Avid Media Composer and Film Composer Input and Output Guide

Transcription

Avid® Media Composer® and
Film Composer®
Input and Output Guide
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
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the software. The software may not be reverse assembled and may be used or copied only in
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Copyright © 2000, 2002 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA.
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
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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
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Portions of this software are based on work of the Independent JPEG Group.
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Portions of this software licensed from Paradigm Matrix.
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“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.”
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software and Sample Source Code:
©1993–1998 Altura Software, Inc.
The following notice 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.
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Trademarks
AirPlay, AudioVision, Avid, Avid Xpress, CamCutter, Digidesign, FieldPak, Film Composer, HIIP,
Image Independence, Marquee, Media Composer, Media Recorder, NewsCutter, OMF,
OMF Interchange, Open Media Framework, Pro Tools, and Softimage are registered trademarks and
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or other countries. Sun Raster is a trademark of Sun Microsystems, Inc. TARGA is a trademark of
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Footage
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Avid Media Composer and Film Composer Input and Output Guide •
Part 0130-05020-01 Rev. A • April 2002
Contents
Using This Guide
Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . 28
How to Order Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Chapter 1
Planning a Project
Working with Multiple Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Working with 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Working with 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Planning a Video Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Planning a 24p or 25p Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
NTSC and PAL Image Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
24-fps Film Source, SDTV Transfer, Multiformat Output . . . . . . 37
24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Alternative Audio Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
NTSC Audio and Video Synchronized During Transfer . . . 47
NTSC Audio and Video Digitized Separately . . . . . . . . . . . . 49
6
PAL Audio and Video Synchronized During Transfer
(PAL Method 1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
PAL Audio and Video Digitized Separately
(PAL Method 2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Audio Transfer Options for 24p PAL Projects. . . . . . . . . . . . . . . . 52
Planning a DV Project (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 53
Understanding DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
DV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Starting a DV Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Editing in DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Viewing Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Film Dailies Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Video Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Chapter 2
Film-to-Tape Transfer Methods
Understanding the Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Transferring 24-fps Film to NTSC Video. . . . . . . . . . . . . . . . . . . . . . . . 64
Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . 65
Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Part 1: Using a 2:3 Pulldown to Translate 24-fps Film
to 30-fps Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . 67
Maintaining Synchronized Sound . . . . . . . . . . . . . . . . . . . . . . 68
Stage 2: Digitizing at 24 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . 70
PAL Method 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
PAL Method 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
How the Avid System Stores and Displays 24p and 25p Media . . . . 73
Displaying Media While Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Displaying Media During a Digital Cut . . . . . . . . . . . . . . . . . . . . . 75
Film-to-Tape Transfer Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
7
Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Additional Film Transfer Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Chapter 3
Logging
Preparing Log Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Using Avid Log Exchange to Convert Log Files . . . . . . . . . . . . . . 80
Converting Log Files with Avid Log Exchange (Windows). 81
Using Drag-and-Drop Conversion for Log Files
(Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Converting Logs with Avid Log Exchange (Macintosh) . . . . 86
Using Drag-and-Drop Conversion for Log Files
(Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Transferring Bins (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Transferring Bins (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . 93
Associating the Bin with Your Project . . . . . . . . . . . . . . . . . . . 93
Double-Checking the Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Tips for Logging Preroll, Logging Timecode, and
Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Logging with an Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . 103
Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Using a Memory Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Logging with Non-Avid-Controlled Decks . . . . . . . . . . . . . . . . . 109
Logging Film Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . 115
