintaining Sync in Segment Mode” in the Help. To perform an Extract/Splice-in edit: 1. Click the Extract/Splice-in button (yellow arrow) in the Timeline bottom toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. 4. Release the mouse button. The system extracts the selected segment from its old position, closes the gap left by its removal, and then splices the material back into the sequence at the newly selected location. 5. Click the Extract/Splice-in button again if you want to leave Segment mode. n To cancel a segment edit in progress, drag the segment out of the Timeline and release the mouse button. Alternatively, select Edit > Undo. Lifting/Overwriting Segments Use Lift/Overwrite to replace existing material at the new position, while leaving blank space in the previous position. The total duration of the sequence is unaffected. The material in the sequence remains in sync. 146 Editing in the Timeline: Basics Like the standard Overwrite function, the Lift/Overwrite edit deletes and replaces underlying material at the new position, effectively creating new edits. It also lifts the segments from the previous position, leaving black or silence of the same duration on the track (V1) selected. Before Overwrite Clip W (selected clip) After Overwrite Clip W Black filler Clip Y Clip Z (selected clip) Clip Y Clip Z Underlying materials are overwritten. To perform a Lift/Overwrite edit: 1. Click the Lift/Overwrite button (red arrow) in the Timeline bottom toolbar. 2. Select the segment you want to move. 3. Place a mark or the position indicator at the spot where you want to move the segment. 4. Click the segment, and drag it to its new position. 5. Release the mouse button. The system lifts the selected segment from its old position, leaving black filler, and then overwrites the material onto the sequence at the newly selected location. 6. Click the Lift/Overwrite button again if you want to leave Segment mode, or continue to lift and overwrite segments. n To undo a segment move, select Edit > Undo or press Ctrl+Z (Windows) or k+Z (Macintosh). 147 Chapter 8 Using the Timeline Deleting Segments with Segment Mode Segment mode allows you to quickly delete whole segments in the Timeline without having to first mark IN and OUT points. In addition, you can select multiple segments in separate tracks anywhere along the Timeline to delete them all at once. To delete segments quickly: 1. Click one of the Segment Mode buttons: - Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps. The total duration of the sequence is shortened, and any synchronized tracks lose sync. - Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place. The total duration of the sequence remains the same, and sync is maintained. 2. Select one or multiple segments. 3. Press the Delete key. The segments are deleted. n If the segment has an effect, the system deletes the effect first. Adding Filler After editing a few clips, you might want to add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can set the duration for filler at the start of a sequence; see “Setting the Duration for Filler at the Start of a Sequence” on page 149. You can also add filler at any time during editing to another part of the sequence. To add filler at the start of a sequence, do one of the following: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline, and select Add Filler at Start. t Click in the Timeline, and select Clip > Add Filler at Start. Filler appears at the beginning of the sequence in the Timeline. n 148 You cannot add filler to the end of a sequence. Editing in the Timeline: Basics To add filler anywhere in a sequence: 1. Select Clip > Load Filler. The system loads a 2-minute clip of filler into a Source pop-up monitor, or into the Source monitor if you are using dual monitors. Fast Menu button Mark IN button Mark OUT button 2. Select the length of filler, as needed, using the Mark IN and Mark OUT buttons. 3. Click the Fast Menu button. The Tool palette appears. 4. Click the Splice-in or the Overwrite button on the Tool palette or press the Splice-in key or the Overwrite key on the keyboard to edit the black into the sequence. See “Using the Tool Palette” on page 115. Setting the Duration for Filler at the Start of a Sequence To set the duration of filler used at the start of a sequence: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Timeline. The Timeline Settings dialog box opens. 3. Click the Edit tab. 4. In the option “Start Filler Duration n frames,” type the amount of filler you want to appear by default when you select Clip > Add Filler at Start. 149 Chapter 8 Using the Timeline 5. Click OK. For instructions on how to use filler, see “Adding Filler” on page 148. Cutting, Copying, and Pasting in the Timeline You can use the traditional shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste: 1. Select the segment using one of the Segment Mode buttons. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C (Windows) or k+C (Macintosh) to copy. t Select Edit > Cut. t Press Ctrl+X (Windows) or k+X (Macintosh) to cut. 3. Move the position indicator to the new IN point. 4. Select Edit > Paste to paste the segment in the Timeline. 150 Chapter 9 Working in Trim Mode Basic editing in the Timeline initially produces a rough cut, which can be loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence, rather than create a rough cut first. This chapter describes the basic Trim mode procedures. For more information about trim mode, see “Working in Trim Mode: Advanced” in the Help. You can enter Trim mode in several different ways, depending on the type of trim you expect to perform. Once in Trim mode, you can: • Select trim sides. • Perform and review the trim. • Trim on-the-fly. • Trim video tracks. See the following topics: • Entering Trim Mode • Exiting Trim Mode • Trim Mode Displays • Selecting Trim Sides • Selecting Additional Transitions • Performing a Basic Trim • Trimming On-the-Fly with J-K-L Keys • Trimming On-the-Fly with Mark IN and Mark OUT Keys • Trimming Video Tracks Chapter 9 Working in Trim Mode Entering Trim Mode To enter Trim mode, use one of the following methods: t Press the Trim mode key ([) on the keyboard. t Click the Trim Mode button on the Tool palette or in the Timeline top toolbar. See “Using the Tool Palette” on page 115. By default, the system enters Trim mode and selects the transition nearest the position indicator for dual-roller trimming. This method is useful for selecting straight-cut transitions on one track or across video and audio tracks. If the transitions are not straight cuts (overlap cuts or L-edits), the Dual-Roller icon appears on the transition nearest the position indicator of the topmost track, and all other tracks are deselected. t Press the Alt key (Windows) or the Option key (Macintosh) and click the Trim Mode button to select the previous trim-roller configurations. By default, when you enter Trim mode, the trim rollers are set for dual-roller trimming. For more information about selected trim sides, see “Selecting Trim Sides” on page 155. t Lasso the transitions in the Timeline. Draw the lasso by clicking at a point above the top track in the Timeline and by dragging to surround the transitions. You can drag from right to left or from left to right, and you can lasso single transitions across several contiguous tracks. Lasso drawn across three tracks Transitions are selected for dual-roller trim 152 Exiting Trim Mode n Avoid lassoing more than one transition on a single track when lassoing from left to right because this activates Segment mode and lassoing from right to left activates slipping trim mode. This method is useful when you need to select multiple transitions staggered across tracks (overlap cuts) for simultaneous trimming. n To select transitions located below several track layers, you can draw a lasso within the Timeline by pressing the Alt key (Windows) or the Option key (Macintosh) while you drag. Exiting Trim Mode To exit Trim mode, use one of the following methods: t Click the Trim Mode button on the Tool palette. t Press the Right Arrow key or the Left Arrow key. t Press Esc. t Click a specific location in the Timecode (TC1) track at the bottom of the Track Selector panel. The position indicator moves to that location. Trim Mode Displays You can trim in Big Trim mode or Small Trim mode. Your choice of mode depends on whether you are using the dual Source/Record monitors or the single Composer monitor. For more information about dual monitors, see “Using Dual Monitors” on page 99. 153 Chapter 9 Working in Trim Mode To trim in Big Trim mode: t n With the dual Source/Record monitors displayed, click the Trim Mode button in the Timeline top toolbar or on the Tool palette. For more information about the Timeline top toolbar or the Tool palette, see “Accessing the Timeline Settings” in the Help or “Using the Tool Palette” on page 115. Big Trim mode opens in both monitors. Outgoing frames Trim buttons 154 Incoming frames Frame offset counters Play Loop button Selecting Trim Sides To trim in Small Trim mode: t With the single Composer monitor displayed, click the Trim Mode button in the Timeline top toolbar or on the Tool palette. Small Trim mode opens in the Composer monitor. Playback loop parameters Outgoing frames Incoming frames Frame offset counters Trim buttons Play Loop button Selecting Trim Sides You can trim a transition on either the outgoing side (A-side or tail), the incoming side (Bside or head), or both sides (dual-roller). To select sides of a transition to trim: t Click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to a Single-Roller A-Side, Single-Roller B-Side, or Dual-Roller icon, depending on the position of the pointer. A-Side B-Side A and B 155 Chapter 9 Working in Trim Mode t Use the Trim-side buttons in the Trim tab of the Command palette to select side A, side B, or both. t Use the Cycle Trim Sides button in the Trim tab of the Command palette to cycle between selection of the A-side, B-side, or both. t In Big Trim mode, use the Trim Counter frame indicators located below the monitors. Click the A-side or B-side of a frame indicator to select single-roller trimming, or Shift+click both frame indicators to select dual-roller trimming. The selected parts of the transition are highlighted, and the corresponding rollers appear in the Timeline. Also, one or both of the frame counter indicators below the monitors are highlighted to reflect the active trim sides: A-side, B-side, or both. The number indicates how many frames have been added or subtracted from the transition. t Click in between the two frames displayed in the Composer monitor to trim both sides. Selecting Additional Transitions While in Trim mode, you can select additional transitions for trimming in different contexts. To select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding Record Track buttons in the Track Selector panel. See “Using the Track Selector Panel” on page 133. Likewise, you can deselect tracks in the Track Selector panel to remove transitions on those tracks from the trim procedure. To select additional transitions for single-roller trimming in varying locations on different tracks: t Shift+click the transitions in the Timeline. This method is useful when you are working with staggered transitions across multiple tracks. It also allows you to select both A-side and B-side transitions for simultaneous trimming in opposite directions (asymmetrical trim). This is not possible with dualroller trims. As you move the pointer back and forth across a transition, the roller icon changes from an A-side roller (facing left) to a B-side roller (facing right) to indicate the type of selection. Single-Roller A-Side icon t 156 Single-Roller B-Side icon Click the divider between the two frames in the Composer window. Performing a Basic Trim t Select one side, and then Shift+click to select the other side. To quickly add multiple transitions to the currently selected transition: t Press and hold the Shift key and lasso the additional transitions. You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames. This allows you to save time and, in some cases, to maintain sync by performing a single-trim procedure across multiple tracks and transitions. For more information about lassoing, see “Entering Trim Mode” on page 152. Performing a Basic Trim After you select your transitions and trim sides, you can perform a basic trim. To perform a trim, use one of the following procedures: t Use the Trim buttons to trim forward or backward by 1-frame or 10-frame increments, or by 1-frame or 8-frame increments (for 24p projects). t Use the J-K-L keys to trim forward or backward in the sequence. - t This option is deselected as the default. To trim with J-K-L keys, click the Features tab of the Trim Settings dialog box, select J-K-L Trim, and click OK. See “Trim Settings” on page 388. Use the numeric keypad on the right side of the keyboard, as follows: - To move the transition a specific number of frames, type a plus sign (+) or minus sign (–) and the number of frames (from 1 to 99) you want to move forward or backward. Then press Enter. If the number of frames is larger than 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200, then type f, and press Enter. t To move the transition to an exact timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02). Use controls in the Timeline by clicking a roller at the selected transition and by dragging forward or backward in the sequence. 157 Chapter 9 Working in Trim Mode To have greater control: t Press the Alt key (Windows) or the Option key (Macintosh) as you drag one frame at a time. t Press the Ctrl key (Windows) or the k key (Macintosh) to snap to other transition points. As you trim, all selected transitions in the Timeline move in unison. The Trim counter displays the frame count backward or forward for one or both trim sides, and the monitors display the new incoming or outgoing frames. Trimming On-the-Fly with J-K-L Keys In Trim mode, you can use the J-K-L keys on the keyboard to play outgoing or incoming material and mark trim points. This is similar to the procedure for marking footage on-the-fly, as described in “Marking and Subcataloging Footage” on page 116. For convenience, this method isolates the trim controls to just three keys. To trim on-the-fly: 1. Double-click Trim in the Settings list in the Project window. The Trim Settings dialog box opens. 2. Click the Features tab. 3. Select J-K-L Trim. n To use the J-K-L keys in Trim mode to only play, step, and shuttle, without trimming, deselect the J-K-L Trim option in the Trim Settings dialog box. 4. Click either the outgoing (A-side) or incoming (B-side) monitor to play in real time during the trim. 5. Select one or more transitions for single-roller or dual-roller trimming. 6. Use the J-K-L keys to step, play, or shuttle through the footage at varying speeds: t Press and hold the K key while pressing the J or the L key to step slowly backward or forward through the footage. When you find the frame where you want to relocate the transition, release the K key to complete the trim. t Press the J or the L key once to play at normal speed, or more than once to shuttle at higher speeds. When you see the frame where you want to relocate the transition, press the space bar or the K key to complete the trim. The monitors and the Timeline are updated to reflect the trim. 158 Trimming On-the-Fly with Mark IN and Mark OUT Keys n When trimming with the J-K-L keys, you cannot completely trim away a segment. The Avid system always leaves one frame. To remove the remaining frame, see “Performing a Basic Trim” on page 157. Trimming On-the-Fly with Mark IN and Mark OUT Keys You can trim on-the-fly by pressing a Mark IN key or a Mark OUT key on the keyboard while you play and loop a transition in Trim mode. The system recuts the transition to the mark and restarts the playback loop, so you can keep adjusting the edit every time it loops. This method plays both sides of the transition instead of playing just the A side or the B side. To trim with Mark IN and Mark OUT keys: 1. In Trim mode, select the outgoing side, the incoming side, or both for trimming. 2. Click the Play Loop button to loop playback of the selected transition. 3. During the playback loop, press the Mark IN key or the Mark OUT key. The system trims the transition to the mark and restarts the playback loop. To fine tune the trim: t Press one of the following keyboard equivalents to further trim the edit during playback: Trim Button Keyboard Equivalent Trim Left 1 Frame comma (,) Trim Right 1 Frame period (.) Trim Left 10 Frames M Trim Right 10 Frames forward slash (/) 159 Chapter 9 Working in Trim Mode Trimming Video Tracks In Trim mode, when you click the A-side or B-side of a transition, all trim rollers are set to the selected side. To reset the trim rollers on only the video tracks: 1. Make sure you are in Trim mode with a video track selected. 2. Press the Alt key (Windows) or the Option key (Macintosh) and click either the A-side or B-side in the monitor (not the Timeline). The trim rollers appear only on the video tracks of the selected side. To save the position of the trim rollers: t 160 Press the Alt key (Windows) or the Option key (Macintosh) when you click the Trim Mode button to return to Trim mode. Chapter 10 Working with Audio You edit audio using many of the same techniques and tools you use to edit video, including editing, Segment mode, and Trim mode functions. Your Avid system also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers. In addition, you can use the Audio Equalization (EQ) tool to adjust the high, low, and midrange frequency ranges of segments. The following topics describe basic audio procedures: • About Audio Tools • Accessing Audio Effect Tools • Audio Editing Aids • Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline • Changing the Sample Rate You can also adjust clip gain and pan values, as well as automation gain and pan. For more information, see “Adjusting Clip Gain and Pan Values” and “Understanding Automation Gain and Pan” in the Help. For additional information about working with audio, see “Working with Audio: Advanced” in the Help. About Audio Tools The Avid system provides a collection of tools for managing and fine-tuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows: • Audio tool: Use this tool primarily to monitor global input and output levels when you capture from analog sources or output to tape. For more information, see “Using the Audio Tool” on page 64 and “Preparing for Audio Output” on page 268. • Audio Mixer tool: Use this tool primarily for adjusting pan and volume levels on clips or whole tracks within a sequence. For more information, see “Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline” on page 168. • Audio EQ tool: Use this tool for adjusting the sound characteristics of audio clips in the sequence based on three-band control over high, low, and midrange frequencies. For more information, see “Using the Audio EQ Tool” in the Help. Chapter 10 Working with Audio • Digidesign AudioSuite Plug-In tool: Use this tool to access third-party audio plug-ins. For more information, see “Digidesign AudioSuite Plug-Ins” in the Help. • Audio Punch-In tool: Use this tool to record up to two channels of audio directly into the Timeline for voice-over narration. For more information, see “Recording Voice-Over Narration” in the Help. Accessing Audio Effect Tools You can access the following tools from any of the audio effect tools: • Audio Mixer (for adjusting pan and volume) • AudioSuite • Audio EQ To access one of the audio effect tools: t Select Tools > tool. To switch to another tool: t Click the Effect Mode Selector menu, and select the new tool. Effect Mode Selector menu To keep more than one tool open at the same time: t n Select the tool from the Tools menu or press and hold the Alt key (Windows) or the Option key (Macintosh) while selecting a new tool from the Effect Mode Selector menu. You can open only one copy of an audio effect tool at a time. For example, you can open only one copy of the Audio EQ tool. The following section describes several features that help you locate transitions and monitor audio samples while editing or adjusting sound with the tools. 162 Audio Editing Aids Audio Editing Aids The Avid system provides audio track soloing, audio scrub features, pan defaults, and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during editing or while making adjustments with the audio tools. Soloing Audio Tracks in the Timeline You can solo multiple tracks in the Timeline. This feature allows you to: • Listen to several tracks at once without turning other audio tracks off or down. • Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks. To solo an audio track: t Ctrl+click (Windows) or k+click (Macintosh) the Audio Track Monitor button for the track that you want to solo. The Audio Track Monitor icon changes to green. To turn off soloing for the track: t Click the Audio Track Monitor button again. To turn off the solo feature for all tracks: t Ctrl+Alt+click (Windows) or k+Option+click (Macintosh) an Audio Track Monitor button for a solo track. Adjusting Pan Defaults The way your footage was recorded in the field and was captured with the Avid application affects the way sound pans between the speakers. By default, the system pans audio tracks 1 and 3 to the left speaker output and pans audio tracks 2 and 4 to the right speaker output. You can change the default global pan settings before or during editing using the Audio Settings window and by selecting All Tracks Centered. The Audio Settings window also provides options for adjusting the default audio pan when editing with new clips, and for adjusting digital audio scrub parameters for monitoring and analyzing audio tracks and transitions. See “Audio Settings” on page 308. 163 Chapter 10 Working with Audio For information on using the Audio Mixer tool to adjust pan for individual clips in a sequence, see “Using the Audio Mixer Tool” on page 169. To open the Audio Settings window: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Audio. The Audio Settings window opens. The option All Tracks Centered instructs the system to center the pan of all tracks between the two speakers for monitoring and output. For information about adjusting audio scrub parameters, see “Adjusting Digital Scrub Parameters” in the Help. Displaying Waveform Plots You can use waveform plots to help you visually locate points in an audio track for editing or trimming. To display audio waveforms: 1. If you are searching for a point in a particular section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster. 2. Click the Timeline Fast Menu button, and select Sample Plot. The sample plot displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform. 3. Mark IN and OUT points in the Composer monitor for the portion you want to display. n Mark only the area you want to work with, because the longer the marked region, the longer it takes to display. Waveform sample plot 164 Audio Editing Aids n Press Ctrl+period (Windows) or k+period (Macintosh) at any time during the redraw of the waveform plot to stop the redraw. 4. (Option) Maximize the visibility of your waveform display using any of the following procedures: t Continue to expand or shrink your view of the Timeline using the scale bar, effectively spreading out the waveform plots to show detailed variations in the audio levels. t To enlarge the height of selected audio tracks and subsequently the waveform displays, press Ctrl+L (Windows) or k+L (Macintosh). t To reduce the height of selected audio tracks and subsequently the waveform displays, press Ctrl+K (Windows) or k+K (Macintosh). t To enlarge the size of the sample plot image without enlarging its track, press Ctrl+Alt+L (Windows) or k+Option+L (Macintosh). This procedure is useful when you view detail in quiet passages. t To reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K (Windows) or k+Option+K (Macintosh). This procedure is useful when you view detail in loud passages. n You can set the option “Show Marked Waveforms” in the Display tab of the Timeline Settings dialog box to narrow the view of the tracks in the Timeline. This option allows the Timeline to display faster because the waveform is displayed only between the mark IN and the mark OUT. 5. Move through the audio shown in the waveform using any of the playback methods. You hear sound as you track the audio visually. When the position indicator is at the point you want in the waveform, you can mark, trim, or perform any other function. n n Audio waveform plots can slow your navigation through the Timeline. Therefore, you might want to use them selectively. To do this, you can create a custom Timeline view, as described in “Navigating in the Timeline” on page 140. Once you have created a customized waveform view, you can select it from the Timeline View menu when needed, and return to another view when you are done. 165 Chapter 10 Working with Audio Adjusting Volume Control (Software-Only Systems) You can adjust or mute your speaker or headphone volume without leaving the application. You can adjust volume from the Timeline top toolbar. n Adjusting the volume control affects the volume only while you are in the Avid application. Once you exit the application, the Volume control defaults to how it was set on your desktop. To adjust the volume control: 1. In the Timeline top toolbar, click and hold the Master Volume button. Master Volume button n Meter Menu button If you do not see the Master Volume button, click the Meter Menu button and select Show Audio Meters from the menu. The Master Volume button is displayed with the Audio Meters. The Volume Control slider appears. 2. Continue to click and hold, and drag the volume control to the audio level you prefer. 3. Release the mouse button. To mute volume: t In the Timeline top toolbar, click the Master Volume button. Master Volume button A line appears through the button, and no audio is heard through your speakers or headphones. To turn off muting: t 166 Click the Master Volume button again until the button appears without the red line through it. Audio Editing Aids Controlling Host Audio Devices (Software-Only Systems) Avid allows the use of third party host audio devices such as a Sound Blaster® card or an iMic™ in its software-only products. Although most of these devices work properly within Avid applications, some of them exhibit problems such as drop out or audio clicking during output. You might also encounter delayed audio issues when adding audio effects such as automation gain. To help alleviate these problems, you can select Play Buffer Size in Samples and Tool Buffer Size in Samples in the Audio Settings window. The Play Buffer Size in Samples slider 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. Avid recommends that you leave this setting in its default position. Changing this parameter might cause audio or video underruns, dropped frames, or increased noise in the audio output. The Tool Buffer Size in Samples slider allows you to change the size of the host audio play buffer during audio loop play and audio tools play (such as Automation Gain Record). Reducing the tools play buffer size decreases the overall delay between the time an audio parameter is adjusted in the user interface (UI) and the time that you hear those changes through the speaker. Changing this parameter might cause dropped frames or increased noise in the audio output. Since performance varies from machine to machine, you should experiment to find a setting that works best. For best results with this setting, turn off or disconnect all DV devices. The preferred buffer size is determined by the host audio device that is connected to your system. Avid strongly recommends using the default “recommended sample” setting that is preselected for you. To adjust the samples in the play buffer or tools buffer: 1. From the Project window, click the Settings tab. 2. Click Audio. The Audio Settings window opens. 167 Chapter 10 Working with Audio 3. In the Play Buffer Size in Samples area, click and drag the slider to select a sample size. 4. In the Tool Buffer Size in Samples area, click and drag the slider to select a sample size. If the default setting is changed, a message box opens telling you how this change might affect your system. 5. Click Change. 6. To choose the Avid recommended default setting, click the rs (recommended sample) button. Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline The Audio Mixer tool has three modes that allow you to perform the following tasks: 168 • Clip Gain and Pan mode allows you to adjust the overall volume and pan values for a clip in the Timeline. • Automation Gain and Pan mode allows you to record volume and pan changes within a clip in the Timeline. • Live Mix mode allows you to temporarily override any existing Automation Gain and Pan settings. You can use the controls on the Audio Mixer tool or use an external controller to change volume and pan settings without modifying the existing Automation Gain and Pan settings. Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline The following illustration shows the Audio Mixer tool in the three modes. Clip Gain and Pan mode Automation Gain and Pan mode Live Mix mode For additional information on adjusting audio volume in the Timeline, see “Audio Gain Staging and an Audio Editing Workflow” in the Help. Using the Audio Mixer Tool To open the Audio Mixer tool, do one of the following: t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select Audio Mixer. t Select Tools > Audio Mixer. The Audio Mixer tool opens in Clip Gain mode. 169 Chapter 10 Working with Audio Render Effect button Audio Loop Play button Effect Mode Selector pop-up menu Fast Menu button Display/Hide Sliders button Which Set of Tracks to Display in Mix Panes pop-up menu Bypass Clip Gain button Track Solo and Track Mute buttons Track Selection Menu buttons Auto button to switch between modes Number of Mix Panes button Gang buttons Volume Level display Level slider Pan Value and slider To select Clip Gain mode or Automation Gain and Pan mode: t Click the Auto button to change modes. Click the button to enter Automation Gain and Pan mode and click the Auto button again to return to Clip Gain mode. The Track Solo and Track Mute buttons let you mute and solo individual audio tracks during Automation Gain and Pan recording. See “Track Solo and Track Mute Buttons” in the Help. To select the Audio Mixer mode, do one of the following: t Click and hold the Audio Mixer mode button, and select the mode from the menu. t Click the Audio Mixer mode button and cycle through the Audio Mixer mode settings to the mode you want to select. The following illustration identifies the controls of the Audio mixer tool in Clip Gain and Pan mode. For information on Automation Gain and Pan mode, see “Understanding Automation Gain and Pan” in the Help. For information on Live Mixer mode, see “Using Live Mix Mode” in the Help. 170 Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline Resizing the Audio Mixer Tool To change the display from 8 tracks to 4 tracks or from 4 tracks to 8 tracks: t Click the Number of Mix Panes button. To simplify the Audio Mixer Tool display by hiding the Volume Level sliders: 1. Click the Display/Hide Sliders button. The tool collapses. 2. Continue to adjust levels by doing one of the following: t Select a track and type values using the numeric keypad on the keyboard. t Type a value into the Volume Level display. To resize the entire Audio Mixer tool: t n Drag the edge or corner of the tool. You can resize the Audio Mixer tool only when the sliders are displayed. Selecting Tracks in the Audio Mixer Tool When you select a track in the Audio Mixer tool, the system selects the corresponding track in the Timeline. Likewise, when you select an audio track in the Timeline, the system selects the corresponding track in the Audio Mixer tool. n In previous releases you had to monitor a track in the Timeline before you could work with it in the Audio Mixer tool. This is no longer necessary. Using the Track Solo and Track Mute Buttons The Track Solo and Track Mute buttons work in all three modes. The settings persist between modes and stay in effect when you close the Audio Mixer dialog box. n When you solo or mute tracks in the Audio Mixer tool, the system solos or mutes the corresponding tracks in the Timeline. Adjusting One Audio Track at a Time To adjust one audio track at a time in the Audio Mixer tool: 1. Load a clip or sequence, and activate the appropriate monitor: t To adjust a track in a source clip, click the Source pop-up monitor to make it active. t To adjust a track in a sequence, click the Composer monitor to make it active. 171 Chapter 10 Working with Audio 2. Select the track or portion of a track to be adjusted: t To adjust the track in a single edited clip in a sequence, place the position indicator in the clip. t To adjust an isolated section of audio on a track, mark IN and OUT points. Adjusting a clip with mark IN and mark OUT adjusts the entire clip. t To adjust levels from an IN point through the end of the track, mark an IN point only. One mark also adjusts the entire track from the beginning of the clip that includes the mark. t To adjust levels globally throughout the track, make no marks. 3. Select Tools > Audio Mixer. The Audio Mixer tool opens. n The Audio Mixer tool contains four or eight panels, one for each audio track in the Timeline or source clip. The track selection buttons match the track selection buttons in the sequence or source clip. When you select a track in the Audio Mixer tool, the system selects the corresponding track in the Timeline or source clip. 4. Make sure the Auto button is deselected. 5. Select the audio track to be adjusted by doing one of the following: t Click the Track Selection Menu button for the appropriate audio track. t Alt+click (Windows) or Option+click (Macintosh) the Track Selection Menu button, and then select a track. 6. Select Clip Gain and Pan mode as follows: t Click and hold the Audio Mixer mode button, and select Clip Gain and Pan from the menu. t Click the Audio Mixer mode button and cycle through the Audio Mixer mode settings to Clip. 7. Select the audio track to be adjusted by doing one of the following: n t Click the Track Selection Menu button for the appropriate audio track. t Alt+click (Windows) or Option+click (Macintosh) the Track Selection Menu button, and then select a track.Alt+click the Track Selection Menu button, and then select a track. To verify or change the output channels, use the Audio tool (select Tools > Audio Tool). 8. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments. 172 Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline The keyboard can control either the Source pop-up or Composer monitor, depending on which monitor was active when you opened the Audio Mixer tool. Switch your selection by clicking the appropriate monitor. 9. Decide whether to raise or lower the volume, or pan left or right, which adjusts the volume or pan for a single clip. See “Changing an Audio Level” on page 173. Volume Level display Click Gang buttons to gang multiple tracks. Audio Level slider Pan Value display 10. Adjust pan values. See “Adjusting Pan Values” on page 174. 11. Apply the adjustments to a chosen region of the track using the Fast Menu button located in the top bar of the tool. See “Modifying Pan Values” in the Help. 12. Play through the audio again, using the J-K-L keys. 13. Repeat steps 9 through 12 until you are satisfied with the pan and volume levels. The system uses the new settings whenever you play back or capture the sequence. Changing an Audio Level To change an audio level value in the audio track panel, do one of the following: t Click a number along the vertical edge of the Level slider. t Click the Level slider, type a value, and press Enter (Windows) or Return (Macintosh). Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter (Windows) or Return (Macintosh) before typing the 2. t Click the Level slider, and then drag the slider to a new position. t Click the Volume Level display, type a value, and press Enter (Windows) or Return (Macintosh). 173 Chapter 10 Working with Audio t Alt+click (Windows) or Option+click (Macintosh) the Level slider to reset the value to 0 dB. Adjusting Pan Values To adjust the pan values in the audio track panel, do one of the following: t Click the Pan Value display to reveal the slider, and then drag the slider to a new position. t Alt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID. If the sequence is playing, play stops when you make an adjustment (the Audio Mixer tool does not provide real-time audio control). You can adjust volume while playing the clip. For more information, see “Adjusting Volume While Playing an Audio Mix Effect” in the Help. Changing the Sample Rate You can change the sample rate for sequences and audio clips from within the Change Sample Rate dialog box. Since you can combine clips of different sample rates in the same sequence, this feature is useful when you need to ensure that the entire sequence has the same sample rate for a digital cut or export. To change the sample rate for a sequence or an audio clip: 1. Select one or more sequences or audio clips in the bin. 2. Select Bin > Change Sample Rate. The Change Sample Rate dialog box opens. 174 Changing the Sample Rate 3. Select from the options in the following table. Change Sample Rate Options Option Description Sample Rate Selects between 32 kHz, 44.1 kHz, and 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 setting the sample rate for a project, see “Transfer Settings for Film Projects” on page 299. Quality Selects High, Medium, or Low conversion quality. Delete Original Media The system automatically deletes the original media after the conversion process is complete. n Destination Drive If you do not select this option, you end up with two sets of master clips and two sets of media files. Identifies the drive for the new media files. Make sure that you select a destination drive with enough storage space for the generated media files and the ability to play back media. 4. Click OK. 175 Chapter 10 Working with Audio 176 Chapter 11 Managing Media Files When you capture footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. In addition to the bin tools that allow you to organize the clips that reference these media files, your Avid system provides useful tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems. The following topics describe these procedures: • Using the Media Tool • Consolidating and Transcoding Media • Refreshing Media Databases For more information about managing media files, see “Managing Media Files: Advanced” in the Help. Panasonic’s DVCPRO P2 equipment records DV, DVCPRO, and DVCPRO 50 media on compact, solid-state memory cards (P2 cards). Avid editing applications support editing of media directly from these memory cards, without the need to capture or import. The result is a streamlined workflow that is particularly efficient in a news-gathering organization. For more details, see “Using Panasonic DVCPRO P2 Equipment” in the Help. Using the Media Tool The Media tool is your window to the captured video and audio data files stored on your media drives. As an important counterpart to the bins, the Media tool provides similar database tools for manipulating digital media files in tandem with your organization of clips and sequences. Chapter 11 Managing Media Files Basic Media Tool Features The Media tool provides many of the same controls for viewing and managing information that you use with bins: • The four display views in the Media tool function like those in bins: Brief view, Text view, Frame view, and Script view. • You can use Text view headings and options for columns of clip and media file data. You can also use procedures such as customizing the display of columns, moving within columns, and sorting information, as described in “Using Text View” on page 88. • You can use the same Brief view, Frame view, and Script view information described in “Using Brief View” on page 90, “Using Frame View” on page 91, and “Using Script View” on page 92. • The Media Tool Fast menu gives you quick access to the same commands available in the Bin Fast menu. See “Organizing with Bins: Advanced” in the Help. • You can highlight, move, copy, duplicate, delete, sort, and sift clips in the Media tool. You can also select media relatives, sources, and unreferenced clips, as described in “Manipulating Clips in the Bin” on page 87. • Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Text, Frame, or Script) is saved and any customizations of columns are saved. • You can print Media Tool data using the same procedures for printing bins, as described in “Printing Bins” in the Help. The Media tool also has a number of unique features: • Unlike a bin, the Media tool can display all the tracks captured for each clip as separate media files. Therefore, when you view, delete, and manipulate files, you have the added option of specifying individual video and audio tracks. • Unlike a bin, the Media tool does not display sequences and subclips. Only master clips, precompute (rendered effect) clips, and associated media files are available for display. • The following Bin menu commands do not apply to the Media tool: Batch Capture, Batch Import, Relink, Modify, AutoSync™, and AutoSequence. You must perform these functions from a bin. Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 178 Using the Media Tool 2. Select the display options as follows: - n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. - n Select individual media drives or all drives. Display files for the current project, for selected projects, or for all projects. Only projects with associated online media and the current project appear in the Project(s) list in the Media Tool Display dialog box. - Display captured master clips, precompute (rendered effect) clips, or media files, or any combination of the three. 179 Chapter 11 Managing Media Files 3. Click OK. The Media tool opens. Master clip Precompute clip Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences. n If you use the Media tool to delete selected media files, you no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a blank screen appears with the message “Media Offline.” If you need to use those clips again, you must recapture from tape. Depending on your needs, you can do one of the following: t Delete selected audio or video media files associated with a clip and retain other media files. t Delete entire sets of media files and related clips from within the Media tool. t Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating and Transcoding Media” on page 181. To delete selected media files: 1. Open the Media tool as described in “Opening the Media Tool” on page 178. 2. Select one or more media files (audio, video, or both) or master clips whose media files you want to delete. 180 Consolidating and Transcoding Media 3. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete Media dialog box opens. 4. Select the media files that you want to delete: - Video media file (V). The master clip linked to that file is black, and the message “Media Offline” is displayed in the Source pop-up or the Composer monitor. Related subclips and sequences are affected in the same way. - Audio media file (A1, A2, A3, A4). The master clip linked to that file is silent. Subclips and sequences created from the master clip are affected in the same way. - Precompute media file (V, A). The section of the sequence with the effect is black, and the message “Media Offline” is displayed. 5. Click OK. A dialog box opens. 6. Click Delete. The selected media files are deleted. Consolidating and Transcoding Media When you consolidate media files, the system finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them and saves the copies on a target drive that you specify. You can use the Consolidate feature for three basics purposes: n • To copy media onto one drive for storage or transfer to another system. • To keep only the media required to play back a sequence, and delete the rest to use less storage space. • To create backup files. Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in a bin. You can use the Transcode option to create a playable sequence from clips that have different resolutions. 181 Chapter 11 Managing Media Files Understanding the Consolidate Feature The Consolidate feature allows you to create and save copies of the sequence’s media files to a selected drive. This makes it relatively simple to move source files with you when you work on a different system. Using the Consolidate feature has the advantage of copying only the amount of media necessary; you save only the sequences and clips used in the project. For example, it does not copy an entire 1-hour audio file to consolidate a single 10-second clip. The Consolidate feature operates differently depending on whether you are consolidating master clips, subclips, or sequences. There are also different advantages in each case, as follows: • Master clips: When you consolidate a master clip, the system creates exact copies of the media files. If you link the original master clip to the new files, the system creates a master clip with the file name extension .old that remains linked to the old files. If you maintain the link between the original master clip and the old media files, the system creates a new master clip with the file name extension .new that is linked to the new files. The new clips are also numbered incrementally beginning with .01. Consolidating master clips does not save storage space because the system copies the same amount of media for each clip. Consolidating a Master Clip Media consolidated to Drive B, new clip linked to new files 182 Media consolidated to Drive B, new clip linked to old files Master Clip Original media file on media drive A Master Clip.old.01 Original media file on media drive A Master Clip.new.01 Copy of media file on media drive B Master Clip Copy of media file on media drive B Consolidating and Transcoding Media • Subclips: When you consolidate a subclip or group of subclips, the system copies only the portion of the media files represented in the subclip, and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01. Consolidating a Subclip Media for subclip consolidated to Drive B, new subclip linked to new files Master Clip Original media file on media drive A Subclip Master Clip.new.01 Subclip.new.01 • Subclipped copy of media file on media drive B Sequences: When you consolidate a sequence, the system copies only the portions of media files edited into the sequence, and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files. 183 Chapter 11 Managing Media Files Consolidate finished sequences to: n - Create backup files. - Preserve only the captured media required for playback, and delete the rest to use less storage space. - Gather dispersed media onto one drive for storage or transfer to another system. Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files. Consolidating a Sequence Edited copies of media files Original media files Clip A Clip B Clip C Clip A.new.01 Clip B.new.01 Clip C.new.01 New links are established. Original links are broken. Sequence Using the Consolidate Command c Do not make copies of media files from the desktop while the Avid application is running. Also, do not keep duplicate copies of media files online; either delete the originals, take the backups offline, or store the backups in a folder with a different name. To consolidate master clips, subclips, or sequences: 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects. n For more information on rendering effects, see the effects guide for your system or the Help. 2. Select a clip or sequence. 184 Consolidating and Transcoding Media 3. Select Bin > Consolidate/Transcode. The Consolidate/Transcode dialog box opens. 4. Select the Consolidate option in the upper left corner. 5. In the Target Drive(s) area, select a drive or drives. 6. Select options as described in “Consolidate Options” on page 186. 7. Click the Consolidate button in the lower right corner. The Copying Media Files dialog box opens. 185 Chapter 11 Managing Media Files 8. Select an option for how you want your clips to link to the new media. For more information, see “Understanding the Consolidate Feature” on page 182. 9. Click OK. The application creates new media files and new clips which are linked according to your selection. Another way to back up media files is to copy them directly onto another hard drive by using the Windows desktop or the Macintosh desktop. You cannot, however, take advantage of the storage-saving features of the Consolidate command, and it is more difficult to identify particular media files when searching directly through folders. Consolidate Options The following table describes the options for consolidating in the Consolidate/Transcode dialog box. Consolidate Options Option Suboption Description Video and audio on same drive(s) Select to store the consolidated media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files. Handle length n frames If you are consolidating subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC), 50 frames (PAL), or 24 frames (progressive). The handle length is the number of frames outside the IN and OUT points that you can use for dissolves and trims with the new, shorter master clips. 186 Consolidating and Transcoding Media Consolidate Options (Continued) Option Suboption Description Create new sequence(s) Select this option to create a new sequence from the consolidated clips (appears only if you selected a sequence). Delete original media files when done Select to delete original media files automatically. Skip media files already on the target drive Select to bypass files if some related media files are already located on the target drive. Relink selected clips to target drive before skipping Select to ensure that all selected clips are linked to media on the target drive. This option appears when you select “Skip media files already on the target drive.” Convert Audio Sample Rate Select this option to convert any sample rates not set in the Sample Rate menu in the Main tab in the Audio Project Settings window. For information on setting the sample rate, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 334. Target Audio Sample Rate Select a sample rate for the sequence. Convert Audio Sample Bit Depth Select this option to convert the audio to the target sample bit depth. Target Audio Sample Bit Depth Convert Audio Format Select either16 bit or 24 bit. Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF( AIFF-C), or MXF (PCM) audio format. See ”Audio File Formats” in the Help. Using the Transcode Option The Transcode option in the Consolidate/Transcode dialog box lets you create a playable sequence from clips that have different resolutions. Even though you are changing the resolution to a possibly higher quality resolution, your footage will not look better than the resolution you selected for capture. For example, if you capture your video at 15:1 to save space and then transcode the sequence to 1:1, the sequence will not look uncompressed. 187 Chapter 11 Managing Media Files To use the Transcode option: 1. Select a clip or sequence in a bin. 2. Select Bin > Consolidate/Transcode. The Consolidate/Transcode dialog box opens. 3. Select the Transcode option in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. To select additional target drives, Ctrl+click (Windows) or Shift+click (Macintosh) the drive name. 5. Click the Target Video Resolution menu, and select a video resolution. 6. Select options as described in “Transcode Options” on page 188. 7. Click the Transcode button in the lower right corner. Transcode Options The following table describes the options for transcoding in the Consolidate/Transcode dialog box. Transcode Options Option Suboption Description Video and audio on same drive(s) Select to store the transcoded media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files. Handle length n frames If you are transcoding subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC) or 50 frames (PAL). The handle length is the number of frames outside the IN and OUT points that you can use for dissolves and trims with the new, shorter master clips. Create new sequence(s) Select this option to create a new sequence from the transcoded clips. Convert Video Select this option to convert the video to the target video resolution. Target Video Resolution Select a video resolution for the sequence. 188 Refreshing Media Databases Transcode Options (Continued) Option Suboption Convert Audio Sample Rate Description Select this option to convert any sample rates not set in the Sample Rate menu in the Main tab in the Audio Project Settings window. For information on setting the sample rate, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 334. Target Audio Sample Rate Select a sample rate for the sequence. Convert Audio Sample Bit Depth Conversion Select this option to convert the audio to the target sample bit depth. Target Audio Sample Bit Depth Convert Audio Format Select either16 bit or 24 bit. Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF (AIFF-C), or MXF (PCM) audio format. See Audio File Formats” in the Help. Refreshing Media Databases Refresh the media directories after you remove media from the media drives (for example, after you have physically moved drives). The Refresh Media Directories command reexamines all the media databases on the system. This command can take a long time to execute on systems that have large amounts of media online. To refresh media databases: t c Select File > Refresh Media Directories. If a bin continues to display the message “Media Offline” after refreshing the media database, either the media files are missing or the links have been broken. For more information, see “Relinking Media Files” in the Help. 189 Chapter 11 Managing Media Files 190 Chapter 12 Working with Effects Your Avid editing application offers many effects that you can apply to your sequences. The following topics explain basic effects concepts that you need to understand before you work with effects, and provides basic procedures for creating, adjusting, playing, and rendering effects: • Types of Effects • Real-Time Effects and Non-Real-Time Effects • AVX Plug-In Effects • Using the Effect Palette • Applying Effects • Adjusting Effects • Working with Keyframes • Playing an Effect in Effect Mode • Playback of Video Effects • Basics of Effects Rendering For more advanced information about working with effects, see the Avid Xpress Pro Advanced Effects Guide in the Help. Types of Effects The effects available in Avid editing applications can be divided into a number of categories, which are described in the remainder of this section. It is important to understand that there is considerable overlap within these categories. For example, Timewarp effects are one of the main types of motion effects available in Avid editing applications, but they are also examples of segment effects. The categories are listed here to give you a basic understanding of the range of effects available, and as an introduction to some of the effects terminology that is used throughout Avid’s effects documentation. Chapter 12 Working with Effects Transition Effects Transition effects are any effects that are applied at the cut point between two video clips that are on the same track (the same video layer) in a sequence. Examples of transition effects are dissolves, fades, and wipes. Segment Effects Segment effects are applied to an entire clip or group of clips in a sequence. For example, you might apply a Color Effect to several segments in a sequence and use the effect to tint those segments to suggest that the action they contain is taking place in the past. Segment effects fall into two subcategories. A single-layer segment effect is applied to a segment on one video track and needs only one stream of video to create its effect. For example, the Mask effect lets you mask out some parts of the video in a segment, replacing it with a solid color. A multilayer segment effect is applied to the top layer or a middle layer of segments containing two or more video tracks that will be played simultaneously. A multilayer segment effect requires more than one video layer to create its effect. For example, a Picturein-Picture effect displays video from an upper video track inside video from a lower track. Motion Effects Motion effects manipulate the motion characteristics in a clip, for example, by freezing action or by varying the speed at which a clip plays. You can create motion effects in two ways: by generating new clips with fixed motion characteristics, or by using the Timewarp effects to change the motion characteristics of clips already edited into a sequence. For information on motion effects, see “Creating and Customizing Motion Effects” in the Help. Title Effects Title effects contain text and graphic objects that you create with one of the title tools available in your Avid editing application. Title effects are saved into bins as a special clip type, and are edited onto their own layers in a sequence, usually above all other video layers. For information on title effects, start with the chapter “Working with Titles” on page 237. 2D Effects and 3D Effects Effects in Avid editing applications can be either 2D or 3D. 2D effects appear to be acting in the two dimensions of the screen the viewer is watching and do not give an impression of depth. 3D effects give an impression of depth, for example by wrapping a video image around a sphere. Some Avid effects are 2D only or 3D only, while others have both 2D and 3D versions, or can be promoted from 2D to 3D. For specific information on working with 3D effects, see “Working with 3D Effects” in the Help. 192 Real-Time Effects and Non-Real-Time Effects Nested Effects Nested effects are effects that you apply inside other effects on the same video layer. Effect nesting allows you great flexibility to apply multiple effects to the same segment in a sequence. For example, you might want to apply a color effect within an existing Picture-inPicture effect. To do this, you can nest the color effect inside the Picture-in-Picture. For more information, see “Creating Layered and Nested Effects” in the Help. Key Effects Key effects are effects that use specific rules to define how parts of one image show through another image. The best-known example of a key effect is a chroma key, for example, where an actor shot in front of a blue or green screen can appear to be standing in front of any other background. The key effect replaces the blue or green color in the foreground shot with parts of the background shot. For more information, see “Creating Layered and Nested Effects” in the Help. Camera Effects Camera effects are a category of effects that control the apparent motion of the camera. For example, your Avid editing application lets you stabilize a clip that shows unwanted camera motion or simulate a camera’s pan and zoom motion over an imported graphic image. For more information, see “Working with Camera Effects” in the Help. PlasmaWipe Effects Some Avid editing applications have a distinct category of effects called PlasmaWipe effects. These effects use gradient image bitmaps to create highly-customizable wipes and segment effects. You can use one of the many preset effects or create your own using new gradient images. For more information, see “Working with PlasmaWipe Effects” in the Help. Real-Time Effects and Non-Real-Time Effects Effects in Avid editing applications can be either real-time or non-real-time. A real-time effect is an effect that you can apply to a sequence and play without having to render it first. Rendering is a processing operation that your Avid editing application performs to merge effect layers, creating one stream of digital video for playback in real time. (The rendering process takes time and creates a new media file that occupies drive space.) Non-real-time effects must be rendered before you can play them back. Without rendering, non-real-time effects can be previewed or played as an outline. 193 Chapter 12 Working with Effects A real-time effect has a small green dot in the Effect Palette and within the effect icon in the Timeline. Effects that must be rendered have a small blue dot within the effect icon in the Timeline. For more information, see “Understanding Effect Color Coding” in the Help. You can create a sequence that has any number of real-time and non-real-time effects. However, there are limits on how many real-time effects your Avid editing application can play at once without rendering some of the effect or reducing the video quality level to ease the processing demands on your computer system. When you want to play or output a sequence that includes effects, you might have to render some of the effects. You have to render any effect that is non-real-time, and you might need to render some of the effects that are normally real-time. The exact number of effects that you must render depends on several factors, including the capabilities of your computer system and the complexity of your sequence. For more information, see “Playback of Video Effects” on page 207 and “Basics of Effects Rendering” on page 212. AVX Plug-In Effects Avid editing applications support the Avid Visual Extensions (AVX™) standard. AVX is a cross-platform technology that allows software effect modules (plug-ins) to be dynamically linked to an Avid editing application. Some of the effects that are supplied by Avid with your Avid editing application use the AVX technology, while others do not. In general, you work in almost exactly the same way with both types. The AVX technology is also used by third-party developers to create effect plug-ins that you can purchase, install, and use to extend the effects functionality of your Avid editing application. Third-party AVX plug-in effects might have controls that look very similar to standard Avid effect controls, or they might have custom user interfaces. Using the Effect Palette The Effect Palette is a window that lists all transition and segment effects and some motion effects that are available for your editing application. The Effect Palette is the primary tool that you use to apply effects to your sequences. The left side of the Effect Palette displays a scrollable list of effect categories. The right side shows the various effects that are available for the currently selected effect category. 194 Applying Effects The Effect Palette displays all of the effect categories available for your Avid editing application. If you have purchased and installed any third-party AVX plug-in effects, these also appear in the Effect Palette. If you have saved any effect templates to a bin, and have that bin open, those templates also appear in the Effect Palette. For information on effect templates, see “Using Effect Templates” in the Help. To display the Effect Palette: t In the Project window, click the Effects tab. To resize the Effect Palette: t Click the lower right corner of the Project window, drag the window to the size you want, and release the mouse button. Applying Effects You apply the great majority of effects to video material once it has been edited into a sequence. This section describes basic methods for applying effects to a sequence using: • The Effect Palette • The Quick Transition button In addition to the methods described in this section, you can also: • Use the Fade Effect button to fade segment effects. For more information, see “Using the Fade Effect Button” on page 205. • Create titles and some types of motion effects as new clips that you then edit into a sequence. For more information, see the chapter “Working with Titles” on page 237 and “Creating and Customizing Motion Effects” in the Help. For information on deleting effects from a sequence, see “Deleting Effects in a Sequence” in the Help. Applying Effects From the Effect Palette You apply an effect from the Effect Palette by dragging the effect icon into the Timeline and dropping it on the transition or segment to which you want it to apply. 195 Chapter 12 Working with Effects Remember that you can apply effects either to transitions (the cut points between two video segments) or to segments. Most effects are only suitable for one of these applications, so, for example, you cannot apply every effect in the Effect Palette to a transition. For more information on the use of an individual effect, see the reference information for the effect in “2D Effects Reference” or “3D Effects Reference” in the Help. This section describes basic methods for applying a single effect or for applying an effect to multiple segments at the same time. You can also apply an effect to multiple transitions at the same time. For more information, see “Applying Effects to Multiple Transitions” in the Help. To apply an effect to a single transition or to a single segment in the Timeline: t Click the icon for the effect in the Effect Palette, drag the effect icon over the transition or segment in the Timeline, and release the mouse button. If there is not enough incoming or outgoing media to apply a transition effect at its default length, the Insufficient Source dialog box opens. For more information, see “Sizing Effects to Fit the Media” on page 197. To apply an effect to multiple segments in the Timeline: 1. Enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 202. 2. Click above the Timeline and to the left of the leftmost segment that you want to select and begin dragging to the right and down to activate a selection box. 3. Continue to drag the selection box to the right until you lasso the rightmost segment that you want to select. Selection box 196 Applying Effects 4. Release the mouse button. The segments that you selected are highlighted. 5. If the segments where you want to apply the effect are not contiguous, Shift+click a segment to deselect it. 6. In the Effect Palette, double-click the effect’s icon that you want to apply to the segments. The effect is applied to the highlighted segments in the Timeline. If there is not enough incoming or outgoing media to apply a transition effect at its default length, the Insufficient Source dialog box opens. For more information, see “Sizing Effects to Fit the Media” on page 197. Sizing Effects to Fit the Media When you apply a transition effect from the Effect Palette and not enough source media exists to apply the effect, the Insufficient Source dialog box opens. 197 Chapter 12 Working with Effects The dialog box shows a graphical display that indicates whether the source that has insufficient material is Media A (outgoing footage), Media B (incoming footage), or both. To automatically size an effect to fit the media: t Click Size to Fit. The Avid editing application sets the duration of the effect to fit the available media. If you have selected an alignment, the application attempts to preserve it. To change the alignment or duration of the transition effect, see “Creating a Dissolve in Trim Mode” in the Help. n Although the graphical display in the Insufficient Source dialog box is similar to the graphical display in the Quick Transition dialog box, you cannot adjust an effect by dragging in the Insufficient Source dialog box. Using the Quick Transition Button You can use the Quick Transition button to apply the following transition effects without using the Effect Palette and to adjust them for position and duration without entering Effect mode: • Dissolves • Film Dissolves • Film Fades • Fade to Color • Fade from Color • Dip to Color You can add the same transition effect to multiple transitions by marking IN and OUT points in your sequence that select all the transitions to which you want to apply the effect. When you click the Quick Transition button, the Quick Transition dialog box contains a check box for Apply to All Transitions (IN -> OUT). For more information, see “Using the Quick Transition Button to Apply Effects to Multiple Transitions” in the Help. 198 Applying Effects To create an effect by using the Quick Transition button: 1. Move the position indicator to the transition in the Timeline. 2. Click the Quick Transition button. n The Quick Transition button appears on the Tool palette, in the Timeline top toolbar, and on the Command palette. For more information, see “Using the Tool Palette” on page 115, “Using the Timeline Top Toolbar” on page 119, and “Using the Command Palette” on page 112. The Quick Transition dialog box opens. Dissolve Effect icon Outgoing media Frames of incoming media available for the effect Incoming media Frames of outgoing media available for the effect The dialog box shows a graphical display of the outgoing media (A) and incoming media (B), with the Dissolve Effect icon applied to the transition. The application scales the graphical display to show the relative size of the Dissolve effect and the media available for the effect. Below the graphical display on the left is the number of frames of incoming media (B) available before the cut, and on the right is the number of frames of outgoing media (A) available after the cut. For more information, see “Understanding the Graphical Display in the Quick Transition Dialog Box” in the Help. 3. Click the Add menu at the top of the dialog box, and select a transition effect. For an explanation of individual effects shown in the menu, see “Blend Effects” in the Help. 199 Chapter 12 Working with Effects n n When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add menu. For more information, see “Using Effect Templates” in the Help. When you select a color transition with Quick Transition, the default color is black. You must enter Effect mode to select another color. For more information, see “Using the Effect Editor” in the Help. 4. Set the transition duration by doing one of the following: t Type the duration in frames in the Duration text box. t Click either the left edge or right edge of the Dissolve Effect icon and drag it to change the duration. The graphical display changes — the size of the effect icon increases or decreases, and the numbers in the Duration and Start text boxes change — to reflect the new duration. 5. Adjust the effect’s position relative to the cut point in one of the following ways: t Click the Position menu, and select a command to end the effect at the cut point, center on the cut point, or start at the cut point. t Click the Position menu, select Custom, and then type a number in the Start text box to specify how many frames before the cut point you want the effect to begin. t Click the Dissolve Effect icon, and drag it to position the effect with respect to the cut point. t Click one of the alignment buttons below the graphical display. These buttons appear when you select Custom from the Position pop-up menu or click in the graphical display. For more information, see “Understanding the Graphical Display in the Quick Transition Dialog Box” in the Help. Alignment buttons The application positions the effect, updates the graphical display to show the new position of the effect, and updates the value in the Start text box. If you select an alignment for which there is not enough media, the application comes as close as it can to the alignment you requested. 200 Applying Effects 6. If you click the Dissolve Effect icon and drag it, the Position menu changes to Custom. Indicate where the effect is to start — that is, how many frames before the cut you want to include in the Dissolve. Do one of the following: t Click near the middle of the Dissolve Effect icon and drag it to dynamically change the number of frames. t Click one of the alignment buttons below the graphical display to specify the effect as ending at cut, centered on cut, or starting at cut. t Type the number of frames in the Start text box. The graphical display changes to show the relative amount of media available and the relative position of the effect, and the new value appears in the Start text box. 7. Click the Target Drive menu, and select a drive on which to store the effect if you choose to render it. The Effect Source Drive is the drive where the media on the outgoing shot of a transition reside. 8. (Option) If you have IN and OUT points marked in your sequence, the Quick Transition dialog box contains the following two options: - Apply to All Transitions (IN -> OUT) - Skip Existing Transition Effects Do one of the following: n t Select Apply to All Transitions (IN -> OUT) to overwrite all existing transition effects between the IN and OUT points. t Select both options to avoid overwriting any existing transition effects. The Skip Existing Transition Effects option is useful when you want to add a number of dissolves to a sequence that already has transition effects. 9. Do one of the following: t To add the effect without rendering it, click Add. t To add the effect and render it, click Add and Render. The Avid application adds the effect to the selected transition in the sequence, or, if you selected Apply to All Transitions (IN -> OUT), the application adds the effect to all transitions between the IN and OUT points. 201 Chapter 12 Working with Effects Adjusting Effects After you have created an effect and applied it to a transition or segment in your sequence, you can adjust its appearance and operation. To make most effect adjustments, you enter Effect mode and work with the Effect Editor and the Effect Preview monitor. This section explains how to enter Effect mode and provides basic information on how to use the Effect Editor and the Effect Preview monitor. For more advanced information, see “Applying and Customizing Effects” in the Help. Entering Effect Mode After you add an effect to a sequence, you must enter Effect mode to change the parameters of the effect. Entering Effect mode transforms the Record monitor into the Effect Preview monitor and opens the Effect Editor. To enter Effect mode, do one of the following: t Click the Effect Mode button. t Select Toolset > Effects Editing. Your Avid editing application opens the Effect Editor and the Record monitor becomes the Effect Preview monitor. If the position indicator in the Timeline is on an effect, the controls for adjusting that effect display in the Effect Editor. 202 Adjusting Effects Understanding Effect Mode The following illustration shows the main components of Effect mode, the Effect Editor, and the Effect Preview monitor. Effect Editor Effect Preview monitor Each property of an effect that you can control is known as an effect parameter. For example, a Picture-in-Picture effect has a Position parameter that controls where the picture-in-picture is located on the screen. The Effect Editor displays controls that let you adjust each of an effect’s parameters, as well as other buttons that help you adjust effects. Since different effects have different sets of parameters, the Effect Editor display changes depending on which effect you have selected. For more detailed information on the Effect Editor, see “Using the Effect Editor” in the Help. The Effect Preview monitor displays the selected effect in the sequence where the position indicator is located in the Timeline. The effect’s position bar, located directly below the Effect Preview monitor, represents only the selected effect, not the entire sequence. For some effects, the Effect Preview monitor displays tools that let you adjust the effect directly in the monitor. For example, a Picture-in-Picture effect normally displays with a wireframe outline and adjustment handles that you can use to reposition or resize the picture-in-picture. A direct adjustment like this is equivalent to adjusting the effect with parameter controls in the Effect Editor, but it is often easier and more intuitive to make the adjustment directly in the monitor. 203 Chapter 12 Working with Effects For more detailed information on the Effect Preview monitor, see “Understanding the Effect Preview Monitor” in the Help. Making Basic Effect Adjustments This section describes a general procedure for selecting and adjusting effects, including some simple examples of types of adjustments. When you need more detailed information than this procedure provides, you can use the Help. For example, for full details of how to use effect adjustment controls, see “Applying and Customizing Effects” in the Help. For details of the parameters available for a specific effect, see the reference information for that effect in “2D Effects Reference” or “3D Effects Reference” in the Help. To make basic effects adjustments: 1. Enter Effect mode. For more information, see “Entering Effect Mode” on page 202. 2. In the Timeline, click the effect you want to adjust. 3. (Option) If you need to move around in the effect, use the Effect Preview monitor’s position bar and position indicator. For more information, see “Moving Through an Effect” on page 205. 4. In the Effect Editor or the Effect Preview monitor, adjust the effect’s parameters until you are happy with the look. For example, depending on the effect, you might want to do one or more of the following: 204 t Adjust a parameter by dragging its slider control in the Effect Editor. t Reposition an effect such as a Picture-in-Picture by dragging the effect in the Effect Preview monitor. t Resize an effect such as a Picture-in-Picture by dragging one of the handle dots that display around the edge of the picture-in-picture in the Effect Preview monitor. t Select an option for a parameter by clicking its Fast menu in the Effect Editor and selecting an item from the menu. t Select a color for a parameter that uses color by clicking the parameter’s Color Preview window, dragging the eyedropper to the Effect Preview monitor, and releasing the mouse button over the color you want to use. t Select a color for a parameter that uses color by clicking the Other Options button for the parameter and selecting the color from the Windows Color dialog box. Adjusting Effects t Select an alignment option for a transition effect by clicking the Transition Effect Alignment button in the Effect Editor and selecting an option from the menu. t Define a custom duration for a transition effect by clicking in the Transition Effect Duration box in the Effect Editor, typing a duration, and pressing Enter. Moving Through an Effect The position bar in the Effect Preview monitor represents the length of the currently selected effect. If you want to move to a different location in the effect, you can use the Effect Preview monitor’s position bar in the same way that you use the position bars in Source/Record mode to move through a clip or a sequence. To move to a different point in an effect, do one of the following: t Click a location in the position bar to move the position indicator to that location. t Drag the position indicator to a location in the position bar. Using the Fade Effect Button You can use the Fade Effect button to fade segment effects quickly and easily. A dialog box opens that allows you to enter the number of frames to fade up and fade down. The Fade Effect feature automatically creates keyframes for the effect. You can access the keyframes in the Effect Editor. To fade one or more segment effects in a sequence: 1. Select the segment effects in the Timeline: t To fade a single segment effect, move the position indicator to the segment. t To fade multiple segment effects, click either the Extract/Splice-in button or the Lift/Overwrite button below the Timeline, and then Shift+click the segments. 2. Click the Fade Effect button. n The Fade Effect button appears on the Tool palette and in the Timeline top toolbar. In addition, you can map the Fade Effect button to the monitor toolbar or to the keyboard. For more information, see “Mapping User-Selectable Buttons” on page 114. The Fade Effect dialog box opens. 3. In the Fade Effect dialog box, type the number of frames to fade up and fade down, and click OK. You can immediately view the Fade effect by playing the segment or segments. 205 Chapter 12 Working with Effects Working with Keyframes You use keyframes to change the appearance and behavior of an effect over time. A keyframe is a point in the effect at which you can set parameters. When parameters are set to different values in different keyframes, your Avid editing application animates your effect by calculating intermediate values for parameters between the keyframes. For example, if a Picture-in-Picture is set to be on the left of the screen at one keyframe and on the right of the screen at the next keyframe, the Picture-in-Picture moves from left to right across the screen over the period of time between the two keyframes. Avid editing applications use two different kinds of keyframes: standard and advanced. Standard keyframes apply to every parameter in an effect. Advanced keyframes allow you to establish independent keyframes for each keyframeable parameter in an effect, which provides more flexibility and control for sophisticated effects adjustments. Advanced keyframes are available for many but not all effects. For more information on using both standard and advanced keyframes, see “Working with Keyframes” in the Help. Playing an Effect in Effect Mode While you are adjusting effects in Effect mode, you might want to play an individual effect to check its look. You can: • Play all or part of an individual effect once. • Play an individual effect in a continuous loop. • Play an outline preview of an effect — a wire-frame representation of the effect’s position, scale, and path of motion. To play an effect in Effect mode: 1. In the Timeline, select the effect. 2. In the position bar of the Effect Preview monitor, move the position indicator to the location where you want play to begin. 3. Click the Play button or press the space bar. Play continues until the end of the effect, or until you click the Play button or press the space bar again. 206 Playback of Video Effects To play an effect in a continuous loop in Effect mode: 1. Move the position indicator in the Timeline to the effect you want to play. 2. Click the Play Loop button. Play begins at the start of the effect and continues until you click the Play Loop button again, or until you press the space bar. To play an outline preview of an effect in Effect mode: 1. In the Timeline, select the effect. 2. In the position bar of the Effect Preview monitor, move the position indicator to the location where you want play to begin. 3. In the Effect Editor, click the Play Preview button. Play continues until the end of the effect, or until you click the Play Preview button again or press the space bar. Playback of Video Effects At any point in your project workflow, you might want to play back all or part of a sequence with video effects. Your Avid editing application can play most individual video effects in real time and at full quality. However, your application’s ability to play multiple video effects in complex sequences is limited, in ways described in detail in “Understanding RealTime Effects Processing” on page 208. When your application is unable to play all of the effects in a sequence in real time, you have a number of alternatives for improving playback performance, which fall into two main categories. You can: • Adjust Video Quality and Video Display options. Your Avid application can play back sequences at several different levels of video quality. Reducing the video quality eases the processing demands on your computer system and allows more effects to play in real time. You can also adjust other options for video display. All of these adjustments involve a choice between video display quality and real-time effects performance. Depending on your needs and preferences, you might choose to view a sequence at a higher quality with fewer effects playing in real time, or to view it at a lower quality with more effects playing in real time. For more information on Video Quality and Video Display options, see “Playing Back at Different Video Qualities” on page 209 and “Controlling Real-Time Effects Playback” in the Help. 207 Chapter 12 Working with Effects • Render enough effects to guarantee real-time play. This takes some time and disk space, but is the best way to ensure real-time playback of all effects at full quality. Your application can assist you in determining which effects you need to render. When you play back a sequence, information appears in the Timeline that helps you to understand which parts of the sequence are not playing in real time. After the playback attempt, you can use the ExpertRender feature with the Render Recommended Ranges option to select and render only those effects that are not playing successfully in real time. For more information, see “Understanding Real-Time Playback Information in the Timeline” on page 211 and “ExpertRender” on page 214. n Real-time effects might cause dropped frames during a digital cut. You can use ExpertRender with the Render Recommended Ranges option to select and render those realtime effects that might cause dropped frames.You can also use options in the Digital Cut Tool to identify effects that might cause dropped frames, allowing you to render them before the digital cut takes place. For more information, see “Recording a Digital Cut to Tape (Remote Mode)” on page 276 and “Recording a Digital Cut to Tape (Local Mode)” on page 279. Understanding Real-Time Effects Processing To display a frame from a sequence that has a video effect applied, the Avid editing application must calculate the result of the effect at that frame. For example, to display a dissolve between two clips, the application must calculate, for each pixel in each frame, a blend between a percentage of the color and luminance values in the outgoing clip and a percentage of those in the incoming clip. To display the dissolve in real time, the application must be able to perform enough of these effect calculations per second to maintain the appropriate display rate for your project, for example 30 frames per second (fps) for NTSC video. Because your computer’s processor and memory capabilities are finite, your Avid editing application’s ability to play back effects in real time is limited. Effect calculations are more complex for some effects than for others, and still more complex when many effect options have been adjusted or when multiple effects apply to the same frame in a sequence. Even the fastest and most powerful system might eventually reach a point where it can no longer maintain real-time playback. n n 208 If you have a slower system, you will be able to play many more effects in real time if you have an Avid Mojo or Avid Mojo SDI attached to your system. Your ability to play effects in real-time when you are outputting to a DV device might depend on whether you have Realtime Encoding selected in the DV Output Settings area of the Video Display Settings dialog box. For more information, see “Playing Back to a DV Device” on page 104 and “Video Display Settings” on page 389. Playback of Video Effects When the Avid editing application is unable to maintain real-time playback, it continues to play at the correct rate but does not display frames that it cannot process quickly enough. If the application is having only a small amount of difficulty with the complexity of the sequence, you will probably perceive a short stutter in the video playback, but you might still be able to get a useful sense of how your effects will look once they are rendered. If the application is having more difficulty, it is less likely that you will be able to judge the look of the effects. You can use the methods outlined in “Playback of Video Effects” on page 207 to control effects playback by rendering selected effects or by adjusting video quality and video display settings. Playing Back at Different Video Qualities The Video Quality Menu button in the Timeline bottom toolbar allows you to switch display resolutions when real-time effects are enabled. This allows you to trade off video quality with smooth playback of real-time effects. If you notice missing frames or choppy video during real-time playback, switch to a lower quality setting. The following table shows the available video qualities for systems with an Avid Mojo or Avid Mojo SDI attached and systems with a DV device attached to a Host 1394 (OHCI) card. For more information on playing back to a DV device, see “Playing Back to a DV Device” on page 104. Full Quality, Draft Quality, and Best Performance are found on the Video Quality menu. Playback Video Qualities Video Quality Icon Name Full Quality Systems with Avid Mojo or Avid Mojo SDI Systems with a DV Device Attached to a Host 1394 Card Highest quality resolution, two fields. Full-frame real-time effects playback of SD Full-frame native playback of Avid DNxHD. Full-frame native playback of DV 25, DV 50, and DVCPRO HD. Full-frame real-time effects playback of DV 25 and DV 50. Comments Handles limited effect complexity before the system begins to have difficulties with real-time playback. 