Modifying the Pulldown Phase Before Digitizing . . . . . . . . 116
8
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . 118
Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Entering Additional Timecodes (Option) . . . . . . . . . . . . . . . . . . 120
Entering the Ink Number (Option) . . . . . . . . . . . . . . . . . . . . . . . . 121
Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Modifying Clip Information Before Digitizing. . . . . . . . . . . . . . . . . . 121
Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Chapter 4
Preparing to Digitize
Preparing the Hardware for Digitizing . . . . . . . . . . . . . . . . . . . . . . . . 126
Selecting Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Setting Drive Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Choosing a Video Resolution and Drives . . . . . . . . . . . . . . . 130
Digitize Settings Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Digitize Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . 132
Selecting the Preroll Method. . . . . . . . . . . . . . . . . . . . . . . . . . 134
Digitizing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . 136
Digitize Settings: Media Files Tab . . . . . . . . . . . . . . . . . . . . . 137
Digitizing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . 139
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . 141
Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Deleting Deck Configuration Elements . . . . . . . . . . . . . . . . . . . . 151
Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Understanding Drop-Frame Timecode and Non-Drop-Frame
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Entering Capture Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Setting Up the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Selecting a Deck in the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . 158
Selecting a Source Tape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Selecting Source Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
9
Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . 161
Setting the Pulldown Switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Film Project Pulldown and Transfer Settings . . . . . . . . . . . . 163
Choosing a Resolution in the Digitize Tool . . . . . . . . . . . . . . . . . 165
Choosing Color or Monochrome in the Digitize Tool. . . . . . . . . 165
Choosing a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Targeting a Single Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Targeting Separate Drives for Audio and Video . . . . . . . . . 167
Targeting a Drive Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . 169
Selecting a Custom Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Establishing Sync for Audio-Only Input. . . . . . . . . . . . . . . . . . . . 171
Checking for a Valid Digital Sync Signal. . . . . . . . . . . . . . . . 172
Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Saving the Audio Project Settings as Site Settings . . . . . . . . 177
Choosing the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Using the Audio Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Resizing the Audio Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Adjusting the Reference Level. . . . . . . . . . . . . . . . . . . . . . . . . 182
Choosing a Peak Hold Option. . . . . . . . . . . . . . . . . . . . . . . . . 184
Adjusting Audio Input Levels for
Eight-Channel Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Adjusting Audio Input on Two-Channel Audio Systems. . 186
Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Calibrating the Eight-Channel Audio I/O Device . . . . . . . . . . . 190
Changing the Audio Hardware Calibration Setting . . . . . . 192
Calibrating Input Channels for the Audio I/O Device . . . . 193
Calibrating Output Channels for the Audio I/O Device . . 195
Using the Console Window to Check Audio Levels . . . . . . . . . . 196
Preparing for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . 198
10
Calibrating Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Saving Video Input Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Saving a Custom Default Setting for the Video Input Tool. . . . 208
Adjusting Video Levels for Tapes Without Color Bars . . . . . . . 208
Digitizing Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Chapter 5
Digitizing
Before You Begin Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Special Digitizing Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Logging Errors to the Console Window. . . . . . . . . . . . . . . . . . . . 214
Creating Subclips On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . 217
Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . 218
Mapping the Record Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Digitizing and Logging at the Same Time. . . . . . . . . . . . . . . . . . . . . . 219
Digitizing from a Mark IN to a Mark OUT . . . . . . . . . . . . . . . . . 221
Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Digitizing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Autodigitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Digitizing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . 228
Digitizing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . 230
Digitizing with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Digitizing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Patching When Digitizing to the Timeline. . . . . . . . . . . . . . . . . . 233
Digitizing Video Without Pulldown into a 24p NTSC Project. . . . . 235
Batch Digitizing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Preparing to Batch Digitize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Resizing the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Preparing Settings for Unattended Batch Digitizing. . . . . . 237
Digitize Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Batch Digitizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