209 Chapter 12 Working with Effects Playback Video Qualities (Continued) Systems with Avid Mojo or Avid Mojo SDI Systems with a DV Device Attached to a Host 1394 Card Draft Quality 1/4 resolution, single field. 1/4-frame real-time effects playback of SD. 1/4 resolution, single field. 1/4-frame real-time effects playback of SD or HD to the desktop only. 1/4-frame real-time effects playback of DV 25 and DV 50. Best Performance 1/16 resolution, single field. 1/16-frame real-time playback of SD. Provides the fastest 1/16 resolution, single field. playback. 1/16-frame real-time effects playback of SD or HD to desktop only. 1/16-frame real-time effects playback of DV 25 and DV 50. Video Quality Icon Name n Comments Reduces the quality of the image so you can view greater effect complexity in real time. On systems with an Avid Mojo or Avid Mojo SDI attached, real-time effects are always enabled. To switch video quality playback when real-time effects are enabled: t In the Timeline bottom toolbar, click the Video Quality Menu button and cycle through the video quality settings to the one you want. t In the Timeline bottom toolbar, right-click the Video Quality Menu button and select the video quality setting you want from the pop-up menu. When you change video qualities, immediate changes appear in the quality and the sharpness of the media displayed in the Source/Record monitor. Once you are satisfied with your sequence using a lower quality setting, switch to the highest quality and use Expert Render to render effects. n n 210 For software-only systems, the blue-dot mode feature used in some previous versions of Avid editing applications to turn off and on real-time effects has been replaced with the Realtime Encoding feature. For more information, see “Playing Back to a DV Device” on page 104. For more information on playing back different media, see “Optimizing Your Playback Performance” in the Help. Playback of Video Effects Understanding Real-Time Playback Information in the Timeline When your Avid editing application is unable to maintain real-time playback of an effects sequence, colored bars appear in the timecode track of the Timeline when playback ends. The following illustration shows a typical set of colored bars. Timecode track Colored bars These bars provide you with information about the difficulties the Avid editing application had during playback. You can use this information to help you render only those parts of the sequence necessary to achieve real-time playback. • Red bars mark the ranges where the Avid editing application was unable to display frames. The ranges marked by red bars are ranges that the Avid editing application recommends for rendering to achieve successful real-time playback. If you mark IN and OUT points around these ranges, use the ExpertRender In/Out command, and then render the recommended ranges, the application can preview your material successfully in real time. For more information, see “ExpertRender” on page 214. • Yellow bars mark the ranges that caused difficulty for the Avid editing application during playback because of processor limitations. No frames were dropped; this is only a warning. • Blue bars mark the location of frames that caused difficulty for the Avid editing application because of disk speed limitations. No frames were dropped; this is only a warning. If you find that your playback information often includes blue bars, it is likely that replacing your media disks with faster drives will improve the Avid editing application’s ability to play back effects in real time. You can control whether real-time playback information bars appear in the Timeline from the Timeline Settings dialog box. 211 Chapter 12 Working with Effects To turn real-time playback information bars on or off: 1. In the Settings list of the Project window, double-click Timeline. 2. If it is not already highlighted, click the Display tab. 3. Select or deselect Highlight Suggested Render Areas After Playback. Real-time playback information bars appear in the Timeline when this option is selected. This option is selected by default. Basics of Effects Rendering This section contains basic information about rendering effects and about the ExpertRender feature, which automatically identifies effects that must be rendered to achieve full-quality, real-time playback or output. For information about other rendering capabilities of your Avid editing application, including instructions for rendering effects manually and information on render settings adjustments, see “Rendering Effects” in the Help. 212 Basics of Effects Rendering Understanding Effects Rendering In Avid editing applications, rendering is the process of calculating and storing video information for the finished look of an effect so that the effect always plays in real time at full quality. Avid editing applications store a rendered effect and its media file as a precomputed master clip (often referred to as a precompute). There are two main situations in which you render effects: • Before you output a sequence, you must render any effects in the sequence that cannot play in real time during output. • At any time in your workflow, you must render any effects in a sequence that cannot play in real time if you need to view those effects in real time and at full quality. (If you can accept effects play that is less than real time or less than full quality for preview purposes, you do not need to render.) Information in the Timeline helps you to see which parts of a sequence can or cannot play in real time. In both of these situations, the ExpertRender feature can identify and render these effects for you, so you do not spend time and storage rendering effects that do not need to be rendered. The ExpertRender feature can operate across a whole sequence, a marked part of a sequence, or a single location in a sequence. n In the Timeline, effect icons have a blue dot or a green dot before rendering. Rendering removes the dot. Although ExpertRender is normally the best way to identify and render the minimum number of effects required for real-time play or putput, you can also render effects manually. You can render a single effect after you have created it, or you can choose to render a group of effects at the same time. You can also interrupt a render in progress and choose to save or discard the completed portion. You can finish the render later by resubmitting the effect for rendering. In some situations, you can minimize rendering time by applying the Submaster effect to a track above layered effects and rendering only the Submaster effect. For more information on: • Real-time playback of effects, see “Playback of Video Effects” on page 207. • ExpertRender, see “ExpertRender” on page 214. • Manual rendering, see “Rendering Effects” in the Help. • Interrupting rendering, see “Partial Render” in the Help. • Using the Submaster effect, see “Submaster Editing” in the Help. 213 Chapter 12 Working with Effects ExpertRender ExpertRender determines which effects need to be rendered to achieve successful playback of a sequence. You can use the ExpertRender at Position command to identify effects for rendering at the location of the position indicator, or you can mark IN and OUT points in a sequence and then use the ExpertRender In/Out command. If the Avid editing application has had difficulty playing back effects in real time and has displayed colored bar information in the timecode track of the Timeline, the steps you take when you use the ExpertRender In/Out command are somewhat different from the steps you take when you use one of the ExpertRender commands in other circumstances. Understanding ExpertRender When you render effects manually (using the Render at Position or Render In/Out command), the Avid editing application renders all effects in the selected material — all effects on the enabled tracks at the position or all effects on the enabled tracks between the marked IN and OUT points. In most cases, the editing application renders some effects that do not require rendering for successful playback, increasing the time to render and creating more precomputes than necessary. For example, the following sequence includes seven effects on two tracks. If you use the Render In/Out command on this material, you render all seven effects. If you use the ExpertRender In/Out command on the material, the ExpertRender analysis recommends rendering only the three effects on the top track. 214 Basics of Effects Rendering Sequence with seven effects. Results of an ExpertRender analysis of this sequence. Only the three effects on the top track are highlighted, and these are the only effects that must be rendered for successful output. For more information on manual rendering, see “Rendering Effects” in the Help. The ExpertRender option helps to solve the problem of unnecessary rendering by analyzing all the effects in selected material and by determining which effects need to be rendered to achieve successful playback. You can then choose to render the effects identified by ExpertRender or to modify the selections before submitting them for rendering. ExpertRender attempts to generate a minimum set of effects to render for successful playback. If you render the effects recommended by ExpertRender, your material usually plays successfully in real time. In most circumstances, ExpertRender enables you to render material quickly, easily, and with a high degree of storage efficiency. However, experienced Avid users might achieve an even quicker render of a complex sequence than that offered by ExpertRender — for example, using Submaster editing. For more information, see “Considerations When Using ExpertRender” on page 221 and “Submaster Editing” in the Help. 215 Chapter 12 Working with Effects Using ExpertRender in Preparation for Output ExpertRender is particularly useful when you are ready to output a sequence and want to ensure that all effects in the sequence will play in real time and at full quality. You have two options, as follows: • Perform an ExpertRender on an entire sequence for which you do not have playback information in the Timeline, using the Prepare for Digital Cut option. Because this option does not have access to playback information in the Timeline, it takes a more conservative approach to deciding which effects to render and normally renders all realtime effects. For more information, see “Using the ExpertRender Command Without Timeline Playback Information” on page 216. • Play the sequence to generate playback information in the Timeline, then mark IN and OUT points around all the areas marked in the Timeline with red colored bars, and perform an ExpertRender with the Render Recommended Ranges option. Even though you spend some time playing the sequence to generate the playback information, this option will usually save you time because it will render the minimum number of effects necessary. For more information, see “Using the ExpertRender Command After a RealTime Playback Attempt” on page 218. Using the ExpertRender Command Without Timeline Playback Information Use the following procedure when there are no colored real-time playback information bars displayed in the timecode track of the Timeline. For information on using the ExpertRender command when colored real-time playback information bars appear in the Timeline following a real-time playback attempt, see “Using the ExpertRender Command After a Real-Time Playback Attempt” on page 218. To render effects using the ExpertRender command without Timeline playback information: 1. Select all tracks in the Timeline that contain effects you want ExpertRender to analyze. 2. Do one of the following: 216 t To render at position, move the position indicator to the effects in the Timeline. t To render between IN and OUT points, mark IN and OUT points around the effects. Basics of Effects Rendering 3. Select one of the following: - Clip > ExpertRender at Position - Clip > ExpertRender In/Out ExpertRender analyzes the selected effects and highlights the effects that require rendering in the Timeline. The Expert Render dialog box opens and indicates how many of the effects submitted to ExpertRender require rendering. 4. (Option) If you are rendering effects in preparation for output, select Prepare for Digital Cut. This ensures that any effects that might not play back in real time are rendered. For more information, see “Using ExpertRender in Preparation for Output” on page 216. 5. Click the Drive button, and select a drive on which to store the rendered effects. The Effect Source Drive is the drive where the media for the outgoing shot of the first transition resides. 6. Do one of the following: t Click Cancel. Your application removes all ExpertRender highlighting and cancels the ExpertRender process without rendering any effects. t Click Modify Selection. The effects identified for rendering remain highlighted, and you can modify the set of effects to render. For more information, see “Modifying ExpertRender Results” on page 220. t Click OK. Your application renders the highlighted effects. n If the drive is near capacity, a message box opens and warns you that there might not be enough space to store the rendered effect. You can click Stop to stop the rendering process and return to the Expert Render dialog box, and then select another drive before continuing. Alternatively, you can click Continue to attempt to render the effects anyway, in case there might be enough space on the drive. 217 Chapter 12 Working with Effects n To display the estimated processing time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered. Using the ExpertRender Command After a Real-Time Playback Attempt Use the following steps when you have played the sequence and your application has displayed information bars in the timecode track of the Timeline. For information on using the ExpertRender command under other circumstances, see “Using the ExpertRender Command Without Timeline Playback Information” on page 216. To render effects using ExpertRender after a real-time playback attempt: 1. Select all tracks in the Timeline that contain effects you want ExpertRender to analyze. 2. Mark IN and OUT points in the sequence that include all parts of the Timeline marked by red bars in the timecode track. For more information, see “Understanding Real-Time Playback Information in the Timeline” on page 211. 3. Select Clip > ExpertRender In/Out. The Expert Render dialog box opens and indicates the number of red bar ranges that need to be rendered to achieve real-time playback of effects. 4. Do one of the following: t 218 To render only the effects necessary to achieve successful real-time effects preview, select “Render recommended ranges,” and then click OK. Basics of Effects Rendering t To render all the effects that ExpertRender has identified for rendering within your marked selection, select “Render entire selection.” The message in the Expert Render dialog box changes to indicate the number of effects that ExpertRender has identified for rendering across the entire selection. 5. Click the Drive button, and select a drive on which to store the rendered effects. The Effect Source Drive is the drive where the media for the outgoing shot of the first transition resides. 6. Do one of the following: t Click Cancel. Your application removes all ExpertRender highlighting and cancels the ExpertRender process without rendering any effects. t Click Modify Selection. The effects identified for rendering remain highlighted, and you can modify the set of effects to render. For more information, see “Modifying ExpertRender Results” on page 220. t Click OK. Your application renders the highlighted effects. n n If the drive is near capacity, a message box opens and warns you that there might not be enough space to store the rendered effect. You can click Stop to stop the rendering process and return to the Expert Render dialog box, and then select another drive before continuing. Alternatively, you can click Continue to attempt to render the effects anyway, in case there might be enough space on the drive. To display the estimated processing time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered. 219 Chapter 12 Working with Effects Modifying ExpertRender Results You can modify the results of an ExpertRender analysis, removing effects that you do not want to render and adding others that you do want to render. In most cases, the results of an ExpertRender analysis offer the fastest rendering necessary for successful playback. You should modify the results of an ExpertRender analysis only if you are confident that your modifications are useful. For examples of situations where you might want to modify the results of an ExpertRender analysis, see “Considerations When Using ExpertRender” on page 221. If you render the results of an ExpertRender analysis without making any modifications, the material you submitted to ExpertRender plays back successfully in real time. To modify the results of an ExpertRender analysis: 1. Perform an ExpertRender by following steps 1 through 5 in either “Using the ExpertRender Command Without Timeline Playback Information” on page 216 or “Using the ExpertRender Command After a Real-Time Playback Attempt” on page 218. 2. In the Expert Render dialog box, click Modify Selection. 3. Shift+click effects in the Timeline to add them or remove them from the set of effects to render. Effects currently selected are highlighted. 4. When you are satisfied with your selections, click the Render Effect button in the Effect Editor or in the Tool palette. For information on opening the Tool palette, see “Using the Tool Palette” on page 115. The Render Effect dialog box opens. n 220 To prevent this dialog box from opening, press and hold the Alt key (Windows) or Option key (Macintosh) when you click the Render Effect button. The Avid editing application uses the last drive selected. Basics of Effects Rendering 5. Click the Drive button, and select a drive for the rendered media. The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. 6. Click OK. The Avid editing application renders the highlighted effects. n n If the drive is near capacity, a message box opens and warns you that there might not be enough space to store the rendered effect. You can click Stop to stop the rendering process and return to the Render Effect dialog box, and then select another drive before continuing. Alternatively, you can click Continue to attempt to render the effects anyway, in case there might be enough space on the drive. To display the estimated render time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered. To cancel ExpertRender during the modification process, do one of the following: t Click in the timecode track to move the position indicator. t Double-click one of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. t From the Clip menu, select an ExpertRender command; and then in the Expert Render dialog box, click Cancel. ExpertRender removes all its highlighting and cancels the ExpertRender process without rendering any effects. Considerations When Using ExpertRender When you work with ExpertRender, you should be aware of the following aspects of its operation: • ExpertRender operates on all selected tracks in the Timeline, including any enabled tracks that might be above the currently monitored track. To view the material that you are submitting to ExpertRender accurately in the Composer monitor, make sure that you are monitoring the topmost selected track in the sequence. • ExpertRender takes account of all tracks at or below the topmost selected track when determining what to render on the selected tracks to achieve successful playback. For example, if you have a sequence with tracks V1 to V4, and select tracks V3 and V4 when using ExpertRender, the editing application considers tracks V1 and V2 when determining playback possibilities but highlights effects to render only from tracks V3 and V4. 221 Chapter 12 Working with Effects • If the material you submit to ExpertRender includes an effect in a segment that also contains nested effects, ExpertRender always renders the effect on the top (outside) track rather than the effect inside the nest. In certain circumstances, this might limit your workflow flexibility. For example, you might anticipate the need to readjust the parameters of the effect outside the nest and the effect would then require rerendering. You can use the procedure described in “Modifying ExpertRender Results” on page 220 to select the effect within the nest for rendering and deselect the effect outside the nest. • In some circumstances where segment effects and transition effects are adjacent in a sequence, ExpertRender might recommend the segment effects for rendering when rendering the transition effects might be quicker or more convenient and still allow for successful playback. You can use the procedure described in “Modifying ExpertRender Results” on page 220 to modify the combination of effects for rendering. • Remember that ExpertRender usually takes a conservative approach to deciding which effects need rendering and will often render more than the minimum number of effects necessary for successful real-time playback. To ensure that only the minimum number of effects is rendered, use ExpertRender with the Render Recommended Ranges option after generating playback information in the Timeline, as described in “Using ExpertRender in Preparation for Output” on page 216 and “Using the ExpertRender Command After a Real-Time Playback Attempt” on page 218. Rerendering Effects In some situations you need to rerender an effect that you have already rendered. For example, you might have rendered a series of effects at a low resolution, and now need to rerender them at a higher resolution. This situation might occur if you are working with multiple resolutions. You can rerender effects by holding down the Shift key and selecting a Render command. n You cannot use ExpertRender to rerender effects. For more information, see “Rendering Effects” in the Help. To rerender a single effect: 1. Move the position indicator to a single effect in the Timeline. 2. Hold down the Shift key and click the Render Effect button. 3. Click OK. To rerender multiple effects at one position: 1. Move the position indicator to the effects in the Timeline. 2. Select all tracks that contain effects you want to render. 222 Basics of Effects Rendering 3. Hold down the Shift key and select Clip > Render at Position. To rerender multiple effects using IN and OUT points: 1. Select all tracks that contain effects you want to render. 2. Mark an IN point before the start of the first effect to be rendered in your sequence; mark an OUT point after the last effect to be rendered. 3. Hold down the Shift key and select Clip > Render In/Out. n You can also rerender effects using the shortcut menu Render commands. On Windows, Shift +right-click in the Timeline, and then select Render at Position or Render In/Out. On the Macintosh, Shift+Ctrl+k-click in the Timeline, and then select Render at Position or Render In/Out. 223 Chapter 12 Working with Effects 224 Chapter 13 Avid Color Correction Your Avid application includes Avid Color Correction, a comprehensive set of tools for correcting and adjusting colors. The following topics provide basic information to get you started working with these tools: • How Avid Color Correction Works • Reasons for Making Color Corrections • Color Correction Mode Basics • Making Basic Color Corrections • Safe Color Basics For more advanced information on Avid Color Correction, see “Avid Color Correction Guide” in the Help or the Avid Color Correction Guide, available as a PDF document in the Online Library for your Avid application. Remember also that your Avid editing application lets you make some color adjustments using tools other than the Avid Color Correction tools. For example, some effects have color parameter controls, and some Avid editing applications allow you to adjust colors for some types of video input using the Video Input tool. For more information, see “Calibrating for Video Input” and the Avid Xpress Pro Advanced Effects Guide in the Help. How Avid Color Correction Works Avid Color Correction lets you adjust the color characteristics of video material that has been edited into a sequence. You can correct one segment, or correct multiple segments at the same time. Color corrections, like effects, do not change your original master clips or media files in any way. You can modify or remove color corrections at any time. If you correct a segment in one sequence, that correction does not affect the same video material in any other sequence. You make most color corrections by entering Color Correction mode and adjusting controls in the Color Correction tool. Each control affects a specific aspect of the color in an image (for example, saturation) so these controls are like parameter controls for effects in the Chapter 13 Avid Color Correction Effect Editor. Some color correction controls look very similar to effect parameter controls, while others have a more specialized appearance suitable for precise color adjustment. For more information, see “Understanding Color Correction Mode” in the Help. You can also perform some kinds of color corrections by applying the Color Correction effect from the Image category in the Effect Palette. For more information, see “Using Color Correction Effects in the Effect Palette” in the Help. You can make either automatic or manual corrections. Automatic corrections are simpler to use because Avid Color Correction calculates and makes the adjustments needed to correct a problem in an image for you. Manual corrections require you to have a more detailed understanding of the color correction controls but allow for more precision and creativity. For more information, see “Performing Color Corrections” in the Help. Once you have made a color correction, you can play it back in real time in the Composer monitor or on a Client monitor, subject to the same real-time playback constraints that affect the playback of other effects on your system. For more information, see “Playback of Video Effects” on page 207. Depending on the model of your Avid editing application, your hardware configuration, and the complexity of your sequence, you might need to render at least some of your color corrections before you can export your sequence or perform a digital cut. For more information, start with “Basics of Effects Rendering” on page 212. Avid Color Correction also lets you set safe limits for color characteristics, for example, to ensure that the colors in your program meet a particular broadcaster’s standard for broadcast. Your system displays warnings when your images exceed these limits, and you can make corrections to solve the problem. For more information, see “Safe Colors” in the Help. Reasons for Making Color Corrections Before you can make good color corrections, you need to have an idea of what color problems are present in your video material or a sense of why you want to alter existing color values. The two most common color problems in a given image are: 226 • Poor contrast (or a lack of a full range of tones). For example, parts of an image that should be black are only dark gray. If an image does not have a good range of tones, details do not stand out sharply. • Poor color balance (or a color cast). For example, parts of an image that should be pure white are instead pinkish, or parts that should be pure blue are instead greenish-blue. Color Correction Mode Basics Avid Color Correction’s automatic correction controls are designed specifically to correct these two problems. Apart from correcting for these two problems, the two other main reasons to alter color values in your video material are: • To make the color characteristics of adjacent segments in a sequence match. For example, adjacent segments in a sequence might have been shot under slightly different lighting conditions, or using two cameras with different color balance settings. • To achieve a particular artistic or editorial effect. For example, you might want to slightly brighten or darken a whole sequence, or increase saturation to make a scene seem warmer, or alter color balance to make it seem as though a scene is lit by evening sunlight. For a more complete introduction to the process of analyzing the color in your video and deciding how to adjust it, including illustrated examples of typical corrections, see “Color Correction Techniques” in the Help. Color Correction Mode Basics This section describes how to enter and leave Color Correction mode, and provides a basic explanation of the default Color Correction mode interface. For information about advanced features and customizations of Color Correction mode, see “Understanding Color Correction Mode” in the Help. Entering and Leaving Color Correction Mode To enter Color Correction mode, do one of the following: t Select Toolset > Color Correction. t Press Shift+F8. t Click the Color Correction Mode button. To leave Color Correction mode, do one of the following: t Select a toolset other than Color Correction from the Toolset menu. t Use the keyboard shortcut for a toolset other than Color Correction. t Click a mode button other than Color Correction, for example the Effect Mode button. 227 Chapter 13 Avid Color Correction n For more information on toolsets, see “Using Toolsets” on page 39. Depending on the model of your Avid editing application, the Color Correction button might appear in the default interface (for example, below the Timeline), or it might need to be used or mapped from the Command Palette. For more information, see “Using the Command Palette” on page 112. Composer Window Monitors in Color Correction Mode In Color Correction mode, the Composer window contains three monitors. By default, the center monitor shows the frame at the current location of the position indicator, while the left and right monitors show the last frame of the segment preceding the current segment, and the first frame of the segment following the current segment, as shown in the following illustration. This arrangement lets you compare the color characteristics of adjacent shots in your sequence. When you move the position indicator to another segment in the Timeline, all three monitors update to show the new arrangement of previous, current, and next shots. In most respects, the Composer Window monitors in Color Correction mode work like other monitors in your editing application. For example, operations such as activating monitors, showing and hiding the video, displaying timecode information, and using the position bar are the same. For general information on using the monitors in your application, start with “Viewing and Marking Footage” on page 97. You can customize image display in each of the three monitors by selecting from the monitor’s Source menu. For example, you can display other segments in your sequence, the entire sequence, or vectorscope and waveform displays to help you analyze images as you correct. For more information, see “Customizing Image Display in Color Correction Monitors” in the Help. 228 Color Correction Mode Basics Composer Window Buttons in Color Correction Mode Some of the buttons beneath the Composer Window monitors in Color Correction mode have the same functions as they do in other modes. Several buttons perform functions specific to color correction, as follows: To move to the previous or next segment on the active track that does not already have a color correction applied: t Click the Go to Previous Uncorrected Shot or Go to Next Uncorrected Shot button. To remove the color correction on the current segment: t Click the Remove Effect button. To split the monitor display and show the image both with and without the correction applied: t Click the Dual Split button. To turn off Dual Split display: t Click the Dual Split button. The Client Monitor in Color Correction Mode If you have a Client monitor connected to your Avid editing application, you can see your corrections in the Client monitor. In most Avid editing applications, the dual split display also appears in the Client monitor when you have Dual Split selected for the current monitor in the Composer window. It is a good idea to use a Client monitor to view your color correction work because a Client monitor displays video colors more accurately than your computer screen. 229 Chapter 13 Avid Color Correction Color Correction Tool Basics The following illustration shows the default display of the Color Correction tool. Controls in the Color Correction tool are organized in tabs. The default display shows the controls in the Hue Offsets tab within the HSL (Hue, Saturation, Luminance) tab. The controls in this tab provide one set of tools to correct contrast and color balance problems. The other two available tabs (the Controls tab within the HSL tab, and the Curves tab) provide additional sets of controls. For complete information on all color correction controls and other features in the Color Correction tool, see “The Color Correction Tool,” “The HSL (Hue, Saturation, Luminance) Group,” and “The Curves Group” in the Help. Making Basic Color Corrections This section describes how to make three of the most useful basic color corrections: • Corrections to automatically correct contrast and color balance across any number of shots, made by applying the Color Correction effect from the Effect Palette. • Fully automatic color corrections to correct contrast and color balance, made in the Hue Offsets tab in the Color Correction tool. • Corrections to match color characteristics between two shots, made in the Curves tab of the Color Correction tool. By making one or more of these corrections, you can successfully solve problems with contrast and color balance, and match color from one shot to the next, for most video material. For more information on performing all other kinds of color corrections, both automatic and manual, see “Performing Color Corrections” in the Help. 230 Making Basic Color Corrections Correcting Color Automatically Using the Color Correction Effect You can use the Color Correction effect in the Effect Palette to apply up to three automatic color corrections at one time simply by applying the effect to selected segments just like any other Avid effect. Because you do not have to use any controls in the Color Correction tool, or even enter Color Correction mode, this is the simplest way of all to correct basic color problems on any or all of the segments in your sequence. For more information on working with the Color Correction effect, see “Using Color Correction Effects in the Effect Palette” in the Help. You determine which automatic color corrections your application makes by setting options in the AutoCorrect tab of the Correction Settings dialog box. A common setting that often solves most basic color problems applies two automatic corrections, one to correct contrast and one to correct color balance. The procedure in this section describes how to set up this setting. For information on the full range of options for the type and number of automatic corrections that you can set, see “Selecting AutoCorrect Options” in the Help. To set basic AutoCorrect options: 1. Do one of the following: t In the Settings tab of the Project window, double-click Correction. t In the Color Correction window, click the Correction Mode Settings button. The Correction Mode Settings dialog box appears. First Correction menu Second Correction menu Third Correction menu 2. Click the AutoCorrect tab. 3. Click the First Correction menu and select HSL Auto Contrast. 231 Chapter 13 Avid Color Correction 4. Click the Second Correction menu and select HSL Auto Balance 5. Make sure that the Third Correction menu is set to Nothing. To correct a single segment with the Color Correction effect: 1. In editing mode, Effect mode, or Color Correction mode, click the Effect tab in the Project window. 2. In the Effect Palette, click the Image category. 3. Click the Color Correction Effect icon, and drag it to the segment in the Timeline to which you want to apply corrections. To correct multiple segments with the Color Correction effect: 1. In editing mode or Effect mode, select the segments in the Timeline that you want to correct. For more information on selecting multiple segments, see “Selecting Segments with the Segment Mode Pointer” on page 143. 2. Click the Effect tab in the Project window. 3. In the Effect Palette, click the Image category. 4. Double-click the Color Correction Effect icon. Correcting Color Automatically in the Hue Offsets Tab You can use the Automatic Color Correction buttons in the Hue Offsets tab to correct contrast and balance problems across the whole luminance range of an image. For information on other automatic color corrections that you can make in the Color Correction tool, see “Using Automatic Color Corrections” in the Help. To make an automatic color correction in the Hue Offsets tab: 1. Enter Color Correction mode, for example, by selecting Toolset > Color Correction. 2. In the Timeline, make sure that the Record Track button for the video track on which you want to make corrections is the topmost selected track. 3. In the Timeline or in the Composer window, navigate to the segment you want to correct. 4. In the Hue Offsets tab of the Color Correction tool, click one of the Automatic Color Correction buttons, as described in the following table. 232 Making Basic Color Corrections Button Description Auto Balance Balances the colors in the image (eliminating any color cast for most images). Adjusts all three ChromaWheel controls. Auto Black Makes the darkest areas of the image as dark as possible. Adjusts the Setup slider control. Auto White Makes the brightest areas of the image as bright as possible. Adjusts the Gain slider control. Auto Contrast Maximizes the tonal range in the image, making the brightest areas of the image as bright as possible and the darkest areas of the image as dark as possible. Adjusts the Gain and Setup slider controls. Color Match Corrections in the Curves Tab The Color Match control, which is available in every tab of the Color Correction tool, lets you match colors between one shot and another by choosing colors with an eyedropper. This section describes how to make a specific type of color match correction for adjacent shots in the Curves tab of the Color Correction tool. In this tab, a special feature of the Color Match control called NaturalMatch lets you change the colors in an image while preserving the saturation and luminance qualities of the image. The following illustration shows the Color Match control in the Curves tab. Input color swatch (for selecting the color to be corrected) Output color swatch (for selecting the reference color to match) Match Type button Match Color button For more information on the Color Match control and the NaturalMatch feature, including details of all types of Color Match correction, see “Using the Color Match Control” in the Help. To make a Color Match correction with NaturalMatch on adjacent shots: 1. Enter Color Correction mode, for example, by selecting Tools > Color Correction. 2. In the Timeline, make sure that the Record Track button for the video track on which you want to make corrections is the topmost selected track. 233 Chapter 13 Avid Color Correction 3. In the Timeline or in the Composer window, navigate to the segment you want to correct. The adjacent shot that you want to match is visible as either the Previous or Next shot in the Composer window. 4. In the Color Correction tool, click the Curves tab. 5. If the Match Type button is not set to R+G+B, click the Match Type button and select R+G+B. 6. Click the Match Type button and select NaturalMatch. 7. Select the input color (the color to be changed): a. Move the pointer over the input (left) color swatch. b. Press and hold the mouse button, and then drag the eyedropper to the area of the image in the monitor from which you want to select an input value. For example, you might select a poor skin tone that you want to change to match a better one in the adjacent image. c. Release the mouse button to complete the selection. 8. Select the output color (the good color you want to use as a reference for the match): a. Move the pointer over the output (right) color swatch. b. Press and hold the mouse button, and then drag the eyedropper to the area of the image in the monitor from which you want to select an output value. c. Release the mouse button to complete the selection. 9. Click the Match Color button. Safe Color Basics Avid Color Correction can warn you when the luminance values, the RGB color gamut, or (if appropriate) the composite signal range of an image in your sequence falls outside of a range that you specify. Typically, this is useful to ensure that your sequence stays within a range of values acceptable for broadcast or for additional processing such as DVD encoding, or more generally to ensure that colors display well on television screens. For more advanced information on safe color features, see “Safe Colors” in the Help. 234 Safe Color Basics Managing Safe Color Warnings You turn safe color warning on or off, and set the range of values Avid Color Correction should consider safe, in the Safe Color Settings dialog box. For more information about the Safe Color Settings dialog box, including information about safe color value ranges and unit types, and about the graphical display of safe color settings that appears at the bottom of the dialog box, see “Understanding Safe Color Settings Options” and “Understanding the Graphical View of Safe Color Settings” in the Help. To open the Safe Color Settings dialog box, do one of the following: t In the Settings list of the Project window, double-click Safe Colors. t In the Color Correction tool, click the Safe Color Settings button. The following illustration shows the Safe Color Setting dialog box. Units buttons Actions buttons To turn safe color warning on or off: t Click one of the Actions buttons in the Safe Color Settings dialog box, and select Warn to turn safe color warning on or Ignore to turn safe color warning off. The top Actions button controls Composite and Luminance warnings; the bottom Actions button controls RGB Gamut warnings. To set a safe color value range for one of the value types (Composite, Luminance, or RGB Gamut): 1. Click the Units button for the value type you want to set in the Safe Color Settings dialog box, and select a unit of measurement for your values. 2. Type low and high values in the text boxes for the value type. For example, you might enter values supplied by a broadcaster or encoder. 235 Chapter 13 Avid Color Correction Safe Color Warnings in the Composer Window When Avid Color Correction is set to provide safe color warnings, warning information appears in the Composer Window monitor for any image whose color values are outside the safe range. You see an orange safe color warning triangle in the top left corner of the image, along with warning indicators for each of the safe color value types that are currently set to warn. Warning color bars appear in one of three places in a column: • At the top (indicating a level that is too high) • At the bottom (indicating a level that is too low) • In the center (indicating a level that is within limits) The following illustration shows a typical warning indicator display. Composite (yellow) Red Luminance (white) Too high Within limits Too low Blue Green In this example, the Red and Green levels exceed limits at both the high and low end, the Composite levels exceed limits at the high end, and the Luminance and Blue levels are within limits. If a warning indication displays in the monitor for an image, you can choose to leave the image with color values that exceed your safe limits, or you can make one or more color corrections to bring the levels back within safe limits. Once all levels are within safe limits, the warning triangle and warning indicators no longer display in the monitor. For suggestions on specific correction steps you might take to bring color values within safe limits, see “Making Adjustments to Achieve Safe Color Values” in the Help. Safe color warning information might also appear in the Color Match color swatches and in waveform and vectorscope displays. For more information, see “Safe Color Warnings in the Color Match Control” and Safe Color Limits with Waveform and Vectorscope Information” in the Help. 236 Chapter 14 Working with Titles You can create titles in your Avid editing application using either of two title tools, the classic Avid Title tool or the Marquee® Title tool. Titles can incorporate text, graphic objects, imported graphics, and video. In these topics, the term “title” refers to both text and graphics, the classic Avid Title tool is referred to as the Title tool, and the Marquee Title tool is referred to as Marquee. The following topics provide basic information on using the Title tool to create titles, and on editing titles created in the Title tool (or in Marquee) into sequences. n You can promote titles created using the classic Avid Title tool to Marquee titles. Titles promoted to or created in Marquee cannot be edited with the classic Avid Title tool. • Opening the Title Tools • Using Marquee • Understanding the Title Tool • Using the Selection and Text Tools • Setting Up the Drawing Environment • Creating Text • Sizing and Positioning Text Objects • Editing a Text String • Basic Text Formatting • Creating Graphic Objects • Modifying and Manipulating Title Objects • Adding Shadows to Title Objects • Saving Titles • Editing with Titles For more information about working with titles, see “Working with Titles: Advanced” in the Help. Chapter 14 Working with Titles Opening the Title Tools You can open either the Title tool or Marquee from the Clip menu or the Tools menu. You can also use commands in the Windows or Tools menus to bring the Title tool to the foreground if it gets covered by another window. To open one of the Title tools: 1. In the Record monitor, move the position indicator to the video frame to be used as a reference. If you are not using video as the background, you can ignore this step. For more information, see “Selecting a Background for Titles” on page 242. 2. Select Clip > New Title or Tools > Title Tool. The New Title dialog box opens. 3. Do one of the following: t To use Marquee, click Marquee. Marquee opens. For information on Marquee, see “Using Marquee” on page 238. t To use the Title tool, click Title Tool. The Title tool opens. The Text tool is automatically selected, and the pointer becomes an I-beam, ready for entering text. n For the current session, if you know you want to create only Marquee titles or only standard titles, select Persist before you click Marquee or Title Tool. For the rest of your editing session, the application automatically opens the title tool you selected. You turn off automatic selection from the Settings list: double-click Marquee Title, and select Create New Title Using > Ask Me. To bring the Title tool to the foreground, do one of the following: t Select Windows > Title Tool. t Select Tools > Title Tool. Using Marquee The Marquee Title tool is both an alternative tool for creating basic titles and a tool for creating much more sophisticated titles such as 3D and animated titles. Marquee opens from within your Avid editing application but has its own self-contained user interface, including its own Help system. 238 Understanding the Title Tool For information on opening the Marquee Title tool, see “Opening the Title Tools” on page 238. For information on creating titles with the Marquee Title tool and on using the Marquee Title tool in conjunction with your Avid editing application, see the Avid Marquee Title Tool User’s Guide or the Avid Marquee Title Tool Help. Each contains a chapter titled “Creating Basic Titles for Your Avid Editing Application” that provides a good starting point for basic work in Marquee. Understanding the Title Tool The following illustration shows a title over a video background. Safe action area Safe title area Video background Title object Toolbar The Title tool has several major components: • A video background based on a sequence or a color background that you create. For more information, see “Selecting a Background for Titles” on page 242. • The title or graphic in the foreground that you create. • The safe title and safe action area guidelines. For more information, see “Displaying Safe Title and Safe Action Guidelines” on page 242. 239 Chapter 14 Working with Titles • The toolbar at the bottom of the screen. The use of these tools is described throughout this chapter and in “Working with Titles: Advanced” in the Help. For information on the two most widely used tools, the Selection tool and the Text tool, see “Using the Selection and Text Tools” on page 240. For detailed reference information on all the tools in the toolbar, see “Understanding the Title Tool Toolbar” in the Help. • In addition, there are title-related menu items in the File, Edit, Object, and Alignment menus. Using the Selection and Text Tools The Selection tool and the Text tool are the two most frequently used tools in the Title tool. You use the Selection tool when selecting and adjusting whole objects in a title (whole pieces of text or graphic objects). You use the Text tool when you create or edit text content. Selection tool Text tool To select a single object: t Click the Selection tool, and then click an object. Selection handles appear around the object. Selection handle for width To select multiple objects, do one of the following: t Shift+click with the Selection tool. t Click outside the objects, and drag to surround the objects with a lasso. To use the Text tool: t Click the Text tool, click anywhere within the text object, and begin typing. An I-beam pointer indicates your position within the text. The Text tool remains selected until you select another tool. 240 Setting Up the Drawing Environment n By default, the Text tool is active when you open the Title tool, and you can begin entering text as soon as you click in the Title tool. To switch between the Selection tool and the Text tool: t Press the Alt key (Windows) or Option key (Macintosh), and click anywhere in the Title tool. To use the Selection tool temporarily when another tool is active: t n Press and hold the Ctrl and Alt keys (Windows), or the Ctrl and Option keys (Macintosh). After you use a tool in the toolbar, the Title tool reverts to the Selection tool, and the pointer becomes an arrow. To prevent a tool from automatically reverting to the Selection tool, double-click the tool’s icon. Setting Up the Drawing Environment This section describes some basic aspects of the Title tool that you can use to set up your titling or drawing session. You can also make the following adjustments, which are described in “Advanced Title Tool Setup” in the Help: n • Install fonts to use in your titles. • Control whether the Title tool limits colors to those that are safe for television broadcast. • Use a grid to help you align title objects. • Control the aspect ratio the Title tool uses. You can set or change these features at any time during your work on a title. These settings are stored with User settings and appear each time a particular user opens the Title tool. Previewing Titles with Anti-Aliasing Text and objects in titles are created anti-aliased with an 8-bit alpha channel. Anti-aliasing ensures that text, lines, and object edges appear smooth, regardless of size. You can preview a title to see the title drawn with anti-aliasing, just as it will be saved. To switch the display of anti-aliased titles on or off: t Select Object > Preview. A check mark indicates that Preview mode is enabled and that the display of anti-aliased titles is on. 241 Chapter 14 Working with Titles n Titles are always saved in anti-aliased format. The display behavior for title objects in Preview mode is as follows: • You can alter the graphics characteristics of title objects (including colors, shadows, borders, and transparency) without losing the anti-aliased preview. • You can select text objects and apply text styles from the Styles menu without losing the anti-aliased preview. • When you click a text object for editing, the Title tool displays the text without antialiasing. When you finish editing the text and click outside the object to deselect it, the Title tool restores the anti-aliased preview. Displaying Safe Title and Safe Action Guidelines By default, the Title tool displays two outlined boxes to use as guidelines. The inner box is the safe title area. All text for television broadcast should remain within this inner box. The outer box is the safe action area for video display. These guidelines are self-adjusting for PAL and NTSC projects. To turn the safe title area or safe action area guidelines on or off: t Select Object > Safe Title Area/Global Grid. A check mark indicates that the Safe Title Area is turned on for display. Selecting a Background for Titles You use the Video Background button to switch between a video background and an opaque color background, or to update the video background with the currently selected frame in the Timeline. Background Color window Video Background button If there is a sequence in the Record monitor, the Title tool opens with a video background. The location of the position indicator in the Timeline at the time you open the Title tool determines the initial video frame that displays. If there is no sequence in the Record monitor, the Title tool opens with no video showing (the background appears black). 242 Setting Up the Drawing Environment The Video Background button is green when you are creating a title for display over a video background. The background video frame is a reference that helps you position title objects relative to the video you plan to edit the title over. It does not become part of the title you create. You can edit the title anywhere else in the current sequence or in another sequence. To update the video background: 1. Click the Video Background button in the toolbar to activate video background if you have not already done so. 2. Load the sequence into the Record monitor. For information about editing a sequence, start with “First Edits” on page 123. 3. Move the position bar in the Timeline or in the monitor to display the new frame. 4. Click again in the Title tool to activate its window. The background is updated to reflect the current contents of the Record monitor. To create a title that appears over an opaque color background: 1. Click the Video Background button to switch off the video background if it was previously turned on. 2. Click and hold on the Background Color window. The Title Tool Color Picker dialog box opens. 3. Use the Title Tool Color Picker dialog box, eyedropper, Windows Color dialog box, or Macintosh Color Picker to select a color. For a description of how to use these tools, see “Selecting Colors and Setting Transparency” in the Help. The default background color is black. n n When you create a title with a color background, it is opaque and it cannot be used to key over video. You cannot create rolling or crawling titles with a color background. You can create a separate color background as a title, and then edit the rolling or crawling title over it in the sequence. 243 Chapter 14 Working with Titles Creating Text You can create new text using the Text tool. You can also copy and paste text into the Title tool directly from a word processing or text editing application. In addition to static text objects, you can also create text objects in the Title tool that scroll vertically on the screen (rolling titles) or that crawl horizontally across the screen (crawling titles). For more information, see “Creating Rolling and Crawling Titles” in the Help. c There is a limit to the size of text objects you can create in the Title tool. Avoid pasting large blocks of text (numerous pages in a word processor) into the Title tool. Instead, consider pasting smaller blocks of text into separate text objects. Also see “Page Count Limits in Rolling and Crawling Titles” in the Help. To create text: 1. Click the Text tool in the toolbar. The pointer becomes an I-beam. 2. Click the position in the frame where you want to add text. An insertion point appears. 3. Type the text. To insert a line return, press Enter (Windows) or Return (Macintosh). n Text is word-wrapped automatically as you type. You can adjust the wrapping by changing the width of the text object. For more information, see “Sizing and Positioning Text Objects” on page 245. 4. When you have finished typing, click the Selection tool in the toolbar to deselect the text object. To copy and paste text into the Title tool: 1. Click the Text tool in the toolbar. The pointer becomes an I-beam. 2. Click the position in the frame where you want to add text. An insertion point appears. 3. Open the text file in a word processor or text editor. 4. Select the text in the word processor or text editor. 5. Select Edit > Copy. 6. Click the Title tool again to activate it. 244 Sizing and Positioning Text Objects 7. Select Edit > Paste. The pasted text takes on the attributes currently set in the Title Tool toolbar. Sizing and Positioning Text Objects You can resize and reposition text objects by dragging directly in the Title tool. When you resize a text object, the text remains the same size but rewraps to fill the reshaped area. When you create text that is aligned on the left side using left justification (the default), you can eliminate the unused space on the right side of the newly created text object, especially if you want to use the Alignment menu commands. To resize a text object: 1. Click the Selection tool, and then click the text object. 2. Click one of the object selection handles for width, and drag to resize. n You can resize only the width of a text object. The height of a text object is automatically determined by the number of words and the size of text. To eliminate unused space on the right side of a left-aligned text object: t Click the middle selection handle on the right side of the text box, and drag it to the left until it is closer to the text. To reposition a text object: 1. Click the Selection tool, and click the text object. 2. Move the text by doing one of the following: t Click in the middle of the object, and drag it to a new position. t Use the arrow keys to move the object one pixel at a time. t Use commands in the Alignment menu to position the text. For more information, see “Aligning Objects” in the Help. Editing a Text String To edit an existing text string; 1. Click the Text tool, and then click anywhere in the text. 245 Chapter 14 Working with Titles 2. Do any of the following: - Use the arrow keys to move around within the text string. - Type additional characters. - Press Enter (Windows) or Return (Macintosh) to insert a line return. - Drag to select characters. - Use the Cut, Copy, and Paste commands from the Edit menu. - Use the Delete key. - Change the formatting of the selected text, as described in “Basic Text Formatting” on page 246. Basic Text Formatting The text formatting tools control the appearance of text. You can click a text object with the Selection tool to format all the text within it, or you can use the Text tool to select a string of text within a text object to format individual characters or words. Text formatting controls This section describes basic methods for setting font type, style, and point size. You can adjust other attributes of text, such as kerning, leading, and justification. For more information, see “Formatting Text” in the Help. While you type text, only the text color is apparent. Shadows, outlines, and other color attributes appear when you finish typing the text and click the Selection tool. n If you want to create text elements in the title with different appearances, create a separate text object for each set of attributes. Setting Default Text Attributes When you start the application and open the Title tool, it uses default text attributes. You can change the defaults at any time. Changes you make to the default text attributes apply until you quit the application. 246 Basic Text Formatting To change the default text attributes: 1. Click the Selection tool. 2. Click in the Title tool but do not select any text. 3. Change any of the text attributes. Now whenever you start typing a new text string, the Title tool uses your new defaults. Selecting a Font The Font Selection button displays the name of the current font for a text selection and allows you to change the font. When you first open the Title tool, the font listed is the preferred system font. To display all the fonts currently installed on the system: t Click the Font Selection button. Font Selection button To change the font: t Click the Font Selection button, and select a font. The Title tool displays the name in the Font Selection button and uses this font for text until you change it during the editing session. n When you select a text object, the Font Selection button displays the name of the font in the text object. Changing Point Size The point size controls the size of the selected text. A point is a typographical unit of measure. There are 12 points to the pica and 72 points to the inch. You can enter a point size either before or after you type text. Point Size text box Point Size button 247 Chapter 14 Working with Titles To change the point size, do one of the following: t Click the Point Size button, and select a standard point size from the menu. t Double-click in the text box, type a point size between 5 and 999, and then press Enter (Windows) or Return (Macintosh). t Click in the text box, and use the Up Arrow and Down Arrow keys to change the value incrementally. Making Text Bold or Italic The Bold button and the Italic button are located under the Point Size text box. The Object menu also contains commands for bold and italic. Bold button Italic button To make text bold or italic: 1. Select the text you want to change. 2. Do one of the following: t Click the Bold button or the Italic button. t Select Object > Bold or select Object > Italic. To remove bold or italic formatting: t Repeat the procedure. Creating Graphic Objects You use the drawing tools to create graphic objects such as squares, rectangles, circles, ovals, and lines. Drawing tools 248 Creating Graphic Objects This topic explains how to use the drawing tools to create graphic objects. After creating graphic objects, you can modify or manipulate them in a variety of ways. For more information, see “Modifying and Manipulating Title Objects” on page 250. n By default, when you use a drawing tool and deselect the created object, the pointer reverts to the Selection tool. To avoid this, double-click the drawing tool when you select it in the Title tool toolbar. To draw a square or a rectangle: 1. Click the Square and Rectangle tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. n Pressing the Shift key while you drag constrains the Square or Rectangle tool to create a square. Rectangle drawn over video background To draw a circle or an oval: 1. Click the Oval tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. n Pressing the Shift key while you drag constrains the Oval tool to create a circle. To draw a line: 1. Click the Line tool (slanted line) in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create a line. n Pressing the Shift key while you drag constrains the Line tool to create a horizontal or vertical line. 249 Chapter 14 Working with Titles Modifying and Manipulating Title Objects Once you have created one or more text or graphics objects in a title, you can modify or manipulate them in a variety of ways. This section summarizes the options available to you. • You can round the corners of a box, adjust the width of lines and text borders, or add arrowheads to lines. For more information, see “Selecting Line Attributes” in the Help. • You can change or blend colors in any title object. For more information, see “Selecting Colors” in the Help. • You can add and adjust drop or depth shadows for any title object. For more information, see “Adding Shadows to Title Objects” on page 250. • You can modify the transparency level of any title object or of its shadow. For more information, see “Setting Transparency Levels” in the Help. • You can manipulate title objects by changing their layer order, grouping them, locking them to prevent accidental editing, aligning them with respect to one another, and distributing them evenly across the viewing area. For more information, see “Manipulating Objects” in the Help. Adding Shadows to Title Objects You can add a drop shadow or depth shadow to any text or graphic object. A drop shadow is offset from the object itself, as though cast by a light source. A depth shadow extends from the edges of the object, as though the object were three-dimensional.You can place the shadow anywhere within the title without restriction. The following illustration shows an example of drop and depth shadows. Text with depth shadow Text with drop shadow Once you have created a shadow on a title object, you can adjust its color or transparency. You can also soften (blur) shadows or create a glow effect behind a title object. For more information, see “Adjusting Shadows” in the Help. 250 Saving Titles The following illustration shows the tools used to create shadows. Shadow Depth and Direction button Shadow Depth text box Drop and Depth Shadow button To apply shadows to text or objects: 1. Select text or an object. 2. Click the Drop and Depth Shadow button to switch between a drop or depth shadow. 3. Adjust the depth or direction of the shadow as follows: t Click the Shadow Depth and Direction button, and drag the shadow displayed to any position. t Press the Shift key; then click the shadow in the Shadow Depth and Direction button, and drag to restrict shadow placement to 45-degree angles around the title. t Press the Shift key, and use the arrow keys to move the shadow to any position around the title. t Type a value in the Shadow Depth text box to change the shadow depth by increments. The Title tool automatically orients the shadow to the selected object. You can continue to follow these procedures to adjust the shadow until you achieve the effect you want. Saving Titles After creating a new title, there are three basic ways to save your work: t Save the title and exit the Title tool. t Save the title and continue creating additional titles. t Save a title style that you can apply to additional titles you create. For more information, see “Saving and Recalling Title Styles” in the Help. You can also reopen in the Title tool a previously saved title and make further changes, as described in this section. 251 Chapter 14 Working with Titles You can also save the attributes of a particular title as a title style or as a title template that you can apply repeatedly to other titles or title objects, in much the same way that you can save effect templates. For more information, see “Saving and Recalling Title Styles” and “Using Title Templates” in the Help. n After editing a title into a sequence and adjusting effect parameters, you can also save a Title Effect template that contains only the effect information (without title media) for applying to other previously created titles. For more information, see “Saving an Effect Template” in the Help. Matching Resolutions When Saving Titles When you save a new title, you must select a resolution for the title that is compatible with the project, based on the following: • n The rules regarding different media resolution groups apply to titles. You cannot mix titles from one resolution group with media from another. For example, you cannot mix single-field titles with two-field media in a sequence. For detailed information on mixing media resolutions in a project, see “Resolutions and Storage Requirements” in the Help. • The Avid application uses the resolution information to compute the dimensions of the title. • Even though titles are uncompressed, if you decide during editing that you need to render the title or create a layered effect, the title renders with the resolution you select when you first save the title. Saving a Title and Exiting the Title Tool To save the title and exit the Title tool: 1. Select File > Close. If the contents of the title have changed since the last time it was saved, a dialog box opens, asking if you want to save the existing title. 2. Click Save. The Save Title dialog box opens. 3. Type a name to identify the title in the bin; then select a bin, drive, and resolution from the menus. n 252 If you are saving a new title, the resolution you select becomes the default for future new title saves. Saving Titles n n You must select a resolution that is compatible with the sequence. Titles do not play with incompatible media. For detailed information on mixing media resolutions in a project, see “Resolutions and Storage Requirements” in the Help. You can also use the Media Creation dialog box to set the resolution and drives for titles. For more information, see “Media Creation Settings” on page 377. 4. Select or deselect Fast Save, depending on your needs. For more information, see “Using the Fast Save Option” on page 254. 5. Click Save. The Title tool closes, and the application loads the new title into the Source monitor. A two-minute Title Effect clip that corresponds to the new title appears in the bin. Saving Multiple Titles in a Session To save multiple titles: 1. Select File > Save Title. The Save Title dialog box opens. 2. Type a name to identify the title in the bin; then select a bin, drive, and resolution from the menus. n n You must select a resolution that is compatible with the sequence. Titles do not play with incompatible media. For detailed information on mixing media resolutions in a project, see “Resolutions and Storage Requirements” in the Help. You can also use the Media Creation dialog box to set the resolution and drives for titles. For more information, see “Media Creation Settings” on page 377. 3. Select or deselect Fast Save, depending on your needs. For more information, see “Using the Fast Save Option” on page 254. 4. Click Save. The new Title Effect clip appears in the bin. 5. Create another title. 6. Select File > Save Title as, and repeat steps 2 to 5 for each subsequent title that you create. The application loads titles into the Source monitor as they are saved, so the most recently saved title always appears in the Source monitor. 253 Chapter 14 Working with Titles Using a Keyboard Shortcut to Save a Title You can use a keyboard shortcut that is equivalent to selecting “Save Title as” from the File menu of the Title tool. You can quickly save the latest version of your title without replacing the original. To save a title, using a keyboard shortcut: 1. Press Shift+Ctrl+S (Windows) or Shift+k+S (Macintosh). The Save Title dialog box opens. 2. Type a name for the title. 3. Select a bin, a drive, and a resolution from the menus. 4. Click Save. Using the Fast Save Option You can use the Fast Save option to work more quickly when creating and saving multiple titles in a Title tool session. Fast Save skips the steps that create anti-aliased images from title objects. Instead, just the raw title objects (text and graphics) are saved in the bin, with the prefix “unrendered.” You can edit with the titles and then batch render them at a more convenient time. Fast Save is ideal for working with multipage rolling titles with complex styles and shading. For information on rendering fast-saved titles, see “Rendering Fast-Saved Titles” in the Help. n Fast-saved titles appear as black in the monitors and are labeled as “media offline” during editing. To use the Fast Save option: t Select Fast Save (Unrendered) in the Save Title dialog box when saving the title. For complete procedures for saving titles, see “Saving a Title and Exiting the Title Tool” on page 252 or “Saving Multiple Titles in a Session” on page 253. n 254 Fast Save remains in effect until you deselect it, load a title that was saved without Fast Save selected, or exit the Title tool. Saving Titles To quickly locate the unrendered fast-saved titles in a bin: 1. Open the bin containing the unrendered fast-saved titles. 2. Select Bin > Select Unrendered Titles. The fast-saved titles are highlighted in the bin. Revising a Title in a Bin If you want to revise a title that has not been edited into a sequence, you can reopen the title in the Title tool directly from the bin. n For information on revising a title that has been edited into a sequence, see “Revising a Title in a Sequence” in the Help. To revise a title in a bin: 1. Press the Ctrl key, and double-click the Title Effect icon in the bin. The title opens in the Title tool. n If the Title tool is already open, you can drag a Title Effect clip from the bin directly into the Title tool. 2. Edit the title, using the techniques described in “Editing a Title into a Sequence” on page 258. 3. Save the title with the same name and media parameters (bin, drive, and resolution) by choosing File > Save Title. The revised Title Effect clip replaces the previous clip in the bin. The clip also appears in the Source monitor. The Title tool remains open. You can continue creating additional titles, or select File > Close. 4. Save the title with a new name or change any of the media parameters (bin, drive, and resolution) by doing the following: a. Select File > Save Title as. The Save Title dialog box opens. b. Rename the title, or select other options from the Bin, Drive, and Resolution menus. If you keep the same name for the title, the application retains the original Title Effect clip in the bin and creates a new clip with the same name plus a two-digit extension that adds incremental numbering for each revision. 255 Chapter 14 Working with Titles c. Select or deselect Fast Save, depending on your needs. For more information, see “Using the Fast Save Option” on page 254. d. Click Save to save the title and exit the Title tool. Editing with Titles Once you have created a title and saved it to a bin (using either the Title tool or Marquee), it appears as a Title Effect clip. You can edit a Title Effect clip into a sequence in much the same way that you edit with any other clip type. This section provides basic information about the appearance of Title Effect clips in bins and about how to edit titles into a sequence. You can adjust a title that has been edited into a sequence in several ways: • Removing or replacing a title in a sequence. For more information, see “Removing a Title” and “Replacing a Title” in the Help. • Quickly fading a title using the Fade Effect button. For more information, see “Using the Fade Effect Button” on page 205. • Adjusting the effect parameters for the Title Effect, for example to alter or animate the position of the title on the screen. For more information, see “Adjusting Title Effect Parameters” in the Help. • Promoting a 2D title to 3D in the same way that you promote other effects from 2D to 3D. For more information, see “Promoting 2D Effects to 3D Effects” in the Help. • Revising the title by reopening it in the Title tool directly from the Timeline. For more information, see “Revising a Title in a Sequence” in the Help. • Replacing the fill track in a title with video or other graphics, for example to fill text characters with moving video. For more information, see “Replacing Fill Tracks” in the Help. You can also re-create the media for a title, for example to conform a title originally created at a lower resolution to a higher resolution for finishing and final output. For more information, see “Re-creating Title Media” in the Help. Title Effect Clips in the Bin When the Title tool or Marquee saves a title, it creates a Title Effect clip and saves it in the selected bin along with a media object, referred to as a precompute, which has references to the RGB and alpha channel information. Every time you make a change, the Avid application creates two additional media files. The original media files are left unchanged. 256 Editing with Titles Bin in Frame view Rendered effect (precompute) Title Effect clip n By default, the bin display does not show rendered effects. To view rendered effects in the bin, select Bin > Set Bin Display, then select Rendered Effects and “Show reference clips” in the dialog box. Bin in Text view Title Effect clip Rendered effect (precompute) For more information, see “Managing Effect Media Files” in the Help. When you have a bin in Frame view, you can display a frame from the title itself rather than display the Title Effect Clip icon for the clip. This is especially useful if you have many titles in the bin and want a quick visual reference. To display a frame from the title: 1. Select one or more Title Effect clips. 2. Press the Home key on the keyboard. The clip appears displaying the title. 257 Chapter 14 Working with Titles Editing a Title into a Sequence After preparing the sequence with a second track for the title, there are three basic methods for editing the title into place: • Edit the title into the sequence, using standard editing methods: Mark edit points in the sequence and in the title clip, and then splice or overwrite the title into place. For more information, see “Splicing or Overwriting a Title into a Sequence” on page 259. • Drag a marked title clip directly into the sequence from a bin: Mark IN and OUT points in the title clip, and then drag the title directly into the sequence. For more information, see “Dragging a Marked Title into a Sequence” on page 260. • Drag an unmarked title clip directly into the sequence from a bin: Drag the title clip directly from the bin to the location of the position indicator. For more information, see “Dragging an Unmarked Title into a Sequence” on page 261. When you are editing with rolling or crawling titles, you can control the start and finish points of the title, as well as control its duration by trimming. For more information, see “Setting Marks in a Rolling Title or a Crawling Title” on page 258 and “Trimming the Duration of Rolling and Crawling Titles” on page 262. Setting Marks in a Rolling Title or a Crawling Title By default, a rolling title clip or a crawling title clip begins with the visible title just off screen. The clip ends after the last element disappears off screen. You can mark IN and OUT points of rolling titles in the Source monitor to change the start and finish points; for example, you might want the title to start with the screen full of text rather than start off screen. You can play and mark a rolling title clip in the Source monitor by using standard procedures. For more information, see “Controlling Playback” on page 108. If you want to use the complete roll in the sequence, do not set marks. For information about adjusting the duration of the roll, see “Trimming the Duration of Rolling and Crawling Titles” on page 262. n 258 You can view a crawling title frame by frame if you select Special > Render On-the-Fly. Editing with Titles Splicing or Overwriting a Title into a Sequence To splice or overwrite a title into a sequence: 1. Load the sequence into the Record monitor. n Titles must be placed on a track above the video that forms the background. If an upper track already exists with an open region for the title, you can go to step 3. 2. (Option) Select Clip > New Video Track. The application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, the application adds V2. 3. Double-click the Title Effect Clip icon in the bin to load the title in the Source monitor. Title Effect Clip icon 4. Patch the title source to the video track in the sequence by clicking the Source Track button for track V1 in the Track Selector panel and dragging it to the Record Track button for track V2. Source Track button Record Track button n You can use any three-point editing method to edit a title into a sequence. The following steps are just one editing method. For other methods, start with “First Edits” on page 123. 259 Chapter 14 Working with Titles 5. In the Source monitor, mark an IN point. You should mark the IN point toward the middle of a still title clip so you can trim the title, if necessary. For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll. The application uses the position indicator to determine the IN point on rolling title. 6. In the Record monitor, mark IN and OUT points. 7. Make sure all other Record Track buttons are deselected in the Track Selector panel. 8. Click either the Extract/Splice-in button or the Lift/Overwrite button to edit the title into the sequence. The Title Effect segment appears in the top video track. Dragging a Marked Title into a Sequence To mark a portion of a title clip and then drag the marked clip directly into the Timeline: 1. Load the sequence into the Record (Composer) monitor. For more information, see “First Edits” on page 123 and “Using the Timeline” on page 133. n Titles must be placed on a track above the video that forms the background. If an upper track already exists with an open region for the title, you can go to step 3. 2. (Option) Select Clip > New Video Track. The application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, the application adds V2. 3. Double-click the Title Effect Clip icon in the bin to load the title into the Source monitor. 260 Editing with Titles 4. In the Source monitor, mark an IN point and an OUT point to establish the duration that you want for the title. You should mark the IN point toward the middle of a still title clip so you can trim the title, if necessary. For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll. The application uses the position indicator to determine the IN point on rolling titles. 5. Clear the Source monitor by choosing Clip Name > Clear Monitor. 6. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. 7. Click the Title Effect Clip icon in the bin, and drag it to the Timeline. As you drag the Title effect in the Timeline, a white outline of the title clip indicates location in the sequence. Outlined title clip 8. Release the mouse button when you have the title positioned where you want it. The Title effect appears in place in the sequence. Dragging an Unmarked Title into a Sequence If you are not concerned about the OUT point for your title, or if you plan on trimming the Title effect later, you can quickly drag the unmarked Title effect directly into the Timeline. To apply a Title effect to a sequence without adding marks: 1. Load the sequence into the Record (Composer) monitor. For more information, see “First Edits” on page 123 and “Using the Timeline” on page 133. 261 Chapter 14 Working with Titles n Titles must be placed on a track above the video that forms the background. If an upper track already exists with an open region for the title, you can go to step 3. 2. (Option) Select Clip > New Video Track. The application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, the application adds V2. 3. Move the position indicator to the location where you want the Title effect to begin. 4. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. 5. Click the Title Effect Clip icon in the bin, and drag it to the Timeline. As you drag the Title effect in the Timeline, a white outline of the title clip indicates location in the sequence. Outlined title clip 6. Release the mouse button when you have the title positioned where you want it. The Title effect appears in place in the sequence. Trimming the Duration of Rolling and Crawling Titles When you edit the title clip into a marked segment of a sequence, the clip plays back from beginning to end regardless of the duration of the segment. That is, the entire roll shrinks to fit within the duration of the marked segment in the sequence. Once you have edited the clip into the sequence, you can trim the duration of the segment at any time, and the title adjusts to fit. Unlike trimming other segments, trimming a rolling or a crawling title does not remove any part of the title contents. As a result, the duration of the title determines how fast it plays. For example, the shorter you trim the title, the faster it rolls. n 262 Rolling titles might jitter slightly at certain speeds. You can trim the duration slightly to fix the problem. Editing with Titles To trim the duration of a rolling title or a crawling title: 1. Use the Track Selector panel to select the track containing the Title effect and to deselect all other tracks. 2. To enter Trim mode, click the Trim Mode button in the Timeline top toolbar. 3. Select either the head or the tail of the title segment for trimming. 4. Trim the title segment to the duration you want by using standard trim procedures. The entire roll or crawl plays back within the new duration. c If you trim your rolling title very short, it scrolls very fast and cannot display in real time; it must be rendered. The maximum speed for an unrendered rolling title is one screen per second. 263 Chapter 14 Working with Titles 264 Chapter 15 Output Options The Avid system provides tools for generating output for individual tracks or entire sequences to tape formats. Some of these options are described in the following topics: • Preparing for Output • Preparing for Audio Output • Using the Digital Cut Tool • Selecting a Deck in the Digital Cut Tool • Recording a Digital Cut to Tape (Remote Mode) • Recording a Digital Cut to Tape (Local Mode) • Output Mode Resolution Options • Outputting DV 50 and DVCPRO HD Media Directly to a DV Device • Crash Recording For more information on output options, see “Output Options: Advanced” in the Help. For information on outputting HDV, see “Outputting HDV” in the Help. Preparing for Output Preparing for video output involves the following procedures: • Render all non-real-time effects. See “Rendering Effects” in the Help. • Select the connection for the output device, as described in “Selecting the Device for Output” on page 266. • Select video outputs. See “Selecting Video Output” on page 266. • Select audio outputs. See “Preparing for Audio Output” on page 268. • Decide whether you want to generate stereo or mono audio. See “Adjusting One Audio Track at a Time” on page 171. Chapter 15 Output Options • Mix down multiple audio tracks if necessary. Systems equipped with a two-channel audio board can generate a maximum of two channels. See “Mixing Down Audio Tracks” in the Help. • Convert mixed audio sample rates. See “Audio Sample Rates” on page 268. • Prepare the record tapes. See “Preparing Record Tapes” on page 271. Selecting the Device for Output Your Avid editing application lets you output directly to a DV camera or deck on a 1394 port (see “Outputting DV 50 and DVCPRO HD Media Directly to a DV Device” on page 283). Other devices are connected through the Avid DNA hardware. Before outputting the digital cut, make sure you select the correct connection for your output device. (See “Connecting and Selecting a DV Device” on page 76.) To select a device for a digital cut, do one of the following: t Click the DNA/1394 button in the Timeline top toolbar to display either DNA or 1394. t Select Special > Device, then select Avid DNA or IEEE 1394. The appropriate button is displayed in the Timeline top toolbar, a check mark appears next to the selected option in the Device menu, and the device output appears in the Digital Cut tool. Selecting Video Output n You can select video output options only for SD projects; you cannot select options for HD projects. n The Video Output tool appears only if you have an Avid Mojo or Avid Mojo SDI. To select video output: 1. Select Tools > Video Output. The Video Output tool opens. 