11
Redigitizing Your Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Redigitizing Master Clips and Subclips . . . . . . . . . . . . . . . . . . . . 244
Redigitizing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Saving Two Versions of a Sequence When Redigitizing . . . 245
Using Decompose When Redigitizing . . . . . . . . . . . . . . . . . . 245
Redigitizing the Sequence Without Using Decompose . . . . 247
Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Modifying the Pulldown Phase After Digitizing . . . . . . . . . . . . . . . . 253
Digitizing During the Film-to-Tape Transfer . . . . . . . . . . . . . . . . . . . 256
Preparing to Digitize in Telecine Slave Mode . . . . . . . . . . . . . . . 257
Selecting the VTR Emulation Serial Port . . . . . . . . . . . . . . . . 257
Selecting VTR Emulation Settings . . . . . . . . . . . . . . . . . . . . . 259
Automatically Deleting Short Clips . . . . . . . . . . . . . . . . . . . . 262
Setting the Default Tape Timecode Format. . . . . . . . . . . . . . 263
Digitize Tool Controls for Telecine Slave Mode . . . . . . . . . . . . . 263
Selecting Telecine Slave Mode. . . . . . . . . . . . . . . . . . . . . . . . . 265
Choosing a Source Tape Name . . . . . . . . . . . . . . . . . . . . . . . . 266
Digitizing and Logging in Telecine Slave Mode . . . . . . . . . . . . . 266
Formatting and Setting the Virtual Tape Timecode
(Telecine Slave Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Chapter 6
Multicamera Planning and Digitizing
Developing a Postproduction Model . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Tape Numbering Schemes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Tape Numbering for Video Productions . . . . . . . . . . . . . . . . 270
Tape Numbering for Film Productions . . . . . . . . . . . . . . . . . 271
Production Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Production Paths for Video Productions . . . . . . . . . . . . . . . . 272
Production Paths for Film Productions . . . . . . . . . . . . . . . . . 273
Managing Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Audio for Videotape Productions. . . . . . . . . . . . . . . . . . . . . . 274
Audio for Film Productions. . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Digitizing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
12
Digitizing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Logging Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Autodigitizing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Storage Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Checking the Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Replacing Missing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Deleting Extra Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Checking Audio and Image Quality . . . . . . . . . . . . . . . . . . . . . . . 284
Chapter 7
Importing Files
Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . 286
Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . . 289
Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . 302
Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . 303
Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . 303
Understanding Multilayered Graphics Import . . . . . . . . . . 304
Importing Multilayered Files . . . . . . . . . . . . . . . . . . . . . . . . . 308
Importing Editcam Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Batch Import Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Chapter 8
Generating Output
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Calibrating for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . 322
13
Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . 322
Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . 327
Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Calibrating Global Output Levels. . . . . . . . . . . . . . . . . . . . . . 333
Adjusting Output on Eight-Channel Audio Systems . . . . . 333
Adjusting Output on Two-Channel Audio Systems . . . . . . 336
Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Frame-Accurate Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Manual Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . 340
Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . 344
Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Creating a Custom Countdown Display. . . . . . . . . . . . . . . . . . . . 346
Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . 348
Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . 352
Choosing Output and Timecode Formats for 24p
and 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Choosing Output Formats for 24p and 25p Projects . . . . . . 356
Choosing the Timecode Format for Output . . . . . . . . . . . . . 360
Indicating the Destination Timecode Rate . . . . . . . . . . . . . . 362
Choosing DSK Title Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . 364
Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Changing the Default Pulldown Phase for Sequences . . . . . . . . 367
Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Using the Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
How Matchback Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Using VTR Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
14
Enabling VTR Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Using VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Using Direct Record Emulation. . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Chapter 9
Exporting and Exchanging Material
Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 383
Using the Drag-and-Drop Method to Export Frames, Clips, or
Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Using AvidLinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Customizing Export Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . 392
Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . 393
Exporting Through AAF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Choosing an OMFI or an AAF Transfer Method . . . . . . . . . . . . 394