2. Click the Output menu, and select an output format: - Component - Composite - SVideo 3. Click the Test Patterns menu, and select a test pattern. 266 Preparing for Output 4. Select a sync source from the Output sync lock menu. See “Establishing Sync for Output” on page 267. 5. Click the close box. Establishing Sync for Output You can use one of the following sources as sync for output: • Black burst or house sync through the reference input (REF) of the Avid Mojo or Avid Mojo SDI • Internal timing from the Avid Mojo or Avid Mojo SDI hardware The source that you use depends on your production environment and your project needs. c If you are working in a facility that uses house sync or a black burst generator to maintain accurate timing between various input and output devices, you should connect the reference signal to the reference input (REF) on the Avid Mojo or Avid Mojo SDI hardware before performing a digital cut. You should connect the sync source before you start the Avid application. If you connect a sync source while the application is running, you can reestablish sync by doing one of the following: t Quit and then restart the Avid application. t Open the Digital Cut tool. t Enter and then exit Capture mode. To select the sync source: 1. Select Tools > Video Output Tool. 2. Select reference from the Output sync lock menu. If the source you select is not correctly connected, or if the sync generator is set to an incorrect frame rate, the application automatically switches to internal timing. c Avid recommends that you use an external sync source whenever you record a digital cut to tape. Connect the sync source to both the Avid Mojo or Avid Mojo SDI hardware and the tape deck. 3. Click the close box. 267 Chapter 15 Output Options Preparing for Audio Output The Audio tool lets you adjust global output levels. For information on additional audio mixer procedures, see “Using the Audio Mixer Tool” in the Help. Selecting your audio output also allows you to select the audio connection output. Audio Sample Rates You must convert to a single audio sample rate when performing a digital cut. If your sequence or master clip has multiple audio sample rates, for example, one clip at 32 kHz and other clips at 44.1 kHz, you need to convert it to a single audio sample rate. For information on converting the audio sample rate, see “Changing the Sample Rate” in the Help. Setting the Calibration Tone The Audio tool provides an internal calibration tone that you can customize and play as a reference signal on a digital cut. You can use the recorded reference signal for calibrating the digital cut audio at another site. The default tone playback is –14 dB (digital scale) with a 1000-Hz signal. In some cases, you might need to customize the signal. For example, a common reference signal convention for audio work involves recording 30-second segments of 100-Hz, 1-kHz, and 10-kHz tones back-to-back. To change the parameters for the calibration tone: 1. Select Tools > Audio Tool. The Audio tool opens. See “Using the Audio Tool” in the Help. Peak Hold Menu button In/Out toggle buttons 268 Preparing for Audio Output 2. Click the Peak Hold (PH) Menu button, and select Set Calibration Tone. The Set Calibration Tone dialog box opens. 3. Type new values for the tone level and frequency, and click OK. To play back the tone: t Click the Peak Hold menu, and select Play Calibration Tone. To check the adjusted tone level in the meters: t Make sure the In/Out (I/O) toggle buttons are set to O for Output. Calibrating Global Output Levels You can use the meters in the Audio tool and the Output Control slider (master attenuator) in the Output tab in the Audio Project Settings window to make global level adjustments for output from the system. These adjustments affect levels for all output tracks to both the speakers and record devices. c You should leave this output level at the factory preset of 0 dB. Adjust the level only when necessary to raise or lower the overall volume, based on the headroom parameters of the record format, or for consistently overmodulated or undermodulated source material. Adjusting Audio Output To adjust global audio output: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings window opens. 3. Click the Output tab. 269 Chapter 15 Output Options Bypass panel Mix Mode Selection Menu button 4. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the currently monitored audio tracks into a stereo pair. - Select Mono to pan all the currently monitored tracks to center. 5. (Option) You can select Clip Gain, RT EQ, or Auto Gain in the Bypass panel to enable or disable the customized volume, real-time EQ, or automation gain effects you applied with the other audio tools. 6. Select Tools > Audio Tool. The Audio tool opens. Reset Peak button Peak Hold Menu button In/Out toggle buttons 270 Preparing for Audio Output 7. Click the In/Out toggle buttons above the meters to display O for Output. 8. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 9. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, use the Audio Mixer tool. 10. Close the Audio tool. 11. Close the Audio Project Settings window. Preparing Record Tapes The two basic methods of recording to tape are: • Frame-accurate recording, using the Digital Cut tool • Manual recording, using controls on the record deck Each method requires different treatment of the record tapes. Frame-Accurate Recording Frame-accurate recording involves using the Digital Cut tool to record your sequence onto a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape. Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance for either insert-editing recording or assemble-edit recording. See “Enabling Assemble-Edit Recording” on page 273. n DV cameras or decks controlled through a 1394 connection and the OHCI protocol do not consistently support the commands for frame-accurate recording. As a result, if you are preparing to record to one of these devices, the insert edit and assemble edit menu choices do not appear in the Digital Cut tool. You can use the Digital Cut tool in either local mode or remote mode, but all tracks are enabled for recording and cannot be modified. For more information, see “Recording a Digital Cut to Tape (Local Mode)” in the Help. To perform insert-edit recording: t Stripe the record tapes (record black with timecode for the entire duration of the tape) in advance (prestriped tape). 271 Chapter 15 Output Options To perform assemble-edit recording: t Record black with timecode onto the tape, including the necessary preroll before the IN point plus at least 10 seconds (partially striped tape). Manual Recording Manual recording (sometimes referred to as crash recording) involves bypassing deck control in the Avid application and using manual operation of the record deck. Because the timing of playback is based on manual procedures, the recording is not frame accurate. However, you do not need to record timecode onto the tape in advance. You can also record onto non-Avid-controlled decks, such as a consumer-grade VHS or Hi8™. n You cannot manually record to a DV device or camera. Use the Digital Cut tool with local control. To record manually: 1. If the record deck has a serial control switch, set it to Local. 2. Use the controls on the deck to start the videotape recording. 3. Play the sequence. Recording Bars and Tone You can also record a portion of bars and tone onto the tape before recording a digital cut. There are two methods of recording bars and tone to tape: • If your recording must be frame accurate, consider adding a segment of digital bars and tone to the front of your sequence, or prepare it as a separate sequence that you can record using the Digital Cut tool. For more information, see “Preparing Digital Bars and Tone” on page 282. • If your recording does not need to be frame accurate, you can manually record direct output of bars and tone from your Avid system. To record bars and tone manually: 1. Select Tools >Video Output tool and Tools > Audio tool. 2. Click the Test Patterns menu in the Video Output tool, and select a color bars pattern. If you do not see the Test Patterns menu, click the Arrow button at the lower left corner of the window. 3. Click the Peak Hold (PH) menu in the Audio tool, and select Play Calibration Tone. 4. Set the record deck to Local for manual recording. 5. Record the bars and tone as either an insert or assemble edit according to the operation of your record deck and chosen method. 272 Preparing for Audio Output Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool. You can also use assemble-edit settings in the Avid application, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance. c n To avoid accidentally breaking timecode on prestriped tapes during digital cut recording, enable assemble editing only when in use, and disable it during insert-edit recording. DV cameras or decks controlled through a 1394 connection and the OHCI protocol do not consistently support the commands for frame-accurate recording. As a result, if you are preparing to record to one of these devices, the insert edit and assemble edit menu choices do not appear in the Digital Cut tool. You can use the Digital Cut tool in either local mode or remote mode, but all tracks are enabled for recording and cannot be modified. To enable assemble-edit recording: 1. Click the Settings tab in the Project window. The Settings List appears. 2. Double-click Deck Preferences. The Deck Preferences dialog box opens. 3. Select “Allow assemble edit & crash record for digital cut” and then click OK. 4. If possible, check the following settings on your record deck: - The free run/rec (record) run switch should be set to record run. - The Ext (external)/Int (internal) sync switch should be set to internal. - The switch for internal timecode should be set to Regen (regenerate) or Slave Lock, not Preset. - After you record 15 to 30 seconds of timecode onto the record tape for jam syncing, set the Local/Remote switch to Remote for deck control from within the Avid application. 5. When you are ready to record, set the options in the Digital Cut tool, as described in “Using the Digital Cut Tool” on page 274. 273 Chapter 15 Output Options Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. Sequence Track buttons Play Digital Cut button Enable Track buttons Preview Digital Cut button Halt Digital Cut button Video/Ref Lock icon Deck control area Deck controls Deck Selection menu Timecode text boxes The Digital Cut tool has the following operating modes: • Remote mode allows you to control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 276. • Local mode allows you to manually control the record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. “Recording a Digital Cut to Tape (Local Mode)” on page 279. You can use either Remote mode or Local mode to preview the output of a digital cut before recording it to tape. See “Previewing a Digital Cut” on page 848. 274 Selecting a Deck in the Digital Cut Tool You can manually record a digital cut, but the recording is not frame accurate. See “Preparing Record Tapes” on page 271. n Sync for output comes from the reference input (REF) input on the Avid Mojo or Avid Mojo SDI, or from internal timing. For more information, see “Detecting Valid or Locked Capture Input” on page 58 and “Establishing Sync for Output” on page 267. The Digital Cut tool provides several options for you to manage the recording of your sequence. For example, you can: • Record by using either assemble edit, insert edit, or crash record. • Record a selected portion of the sequence or selected tracks. • Record an entire sequence. • Record according to different timecode parameters. • Select the sequence video and audio tracks to record (Sequence Track buttons). • Have the system locate real-time effects with dropped frames. • Select the tracks to record to on the tape (Enable Track button – Remote mode only). • Add black at the end of a digital cut. In Remote mode, the Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool. • Cueing the tape and adding an IN point. This capability applies when you click the menu in the deck control area, and select Mark In Time. The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them. n Depending on the system configuration, you might need to use the deck controls in the Capture tool to review a digital cut. Selecting a Deck in the Digital Cut Tool The Deck Selection menu in the Digital Cut tool contains a list of all decks that were connected to the system, turned on, and initialized when you opened the Digital Cut tool. n Device templates from older Avid systems are not compatible with Avid Xpress Pro systems. Do not copy Meridien templates to Avid Xpress Pro systems, and do not copy Avid Xpress Pro templates to Meridien systems. 275 Chapter 15 Output Options The Deck Selection menu also lists three commands: • Adjust Deck opens the Deck Settings dialog box. Changes you make apply to the selected deck. For information on Deck settings, see “Deck Settings” on page 325. • Auto-configure allows you to automatically configure the selected deck with the default deck settings for that deck. • Check Decks helps to reestablish deck control if the power to your decks was off or the decks were disconnected when you opened the Digital Cut tool. If the words “No Deck” appear in the menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 51. If a deck name appears in italics on the menu, the deck has lost power or has been disconnected. Click the menu, and select Check Decks to reestablish deck control. To activate an available deck for a digital cut: t Click the Deck Selection menu, and select the deck. Recording a Digital Cut to Tape (Remote Mode) Recording in Remote mode allows you to control your record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. Prior to recording a digital cut, make sure you have selected the appropriate device. c Make sure you connect the correct deck and black burst generator for the output format you selected (NTSC or PAL). To select a device for a digital cut, do one of the following: t Make sure you selected the appropriate device for the material you are recording (see “Selecting the Device for Output” on page 266. To record a digital cut to tape: 1. Load a sequence into the Record monitor. (You cannot access digital cut options without a sequence loaded.) 2. Select Clip > Digital Cut. The Digital Cut tool opens. 3. Select the Output Mode and Bit Depth according to the “Output Mode Resolution Options” on page 281. 276 Recording a Digital Cut to Tape (Remote Mode) 4. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and to play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 5. Click the Video Effect Safe Mode button (selected by default) to allow the system to notify you that an effect needs to be rendered. During a digital cut, real-time effects can drop frames. To eliminate the chance of dropping frames, it’s best to render the real-time effects that might drop frames. The Video Effect Safe Mode option identifies real-time effects that might cause dropped frames during the digital cut and allows you to render them. After all the real-time effects are rendered, the system automatically initiates the digital cut. 6. (Option) Select Stop on Dropped Frames. This option appears for all real-time digital cuts if you have an Avid Mojo, an Avid Mojo SDI, or a DV device attached to your 1394 port. When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see ExpertRender in the Help. 7. Select the Add Black at Tail option and enter a duration to add black at the end of the digital cut. 8. Click the Deck Selection menu, and select a deck. See “Selecting a Deck in the Digital Cut Tool” on page 275. 9. Select Remote in the Deck Control options area. 10. Click the menu, and select either Insert Edit or Assemble Edit (if available for your deck). This menu appears only if you enabled assemble editing in the Deck Preferences dialog box. For more information about this option, see “Enabling Assemble-Edit Recording” on page 453. n DV cameras or decks controlled through a 1394 connection do not consistently support the commands for frame-accurate recording. As a result, if you are preparing to record to one of these devices, the insert edit and assemble edit menu choices do not appear in the Digital Cut tool. You can use the Digital Cut tool in either local mode or remote mode, but all tracks are enabled for recording and cannot be modified. 277 Chapter 15 Output Options 11. Click the menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. n t Select Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape. t Select Record Deck Time to ignore the timecode of the sequence and to start the recording wherever the record deck is currently cued. You can change the start timecode to match the record tape by using the Get Clip Info command. For more information, see “Changing Sequence Information” on page 124. t Select Mark In Time to ignore the sequence timecode. Establish a specific IN point on the record tape by cueing and marking with the deck controls. Timecode text box 12. (Option) Select the Custom Preroll option, click the menu, and select the number of seconds to indicate how many seconds the tape rolls before the digital cut starts. This option overrides the Preroll setting in the Deck Settings dialog box. 13. Select the audio and video tracks you want represented in the digital cut by using the Sequence Track buttons. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 14. Select the video and audio tracks to record to on the tape by using the Enable Track buttons. 15. For 23.976p, 24p, and 25p projects, select an output format as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” in the Help. 16. Click the Play Digital Cut button or the Preview Digital Cut button. The system cues the record deck, then plays the sequence. The playback appears in the Record monitor and in the Client monitor. 17. To stop the recording at any time, press the space bar or click the Halt Digital Cut button. n 278 After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up. Recording a Digital Cut to Tape (Local Mode) n If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect the “Poll deck during digital cut” option in the Deck Preferences dialog box, which you access from the Settings list of the Project window. Then record the digital cut again. With the option deselected, the timecode display in the deck controller does not update for the duration of the digital cut. Recording a Digital Cut to Tape (Local Mode) Recording in Local mode allows you to manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. Prior to recording a digital cut, make sure you have selected the appropriate device. c Make sure you connect the correct deck and black burst generator for the output format you selected (NTSC or PAL). To select a device for a digital cut, do one of the following: t Make sure you selected the appropriate device for the material you are recording (see “Selecting the Device for Output” on page 266. To record a digital cut to tape by using the deck controls on the deck: 1. Load a sequence into the Record monitor. (You cannot access digital cut options without a sequence loaded.) 2. Select Clip > Digital Cut. The Digital Cut tool opens. 3. Select the Output Mode and Bit Depth according to the “Output Mode Resolution Options” on page 281. 4. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 279 Chapter 15 Output Options 5. (Option) Click the Video Effect Safe Mode button (selected by default) to allow the system to notify you that an effect needs to be rendered. During a digital cut, real-time effects can drop frames. To eliminate the chance of dropping frames, it’s best to render the real-time effects that might drop frames. The Video Effect Safe Mode option identifies real-time effects that might cause dropped frames during the digital cut and allows you to render them. After all the real-time effects are rendered, the system automatically initiates the digital cut. n The Video Effect Safe Mode button might not appear in the Digital Cut tool, depending on your system configuration and project format. 6. (Option) Select Stop on Dropped Frames. This option appears for all real-time digital cuts if you have an Avid Mojo, an Avid Mojo SDI, or a DV device attached to your 1394 port. When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see “ExpertRender” in the Help. n Always select Stop on Dropped Frames when you are recording your final master. 7. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 8. Select Local in the Deck Control options area. 9. Click the Sequence Track buttons to select the audio and video tracks you want represented in the digital cut. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 10. For 23.976p, 24p, and 25p projects, select an output format as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” in the Help. 11. Press the Record button on the deck. 12. Click the Play Digital Cut button. The deck plays and records the digital cut. The playback appears in the Record monitor and in the Client monitor. 13. To stop the recording at any time, press the space bar or click the Halt Digital Cut button. 280 Output Mode Resolution Options Output Mode Resolution Options The Output Mode menu in the Digital Cut tool displays the relevant resolution options depending on your project type and the output device. The connected output device is displayed in the Digital Cut tool. The following table provides information on the available output resolutions. Connected Output Device Output Mode Resolution Options Output Mode Resolution Options Project Type Device 30i and 25i, or 25p SD Project Avid Mojo or Avid Mojo SDI Available Output Mode Resolution and Bit Depth RTa DNA (8-bit) RT DV 25 (8-bit)b DV 25b Comments With RT DNA selected, RT DNA allows you to output through the following connectors: Composite, SVideo, Component, or Host-1394. With RT DNA selected, output is 1:1 uncompressed or decompressed DV 25. With RT DV 25 selected, full real-time effects playback is supported. With DV 25 selected, real-time effects playback is not supported. All media must be DV 25. 24p or 23.976p SD Project Avid Mojo or Avid Mojo SDI RT DNA (8-bit) RT DV 25 (8-bit)b 30i, 25i, or 25p SD Project Separate IEEE 1394 board RT DV 25 (8-bit)b RT DV 50(8-bit)b DV 25b DV 50b With DV 50 selected, real-time effects playback is not supported. All media must be DV 50. HD Project Avid Mojo or Avid Mojo SDI DNxHD Does not support real-time effects playback. All media must be DNxHD. 281 Chapter 15 Output Options Output Mode Resolution Options (Continued) Project Type Device Available Output Mode Resolution and Bit Depth HD Project Separate 1394 board DVCPRO HD Comments Does not support real-time effects playback. All media must be DVCPRO HD. a. RT indicates real-time effects playback is supported. b. There are restrictions for progressive formats. See “Output Mode Resolutions with Progressive Projects” on page 282. n Performing a digital cut to a serial-controlled deck might not be frame-accurate if the output resolution is set to RT DV 25 or DV 25. When performing a digital cut to a serial-controlled deck, set the output resolution to RT DNA and make sure your output device is connected to a connection other than 1394 (for example, SDI or Composite). This is a limitation of some 1394 devices. Output Mode Resolutions with Progressive Projects The availability of the Output Mode resolutions for progressive projects depends on the Output Format play rate in the Digital Cut Tool. The following table describes the Output Mode resolutions for progressive projects. Output Format Play Rate Progressive Project Output Mode Resolution Options Project Type Play Rate Available Output Mode Resolution and Bit Depth PAL 25p project 25 DV 25 DV 50 RT DV 50 (8-bit) RT DV 25 (8-bit) NTSC 23.976p projects 23.976 RT DV 50 (8-bit) RT DV 25 (8-bit) 282 Outputting DV 50 and DVCPRO HD Media Directly to a DV Device Progressive Project Output Mode Resolution Options (Continued) Project Type Play Rate Available Output Mode Resolution and Bit Depth NTSC 24p projects 24 RT DV 50 (8-bit) RT DV 25 (8-bit) PAL 24p Method 1 For information on Method 1 and Method 2, see “Transferring 24-fps Film to PAL Video” in the Help. 25 PAL 24p Method 2 For information on Method 1 and Method 2, see “Transferring 24-fps Film to PAL Video” in the Help. 24 n RT DV 50 (8-bit) RT DV 25 (8-bit) RT DV 50 (8-bit) RT DV 25 (8-bit) Performing a digital cut to a serial-controlled deck might not be frame-accurate if the output resolution is set to RT DV 25 or DV 25. When performing a digital cut to a serial-controlled deck, set the output resolution to RT DNA and make sure your output device is attached to a connection other than 1394 (for example, SDI or Composite). Outputting DV 50 and DVCPRO HD Media Directly to a DV Device You can output DV 50 or DVCPRO HD sequences directly to a DV device. This lets you output without any loss due to compression and decompression. DV 50 and DVCPRO HD Output You can output: If the project is: And if the output device is: DV 50 Any SD project 1394 DVCPRO HD One of the following HD projects: 1394 • 720p/23.976 • 720p/59.94 • 1080i/50 • 1080i/59.94 283 Chapter 15 Output Options To output DV 50 or DVCPRO HD media directly to a DV device: 1. Select the DV 50 or DVCPRO HD sequence you want to output. 2. Render all effects. 3. Do one of the following: t Click the DNA/1394 button above the Timeline to display the 1394 icon. t Select Special > Device > IEEE 1394. The 1394 icon displays above the Timeline, and a check mark appears next to IEEE 1394 in the Device menu. n For information about the 1394 option, see “Outputting DV 50 and DVCPRO HD Media Directly to a DV Device” on page 283. 4. Select Clip > Digital Cut. The Digital Cut tool opens. 5. Select other Digital Cut options. 6. Perform the digital cut. Crash Recording You can crash record to a device without positioning the device beforehand. With DV decks, a crash record can either start recording at the current location or it can work with a starting timecode. n DV cameras or decks controlled through a 1394 connection do not consistently support the commands for frame-accurate recording. As a result, if you are preparing to record to one of these devices, the insert edit and assemble edit menu choices do not appear in the Digital Cut tool. You can use the Digital Cut tool in either local mode or remote mode, but all tracks are enabled for recording and cannot be modified. To perform crash record to devices that do not support insert edit or assemble edit: 1. Prepare for Digital Cut as described “Using the Digital Cut Tool” on page 274. 2. In the Deck Control area, select Remote. 3. Crash Record appears in the right menu. 4. Select Add Black at Tail, and enter 30 seconds. 284 Crash Recording 5. Do one of the following: t To ignore the starting timecode and start recording at the current location, select Ignore Time from the left menu. If you select one of the timecode options for which your device is not equipped, a message box appears. t To begin recording at a starting timecode, select a timecode option from the left menu. 285 Chapter 15 Output Options 286 Chapter 16 Exporting and Exchanging Material You can export material directly from your Avid system to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. See the following topics: • Exporting as a QuickTime Movie • Selecting QuickTime Codecs • Sending Clips or Sequences to Other Applications For more information about exporting and exchanging material, see “Exporting and Exchanging Material: Advanced” in the Help. For information on exporting HDV, see “Exporting HDV” in the Help. Exporting as a QuickTime Movie The QuickTime Movie export option creates a standard QuickTime movie that combines the media files and QuickTime wrapper. This method allows you to move all related information as one file. If you plan to use the QuickTime movie with an application that can access files on your local system, see “QuickTime Reference Movies” in the Help. To export as a QuickTime movie: 1. Select the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the QuickTime Export Settings dialog box. You can select this option before the export. t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the QuickTime Export Settings dialog box. Chapter 16 Exporting and Exchanging Material t To export the entire clip or sequence, deselect Use Enabled Tracks and Use Marks in the QuickTime Export Settings dialog box, and make sure the topmost track is monitored. 2. Select File > Export. The Export As dialog box opens. 3. Select the Export settings by doing one of the following: t Click the Export Setting menu, select a setting if you created a QuickTime template in advance, and then click Save. The file is exported and appears at the chosen destination. t If you want to review or edit a setting, go to step 4. 4. Click the Options button. The Export Settings dialog box opens. 5. Click the Export As menu, and select QuickTime Movie. n 288 If you installed additional QuickTime Export formats, they appear in the menu with tildes (~) before their names. This indicates that they have not been qualified with the Avid application and are not supported by Avid. Exporting as a QuickTime Movie QuickTime Movie (Same as Source) QuickTime Movie (Custom) 6. Select one of the following: - Same as Source: Allows you to use the resolution and size of the source file. - Custom: Allows you to customize your settings. 7. (Option) Click Format Options, and select settings from the Movie Settings dialog box. See “Export Settings: QuickTime Movie” on page 336 and “Export Settings: QuickTime Compression” on page 337. 8. Select the remaining options. See “Export Settings: QuickTime Movie Export” on page 333. 9. Click Save, and then click Save again. The file is exported and appears at the chosen destination. 289 Chapter 16 Exporting and Exchanging Material Selecting QuickTime Codecs Your Avid system includes many codecs you can use to compress and export your sequence. See “Using Avid Codecs” in the Help. To access the QuickTime codecs: 1. Select File > Export. The Export As dialog box opens. 2. Click the Options button. The Export Settings dialog box opens. 3. Click the Export As menu, and select QuickTime Movie. 4. Select Custom. 5. Click Format Options. The Movie Settings dialog box opens. 6. Click the Settings button in the Video area. The Compression Settings dialog box opens. 290 Sending Clips or Sequences to Other Applications 7. Select the codec and settings. These options are shown in “Export Settings: QuickTime Compression” on page 337. 8. Click OK. The Movie Settings dialog box reappears. 9. Click OK to return to the Export Settings dialog box. For information about exporting as a QuickTime movie, see “Exporting as a QuickTime Movie” on page 287. Sending Clips or Sequences to Other Applications The Send To feature enables you to send sequences or master clips from your Avid editing system to other applications, automating your workflow. The Send To option provides you with a choice of several pre-defined templates to streamline your workflow. These templates are set to default parameters, customized for the specific workflow. In many instances you can choose to automatically launch the application to which you are sending your clip or sequence. Avid recommends you use the pre-defined template default settings, which have been qualified by Avid. To use the predefined templates: 1. Select a clip or a sequence in a bin. 2. Select File > Send To. 3. Select the desired Send To template option. 4. Click Set and choose a destination folder for the exported files. 5. Click OK. The file is exported to the selected destination. For detailed information about Send To options, see “Improving Workflow Using Send To: Advanced” in the Help. n The Avid Xpress Studio Send To submenu might appear in your editing application, but is applicable only when running the Avid Xpress Studio package. 291 Chapter 16 Exporting and Exchanging Material 292 Chapter 17 Settings Options Settings are accessed through the Settings tab of the Project window. The following topics describe the Settings options in your Avid application: • Using the Settings List • Audio Settings • Audio Project Settings • Bin Settings • Capture Settings • Communication (Serial) Ports Tool Settings • Controller Settings • Correction Mode Settings • Deck Configuration Settings • Deck Settings • Deck Preferences Settings • Export Settings • Film and 24p Settings • Full Screen Playback Settings • General Settings • Grid Settings • Import Settings • Interface Settings • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Mouse Settings Chapter 17 Settings Options • PortServer Settings • Remote Play and Capture Settings • Render Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (Windows Only) • Timeline Settings • Trim Settings • Video Display Settings • Video Input Tool Settings • Video Output Tool Settings • Workspace Settings Using the Settings List From the Settings list of the Project window, you can view, select, open, and alter various User, Project, and Site settings, as described in this section. To view the Settings list, do one of the following: t Click the Settings tab in the Project window. t Select Edit > Preferences. Settings tab 294 Using the Settings List Understanding the Settings List The following table briefly describes each item in the Settings list, and lists where you can find additional information on a particular item. Settings List Setting Name Description For More Information Audio Sets the default audio pan; contains audio scrub options and audio setup parameters. See “Audio Settings” on page 308. Audio Project Sets parameters for audio project setup. See “Transfer Settings for Film Projects” on page 299. Bin Sets the Auto-save preferences for bins, Avid See “Bin Settings” on page 315. Attic preferences, and other bin parameters. Bin View Selects and formats the information displayed in bins. See “Displaying Custom Bin Views” on page 252. n You cannot modify bin views from the Project window. Capture Defines how the Avid system captures and batch captures in specific situations. See “Capture Settings” on page 316. Communication (Serial) Ports Sets a port for Remote Play and Capture. See “Remote Play and Capture Settings” on page 380. Controller Settings Sets the controller type and port. See “Controller Settings” on page 322. Correction Sets parameters for color correction. See “Correction Mode Settings” on page 322. Deck Configuration Configures channels and decks into the system. See “Deck Configuration Settings” on page 324. Deck Preferences Sets preferences that affect all decks configured into the system. See “Deck Preferences Settings” on page 326. Desktop Play Delay Lets you adjust the offset between audio and See “Video Display Settings” on video playback (for software-only systems). page 389. Export Sets parameters for file export. See “Export Settings” on page 328. 295 Chapter 17 Settings Options Settings List (Continued) 296 Setting Name Description For More Information Film and 24p Sets essential parameters for accurately See “Transfer Settings for Film Projects” capturing, tracking, and editing source on page 299 and “Selecting Film Settings” material for matchback projects. You must be in the Help. in a film project for this setting to appear. Full-Screen Playback Allows you to view your video on a fullscreen monitor. See “Full Screen Playback Settings” on page 361. General Defines default values such as the default starting timecode. See “General Settings” on page 362. Import Sets parameters for file import. See “Import Settings” on page 365. Interface Defines the appearance and function of certain interface elements. See “Interface Settings” on page 372. Keyboard Displays the default keys on the Keyboard palette and any mapping you do to the Keyboard palette. See “Keyboard Settings” on page 375. Marquee Title Lets you specify settings for the Marquee Title tool. See “Marquee Title Settings” in the Help and the Avid Marquee Title Tool User’s Guide. Media Creation Sets video resolution and selects drives for capturing, creating titles, importing, and performing audio and video mixdown. See “Media Creation Settings” on page 377. Mouse Allows you to set the speed of scrolling with See “Mouse Settings” on page 380. the mouse wheel within the editing application. PortServer Sets up the LANshare client so its workspaces are recognized. See “PortServer Settings” on page 380. Remote Play and Lets you use your editing application like a Capture videotape recorder. See “Remote Play and Capture Settings” on page 380. Render Sets the Render Completion sound, and controls how motion effects render. See “Render Settings” on page 381. Safe Colors Sets the safe color parameters for the Color Correction tool. See “Safe Colors Settings” on page 384. Script Sets the default display options for scripts imported using script integration. See “Script Settings” on page 385. Using the Settings List Settings List (Continued) Setting Name Description For More Information Sound Card Configuration Allows you to map audio input sources directly to the output sources available with your audio hardware (for software-only systems). See “Sound Card Configuration Settings (Windows Only)” on page 386. Timeline Contains general Timeline preferences. See “Timeline Settings” on page 387. Title Style If you save a title style while you are using the Title tool, Title Style appears in the Settings list. See “Saving and Recalling Title Styles” on page 308. Trim Customizes the Trim mode environment. See “Trim Settings” on page 388. Video Display Allows digital camera video input; enables See “Video Display Settings” on support of cameras with video input; sets the page 389. mode and source for desktop video; enables Client monitor; sets effects preview options. Video Input The Video Input tool enables you to calibrate See “Video Input Tool Settings” on composite or component video when page 391. capturing. Appears in the Settings list to facilitate copying settings. Video Output The Video Output tool enables you to select See “Video Output Tool Settings” on output for composite or component video in page 392. a digital cut. Appears in the Settings list to facilitate copying settings. Workspace Enables you to associate settings and windows with a workspace. See “Workspace Settings” on page 392. Understanding Settings Three types of settings appear in the Settings list, as indicated in the third column of information: User, Project, and Site settings. • User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in the Avid application. Individual User settings are stored in each user folder, which is stored in the following location: - (Windows) drive:\Program Files\Avid\ Avid Xpress Pro\Avid Users - (Macintosh) Macintosh HD/Users/Shared/Avid Xpress Pro/Avid Users 297 Chapter 17 Settings Options n The Avid Attic folder is usually located in the same folder as the Avid Projects and the Avid Users folders. • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder, which are stored in the following locations and which depend on whether your project is private or shared: Default Locations of Avid Projects Folders Private Projects Shared Projects Windows C:\Documents and Settings\Windows login name\My Documents\Avid Projects C:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects Macintosh Macintosh HD/Users/Mac login name/Documents/Avid Projects Macintosh HD/Shared/Avid Application/Shared Avid Projects (Macintosh) • n Site settings establish default parameters for all new users and projects on a particular system. They can also include other User or Project settings that you copy into the Site Settings window. Site settings do not override User settings and Project settings. Site settings are stored in a separate Settings folder, in the following location: • (Windows) drive:\Program Files\Avid\Avid application\Settings • (Macintosh) Macintosh HD/Applications/Avid application/ Settings Defining Settings You can use the Settings list to establish a hierarchy of settings that address the specific needs of each production phase. For example, you can establish: • User settings that facilitate logging, capturing, organizing projects, and editing interface preferences • Project settings that reflect the specific needs of the project • Bin View settings that display useful columns of information for each bin By establishing these settings once, and by selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template for use on similar projects, as described in “Managing Folders and Bins” on page 78. 298 Using the Settings List Transfer Settings for Film Projects The following settings are important for transferring media in a film project. You should set the transfer settings for film projects immediately after you create a new project and before capturing. For information about other film settings, see “Film and 24p Settings” in the Help. • Video Pulldown Cadence: allows you to specify the type of film-to-tape transfer that you capture: - Video rate, no pulldown: Select this option when working with 24-fps footage that has been transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio has been brought into the Avid system separately at 100 percent of the actual speed. - Standard 2:3:2:3 pulldown: Select this option when working with 24-fps footage that has been transferred to 30 fps by duplicating frames (pulldown) and the audio has been synchronized to the picture. - Advanced 2:3:3:2 pulldown: Select this option when using native DV editing with capture over Firewire. 299 Chapter 17 Settings Options For NTSC projects, you can mix footage transferred with pulldown and footage transferred without pulldown (video rate). You can also mix sound transferred at 0.99 (with pulldown) and 1.00 (without pulldown). For information about film-to-tape transfer methods, see “Film-to-Tape Transfer Methods” in the Help. • (PAL only) You define the Audio Transfer Rate in the New Project dialog box when you create a 24p PAL film project. (It is not needed for a 25p PAL project because there is no film speedup during the transfer.) It is important to keep the audio transfer rate constant for the project. However, if there is a specific element that you need to capture at a different rate, you can use the Film and 24p Settings dialog box to change the rate. The following options are available: - Film Rate (100%): Select this option when your 24-fps film footage has been transferred MOS to 25 fps by speeding up the film, and the audio comes in separately at 100 percent of the actual speed (PAL Method 2). - Video Rate (100%+): Select this option when your 24-fps film footage has been transferred to 25 fps by speeding up the film, and the audio is synchronized to the video picture. This means that the audio speed is increased by 4.1 percent (PAL Method 1). For PAL 24p projects, you can mix audio that has been transferred at 4.1 percent speedup (video rate, PAL Method 1) with audio that has not been transferred (film rate, PAL Method 2). However, Avid does not recommend this. See “Audio Transfer Options for 24p PAL Projects” in the Help. n The Info tab in the Project window allows you to view the audio transfer rate you selected when you created the project. The actual audio transfer rate might be different from the display if you used the Film and 24p Settings dialog box to change the audio transfer rate. • Audio Source Tape TC Rate allows you to specify the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when capturing audio only. This setting does not appear in 23.976 projects. • Set Pulldown-to-Timecode Relationship allows you to set a default pulldown phase for a 24p NTSC project. See “Logging Film Information” on page 152. Displaying Project Settings You can display the Settings list of the Project window in different groups, depending on what you need to view. The following table describes the different Settings menu options. 300 Using the Settings List Settings Menu Options Option Description Active Settings Displays currently active settings in your Avid system All Settings Displays all settings available in your Avid system Base Settings Displays Project, User, and Site settings only; no views are displayed Bin Views Displays bin views Export Settings Displays all the Export settings Import Settings Displays all the Import settings Timeline Views Displays Timeline views Title Styles Displays all the templates you created for the Title tool Workspaces Displays all workspaces Workspace Linked Displays only linked workspaces Changing the Settings List Display To change the Settings list display of the Project window: 1. Click the Settings tab in the Project window. The Settings list appears. Fast menu button 301 Chapter 17 Settings Options 2. Click the Fast Menu button, and select a settings display group: - Active Settings displays currently active settings. - All Settings displays all settings available. - Base Settings displays Project, User, and Site settings only. No views are displayed. The Settings Fast menu displays the settings group selected and the Settings list displays only the settings in that group. Working with Settings You can view and modify most of your current settings by double-clicking them in the Settings list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems. Selecting Another User Because User settings are not project or site specific, you can choose to display another set of User settings within the Project window. To select another user: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click and hold the user name to display the User Selection menu, and select another name from the list. Modifying Settings You can alter the default options for various settings to reflect the specific needs of a project or to customize the system based on personal preferences. You cannot modify the following two types of settings: • Settings that require the presence of standalone peripherals • Settings that can be modified only from within the tools in which they are used, such as Bin and Timeline views To modify available settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click the name of a setting. The applicable Settings dialog box or window opens. 302 Using the Settings List n Not all settings have associated dialog boxes. 3. Type new values or select new options for the settings. 4. Click OK, Save, Cancel, or Apply, or click the Close button. The system saves changes in the appropriate User, Project, or Site settings file. Working with Multiple Settings You can have multiple versions of settings in your Settings list in the Project window that apply to several users at various stages of production. For example, you can have: • Two Bin settings: one that automatically saves more often when you are editing intensively, and one that automatically saves less often when you are doing organizational work in the bins • Multiple Capture settings for capturing various types of source material • Multiple Deck Preferences settings for various types of capturing or for output Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Select Fast menu > All Settings. 3. Click the setting you want to copy. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings you want to copy. 4. Select Edit > Duplicate. A copy of each setting appears in the window. Duplicate settings with custom settings names followed by a period and a version number in the second column appear with each custom setting name. n If you select Fast menu > Active Settings, the duplicated settings do not appear. 5. Name your settings to indicate their functions. 303 Chapter 17 Settings Options Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To rename settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Custom setting name column in the Settings list (the column to the right of the setting’s name). Custom setting name column 3. Type a new name and press Enter (Windows) or Return (Macintosh). Selecting Among Multiple Settings With multiple settings, only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click in the space to the left of the setting you want to select as the active setting. A check mark indicates that the setting is active. 304 Using the Settings List Deleting Settings You can delete settings from the Settings list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings to transfer to another Settings window. To delete a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to highlight it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional setting you want to delete. n c You cannot delete an active setting. You cannot undo a deletion. You can, however, transfer settings from other files. 3. Press the Delete key, or select Edit > Delete. The selected settings are removed. Copying Settings Between Settings Files To copy settings between files: 1. With the Settings list active, open the target settings file: t Create and open a new settings file by selecting File > New Setting File. t Open an existing settings file by selecting File > Open Setting File, locate and select the settings file you want in the Avid Projects or Avid Users folder, and then click Open. 2. Click the setting you want to copy in the Settings list of the Project window. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings that you want to copy. 3. Drag the highlighted settings to the open Settings window. 4. Click the Close button. A message box opens. 5. Click Save. The copied settings are also saved when you close or save the file or project. 305 Chapter 17 Settings Options Moving Settings Between Systems You can move selected settings between existing settings files or into a new settings file: • To use in other projects • To transfer to other Avid systems • To change one type of setting to another You can drag selected settings from the Settings tab in the Project window into the Site_Settings window to establish standard system settings for all new projects and users. These settings can be copied to other systems by replacing the Site_Settings file in the Settings folder on the other systems. Using Site Settings When the system opens a new project, it first searches the Site Settings file and loads site settings and any settings placed here. The system then proceeds to load any Project and User settings not included in the Site Settings file. The Avid default preference files and the Site Settings file are located in the following folder: • (Windows) drive:\Program Files\Avid\Avid Xpress Pro\Settings • (Macintosh) Macintosh HD/Applications/Avid Xpress Pro/Settings The default preference and the Site settings files include the following settings template: • AvidDefaultPrefsXP — Avid template settings for new users • Site_Settings — Template for new User and new Project settings for all products When a new user is created, the Avid editor first looks at the Site_Settings file and uses any settings specified in that file. If the Site_Settings file is empty or is missing settings, then the AvidDefaultPrefsXP file is used. If the AvidDefaultPrefsXP file is missing, hard-coded defaults are used. The AvidDefaultPrefsXP files contain the product-specific default User settings. Project settings are not stored in AvidDefaultPrefsXP files. The Site_Settings file is empty until you add User and Project settings from the Settings tab in the Project window. Settings that you add to the Site_Settings file become the site defaults. Site settings do not override User settings and Project settings. Any user can change these settings, with the changes stored in the User settings or the Project settings, depending on the type of setting. 306 Using the Settings List When the system opens a new project, the Site settings are the initial settings given to a new user or project. The system then proceeds to load any Project and User settings not included in the Site_Settings file. Adding Site settings to the Site_Settings file is useful if you need to establish global settings for all new users and projects, such as Deck Configuration settings or a specific start timecode for all sequences. To load settings into the Site Settings file: 1. Open a project with the settings you would like to establish as site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed. 2. Click the Settings tab in the Project window. The Settings list appears. 3. Select File > Open Setting File. The Open dialog box opens. 4. Navigate to the Settings folder, and then click Open. 5. Select the Site Settings file, and then click Open. The Site Settings window opens. 6. Click a project or user setting in the Settings list of the Project window. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple settings. 7. Drag the setting or settings into the Site Settings window. Copies appear in the Site Settings window. 8. Close the Site Settings window. All new users and projects opened from the Select Project dialog box use these settings as the default settings. 307 Chapter 17 Settings Options Audio Settings Audio Settings Option Suboption Description Pop-up Scrub Select the number of outgoing and incoming frames you hear as you scrub in a Source pop-up window or the Source side of the Source/Record monitor. Timeline Scrub Select the number of outgoing and incoming frames you hear as you scrub in the Timeline. Default Pan Select the way you want sound to pan between speakers. Alternating L/R Allows you to send the odd tracks to the left channel and the even tracks to the right channel. All Tracks Centered Play Buffer Size in Samples (software only) Centers the pan of all tracks between the two speakers for monitoring and output. 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. See “Controlling Host Audio Devices (Software-Only Systems)” on page 167. n Tool Buffer Size in Samples (software only) When you move the sliders, a warning message box opens. If you are sure you want to change the size of the buffer, click Change. 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. Audio Project Settings The following topics describe adjusting audio project settings: 308 • Audio Project Settings: Main Tab • Audio Project Settings: Input Tab • Audio Project Settings: Output Tab • Audio Project Settings: Hardware Tab Audio Project Settings • Audio Project Settings: Effects Tab Audio Project Settings: Main Tab n 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) Option Suboption Description Sample Rate 32 kHz 44.1 kHz 48 kHz 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. Audio File Format OMF (WAVE) OMF (AIFF-C) PCM (MXF) Select the file format for the audio: • WAVE (OMF) is compatible with Windows applications. • AIFF-C (OMF) is compatible with many third-party applications, including Pro Tools. • PDM (MXF) enables easy exchange of material between file servers, tape streamers and digital archives. Select WAVE or AIFF-C when you need to transfer audio media files directly to a Pro Tools system for audio sweetening. n Sample Bit Depth 16 Bit 24 Bit Avid Xpress Pro has limited support for Sound Designer II audio. See “Working with Sound Designer II Audio Files on Macintosh Systems” in the Help. 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. 309 Chapter 17 Settings Options Audio Project Settings Options (Main Tab) (Continued) Option Suboption Description DV Audio Pattern Unlocked Audio Locked Audio (Software-only systems) 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. Convert Sample Rates Always When Playing Never • Unlocked Audio allows some imprecision in the audio sample rate, with a variation of up to +/– 25 audio samples per frame. • 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. 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. 310 Show Mismatched Sample Rates as Different Color Yes No Allows you to identify a specific sample rate by color if you have a sequence with several different sample rates. Remove Extra Filler After Punchin‘ Remove Keep Allows you to remove any extra filler added during an audio punch-in recording. Audio Project Settings Audio Project Settings: Input Tab n 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. Audio Project Settings Options (Input Tab) Option Suboption Description Input Source Input options depend on your audio hardware connected and installed on your system. Allows you to select the type of input. n For software-only models, the audio inputs depend on the audio hardware installed on your system. Passthrough Mix Tool Opens the Passthrough Mix tool, which allows you to adjust the mix of tracks for monitoring audio input. 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 or Avid Mojo SDI: You can select 0dB for most situations, or +6 dB in case of low gain inputs. Audio Project Settings: Output Tab n 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) Option Suboption Output Gain Monitor Volume Description Allows you to calibrate the volume of global audio output. 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. 311 Chapter 17 Settings Options Audio Project Settings Options (Output Tab) (Continued) Option Suboption Mix Mode Selection Menu button Stereo Modifies the way that the system interprets audio values Mono during playback: Direct Out - available • Stereo mixes the currently monitored audio tracks when you are using Avid into a stereo pair. When you are using Avid Mojo Mojo SDI hardware SDI hardware, you can customize the mix using the Stereo Mix Tracks option. Stereo Mix Tracks All or Timeline Track Maps Description • Mono pans all the currently monitored tracks to center. This mode also ignores pan effects. • Direct Out maps tracks directly to up to eight channels of output. By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. You can remap a track to any channel by clicking the Channel Assignment pop-up menu and selecting another channel. Mix To 1 & 2 Mix To 3 & 4 Mix To 5 & 6 Mix To 7 & 8 Allows you to customize the mix of tracks with Stereo selected in the Mix Mode Selection Menu button. All Timeline Available when you select Direct Out with the Mix Mode Selection Menu button. The system sends a stereo mix to the two channels you select. Material panned to the left will be sent to the odd channel, and material panned to the right will be sent to the even channel. The number of channels available depends on the audio output you select in the SD SDI tab of the Output tab. Allows you to map the track and output channels: • All allows you to choose between all available tracks. • Timeline allows you to assign output channels to the tracks monitored in the Timeline. Which Set of Track Maps Grp 1 Grp 2 Grp 3 Allows you to select which set of output tracks to map to audio channels. Groups of tracks display in multiples of 8, up to the maximum of 24 available audio tracks. Reset Available when you select Direct Out with the Mix Mode Selection Menu button. Reassigns the audio tracks of the sequence to the default channels that are currently available. 312 Audio Project Settings Audio Project Settings Options (Output Tab) (Continued) Option Suboption Description Output SDI Embedded Audio Available when you are using Avid Mojo SDI hardware Select this option to embed the audio with the video sent out through the SDI OUT connectors on the rear of the Avid Mojo SDI. 4 Channels 8 Channels Select whether you want 4 channels or 8 channels of audio on the outgoing SDI signal. 20 Bits 24 Bits Select this option to set the audio sample bit depth to 20 bits or 24 bits on the outgoing SDI signal. 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 Project Settings Options (Hardware Tab) Option Suboption Description Card The type of audio card installed. Peripheral The type of peripheral audio device (audio interface) attached to the system. 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. n Changing the audio input selection automatically selects the correct audio clock source for audio sync. 313 Chapter 17 Settings Options Audio Project Settings: Effects Tab n 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 (Effects Tab) Option Suboption Description Effect bypass Clip Gain Auto Gain RT EQ Allows you to have the system ignore the volume settings established with the audio tools when playing back or capturing a sequence: • Clip Gain bypasses the volume settings in the Audio Mixer tool. • Auto Gain bypasses all Automation Gain and Automation Pan effects set in the Audio Mixer tool. • RT EQ bypasses all EQ effects set in the Audio EQ tool. These buttons function the same as the Bypass buttons in the audio tools. 314 Render Sample Rate Conversion Quality High and Slow Balanced Low and Fast Allows you to set the conversion quality of all non-realtime sample rate conversions. Real-Time Audio Dissolves Disabled Enabled 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. Dissolve Midpoint Attenuation Const Power –3dB Linear –6dB 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. Bin Settings Bin Settings Bin Settings Options Option Suboption Auto-Save interval n minutes Description 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. Max versions of a file in the attic 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. Double-click loads object in Determines what happens when you double-click an object in the bin. New Pop-up Monitor Creates a new Source pop-up monitor and automatically loads the clip when you double-click an object in the bin. Source or Record Monitor 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. 315 Chapter 17 Settings Options Bin Settings Options (Continued) Option Suboption Description Enable SuperBin Enables the SuperBin and its functions. See “Conserving Screen Real Estate with the SuperBin” in the Help. Capture Settings See the following topics: • Capture Settings: General Tab • Capture Settings: Batch Tab • Capture Settings: Edit Tab • Capture Settings: OMF Media Files Tab • Capture Settings: MXF 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. 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 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 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. n 316 This option is also used to activate the window after logging. Capture Settings Capture Settings Options (General Tab) (Continued) Option Description Space bar stops capture Select this option if you want to use the space bar to create clip names during the capturing process. When you press the space bar during a capture operation, the system stops capturing, creates a clip from the capture material, and places the clip in the active bin. Capture across timecode breaks When this option is selected, the system captures sections of discontinuous timecode on a tape as separate clips. Deselect this option to make the system stop capturing and report an error when it encounters a timecode break. Stop capture if a bad frame is detected When you select this option, the system stops capturing if a correct frame is detected. This setting is selected by default. Latency for no deck mode n frames 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. Pause deck while logging When this option is selected, the deck pauses after you set an OUT point while you log clips; this allows you time to type the name of the clip. See “Logging Directly to a Bin” in the Help. Deselect this option to allow the camera or deck to continue playing after you set an OUT point. Capture Settings: Batch Tab 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. 317 Chapter 17 Settings Options Capture Settings Options (Batch Tab) (Continued) Option Description Optimize for batch speed When this option is selected, the system speeds up batch capturing by allowing the deck to continue to roll forward between adjoining clips. To qualify for this operation, the two adjoining clips must meet the following criteria: There must be 5 seconds or less between the OUT point of the first clip and the IN point of the second clip. The two clips must have the same video resolution and the same audio rate. If you select this option, the system might occasionally capture more than is required. Switch to emptiest drive if current drive is full When this option is selected, the system switches to the target media storage drive with the most available space when the current target drive becomes full during batch capturing. The system switches before starting to capture the clip, based on the number of minutes in the clip. For complete instructions, see “Batch Capturing Clips” in the Help. If you do not select this option, capturing stops when a drive becomes full. Rewind tape when finished When this option is selected, the system automatically rewinds tapes after batch capturing is finished. Eject tape when finished When this option is selected, the tape ejects as soon as the last shot from that tape has been used. This adds to efficiency since you can do other tasks while the tape is being used and yet still be alerted at the moment the tape is no longer needed. Log errors to the console and continue capturing When you select this option, the Avid editing system continues capturing if an error occurs during the capture process. Capture the tracks logged for each clip When you select this option, the Avid system records the tracks logged for each clip. Use the audio sample rate logged for each clip Select this option if you want the system to use the audio sample rate logged for each clip. Deselect this option to use the audio sample rate set for the audio card (shown in the Main tab in the Audio Projects Settings dialog box). Use the audio sample bit depth logged for Select this option if you want the system to use the audio sample each clip 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). 318 Capture Settings Capture Settings Options (Batch Tab) (Continued) Option Description Use the video compression logged for each clip 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: OMF Media Files Tab n If you select OMF in the Media Type tab of the Media Creation dialog box, this tab in the Capture Settings dialog box is labeled OMF Media Files. If you select MXF, the Capture Settings tab is labeled MXF Media Files. Capture Settings Options (OMF 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. Maximum (default) capture time n minutes 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. Switch to emptiest drive when n minutes left When this option is selected, the system switches to another storage drive when the specified amount of time remains. 319 Chapter 17 Settings Options Capture Settings: MXF Media Files Tab n If you select MXF in the Media Type tab of the Media Creation dialog box, this tab in the Capture Settings dialog box is labeled MXF Media Files. If you select OMF, the Capture Settings tab is labeled OMF Media Files. Capture Settings Options (MXF Media Files Tab) Option Description Maximum (default) capture time n minutes 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. Switch to emptiest drive when n minutes left 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 DV Scene Extraction 320 Description 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. Communication (Serial) Ports Tool Settings Capture Settings Options (DV Options Tab) (Continued) Option Suboption Description Use software DV 25 codec An Avid DV software codec that allows you to capture standard or advanced pulldown when you are in an NTSC 23.976p or 24p project capturing analog or SDI. If you are in an NTSC 23.976 or 24p project and you do not select this option, you can capture only advanced pulldown. n This option is not available when you have an Avid Mojo SDI attached to your system or when you are running a software-only system. 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 Function Key Commands (while capturing/logging) Timed Subclip Description Allows you to change the commands mapped to the function keys on your keyboard. These mappings apply to Capture mode only. Before mark (M:SS) After mark (M:SS) Allows you to specify a preset duration for subclips created while capturing. Communication (Serial) Ports Tool Settings The Communication (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing the Avid application or shutting down the computer. Communication (Serial) Ports Tool Settings Option Option Description Remote Play and Capture Choose a port for an edit controller that uses the Sony serial control protocol. For more information, see “Remote Play and Capture” in the Help. 321 Chapter 17 Settings Options Controller Settings Controller Settings Options Option Description Controller Select a control surface as follows: • No controller • Digidesign 002 (Windows only) • Digidesign Command|8 n Port For more information, see “Using an External Fader Controller or Mixer” in the Help. Select a port for a control surface. as follows: • No port • (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 Select a port for a fader or mixer that you will use to record audio gain information, or select No Port. The options on this menu differ depending on the COM or MIDI ports you have configured on your system. Correction Mode Settings See the following topics: 322 • Correction Mode Settings: Features Tab • Correction Mode Settings: AutoCorrect Tab Correction Mode Settings Correction Mode Settings: Features Tab Correction Mode Settings Options (Features Tab) Option Suboption Saved Color Labels Description Select an item from the 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 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. Show Eyedropper Info When this option is selected, the numerical RGB values appear on the color swatches in the Color Match controls. Eyedropper Picks from Anywhere in Application Select to pick colors from anywhere in the application using the Color Match eyedroppers. Correction Mode Settings: AutoCorrect Tab Correction Mode Settings Options (AutoCorrect Tab) Option When applying Color correction from the Effect Palette, perform the following operations: Suboption Description Select an option from 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. 323 Chapter 17 Settings Options Correction Mode Settings Options (AutoCorrect Tab) (Continued) Option Suboption Description 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 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. 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. 324 Deck Settings Deck Configuration Settings Options (Continued) Option Description 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 Select if you want the system to check the deck configuration against the decks 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. 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 menu, and select your device manufacturer. Click the Model menu, and select your device model. n When you are configuring a DVCPro deck, select a compatible Panasonic template. The template automatically sets locked audio in the Audio Project Settings window. This ensures proper audio output when performing a Digital Cut. If your device does not appear in the list, click the Manufacturer menu, and select Generic, and click the Model 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 menu, and select GenericDVBasicDevice-NTSC or GenericDVBasicDevice-PAL. Address For VLAN/VLXi use only (see your VLXi documentation). If you are using direct serial port control, this option is unavailable. 325 Chapter 17 Settings Options Deck Settings Options (Continued) Option Suboption Description Show All Devices Displays all devices by manufacturer and model in the Device menu. Decks Displays only decks by manufacturer and model in the Device menu. Transcoders Displays only transcoders by manufacturer and model in the Device menu. 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 When this option is selected, the system switches to fast forward or rewind (seconds): n 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. Switch to Search When this option is selected, the system switches out of fast forward or (seconds): n rewind when it is within the specified number of seconds of the target timecode. By default, the system switches to search mode when it is 60 seconds from the target timecode. Deck Preferences Settings Deck Preferences Settings Options Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Select the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when drop frame or non-drop frame cannot be detected. When a tape is in the deck, the system automatically uses the existing timecode format on the tape. 326 Deck Preferences Settings Deck Preferences Settings Options (Continued) Option Description Allow assemble edit & When this option is selected, you can use the assemble-edit and crash-record crash record for digital cut features in the Digital Cut tool along with the assemble editing and manual recording capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance. Select this option also if you want to operate the deck manually. For more information about digital cuts and assemble editing, see “Output Options” on page 265. For more information about manual recording, see “Manual Recording” on page 272. Stop key pauses deck This option defines the function of the Stop key (space bar) on the keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button. If the videotape heads are down in “Stop key pauses deck” mode, pressing the space bar brings up the heads and pauses the deck. The Stop button in the Capture tool always stops the decks. Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a constant speed instead of stopping when you release it. Stop any paused decks when quitting 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. Poll deck during digital cut 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) Type the number of frames by which you want to offset while you capture. See “Capturing Without Logging First” in the Help. Override Recommended Digital Cut Offset Select this option to set a digital cut offset. See “Digital DV Cut Offset” in the Help. Digital Cut Offset (frames) Type the number of frames by which you want to offset the digital cut. 327 Chapter 17 Settings Options Export Settings See the following topics: • Export Settings Options • Export Settings: Quick Time Reference • Export Settings: HDV • Export Settings: QuickTime Movie Export • Export Settings: QuickTime Movie • Export Settings: QuickTime Compression • Export Settings: DV Stream • Export Settings: AAF, OMFI, and AFE • Export Settings: AVI (Windows Only) • Export Settings: AVI Video Compression (Windows Only) • Export Settings: Windows Media Export Options • Export Settings: Audio • Export Settings: Graphic • Export Settings: Graphic Format Export Settings Options n If you installed additional QuickTime Export formats, they appear in the 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 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. AAF Select this option to create an Advanced Authoring Format (AAF) file.You can choose to export composition only, or embed the video and audio, or both. See “Exporting OMFI and AAF Files” in the Help. 328 Export Settings Export Settings Options (Continued) Export As Option Description AFE Select this option when exporting as AFE. This is compatible when exporting to systems such as Avid DS. QuickTime Reference Select this option to create a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. See “QuickTime Reference Movies” in the Help. HDV Select this option to export an HDV transport stream for use in other applications. See “Export Settings: HDV” on page 333. For more information about working with HDV, see “Working with HDV” in the Help. DV Stream Select this option to create a standard DV stream. The DV Stream format is often used for distribution on a CD-ROM or over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. Requires a video track. See “Exporting Video in DV Stream Format” in the Help. QuickTime Movie Select this option to create a self-contained QuickTime movie. See “Exporting as a QuickTime Movie” in the Help. AVI Select this option to export an AVI file through an AVI compression tool. For more (Windows only) information, see “Export Settings Options (AVI)” on page 345. Windows Media® Select this option to export your sequence as native Windows Media. See “Exporting as Windows Media (Windows Only)” in the Help. Audio Select this option to export audio tracks in the WAVE format, SD2 (Macintosh only), or AIFF-C audio format. See “Exporting Tracks as Audio Files” in the Help. Graphic Select this option to export a single frame, a series of frames, or a file type that supports multiple frames as a graphic file. Select a file type from the menu. See “Exporting as a Graphic File” in the Help. For information about supported file types, see “File Format Specifications” in the Help. Avid Log Exchange Select this option to export the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see “Converting Log Files with Avid Log Exchange” in the Help. ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included. Tab Delimited Select this option to export the selected bin as a shot log file in the form of a tab-delimited ASCII text file. 329 Chapter 17 Settings Options 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. Flatten Video Tracks When this option is selected, the composition is exported as one video track. When this option is deselected, one QuickTime video track is generated for each video track in the composition, and you cannot select Fill Spaces with Black. Because most third-party applications do not understand multiple QuickTime video tracks, it is a good idea to select this option. This option is automatically selected if you selected the Fast Draft Defaults or the Digital Mastering Defaults option. Fill Spaces with Black 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. Render All Video Effects When this option is selected, all unrendered video effects, including matte keys and titles, are rendered before export. When this option is deselected, any unrendered effects are ignored. This option is automatically selected if you selected the Digital Mastering Defaults option. 330 Export Settings Export Settings Options (QuickTime Reference) (Continued) Option Suboption Description Display Aspect Ratio This menu lets you select an image size for the video you want to export: Native, 4:3, or 16:9. This 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. Display Aspect Ratio is useful for QuickTime reference movies because you do not modify the source files of referenced movies. For example, if your source movies are stored at the standard 720 x 486 for NTSC (720 x 576 for PAL), you can create two different QuickTime reference movies that use the same referenced source files — one that uses 4:3 and another that uses 16:9. The menu selections depend on how you open the Export Settings dialog box and whether you have done a prior export. Mixdown Audio Tracks When this option is selected, the audio tracks in the composition are mixed to stereo files created at the same location as the movie. When this option is deselected, the Quick Time Reference movie references the original audio media. This option is selected automatically if you select the Digital Mastering Defaults option. If you select the Mixdown Audio Track option, you can also select an audio format, a sample rate, and a sample bit depth. Audio Format Select the format that is supported by the application into which you will be importing the QuickTime reference movie. • WAVE is compatible with Windows applications. • AIFF-C is compatible with many third-party applications, including Pro Tools. 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. 331 Chapter 17 Settings Options 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 window. For more information, see “Audio Project Settings” on page 308.) 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. Use Network Media References When this option is selected, the exported movie uses the machine and drive share name of the media drive in the QuickTime reference movie instead of a drive letter. Select this option when the media files referenced by the movie are accessed remotely over the network. If the media files are stored on the same drive as the QuickTime reference movie, you do not need to select this option. When this option is deselected, you cannot select Add Shares for Media Drives. Add Shares for Media Drives When this option is selected, the system creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden; that is, other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie. Use Avid DV Codec Deselect this option when you are working in a cooperative environment where one or more non-Avid systems also have access to the media. This option is selected by default. Select this option if the non-Avid systems have the Avid DV Codec. Color Levels Select this option to set the color to RGB or 601/709. 332 Export Settings Export Settings: HDV Export Settings: HDV 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. Video Quality Select one of the following qualities. The quality level inversely trades off with the time required to complete the export: Draft is fastest, while Best takes the longest time to complete. If you have a slower system, you might want to see if the Better or Draft quality is good enough for your needs. • Draft • Better • Best Export Settings: QuickTime 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® or cleaner™. 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. 333 Chapter 17 Settings Options Export Settings Options (QuickTime Movie Export) (Continued) Option Suboption Description 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 Appears when you select Custom. Click the Format Options button to open the Movie Settings dialog box. For more information, see “Using Avid 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. Video Format Width x Height Appears when you select Custom. 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 334 Select this option to set the color to RGB or 601/709. Export Settings Export Settings Options (QuickTime Movie Export) (Continued) Option Suboption Description File Field Order Appears when you select Custom. 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. Create Preview Select this option if you want to create a preview of the QuickTime movie. Display Aspect Ratio The display aspect ratio allows you to apply a scaling to the video: native, 4:3, or 16:9. 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. 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. 335 Chapter 17 Settings Options Export Settings: QuickTime Movie To view the Movie Settings dialog box, click Custom and then Format Options in the QuickTime Movie Export Settings dialog box. 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. • Use current size • Use custom size Sound Settings Compressor Allows you to select a sound compression setting for your export, along with other options. Prepare for Internet Streaming Fast Start Allows a movie to begin playing over the Internet without downloading the entire movie first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server. Fast Start Compressed header A better choice for progressive downloading. This option works the same as Fast Start (see previous entry), but compresses the header information. The header is the portion of the file that allows the movie to start playing before the entire movie is downloaded. Compressing the header allows it to download faster. This is important for large movies (movies that are longer than several minutes). 336 Export Settings Export Settings Options (QuickTime Movie) (Continued) Option Suboption Description Hinted Streaming Select this option if you are putting the exported file on a streaming video server. The file does not stream without a hint track for each track in the movie. The hint tracks allow the streaming video server to split the file into packets for the streaming. A file with hinted streaming also plays as a progressive download. However, it probably plays more slowly than a Fast Start movie because it contains additional information and is therefore larger. For additional options, click Track Hinter Settings. The RTP (Real Time Protocol) Track Settings dialog box opens. For more information, see QuickTime Help at the Apple web site. Export Settings: QuickTime Compression QuickTime Compression Settings Option 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, 8-bit, lossless compression (in which no picture information is lost); available for use with MXF media files. This format cannot be used by Avid Meridien™ systems. It can be used by both Avid DS and Avid Xpress Pro systems. It uses 4:2:2 sampling. Avid DNxHD™ Codec For DNxHD encoding with 8-bit and 10-bit resolutions; available for use with MXF media files. This format cannot be used by Meridienbased systems. It can be used by both Avid DS and Avid Xpress Pro systems. Avid DV For compression compatible with Avid Xpress DV and Avid NewsCutter® products or with Avid Meridien products with the DV/MPEG option. 337 Chapter 17 Settings Options QuickTime Compression Settings (Continued) Option Suboption Description Avid DV 100 Codec For DVCPRO HD® encoding. This format cannot be used by Meridien-based systems. It can be used by both Avid DS and Avid Xpress Pro systems. It uses 4:2:2 sampling. Avid Meridien Compressed For compression compatible with Avid Meridien products. Avid Meridien Uncompressed For 1:1 resolution used in Avid Meridien products. Avid MPEG2 50 mbit For MPEG-2 IMX 50,40,30 encoding; an interframe compression used in Sony® IMX VTRs and cameras. It uses 4:2:2 sampling. Avid Packed Codec For high quality, 10-bit, lossless compression (in which no picture information is lost); available for use with MXF media files. This format cannot be used by Meridien-based systems. It can be used by both Avid DS and Avid Xpress Pro systems. It uses 4:2:2 sampling. BMP For internal encoding of individual frames as BMP (Windows native bitmap format) files. Cinepak For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Uses compression algorithm optimized for CD-ROM playback. Component Video For high-quality, lossless compression (in which no picture information is lost). Uses the same algorithm as the Animation method but saves the file in YUV RLE format, which separates the luminance from the chrominance. All QuickTime applications can read this format, but only some can write to this format. 338 DV-PAL For storing original or edited DV (digital video) footage in QuickTime files. DV/DVCPRONTSC DVCPRO-PAL For storing original or edited DV (digital video) footage in QuickTime files. DV/DVCPRO-NTSC and DVCPRO-PAL do 4:1:1 chroma sampling; DV-PAL does 4:2:0 chroma sampling. Graphics For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Uses a limited color palette version (16 colors) of Animation compression. H.261 For low-quality video conferencing. H.263 For video conferencing. Optimized for low data rates and low motion. Export Settings QuickTime Compression Settings (Continued) Option Suboption Description 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. 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 GIFSM as a bitmap stillimage format for newer Internet browsers. Sorenson Video For medium-quality, lossy compression (in which some picture information is lost) at a low data rate and low storage requirements. This codec is particularly suited for Web or CD-ROM delivery. 339 Chapter 17 Settings Options QuickTime Compression Settings (Continued) Option Suboption Description 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. 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. Some codecs do not display the Depth option. 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 Select a frame rate from the menu. Select 30 to maintain full-motion video/animation. A frame rate of 29.97 conforms to NTSC video framerate standards. Select 25 for PAL. Key frame every n Use this option to have the system use keyframes as a reference for frames subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Limit data rate to Allows you to specify the target data rate for the compressed movie. n KBytes/sec 340 Export Settings 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. 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 601/709. File Field Order These options allow you to select the field that is the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd (Upper Field First): Select this option if you are in a PAL project. In forming the export frame, Field 1 becomes the upper field, that is, Field 1's lines become the oddnumbered lines in the frame (counted starting from 1). Field 2's lines become the evennumbered 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: AAF, OMFI, and AFE Export Settings Options (AAF, OMFI, and AFE) Option Suboption Description Export As: AAF Select this option if the application to which you are exporting supports AAF. OMF 1.0 Select this option if the application to which you are exporting does not support OMFI Version 2.0. 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. 341 Chapter 17 Settings Options Export Settings Options (AAF, OMFI, and AFE) (Continued) Option Suboption Description AFE Select this option if the application to which you are exporting supports AFE. n There are no options available to you when you select AFE. The Avid editing application uses the default settings. 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. Include All Video Tracks in Sequence Select this option to include all video tracks from the sequence in the AAF or the OMFI file. The Video Details tab appears. Include All Audio Tracks in Sequence Select this option to include all audio tracks from the sequence in the AAF or the OMFI file. The Audio Details tab appears. The following options appear in both the Video Details tab and the Audio Details tab: Export Method: 342 Select an export method. Other options in the dialog box change depending on which method you choose. Link to (Don’t Export) Media Select this option when you want to export an AAF or an OMFI composition with links to the media in its current location. Media is not embedded in the file and is not exported. Copy All Media Select this option when you want to export an AAF composition and perform one of the following operations on the media: • Copy the media to a drive or folder • Copy and embed the media into the AAF file Export Settings Export Settings Options (AAF, OMFI, and AFE) (Continued) Option Suboption Description Consolidate Media Select this option when you want to export an AAF composition and perform the one of following operation on the media: • Consolidate the media to a drive or folder • Consolidate the media and embed it into the AAF file. For more information, see “Consolidating Media to a Folder” in the Help. For more information about consolidating, see “Consolidating and Transcoding Media” on page 181. Handle Length: nn Enter the number of frames you want to use as handles for consolidated clips. Handles refer to material outside the IN and Frames 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 Video Details tab only, depending on the export method: Export Method: Video Mixdown Select this option when you want to export an AAF composition and create a video mixdown of your sequence. The system creates a video mix track and links it to the new video mixdown file. For more information, For more information about video mixdown, see Performing a Video Mixdown” in the Help. Mixdown with Video Edits Compatible with Avid Digidesign Pro Tools v7.2 or later. For more information, see “Using the Video Mixdown Option” in the Help. Mixdown without Video Edits Compatible with all Avid Digidesign Pro Tools versions. Render Video Effects Transcode Video to: Select this option to render video effects during export. Resolution menu Select a resolution to which you want to transcode the video to during export. For more information, see “The Transcode Video To Option” in the Help. The following options appear in the Media Destinations area for Video and Audio, depending on the export methods: Media Drive Specify a media drive as the destination for newly created or copied media. For more information, see “Selecting Media Destination Options” in the Help. 343 Chapter 17 Settings Options Export Settings Options (AAF, OMFI, and AFE) (Continued) Option Suboption Description Use Media Creation Settings Select Use Media Creation Settings to use the drive you selected in the Media Creation dialog box. If you deselect Use Media Creation Settings, you can select a different destination drive. Folder Use Same Folder as AAF File Embedded in AAF/OMF Specify an arbitrary folder as the destination for newly created or copied media. For more information, see “Selecting Media Destination Options” in the Help. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Media files are embedded in the exported an AAF or OMFI file specified in the Export dialog box. For more information, see “Selecting Media Destination Options” in the Help. The following options appear in the Audio Details tab only, depending on the export method: Include Rendered Audio Effects Select this option to include rendered audio effects during export. Render All Audio Effects Select this option to render all audio effects during export. Add Audio Mixdown Mono, Stereo Track(s) Select this option to add an audio mixdown track, and then select the type of track you want. For more information, see “Add Audio Mixdown Tracks” in the Help. Convert Audio Sample Rate to: n If there are unrendered AudioSuite plug-ins in your sequence, open the AudioSuite window before you perform the export. The system needs a connection to the DAE to be able to render the AudioSuite Plug-ins. Project rate, Select this option if your sequence has a mix of sample rates and 32 kHz, 44.1 kHz, you need to create a single sample rate. (You set the project rate in or 48 kHz the Audio Project Settings window. For more information see “Audio Project Settings” on page 308.) 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 Project rate, 16 bit, Select this option if your sequence has a mix of sample bit depths Sample Bit Depth to: 24 bit 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” on page 308.) 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. 344 Export Settings Export Settings Options (AAF, OMFI, and AFE) (Continued) Option Suboption Convert Audio File Format to: Description 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 the project format in the Audio Project Settings window. For more information see “Audio Project Settings” on page 308.) Audio files are converted to this format during export. This choice is optional if you want to consolidate and link media. Project rate Select Project to use the rate that matches the project format. WAVE Select WAVE (.WAV file name extension) to link to or embed audio tracks in the WAVE format. Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. AIFF-C Select AIFF-C to link to or embed audio tracks in the industrystandard AIFF-C format. Note that your Avid system does not compress audio media. PCM You can only export PCM using the AAF export method. 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 When this option is selected, the system exports only the currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option. Video and Audio Select this option if you want to export both the audio and the video. 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. 345 Chapter 17 Settings Options Export Settings Options (AVI) (Continued) Option Suboption Description 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 347. 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. Size 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 601/709. FPS This option sets the frame-per-second (fps) rate for AVI export. File Field Order These options allow you to choose the field that will be the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. 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. Audio Format Mono 346 Exports audio to a single channel. Stereo Exports audio to two channels. Sample Rate Select this option to select the sample rate. • Project Rate: The native rate of the chosen audio media (32 kHz, 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. Export Settings Export Settings Options (AVI) (Continued) Option Suboption Description 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 (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. 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. Full Frames (Uncompressed) 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. Compression Quality Slider Use this option to adjust compression quality for certain codecs. This slider does not adjust quality for the Avid AVI codec. Key Frame Every n frames 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. 347 Chapter 17 Settings Options Export Settings (AVI Video Compression) (Continued) Option Suboption Data Rate n KB/sec Description 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. Export Settings: Windows Media Export Options See the following Windows Media Export options: • Windows Media Legacy Template • Existing Windows Media Custom Profile Options • Windows Media Options Video Settings • Windows Media Options Audio Settings Windows Media Legacy Template Windows Media Legacy Template Option Description Use Marks When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. Version This refers to the available versions (v8, v7, and v4) of Windows Media templates. Templates Allows you to choose one of the Avid supplied Windows Media templates. See “Exporting Using an Avid Supplied Template” in the Help. Existing Windows Media Custom Profile Options Existing Windows Media Custom Profile Options Option Description Use Marks When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 348 Export Settings Existing Windows Media Custom Profile Options (Continued) Option Description Set Allows you to browse to find an existing .prx file on your system. See “Exporting Using an Existing Windows Media Profile” in the Help. Windows Media Options Video Settings To view these settings, click Video 1 in the left pane. Windows Media Options Video Settings Option Description Use Marks When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. Width This option sets the width of the clips for export. Height This options sets the height of the clips for export. FPS This option sets the frame-per-second (fps) rate for the export. Video Type Choose Progressive or Interlaced. Progressive media is composed of single frames, each of which is vertically scanned as one pass. Interlaced media is composed of two fields, each of which contains one-half the scan lines of the frame. Interlaced frames are standard for NTSC and PAL video media. Pixel Aspect Ratio Select this option to apply a scaling to the video. The pixel aspect ratio allows you to control the display format without modifying the source file. Uncompressed Select this option 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. Codec Choose from the list of video codecs. 349 Chapter 17 Settings Options Windows Media Options Video Settings (Continued) Option Description (This option is not Windows Media MPEG-4 Video V3 — Creates high-quality video for streaming, available when you download and play. Enables playback of interlaced content on televisions. select Uncompressed.) ISO MPEG-4 Video V1 — The MPEG-4 standard was defined by the Moving Picture Experts Group (MPEG), the working group within the International Organization for Standardization (ISO). MPEG-4 was designed to deliver DVD (MPEG-2) quality video at lower data rates and smaller file sizes. Windows Media Video V7 — Enables Windows Media Player 7 to view encoded video content without first having to download the latest codecs. This is the best choice when the encoding computer cannot support the performance requirements of the newer Windows Media Video codecs. Windows Media Screen V7 — Specially optimized for use for screen captures and some animations Windows Media Video 9 Screen — For content that needs to be captured from the computer screen. This codec is ideal for delivering demos or demonstrating computer use for training. Windows Media Video 9 Screen delivers better handling of bitmap images and screen motion, even on relatively modest CPUs. Windows Media Video 9 — Offers improved quality over Windows Media Video 8, with the highest gains seen at the higher bit rates; provides improved interlaced support. Windows Media Video V8 — Supports a wide variety of network bandwidths. Deinterlaces interlaced content before encoding. Windows Media Video 9 Image — With this codec, still images can be transformed into full screen (640 x 480) video using pan and zoom effects. The results can then be delivered at data rates as low as 20 Kbps. These files, compressed using either CBR or one-pass VBR modes, can be easily shared because they are much smaller than the original image files. Select either 1 Pass or 2 Pass. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass (This option is not encoding, the content is analyzed during the first pass, and then encoded in the second available when you pass based on the data gathered in the first pass. 2 Pass encoding can result in better select Uncompressed.) quality but it takes longer because the encoder goes through the content twice. Passes VBR Variable Bit Rate. Allows you to set the quality of the video profile setting. (This option is not available when you select Uncompressed.) Quality Choose Constrained or Unconstrained. Choose constrained when playing either locally or on a device that has a constrained reading speed, such as a CD or DVD player. Bit Rate The bit rate represents the size of the data stream in megabits per second. 350 Export Settings Windows Media Options Video Settings (Continued) Option Description Buffer Size Type the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer; the content is also delayed by the same amount of time when streaming to a player. Quality The setting can range from 0 to 100, with 100 being the highest quality. Keyframe Amount of keyframes used as part of the encoding sequence. The value is the number of keyframes used for every second of video. A lower number results in higher quality, but larger files. Language Select from the list of available languages. Windows Media Options Audio Settings To view these settings, click Audio 1 in the left pane. Windows Media Options Audio Settings Option Description Use Marks When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. Uncompressed Select this option 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. 351 Chapter 17 Settings Options Windows Media Options Audio Settings (Continued) Option Description Codec Select one of the following codecs: (This option is not Windows Media Audio 9 — Provides improvement in compression over the Windows available when you Media 8 Audio codec. Supports VBR audio encoding. select Uncompressed.) ACELP.net — In some instances, the Sipro Labs ACELP codec appears in the list of codecs. For example, if you import a profile that was created by using Windows Media Encoder version 7.1. If this occurs, it is recommended that you use the Windows Media Audio 9 Voice codec instead. Windows Media Audio 9 Voice — Provides superior quality for audio content with a voice emphasis. Provides for mixed-mode encoding of voice and music. Intended for playback at bit rates at 20 Kbps or lower. Windows Media Audio 9 Professional — This supports a full surround sound experience and dynamic range control. Intended for data rates of 128 to 768 Kbps. Windows Media Audio 9 Lossless — Provides lossless encoding of audio content. Supports multichannel audio encoding and dynamic range control. Passes (This option is not available when you select Uncompressed.) Select either 1 Pass or 2 Pass. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding can result in better quality but it takes longer because the encoder goes through the content twice. VBR Variable Bit Rate. When you select this option, the formats available are VBR formats. (This option is not If you deselect this option, the formats available are CBR formats. available when you select Uncompressed.) Format (These options change when you select VBR.) You can encode audio and video content at either a constant bit rate (CBR) or a variable bit rate (VBR). Use CBR if you plan to stream the content. Use VBR when you plan to distribute the content for downloading and playing either locally or on a device that has a constrained reading speed such as a CD or DVD player. Choose from one of the format options. Buffer Size Type the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer; the content is also delayed by the same amount of time when streaming to a player. Language Select from the list of languages. 352 Export Settings Export Settings: Audio Export Settings Options (Audio) Option Description Mono Stereo Select this option to export audio tracks in either mono or stereo. 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 window. For more information see “Audio Project Settings” on page 308.) 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 Audio Format 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. WAVE: Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. AIFF-C: Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications. 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. 353 Chapter 17 Settings Options 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 Width x Height Format Options This option allows you to select a graphic format for export. See “Export Settings: Graphic Format” on page 355. The Format Options button allows you to set export parameters. 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. Size 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 601/709. 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. 354 Export Settings Export Settings Options (Graphic) (Continued) Option Suboption File Field Order Description 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. 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: Graphic Format Export Settings Options (Graphic Format) Option Suboption Alias BMP This option creates files that are compatible with Alias™/Wavefront™ systems. 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® OS/2® operating system. Developed by Chyron® Corporation for use with video frame buffers of Chyron character generator titles. Chyron Cineon Description Blackpoint (Windows) Black Point (Macintosh) This option allows you to adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses. 355 Chapter 17 Settings Options Export Settings Options (Graphic Format) (Continued) Option Suboption Description 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. Gamma 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. 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. 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. 356 Export Settings Export Settings Options (Graphic Format) (Continued) Option Suboption Description OMF Frame Rate 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. NTSC/PAL Compression PCX Photoshop PICT (Windows only) Developed by Zsoft Corporation for use with their PC PaintBrush™ paint software. 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 option controls the size of the file on disk. Disabling compression creates larger files on disk. Create MacBinary header This option creates a file with a MacBinary header. Pixar PNG 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 and Resolutions” and “Storage Requirements” in the Help. 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. This option allows you to save the file in the Pixar® format. 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. 357 Chapter 17 Settings Options Export Settings Options (Graphic Format) (Continued) Option Suboption Description 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. SunRaster™ Developed by Sun Microsystems, Inc. and supported mainly in Sun applications. TARGA TIFF Wavefront 358 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. Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Compression This setting controls the size of the file on disk. With None, image data is not compressed and can produce large file sizes. RLE (run length encoded) produces relatively small and fairly portable files. JPEG produces files that can vary in size, depending on the quality you have set using the JPEG quality slider. The higher the quality setting, the larger the file size. JPEG Quality This option adjusts the image quality of the JPEG file on a sliding scale from 0 to 100. The higher the number you set, the higher the image quality of the JPEG file. 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. Film and 24p Settings Export Settings Options (Graphic Format) (Continued) Option Suboption Description 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. n XWindows YUV 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. Developed by the MIT X Consortium, and is supported by many X Window System™ applications on workstations and some personal computers. 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). 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 360. n For a 23.976p project, the Edit Play Rate is automatically set at 23.976 fps. Master Default Film Type Select one of these industry-standard film types to meet your production lab standards and your film type for your master. Master Default Edge Type Select the edge type for the master display in bins and cut lists. Ink Number Default Film Type Select one of these industry-standard ink number film types to meet your production lab standards and your film type. Ink Number Default Edge Type Select the edge type for the ink number display in bins and cut lists. 359 Chapter 17 Settings Options Film and 24p Settings Options (Continued) Option Description Auxiliary Ink Default Film Type Select the format for a second ink number (this is useful for tracking additional information for different film gauges). The choices are the same as for Ink Number Default Film Type. Auxiliary Ink Default Edge Type Select the format for the auxiliary ink number edge type. The choices are the same as for Ink Number Default Edge Type. Audio Transfer Rate (PAL only) For 24p PAL film projects. The choices are: Film Rate (100%). For 24-fps film footage transferred MOS to 25 fps by speeding up film with the audio coming in separately at 100% of the actual speed. Video Rate (100%+). For 24-fps film footage transferred to 25 fps by speeding up the film with the audio synchronized to the video picture. n It is important to keep the audio transfer rate constant for the project. Audio Source Tape TC Rate Select the source audio rate. The choices are: (NTSC only) • 30 fps • Video Pulldown Cadence (NTSC) Set Pulldown Phase of Timecode 29.97 fps Allows you to specify the type of film-to- tape transfer that you capture: • Video rate, no pulldown: Select this option when working with 24- fps footage that has been transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio has been brought into the Avid system separately at 100 percent of the actual speed. • Standard 2:3:2:3 pulldown: Select this option when working with 24-fps footage that has been transferred to 30 fps by duplicating frames (pulldown) and the audio has been synchronized to the picture. • Advanced 2:3:3:2 pulldown: Select this option when using native DV editing with capture over FireWire®. 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 360 Project Type Option Description 24p PAL 24 fps Selects playback at 24 fps of all output except for digital cut Full Screen Playback Settings Edit Play Rate Options (Continued) Project Type 24p NTSC Option Description 25 fps Selects playback at 25 fps of all output except for digital cut 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 Full Screen Playback Settings Full Screen Playback Settings Option Description Scaling Select the desired scaling. Full Screen • Project uses the actual project type and monitor aspect ratio to determine the scaling • 4x3 (Standard) If you are editing an HD project that contains a lot of SD material that is being stretched to fit the 16x9 aspect ratio, you might want to select this scaling option, letting you restore its original aspect ratio. • 16x9 (Widescreen) If you are in a 4x3 SD project, working with actual widescreen material (such as 16x9 material captured by a DV Camcorder), you can select this option to display the material as 16x9 wide-screen. • Raw Pixel allows you to see the frame in the full screen window, pixel for pixel, with no scaling. If the image is larger, it is scaled to fit the screen. This is only useful when viewing SD in which pixels are non-square. Raw Pixel Aspect ratio is slightly wider than 4x3. By default, Full Screen is enabled. Disable this option to view the video on the full screen window with as little scaling as possible. The application will try to display the image at its native height, and then match the width of the height using the Aspect Ratio selection from above. Turning off Full Screen and working in Draft quality (green/yellow) mode or Best Performance (yellow/yellow) mode can also improve performance with some older video cards which do not have the highest pixel shader processing power. Display Both Fields Select this option when the system is connected to an interlaced display. If a progressive display (for example, an LCD monitor) is connected to the graphic card's video output and you select this option, toothcombing will appear in an interlaced image. 361 Chapter 17 Settings Options Full Screen Playback Settings (Continued) Option Description Current Monitor Position You can choose the monitor where you want to see the full-screen playback. Drag the entire Full Screen Playback Settings dialog box to the desired monitor, and then click Select Monitor. (Macintosh only) If two or more graphics cards are installed, select a monitor that is connected to the primary graphics adapter. 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. Default Starting EC (Film projects only) This option specifies the edgecode value you want the system to use as the default starting edgecode for each new sequence. Effect Aperture (NTSC only) This option allows you to control the number of horizontal lines of an image that are used to create an effect. NTSC Has Setup 362 • DV 25 (720x480): Select this setting when you are using DV media exclusively. • ITU601 (720x486): Select this setting when you are using uncompressed media or mixed resolutions. 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. Grid Settings General Settings Options (Continued) Option Description Use Windows compatible file names (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. Allow file names to exceed Lets you override the Windows file name limit of 27 characters (not including 27 characters the four characters reserved for the file type extension). Set this option if you (Macintosh only) 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. Grid Settings The following topics describe the options available in the Grid Settings dialog box. Grid Settings: Coordinates Tab The following table describes options available in Grid Settings: Coordinates tab. Grid Settings Options (Coordinates Tab) Option Suboption Description Scale Mode Normal This setting allows you to work with a grid that indicates boundaries for a format other than the one in which you are working. This is useful when you are creating graphics (like titles) that must remain safe in other formats. Select the appropriate option for the current and target formats you need. When you do not specifically need a grid that represents another format, use the Normal option, which is the default. 4:3 Inside 16:9 Monitor 4:3 Outside 16:9 Monitor 1.66 Inside 4:3 1.77 Inside 4:3 1.85 Inside 4:3 Increments Fields Sets the number of tick marks along the grid axes as well as the number of visible grid points. The default value is 12. 363 Chapter 17 Settings Options Grid Settings Options (Coordinates Tab) (Continued) Option Suboption Description Sub Fields Sets the number of divisions between visible grid points for the snap-to-grid feature. Setting Sub Fields to 1 snaps objects to visible points only. A value of 2 provides 1/2-field jumps. A value of 4 (the default value) provides 1/4-field jumps, and so on. Setting Sub Fields to 0 turns off the snapto-grid feature. Source Scan Size For film projects, where an optical house scans film for the addition of visual effects. Hor. Size The default values are 720 x 486 pixels. Vert. Size Source Grid Adjustments Hor. Offset Moves the grid on the image. These values are intended mainly for film projects. Vert. Offset Inset Shrinks the grid proportionally. Grid Settings: Display Tab The following table describes options available in Grid Settings: Display tab. Grid Settings Options (Display Tab) Option Suboption Description Type Square Selects a different grid for each standard film type. For video projects, use the Square grid type. The grid for the Academy option includes a safety margin on the left that is used for adding the optical sound track. Standard Film Academy Super 35 Anamorphic Color Sets a color for the grid axes and the grid points. Show Safe Title Displays the safe title area. Create video titles within this area to ensure that they are viewable on a regular television screen. 364 Import Settings Grid Settings Options (Display Tab) (Continued) Option Suboption Description Show Safe Action Displays the safe action area for video display. This box is selfadjusting for PAL and NTSC projects. Show 14x9 Zone Show 1.66 Aspect Show 1.85 Aspect Show 1.77 Aspect Select one or more of these options to display the grid you want. Show Axes Displays the grid axes. Show Tick Marks Shows tick marks along the axes. Use the Fields parameter to set the number of tick marks. Show Thirds Divides the screen into three sections. This is especially useful if you are creating titles for the lower third of the screen. Show Points Shows the grid points. Use the Fields parameter to set the number of grid points. Show Position Info Displays the position coordinates of any point in the Effect Preview, or Record monitor. The application uses compass coordinates and X, Y coordinates. For compass coordinates, the point (0, 0) is the center of the axes. For X, Y coordinates, the point (0, 0) is the top left corner of the monitor. X values increase to the right, and Y values increase as you move down. For more information, see “Displaying Position Coordinates” in the Help. Import Settings See the following topics: • Import Settings: Image Tab • Import Settings: OMFI Tab • Import Settings: Shot Log Tab • Import Settings: Audio Tab 365 Chapter 17 Settings Options Import Settings: Image Tab Import Settings Options (Image Tab) Option Suboption Description Aspect Ratio, Pixel Aspect 601/709, 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. n HD projects use the ITU-R 709 color space instead of ITU-R 601. 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. n Maintain, nonsquare This option is selected by default. 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. 366 Import Settings Import Settings Options (Image Tab) (Continued) Option Suboption Description 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: Maintain and Resize, square • Images in the 720 x 480 (NTSC) or 720 x 576 (PAL) non-square-pixel dimensions • A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions 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) non-square-pixel dimensions • A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions 367 Chapter 17 Settings Options Import Settings Options (Image Tab) (Continued) Option Suboption File Field Order Description This section allows you to select the temporal field ordering (sometimes referred to as field dominance) of the media you are importing. For 24p and 25p projects, these options do not appear; all fields area automatically exported as progressive (still) frames. 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. n This is the default value. Odd (Upper Field Select this option for the odd field to occur temporally first during First) import. The first line in the image belongs to the odd field. Color Levels Alpha 368 Even (Lower Field First) Select this option for the even field to occur temporally first during import. The first line in the image belongs to the even field. 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. 601/709 Select this option if the imported graphics file uses video levels based on the ITU-R 601 (formerly CCIR 601) or ITU-R 709 (HD) standard. These graphics include Avid color bars or images that include superblack (zero black) for keying purposes. 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. Import Settings Import Settings Options (Image Tab) (Continued) Option Suboption Description 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. Single Frame Import 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. Autodetect Sequential Files 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 still-image formats. For information on preparing a sequence of image files, see “Animation Files” in the Help. 369 Chapter 17 Settings Options 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. 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) 370 Option Description Maintain events as logged. Select this option to maintain all events as originally logged. Combine events based on scene and automatically create subclips. Select this option to combine all the events for a scene into a single master clip and then link the master clip to subclips that represent the original events for that scene. To use this option, you must have scene numbers logged in a scene column in the bin. Combine events based on camera roll and automatically create subclips. Select this option to combine all the events from a camera roll into a single master clip and then link the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged in a camera roll column in the bin for a film project. Import Settings Import Settings Options (Shot Log Tab) (Continued) Option Description Merge events with known sources and automatically Select this option to create subclips for events that create subclips. 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. n Merge events with known master clips. You must select the clips that you want to merge before selecting this option. 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. n You must select the clips that you want to merge before selecting this option. Import Settings: Audio Tab Import Settings Options (Audio Tab) Option Suboption Description Sample Rate: Convert source sample rate 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. Convert source sample rates with audio pull-up or pull-down to project sample rate on import. 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. 371 Chapter 17 Settings Options Import Settings Options (Audio Tab) (Continued) Option Suboption Description Sample Bit Depth: Convert source sample bit depth to project sample bit depth on import. 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. 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 Show Labels in Tool Palette When you select this option, the system displays text labels with the icons on the Tool palette. This is the default option. To tear off the Tool palette, click anywhere on the palette, press and hold the mouse button, and drag the palette to the location you want. Show ToolTips When you select this option, the system displays labels for buttons and icons when you position the mouse pointer over them. This is the default option. You can also turn ToolTips on and off from the Help menu. Delay n seconds before showing 372 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. Interface Settings Interface Settings Options (General Tab) (Continued) Option Description Windows® Standard Alt Key Behavior This option switches between standard Windows Alt key behavior (Windows Only) 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) When you select this option, the Avid application automatically sets the numeric keypad in numeric mode the next time you start the application. If you deselect this option, the Num Lock key on the keyboard controls the mode of the numeric keypad. With either selection, you can use the Num Lock key to change the mode of the numeric keypad. Automatically Launch Last Project at Startup Opens your last project when the application starts. 373 Chapter 17 Settings Options Interface Settings: Appearance Tab Interface Settings Options (Appearance Tab) Option Suboption Description Color Background Controls the color of the given interface component. See “Changing Interface Component Colors” in the Help. 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 Controls the shading of buttons and toolbars. See “Changing Shading Style” in the Help. Convex Radial Bright Radial Shading Depth 5% – 50%, in 5% increments Controls the three-dimensional “rounding” of buttons and toolbars. See “Changing Shading Depth” in the Help. Monitor Button Separation Maximum Controls the spacing of the Monitor buttons. See “Changing Button Separation” in the Help. Moderate None Timeline Button Separation Maximum Moderate None 374 Controls the spacing of the Timeline buttons. See “Changing Button Separation” in the Help. Keyboard Settings Interface Settings Options (Appearance Tab) (Continued) Option Suboption Description Button Style Oval Controls the shape of the buttons. See “Changing Button Style” in the Help. 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. Step buttons Workspace buttons Delete key Play button Stop/Play button Play buttons Arrow keys When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard. If the Windows operating system is set to French or German regional settings, and you click the center of the Enter key in the Keyboard palette, a message box opens that says foreign keyboard mapping mode has been turned off. Select Standard, and then select Map Foreign Keyboard again to return to foreign keyboard mapping mode. 375 Chapter 17 Settings Options Marquee Title Settings Marquee Title Settings Options Option Suboption Description Create New Title using Marquee The system always opens Marquee when you select Clip > New Title or Tools > Title Tool. Title Tool The system always opens the Title Tool when you select Clip > New Title or Tools > Title Tool. Ask me The system displays the New Title dialog box when you select Clip > New Title or Tools > Title Tool. You can then select either Marquee or the Title Tool. This is the default setting. Yes The system always promotes a Title Tool title to a Marquee title when you open the title for editing from a bin or from within a sequence. For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee Help. No The system never promotes a Title Tool title to a Marquee title when you open the title for editing from a bin or from within a sequence. Ask me The system displays the Edit Title dialog box when you open a title for editing from a bin or from within a sequence. You can then choose whether to promote the title to Marquee. This is the default setting. Promote Title Tool titles to Marquee Backup Title on Promote 376 When this option is selected, the system creates a backup Title Tool version of any title that it promotes to Marquee. The backup copy is a fast-saved (unrendered) title. The system adds [TT] to the name of the backup copy to differentiate it from the newly created Marquee version. Media Creation Settings Media Creation Settings The following topics describe adjusting the Media Creation settings. For more information about options in the Media Creation Settings dialog box, see “Setting Media Creation Resolutions and Selecting Drives” in the Help. Media Creation Settings: Drive Filtering Tab Media Creation Settings Options (Drive Filtering Tab) Option Description Filter Based on Resolution Removes as a storage choice the drives that cannot support the selected resolution. This option causes the Avid editing system to utilize only Avid MediaDrives. Filter Out System Drive Removes as a storage choice the drive on which the operating system resides. Selected by default. Filter Out Launch Drive Removes as a storage choice the drive on which the Avid application resides. Selected by default. Media Creation Settings: Capture, Titles, Import, and Mixdown & Transcode Tabs The following table describes the options in the Capture tab, Titles tab, Import tab, and Mixdown & Transcode tab, and Media Type tab of the Media Creation dialog box. Media Creation Settings: Capture, Titles, Import, and Mixdown & Transcode Tabs Option Description Video Resolution Select a resolution. Apply to All This sets your chosen resolution for all the Media Creation dialog box tabs. It also sets it for any place in the application where you select a resolution. Video/Audio Drive Select a drive or drives. In the Titles tab, only a Video Drive option is available. Apply to All This sets your chosen video and audio drives for all the Media Creation dialog box tabs. It also sets them for any place in the application where you select drives. 377 Chapter 17 Settings Options Media Creation Settings: Motion Effects Tab The following table describes the options in the Motion Effects tab of the Media Creation dialog box. Media Creation Settings: Motion Effects Tab Option Description Video Drive Select a drive or drives Apply to All This sets your chosen video drives for all the Media Creation dialog box tabs. It also sets them for any place in the application where you select drives. Media Creation Settings: Render Tab The following table describes options available in the Media Creation Settings: Render tab. Media Creation Settings: Render Tab Option Video Resolution Suboption Description Select a resolution for the rendered effects. n The application always renders and effect at the highest resolution used in the effect source clips. Apply to All This sets your chosen resolution for all the Media Creation dialog box tabs. It also sets it for any place in the application where you select a resolution. Video/Audio Drive Select a drive or drives. Apply to All This sets your chosen video and audio drives for all the Media Creation dialog box tabs. It also sets them for any place in the application where you select drives. Same as Source Select this option if you want the application to render the effect using the resolution of the clip or clips used to create the effect. If an effect is created from clips that use different resolutions, the application uses the highest-quality resolution. 378 Media Creation Settings Media Creation Settings: Render Tab (Continued) Option Suboption Description Effects Processing 8-bit Select this option when rendering time is more important than image quality. Also use this option if you are mainly working with effects that don’t support 16-bit precision. Select this option for the best overall image quality. Use this option if you use 10-bit resolutions, use many levels of nested effects, or want the best color fidelity for rendered effects. 16-bit Automatic Select this option if you want the media source to determine the effects resolution. This is the default. Media Creation Settings: Media Type Tab The following table describes the options in the Media Type tab of the Media Creation dialog box. Media Creation Settings: Media Type Tab Option Description Video File Format Select a file format: Open Media Format (OMF) or Material Exchange Format (MXF). This setting applies to all video format menus (in the Capture tool, the Consolidate/Transcode dialog box, and other places in the Avid editing application). For more information, see “File Format Specifications” in the Help. n File Format (Media Type tab only) If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. Select a file format: Open Media Format (OMF) or Material Exchange Format (MXF). This setting applies to all video format menus (in the Capture tool, the Consolidate/Transcode dialog box, and other places in the Avid editing application). For more information, see “File Format Specifications” in the Help. n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 379 Chapter 17 Settings Options Mouse Settings Mouse Settings Option Suboption Description Scroll Wheel Behavior Normal Moderate Fast Selects the speed of scrolling with the mouse wheel within the editing application. For more information, see “Using the Mouse Scroll Wheel” on page 43. Mouse Button Assignments Assigns functions to 3 additional mouse buttons. PortServer Settings PortServer Settings Options Setting Description Auto-connect to LANshare at Launch LANshare workspaces are recognized when you start the Avid application. Connect/Disconnect Starts or severs the connection. Remote Play and Capture Settings Remote Play and Capture Settings Options Option Description Mode Use Remote Capture when you want to perform a quick capture. This mode is also known as crash record. It allows the Avid system to capture the media being sent to it immediately without setting up parameters like IN and OUT points. Remote Capture supports record and stop with the controller. Use Remote Play when you want to control sequences via an edit controller. Remote Play supports play, cue, and stop. Use Remote Punch-In when you want to perform a quick audio punch-in. Remote Punch-In allows the Avid system to record the audio being sent to it immediately without setting up all parameters, such as OUT points. Remote Punch-In supports play, cue, record, and stop with an external controller. 380 Render Settings Remote Play and Capture Settings Options (Continued) Option Description Device Code Select the device code that identifies the VTR the system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and capture functions. You do not need to change the device code value unless your edit controller does not recognize the VTR or you want to emulate a specific VTR. Runup (frames) This option is only available with Remote Play and Remote Punch-In. Specify the time (measured in frames) it takes the deck to start playing from a cued position. The default value is 1 frame. When the runup times of two video devices are similar, it is easier for the edit controller to synchronize the devices during preroll. If your Avid VTR does not sync up as often as you want, try adjusting this value so the two devices attain full speed at nearly the same time. Inhibit preloading when cueing by single frame. This option is only available with Remote Play and Remote Punch-In. Avid recommends that you do not inhibit preloading under normal circumstances. Preloading occurs by default in the Avid editor. It improves playback performance by preparing the digital media for playback each time you cue a new frame. Selecting this option causes the Avid system to match the behavior of a tape deck when you step through footage frame by frame. Avid recommends this option only for projects that require quick cueing of one frame after another; for example, when you are using the system to present a sequence of still images as in a slide presentation. Render Settings Render Settings Options Option Suboption Render Completion Sound Description Sets a sound for your Avid application to activate once the rendering process is complete. This is useful when you are rendering multiple effects. None Disables the rendering completion sound. This is the default. 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. 381 Chapter 17 Settings Options Render Settings Options (Continued) Option Suboption Motion Effects Render Using Description 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 appears 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. 382 Render Settings Render Settings Options (Continued) Option Suboption 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. 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. 383 Chapter 17 Settings Options Render Settings Options (Continued) Option Suboption 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 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. Quality Set in Each Effect Causes effects to render at the quality determined by the HQ setting in the individual effects. This is the default. Standard Quality Causes all effects to render with the standard implementation. Highest Quality Effects render with the HQ implementation, if one exists for a given effect. If an HQ implementation does not exist for a given effect, the effect renders with the standard implementation. Safe Colors Settings Safe Colors Settings Options Option Description Composite Sets safe color values for the composite video signal. Luminance Sets safe color values based on brightness. RGB Gamut Sets safe color values based on color range. 384 Script Settings Safe Colors Settings Options (Continued) Option Description Units buttons Define the units of measurement for the three types of safe color values. The Composite Units menu allows you to select either IRE or mVolts (millivolts). The Luminance and RGB Gamut menus allow you to select from the following options: 8 Bit — Measures the adjustment on a scale from 0 to 255. n The RGB value for a color in the Color Correction tool is not identical to the RGB value for the same color in a graphics application such as Adobe Photoshop®. For example, the 8-bit RGB values for reference black and reference white are 16 and 235 respectively. % — Measures the adjustment on a percentage scale from 0 to 100. IRE — Measures the adjustment in IRE units. mVolts — Measures the adjustment in millivolts. Actions buttons Define how the system implements the safe color settings. The top menu controls both the Composite and the Luminance limit types; the bottom menu controls the RGB Gamut limit type. Each Actions menu allows you to select from the following options: Ignore — The system does not limit based on these settings. This is the default setting. Warn — The system provides warnings when these limits are exceeded. For more information on safe color warnings, see “Managing 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. 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 applies to takes. 385 Chapter 17 Settings Options Script Settings Options (Continued) Option Description 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 (Windows Only) These settings are for software-only systems on Windows. Sound Card Configuration Settings Option Options Record/Input list Playback/Output list Lists the input sources available with the audio hardware installed on your system. Wave SW Synth CD Player Microphone Aux Line In Phone <No Match> Use Windows Mixer 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. n Select the <No Match> option if you do not want an input source mapped to an output source. Select this option to deselect all options in the dialog box and allow the Windows mixer to map input sources to output sources. Override source 386 Description Select an output source to override the Avid system and leave the mute settings as they are set in the operating system. Timeline Settings Sound Card Configuration Settings (Continued) Option Options Audio device name Description Lists the sound card installed on your 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 Waveforms Shows waveforms drawn between an IN point and an OUT point instead of over the entire composition. Highlight Suggested Render Areas After Playback 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 “Advanced Effects Playback Information” in the Help. Show Four-Frame Display When this option is selected, the system shows the head and tail of incoming or outgoing frames of video when you drag a segment. Timeline Settings: Edit Tab Timeline Settings Options (Edit Tab) Option Description Start Filler Duration Type the amount of filler you want to appear by default when you select Clip > Add Filler at Start. Find Flash Frames Shorter Than n frames Type the maximum number of flash frames you want the system to detect. The default is 10, which tells the system to detect clips with 9 frames or fewer. See “Finding Flash Frames” in the Help. 387 Chapter 17 Settings Options Timeline Settings Options (Edit Tab) (Continued) Option Description Auto-Patching When this option is selected, the system automatically patches the enabled source tracks to the tracks enabled in the Timeline sequence. Auto-Monitoring When this option is selected, the track you patch to is monitored. This option is selected by default. Segment Drag Sync Locks 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. Default Snap-To Edit Allows a clip, when dragged from a bin to the Timeline, to either snap to a 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. New Sequences: n Video Tracks n Audio Tracks Allows you to set the number of video and audio tracks displayed in the Timeline for new sequences. You can select a maximum of 24 video tracks and 24 audio tracks. Dupe Detection Handles n Select the size of the handles, in frames, to use for dupe checking. The chosen number of frames is added at the beginning and the end of each clip before checking for overlap. The handles are used only for internal calculations. Trim Settings See the following topics: • Trim Settings: Play Loop Tab • Trim Settings: Features Tab Trim Settings: Play Loop Tab Trim Settings Options (Play Loop Tab) 388 Option Description Preroll Click the text box and type the value you want. Postroll Click the text box and type the value you want. Video Display Settings Trim Settings Options (Play Loop Tab) (Continued) Option Description Intermission Click the text box and type the value you want. Trim Settings: Features Tab Trim Settings Options (Features Tab) Option Description J-K-L Trim Select to turn on J-K-L Trim. Video Display Settings Video Display Settings Options Option Suboption Description DV Output Setting (not applicable to DV devices connected to an Avid Mojo) Output to DV Device Select this option if you have connected a DV device to a software-only system or if your system is connected to Avid Mojo SDI and you have selected Device > IEEE 1394. Format This option is available only when you have Output to DV Device selected and you have a device connected. Allows you to select the compressed format to be sent to the DV device. Realtime Encoding This option is available only when you have Output to DV Device selected, you have a device connected, and you are in an SD project. Also use this feature if you are on a software-only system. Allows you to enable or disable real-time effects. See “Playing Back to a DV Device” on page 104. 389 Chapter 17 Settings Options Video Display Settings Options (Continued) Option Suboption Description Desktop Play Delay (not applicable to DV devices connected to an Avid Mojo) Frames if you have connected a DV device to a software-only system or if your system is connected to Avid Mojo and you have selected Device > IEEE 1394. Move the slider to increase or decrease the amount of frame offset in the Composer monitor so the media on the desktop and the media in the DV device play simultaneously. See “Adjusting the Play Delay Offset (Software Only or 1394)” in the Help. Pre-filled Frames: Seconds of Video to Pre-Fill: 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 you can specify is 10 seconds. OpenGL Hardware: Preview DVE effects with: Video boards installed on your Select the OpenGL® board for your video system display. Selecting hardware gives you better performance. Software OpenGL Enable Confidence View Maximum Real Time Streams Select if you do not have an OpenGL video board Enable confidence view (also called passthrough) if you want to view incoming or outgoing media in the Composer monitor as you are capturing media or creating a digital cut. Deselect for better performance. Stream Limit n Select the number of video streams you want to display in the Record monitor at a time. n 390 More streams uses more processing cycles and might cause the video to play in a choppy fashion. Video Input Tool Settings Video Input Tool Settings Double-clicking Video Input in the Settings list opens the Video Input tool. Video Input Tool Options Option Description Input menu Lets you select Composite, SVideo, Component, or Host-1394. Waveform Monitor and Vectorscope Monitor buttons Open or hide the Waveform monitor and the Vectorscope monitor. Sliders Let you change the value for each setting. Preset buttons The preset buttons are highlighted when the factory preset levels are displayed. SignalLock This option lets you switch between the following: Settings menu • Professional — preset sync using a wider bandwidth for non-TBC sources. • Consumer — automatic sync using time-base correctors (TBC) internal to the video source Lets you save the settings for an individual tape each time you calibrate bars. 391 Chapter 17 Settings Options Video Output Tool Settings Double-clicking Video Output in the Settings list opens the Video Output tool. Video Output Tool Options (SD Tab) Option Suboption Description Output menu Lets you select Component, Composite, or SVideo. VBI (DV resolutions unsupported) (Vertical Blanking Interval) Instructs the system to preserve or blank 5 lines above each field in NTSC and 8 lines above each field for PAL when you display a sequence or perform a digital cut. For more information, see “Preserving Information in the Vertical Blanking Interval” in the Help. Test Patterns Allows you to choose a test pattern for calibrating during output. Output sync lock Use this feature to lock your output connection to the reference or an internal signal on the Avid Mojo or Avid Mojo SDI. Workspace Settings Workspace Settings Options Option Description Activate Settings Linked By Name Select this option to link other settings to the workspace. Continually Update This 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. Manually Update This Workspace 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. 392 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 1 Pass encoding 350 1394 capturing directly through 76, 78 connecting and selecting 76 1394 button outputting to DV device 284 selecting 77 16:9 display format 102 2 Pass encoding 350 3 x 3 averaging setting eyedropper option 323 8-bit units 385 A Accessing audio effect tools 162 Add Channel button (Deck Configuration dialog box) 52 Add Deck button (Deck Configuration dialog box) 53 Add Track dialog box 125, 139 Adding filler to sequences 148 new tracks to a sequence 125, 139 Adjust Deck command (Deck Selection menu) 276 Adjusting audio input levels 65 output 269 pan defaults 163 AIFF-C file format option in Audio Project settings 63, 309 Alpha channel title creation with 241 Alpha channel, options in Import settings 368 Anti-aliased elements in title 241 Applying an Effect Palette Color Correction effect 231 A-side (outgoing frames) in trims 158 Aspect Ratio options (Import settings) 367 Assemble-edit recording 273 Audio calibrating global output levels 269 crossfading 314 crossfading methods 314 editing 163 fading 314 fading methods 314 file formats (Audio Project settings) 63, 309 input levels, adjusting 65, 311 input sources 311 locked 310 mapping output channels 312 Master volume 311 monitoring in Timeline tracks 136 monitoring while editing 128 output, preparing for 268 selecting mix modes 312 selecting stereo mix 312 setting pan defaults 163 waveform plots, displaying 164 Audio board systems adjusting output on 269 Audio clips changing sample rate for 174 Audio dissolves 314 Audio effect tools, accessing 162 Audio File format options 309 Audio file formats for audio input 63 Audio file sample size 309 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Audio I/O device adjusting output on 269 Audio input preparing for 62 sources 311 Audio input levels adjusting 311 Audio levels adjusting 173 Audio Mixer tool adjusting volume and pan on a single track 171 adjusting volume and pan on multiple tracks 173 resizing 171 Audio output calibrating 311 preparing for 268 Audio Project settings audio file formats 63, 309 Audio sample rate changing 174 options 309 when preparing for audio output 268 Audio settings window 164 Audio sync on output 267 Audio tool digital scale, defined 65 features, described 64 input levels, adjusting 65 using for mixing and monitoring audio 64 volume meters, defined 65 volume unit scale, defined 65 Audio tracks adjusting in Audio Mixer tool 171 soloing in the Timeline 163 Audio Transfer Rate (Film and 24p Settings dialog box) 300 Audio volume adjusting in Audio Mixer tool 173 Auto-configure command (Deck Selection menu) 276 Automatic color corrections applying from Effect Palette 231 Automatically opening a project 373 Automation Gain and Pan Track Solo and Track Mute buttons 170 Auto-Save options (Bin settings) 315 394 Avid application, quitting 29 Avid Attic files setting (Bin settings) 315 Avid DV Codec, exporting with 332, 333 Avid editing application backing up Title Tool titles when promoting to Marquee 376 Avid Mojo selecting input gain with 311 Avid Projects folder 29 Avid Unity network mapping workspaces on 380 Avid Users folder 29 Avid Visual Extensions (AVX) defined 194 AVX (Avid Visual Extensions) defined 194 B Background color, selecting 242 Backing up Title Tool titles when promoting to Marquee 376 Backup options (Bin settings) 315 Bars recording 272 Basic toolset 41 Basic trim procedures 151 Big Trim mode 153 Bin settings 315 Auto-Save options 315 Avid Attic files setting 315 backup options 315 Bins changing background color 92 closing 35 creating new 33 deleting 36 deleting with SuperBin enabled 95 hiding columns in 88 moving, into and out of the SuperBin 94 opening 34 opening in SuperBin 93 organizing a project with 87 organizing with 87 preparing for capturing 68 revising titles in 255 saving manually 36 ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting a target bin 60 titles in 257 using SuperBin 93 viewing a list of 33 viewing fast-saved titles in 255 Black filler adding to sequences 148 Blue bars in timecode track of Timeline 211 BMP file format additional export options 355 Bold button in Title tool 248 Bold text in titles 248 Brief view 90 B-side (incoming frames) in trims 158 Buttons Bold (Title Tool) 248 Dual Split (Color Correction Composer window) 229 Effect Mode 202 Extract/Splice-in 205 Fade Effect 205 Focus 141 Go to Next Uncorrected Shot (Color Correction Composer window) 229 Go to Previous Uncorrected Shot (Color Correction Composer window) 229 In/Out (Audio tool) 65 Italic (Title tool) 248 Lift/Overwrite 205 mapping user-selectable 114 Remove Effect (Color Correction Composer window) 229 Reset Peak (Audio tool) 64 Safe Colors 235 stepping (jogging) through footage using 109 Video Background (Title tool) 242 Video Effect Safe Mode 277, 280 Bypass volume settings 314 C Calibrating global output levels 269 Index Calibrating global audio output 311 Calibration tone, setting 268 Capture Settings Keys tab 321 Capture tool choosing a resolution in 59 opening 55 Capturing and logging at the same time 69 described 45 DV media 76 establishing sync for audio-only input 67 from an IN point to an OUT point 69 on-the-fly 71 selecting drives for 48 setting only mark IN 71 setting up 55 using time-of-day timecode 73 Capturing toolset 42 CCIR See ITU-R 601 Change Sample Rate dialog box 174 Changing sample rate of audio 174 sequence information 124 Channel dialog box 52 Cineon file format additional Export options 355 Clip information changing 124 in Text view 88 Clip Name menus, using 104 Clips copying, into and out of the SuperBin 95 cueing 108 editing into sequences 128 entire, marking 118 exporting 287 extracting 130 finding 121 lifting 129 loading in Source pop-up monitor 103 marking IN and OUT points 116 moving, into and out of the SuperBin 94 playing back 108 subcataloging 113 subclips 120 395 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ viewing 108 Closed captioning and Vertical Blanking Interval 392 Closing bins 35 the SuperBin 94 Codecs DV 332, 333 QuickTime, selecting 290 software DV 25 321 Color background 242 changing background in bins 92 Color coding playback information in Timeline 211 Color coding for effects 194 Color Correction Correction setting 295 Safe Color setting 296 Color Correction effect (Effect Palette) applying 231 Color Correction toolset 41 Color Match control 3 x 3 averaging of pixels, setting 323 Columns hiding in bins 88 showing in bins 88 Composer monitor and Small Trim mode 155 viewing clips in 98 Computer, turning off 30 Configuring decks 51 Consolidate command 184 Consolidate/Transcode dialog box 184, 187 options 188 Consolidating media files defined 181 options 188 procedure 184 Controlling playback 108 real-time effects preview 209 Coordinates displaying, in monitors 364 Copy command for title elements (Edit menu) 244 396 Copying settings between settings files 305 Crash recording 284 Crash recording procedure 272 Crawling titles setting marks in 258 Creating a new bin 33 a new project 25 instant rough cut 127 new sequences 124 playable sequence from clips with different target resolutions 187 Crossfading audio 314 Cueing a frame with frame offset timecode 121 Custom colors options for naming 323 Custom Profile Audio settings (Windows Media export) 351 D Databases, refreshing media 189 Deck Configuration settings Add Channel options 52 in Settings list 51 Deck controller in Digital Cut tool 276 Deck Selection menu Digital Cut tool 276 Deck settings Fast Cue option 326 for configuring decks 53, 276 options 326 Preroll option 326 Decks configuring 51 for digital cut 275 selecting 53 Defining units of measurement 385 Deleting bins 36 bins with SuperBin enabled 95 folders 36 media files with the Media tool 180 ABCDEFGHIJKLMNOPQRSTUVWXYZ settings 305 tracks in Timeline 140 Deselecting segments in Timeline 144 Desktop basics 23 Device Code option (Remote Play and Capture settings) 381 Device menu selecting output device from 284 Digital cut real-time effects and 208 Digital Cut command (Output menu) 275 Digital Cut tool deck controller in 276 selecting decks from 275 using 274 Digital cuts record options 278 recording 274 Digital scale (Audio tool) defined 65 Dip to Color Blend effect (2D) creating with Quick Transition button 199 Direct record emulation 380 Directories, refreshing media 189 Display format, 16:9 102 Display rate when processing effects 208 Displaying project settings 300 waveform plots 164 Dissolve effects (2D) creating, with Quick Transition button 199 Skip Existing Transition Effects option 201 DNA selecting as a port for capturing 52 DNA button selecting 77 DNA/1394 button selecting 77 Dominance, Import settings options 368 Drag-and-drop method editing with 126, 128 importing with 86 Dragging IN and OUT points 118 Index Drawing environment preparation in Title tool 241 Drawing tools (Title tool) circles and ovals 249 lines 249 squares and rectangles 249 Drives filtering 50 removing from list 50 selecting for capturing 48 single, targeting 60 storing media on 48 target, selecting 60 Dropped frames during digital cut 277, 280 real-time effects and 208 Dual monitors and Big Trim mode 153 and Small Trim mode 155 using 99 Dual Split button (Color Correction Composer window) 229 Dupe checking 388 Dupe Detection Handles option (Timeline settings) 388 Duplicating settings 303 DV capturing 76 DV 100 capturing 78 DV 25 capturing 77 outputting 281 playing back 104 DV 25 software codec 78 DV 50 capturing 78 outputting 281 playing back 104 DV audio pattern 310 DV Codec 332, 333 DV device connecting and selecting 76 playing back to 104 selecting for output 266 397 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ DV Scene Extraction explained 73 setting up 74 DVCPRO HD capturing 78 E Edgecode default starting 362 Edit session, ending 29 Editing audio 163 beginning 123 clips into sequences 126, 128 in the Timeline 142 monitoring audio during 128 titles into sequence 258 Edits Extract 130 first edit, making 125 first edits, described 123 instant rough cut procedure 127 Lift 129 Segment mode 142 undoing or redoing 128 Effect categories (2D) listed 194 Effect mode entering 202 Effect Mode button 202 Effect Palette described 194 effect categories in 194 using 194 Effect Palette Color Correction effect applying 231 Effect Preview monitor described 203 Effects applying to multiple transitions 198 controlling real-time preview 209 mapping buttons for 114 playing individual, in a loop 207 playing individual, using Play button 206 processing in real time 208 real-time preview, information in Timeline 211 398 rerendering 222 sizing to fit 198 Effects (2D) creating with Quick Transition button 199 Effects Editing toolset 42 Enable Track buttons (Digital Cut tool) 275 End key 112 Entering Effect mode 202 Entering Trim mode 152 Environment, using toolsets to control 40 ERIMovie file format additional export options 356 Exiting Trim mode 153 ExpertRender after real-time playback attempt 218 considerations when using 221 described 214 for output 216 for real-time effects playback 211 modifying results of 220 rendering with 216 using 214 ExpertRender commands (Clip menu) 217 Export settings video compression options 347 Export settings, video compression options 347 Exporting QuickTime Movie files 287 Targa files 358 Wavefront files 358 with Avid Codecs for QuickTime 290 with Avid DV Codec 332, 333 YUV files 359 Extract button 130 Extract edits 130 Extract/Splice-in button 205 Eyedropper 3 x 3 averaging of pixels, setting 323 options for 323 F Fade Effect button described 205 Fade effects (2D) adding with Fade Effect button 205 ABCDEFGHIJKLMNOPQRSTUVWXYZ Fade from Color Blend effect (2D) creating with Quick Transition button 199 Fade to Color Blend effect (2D) creating with Quick Transition button 199 Fading audio 314 Fast Cue option (Deck settings) 326 Fast menu button, opening the Tool palette with 115 Settings 301 Fast rolling title playback issues 263 Fast Save option for titles described 254 saving with 254 Fast Save titles viewing in bin 255 Field dominance, Import Settings options 368 File management 177 Files guidelines for importing 80 importing mixed resolutions 80 importing using drag-and-drop method 86 procedure for importing 81 Filler adding to sequences 148 setting duration of 149 Film projects transfer settings in 299 Filtering drives 50 Finding frames with timecode 121 FireWire capturing directly through 76, 78 connecting a DV camera or deck with 52 Focusing the Timeline 141 Folders Avid Projects 29 Avid Users 29 deleting 36 Fonts selecting 247 setting point size 247 Footage clearing marks from 118 loading into monitors 103 marking and subcataloging 116 viewing and playing 97 Index Format display in the Project window described 38 Formatting title text 246 Frame offset timecode using to cue a frame 121 Frame view changing the bin background color for 92 described 91 in Media tool 178 Frame-accurate recording 271 Frames accessing in footage 108 cueing by frame offset timecode 121 using timecode to find 121 Full Quality/Draft Quality Mode button 209 Full Screen Playback options 361 setting up 102 G General settings 362 Global output levels calibrating 269 Global settings, Import 80 Go to Next Uncorrected Shot button (Color Correction Composer window) 229 Go to Previous Uncorrected Shot button (Color Correction Composer window) 229 Graphics in titles drawing 248 Green dot 194 Grid Safe Action setting 364 Safe Title setting 364 Grid settings Coordinates tab 363 described 363 Display tab 364 H HDV capturing and importing 79 exporting 287 outputting 265 399 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ High Performance option (Video Display settings) 209 High Quality option (Video Display settings) 209 Hinted streaming, exporting as 337 Home key 112 I Import settings alpha channel options 368 aspect ratio options 367 creating and using 80 dominance options 368 ITU-R video levels 368 RGB graphics levels 368 Importing MetaSync files 84 shot log files 46 Importing files described 79 in mixed-resolution projects 80 Photoshop files 79 preparing for 80 procedure for 81 using drag-and-drop method for 86 IN and OUT points dragging 118 marking 116 In/Out buttons (Audio tool) defined 65 Inhibit Preloading option (Remote Play and Capture settings) 381 Input Gain 311 Input Level slider 311 Input sources audio 311 Instant rough cut creating 127 Insufficient Source information 198 Interactive Television (ITV) enhancements 89 Interface settings access and description 296 Italic button in Title tool 248 Italic text in titles 248 400 ITU-R 601 video levels, Import settings 368 ITV enhancements 89 J J-K-L keys shuttling with 111 JPEG file format additional Export options for 356 K Keyboard controlling playback from 111 mapping user-selectable buttons to 114 Keyboard shortcuts saving titles with 254 Keyframes defined 206 Keys J-K-L, shuttling with 111 Keys, navigating with 112 L Lassoing one or more segments in Timeline 143 transitions 152 Launching Avid application 24 Layering mapping buttons for 114 Left Arrow key 112 Lift button 129 Lift/Overwrite button 205 Lifting material 129 Limitations playing fast rolling titles 263 Lines in titles 249 Load Filler command (Clip Name menus) 148 Loading clips and sequences 103 filler 148 footage 103 ABCDEFGHIJKLMNOPQRSTUVWXYZ Locators creating automatically with DV 73 Logging and capturing at the same time 69 automatically with DV 74 Logs shot log files 46 M Managing media files 177 Manual recording 272 Mapping buttons to Timeline top toolbar 119 user-selectable buttons 114 Mark IN and Mark OUT buttons using in titles 258 Mark In Time option (Digital Cut tool) 278 Marking entire clips or segments 116 footage 97 IN and OUT points 116 segments 118 Marquee Title Settings dialog box 238 Marquee Title tool described 239 Master volume adjusting output 311 Matching resolutions with titles 252 Media Creation settings 48 Capture tab 377 described 377 Import tab 377 Media Type tab 379 Mixdown & Transcode tab 377 Motion Effects tab 378 Render tab 378 Titles tab 377 Media databases refreshing 189 Media disks speed limitations with real-time effects preview 211 Media files consolidating, defined 181 Index consolidating, procedure 184 deleting 180 insufficient source material 198 managing 177 manipulating with Media tool 177 Media tool 177 basic features of 178 opening 178 Media Tool Display dialog box 178 Menu commands Digital Cut (Output menu) 275 MetaSync importing files 84 ITV enhancements in 89 Meters volume 65 Millivolts (mVolts) 385 Mix Mode Selection 312 Mixed resolutions 80 Mixing and monitoring audio 64 Mode Full Quality and Draft Quality 209 Mode option (Remote Play and Capture settings) 380 Modifying ExpertRender results 220 settings 302 Mojo 311 Monitor full screen, playing to 102 Monitoring a solo track 137 Monitoring audio in Timeline tracks 136 while editing 128 Monitoring audio input with Passthrough Mix tool 311 Monitoring tracks in Timeline 135 Monitors dual 99 safe color warnings in 236 Motion effects rendering options 382 Motion effects (2D) brief description 192 Mouse assigning functions to buttons 43 scroll wheel functions 44 setting up the scroll wheel 43 401 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ settings 380 using the scroll wheel 43 Moving settings between systems 306 Multilayer effects defined 192 Multiple settings selecting among 304 working with 303 mVolt (millivolt) units 385 MXF choosing at target audio format for transcode 187, 189 Media Files Tab (Capture Settings dialog box) 320 N Naming settings 304 Navigating in Timeline 140 with Home, End, and Arrow keys 112 New bins creating 33 New sequences setting up 123 setting up tracks for 125 New Title command (Clip menu) 238 NTSC frame and safe title/action guidelines 242 O OMF Media Files Tab (Capture Settings dialog box) 319 OMFI files additional export options for 357 One speed at a time, changing play direction 111 Opening bins in SuperBin 93 the Capture tool 55 the Media tool 178 the Tool palette 115 toolsets 40 Opening projects automatically 373 Organizing with bins 87 402 Output establishing sync for 267 mapping audio channels 312 options 265 preparing for 265 Output Gain 311 Output sync lock menu 267 P P2 See Panasonic P2 PAL frame and safe title/action guidelines 242 Palettes Tool 115 Pan adjusting 171 adjusting defaults 164 Panasonic P2 support for 177 Passthrough Mix tool Audio Project Settings window 311 Paste command for title elements (Edit menu) 244 Patching tracks in the Timeline 138 Peak Hold menu (Audio tool) defined 65 Photoshop file format additional export options for 357 PICT file format additional export options for 357 Playback controlling 108 individual effects, in a loop 207 individual effects, using Play button 206 real-time information bars in Timeline 211 real-time, rendering to achieve 218 Playback of effects real-time capabilities 194 Playing sequences 131 Playing back to a DV device 104 Playing back with Full Screen options 361 setting up 102 Playing, changing one speed at a time 111 ABCDEFGHIJKLMNOPQRSTUVWXYZ PNG file format additional export options for 357 Position bar, using in the Timeline 108, 141 Position indicator, using in the Timeline 108, 141 Preparing for audio input 62 for audio output 268 for output 265 record tapes for audio output 271 Preroll custom for digital cut 278 Preroll option (Deck settings) 326 Preview command (Object menu) 241 Previewing anti-aliased titles 241 Processing effects in real time 208 Project formats 27 Project settings displaying 300 Project window bins display 32 Format display, using 38 settings display 37, 294 working with 31 Projects changing formats 38 creating a new 25 film 27 mixed-resolution 80 opening 25 opening automatically 373 planning 23 starting 23 video 27 Promoting Title Tool titles, back up option 376 Q QuickTime movie export 337 procedure 287 QuickTime Movie files exporting with Avid DV Codec 333 QuickTime Reference Movie files exporting with Avid DV Codec 332 Index Quitting the Avid application 29 R Ratcheting play speed 111 Ratcheting with J-K-L keys 111 Real-time effects color coding for 194 defined 193 dropped frames and 208 playback capabilities of 194 playing audio dissolves as 314 processing of 208 Record Deck Time option (Digital Cut tool) 278 Record tapes preparing for audio output 271 Recording assemble-edit, enabling 273 bars and tone 272 digital cuts 274 digital cuts using Local mode 279 digital cuts using Remote mode 276 frame-accurate digital cuts 273 manually 272 Recording (Capturing) and logging at the same time 69 described 45 on-the-fly 71 using time-of-day timecode 73 Red bars in Timecode track of Timeline 211 Redoing edits 128 Refreshing media databases 189 Remote Capture 380 Remote Play and Capture Device Code option 381 Inhibit Preloading option 381 Mode type option 380 Runup option 381 setting ports for 381 Remove Effect button (Color Correction Composer window) 229 Removing bins with SuperBin enabled 95 drives from list 50 403 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Renaming settings 304 Render sample rate setting conversion quality 314 Render settings options 381 Rendered effects viewing in bins 257 Rendering after real-time playback attempt 218 defined 193 motion effects 382 using ExpertRender 216 Rerendering effects 222 Reset Peak button (Audio tool) defined 64 Resizing Audio Mixer tool 171 Resolutions 27 choosing in Capture tool 59 compatibility in titles 252 mixed 80 Revising titles in a bin 255 RGB graphics levels, Import settings 368 RGB values reference black and white 385 Right Arrow key 112 Rollers 152 Rolling titles setting marks in 258 trimming 262 Rough cut creating 127 Runup option (Remote Play and Capture settings) 381 S Safe Action option (Grid settings) 364 Safe Colors defining units of measurement for 385 setting options for 235 warnings in monitors 236 Safe Colors button 235 Safe Title Area/Global Grid command (Object menu) 242 Safe Title option (Grid settings) 364 404 Safe title/action area in Title tool 242 Sample plot, displaying 164 Sample rate audio, when preparing for audio output 268 changing conversion quality 314 changing for sequences and audio clips 174 converting 310 displaying mismatched 310 mixing 310 options 309 Saving titles 252 titles with a keyboard shortcut 254 titles with Fast Save option 254 titles, overview of 251 Script view defined 92 Scroll bar in Timeline 141 Scroll wheel functions 44 setting up 43 using 43 Segment 143 Segment effects defined 192 fading 205 Segment mode deleting segments 148 Extract/Splice-in edits 145 Lift/Overwrite edits 146 Segment Mode pointer 143 Segments cutting, copying, and pasting in Timeline 150 deselecting in Timeline 144 lassoing in Timeline 143 marking entire 118 selecting in Timeline 143 Selecting additional transitions in Trim mode 156 between trim sides in Trim mode 155 deck 53 drives 48 QuickTime codecs 290 source tracks 58 tape 57 ABCDEFGHIJKLMNOPQRSTUVWXYZ target drives 60 tracks in Timeline 134 trim sides 158 video output 266 selecting input gain with 311 Selection tool defined 240 text options for titles 247 viewing attributes with 246 Send To using predefined templates 291 Sequence information changing 124 Sequence Time option (Digital Cut tool) 278 Sequence Track buttons (Digital Cut tool) 275 Sequences adding filler to 148 adding tracks to 125, 139 changing audio sample rate for 174 changing start timecode for 125 copying, into and out of the SuperBin 95 creating playable 187 cueing 108 editing clips into 128 exporting 287 extracting 130 lifting 129 loading in Composer monitor 103 moving, into and out of the SuperBin 94 new, setting up 123 new, starting 124 output options for 265 playing 108, 131 title editing in 258 viewing 108 Set Bin Display command (Bin menu) 257 Setting up decks 51 new sequences 123 new tracks for sequences 139 the Capture tool 55 tracks for new sequences 125 Settings Audio export 353 audio pan default 163 Audio Project, DV audio pattern 310 button 37, 294 Index copying 305 deck configuration 51 deck preferences 55 defined 37, 294 defining 298 deleting 305 displaying 300 duplicating 303 export 328 Grid 363 import 80, 366 in Settings list 295 Media Creation 377 modifying 302 moving between systems 306 naming 304 OMFI export 341 QuickTime Reference export 330 selecting 48, 302 selecting for capturing 48 site, using 307 Timeline 387 Timeline, showing toolbar 119 types of 297 working with multiple 303 Settings list changing display 301 described 295 table of settings 295 using 297 SGI file format additional export options for 358 Shadows for titles 250 Shortcuts saving titles with keyboard 254 Shot log files importing 46 Shutting down computer 30 Shuttling with J-K-L keys 111 Shuttling with J-K-L keys 111 Single-layer effects defined 192 Site settings using 307 Size of effect source media 198 405 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Skip Existing Transition Effects option 201 Small Trim mode 155 Software DV 25 codec 321 Soloing audio tracks in the Timeline 163 Soloing tracks, monitoring in Timeline 137 Sound Card Configuration settings access and description 297 Source material, loading into monitors 103 Source pop-up monitor viewing clips and sequences in 103 Source tracks selecting 58 Source/Record Editing toolset 42 Source/Record monitors and Big Trim mode 153 and Small Trim mode 155 Start timecode, changing 125 Starting Avid application 24 projects 23 Stepping with J-K-L keys 111 Stereo Mix 312 Storing media on drives 50 Subcataloging footage 116 Subclips creating 120 creating automatically with DV 73 creating with Make Subclip button 120 Submaster effect as alternative to ExpertRender 215 Subsequence creating 120 SuperBin closing 94 conserving screen real estate with 93 copying clips and sequences in and out of 95 deleting bins in 95 enabling 93 moving bins in and out of 94 moving clips and sequences in and out of 94 opening bins in 93 Sync 138 establishing for audio-only input 67 establishing for output 267 Sync locking tracks 138 406 T Tapes selecting 57 Targa file format additional Export options 358 Target bin, selecting 60 Target drives, selecting 60 Tearing off the Tool palette 115 Text for titles editing 245 formatting 246 repositioning 245 resizing 245 Text view bin column headings 88 described 88 in Media tool 178 Three-button play (J-K-L keys) 111 TIFF file format additional Export options 358 Timecode capturing with time-of-day 73 changing 125 default starting 362 using to find a frame 121 Timecode track (Timeline) real-time playback information 211 Timeline audio tracks, soloing 163 copying a segment in 150 cutting a segment in 150 dragging titles into 260 Dupe Detection Handles option 388 editing in 142 first edit displayed in 126 focusing 141 navigating in 140 pasting a segment in 150 real-time effects, color coding 194 scroll bar 141 settings, Display tab 387 settings, Edit tab 387 top toolbar 119 Track Selector panel, using 133 tracks, deleting 140 tracks, monitoring 135 ABCDEFGHIJKLMNOPQRSTUVWXYZ tracks, patching 138 viewing clips in 98 Time-of-Day Information, using to log 73 Time-of-day timecode capturing with 73 Time-remaining display 61 Title effects (2D) clips, described 256 defined 192 duration of rolls 258 Title tool as default titling tool 238 background options 242 backing up titles when promoting to Marquee 376 described 239 drawing graphics in 248 opening 238 pasting text into 244 preparing drawing environment 241 safe title/action area display in 242 selecting fonts in 247 setting point size in 247 updating video background in 243 working with shadows in 250 Titles adding shadows to 250 bold text in 248 color of background 242 compatible resolutions with 252 creating color background for 243 creating text 244 dragging into Timeline 260 editing into a sequence 258 effect clips described 256 fast saving 254 italic text in 248 overview of saving 251 previewing 241 revising in bin 255 saving 252 saving with keyboard shortcut 254 setting marks in rolling or crawling 258 splicing into a sequence 259 unrendered 254 viewing Fast saved in bin 255 Tone recording 272 Index setting calibration 268 Tool palette 115 Toolbar, top Timeline 119 Toolset basic 41 Capturing 42 choosing 40 Color Correction 41 Effects Editing 42 Source/Record Editing 42 Top Timeline toolbar 119 Track Hinter settings, for hinted streaming export 337 Track Selector panel 133 Track Solo and Track Mute buttons (Automation Gain and Pan) 170 Tracks adding 125, 139 audio, adjusting in Audio Mixer tool 171 audio, monitoring in Timeline 136 audio, soloing 163 deleting 140 monitoring in Timeline 135 patching in the Timeline 138 selecting in Timeline 134 solo, monitoring in Timeline 137 source, selecting 58 sync locking 138 Tracks of video as background in Title tool 242 Transcoder, connecting with 52 Transcoding creating a playable sequence by 187 options 188 Transition effects applying to multiple transitions 198 applying with Quick Transition button 198 defined 192 sizing to fit 198 Skip Existing Transition Effects option 201 Transitions adding in Trim edit 156 lassoing 152 Trim on-the-fly 158 sides, selecting 158 Trim edit for video tracks 160 407 Index ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting additional transitions for 156 selecting transition sides for 155 Trim mode basic procedures 151, 157 Big Trim mode 153 described 151 entering 152 exiting 153 selecting additional transitions in 156 Small Trim mode 155 Trimming rolling titles 262 video tracks 160 with J-K-L keys 157 Turning off computer 30 U Undoing edits 128 Units of measurement defining for Safe Colors feature 385 Unrendered titles saving 254 User selecting another 302 User-selectable buttons mapping 114 V Variable-speed play 111 VBI (Vertical Blanking Interval) 392 Vertical Blanking Interval preserving information 392 Video monitoring in Timeline 136 Video background updating in Title tool 243 Video Background button (Title tool) 242 Video Compression options (Export settings) 347 VIdeo Effect Safe Mode button 277 Video Effect Safe Mode button 280 Video input setting in Video Input tool 391, 392 Video output selecting 266 408 Video project planning 27 Video Quality Menu button 106, 209 Video resolutions selecting in Media Creation dialog box 48 Video tracks, trimming 160 Videotape recording digital cut to 275 Viewing a list of bins 33 Viewing and marking footage, described 97 Views Script 92 Volume adjusting in the Audio Mixer tool 171 bypassing adjustments 314 Volume meters in the Audio tool, defined 65 Volume unit scale (Audio tool), defined 65 W Warnings in monitors 236 WAVE file format option in Audio Project settings 309 Waveform plots (audio) 164 Wavefront file format additional Export options 358 Windows Media Custom Profile options 348 Windows Media export options 348 Windows Media legacy template 348 Windows Media Options Video settings 349 Work environment, using toolsets to control 40 Workflows for video projects 27 Y Yellow bars in Timecode track of Timeline 211 YUV file format additional Export options for 359