Exporting as an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . 395
OMFI and AAF Export Settings Options . . . . . . . . . . . . . . . . . . . 397
Exporting as an MPEG File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Using cleaner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Creating Files for a DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . 407
Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Exporting QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . 412
QuickTime Reference Export Options. . . . . . . . . . . . . . . . . . 414
Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . 416
QuickTime Movie Export Options. . . . . . . . . . . . . . . . . . . . . 419
Selecting QuickTime Movie Format Options . . . . . . . . . . . . 422
Using Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . 429
Exporting with an Avid Meridien Codec . . . . . . . . . . . . . . . 429
15
Exporting with the Avid ABVB NuVista Codec
for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Exporting as an AVI File (Windows Only) . . . . . . . . . . . . . . . . . . . . . 434
AVI Settings Options (Windows Only). . . . . . . . . . . . . . . . . . . . . 437
AVI Video Compression Dialog Box Options (
Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Using the Avid Codec for AVI (Windows Only). . . . . . . . . . . . . 441
Installing the Avid Codecs for QuickTime or AVI on
Other Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Copying the Avid Codecs for QuickTime to Another Windows
System (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Copying the Avid Codecs for QuickTime to Another
Macintosh System (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Installing the Avid Codec for AVI on Another
Windows System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Downloading Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . 447
Exporting from a Third-Party QuickTime or AVI Application . . . . 448
Exporting Tracks as Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Exporting as a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Transferring a Project Between Avid Systems . . . . . . . . . . . . . . . . . . 460
Methods for Transferring Files Between Avid Systems . . . . . . . 460
Compatibility Requirements for Transfer. . . . . . . . . . . . . . . . . . . 461
Transferring a Project and Associated Media Files . . . . . . . . . . . 462
Transferring Projects, User Profiles, and Site Settings . . . . . . . . 463
Transferring Media to and from a Video Server . . . . . . . . . . . . . . . . . 465
Setting Up a Video Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . . 466
Configuring the Video Server as a Deck . . . . . . . . . . . . . . . . 466
Transferring from the Avid System to the Video Server . . . . . . 467
Transferring from the Video Server to the Avid System . . . . . . 469
Sending Material Out for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Reviewing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Opening R&A Files in the Locators Window. . . . . . . . . . . . . . . . 471
16
Displaying Information in the Locators Window. . . . . . . . . . . . 472
Using Locator Colors with R&A Files . . . . . . . . . . . . . . . . . . . . . 473
Appendix A
File Format Specifications
Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . . 478
Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . 478
Screen Resolution for Imported Graphics and Sequences . . . . . . . . 482
Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . . 492
Appendix B
Resolutions and Storage Requirements
Compression and Avid Editing Systems. . . . . . . . . . . . . . . . . . . . . . . 498
Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Resolution Groups and Image Quality. . . . . . . . . . . . . . . . . . . . . 502
Video Streams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Compression Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
MultiCamera Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
DV Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . . 509
Estimated Storage Requirements: DV . . . . . . . . . . . . . . . . . . 517
Maximizing Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Managing Storage to Improve Playback Performance . . . . . . . . . . . 518
Appendix C
Avid Log Specifications
Understanding Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . 520
Describing an Avid Log File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
17
Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Data Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Appendix D
Preserving Information in the Vertical Blanking Interval
Line Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Preserving Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . 532
Using a Partial Wipe Operation to Insert or Delete Vertical Blanking
Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Potential Problems with Preserving Vertical Blanking Information 535
Index
18
Figures
Figure 1-1
Workflow: Video Project with Video Source. . . . . . . . .34
Figure 1-2
Workflow: Video Project with HD Source, SDTV
Downconversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Figure 1-3
Offline Workflow: 24-fps Film Source, SDTV Transfer 39
Figure 1-4
Online Workflow: 24-fps Film Source, SDTV Transfer,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Figure 1-5
Offline Workflow: 24-fps Film or HDTV Source,
SDTV Downconversion. . . . . . . . . . . . . . . . . . . . . . . . .42
Figure 1-6
Online Workflow: 24-fps Film or HDTV Source, SDTV
Downconversion, Multiformat Output. . . . . . . . . . . .43
Figure 1-7
SDTV Downconversion. . . . . . . . . . . . . . . . . . . . . . . . .45
Figure 1-8
Downconversion, Multiformat Output. . . . . . . . . . . .46
Figure 1-9
NTSC Audio and Video Synchronized During
Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Figure 1-10
NTSC Audio and Video Digitized Separately. . . . . . . .49
Figure 1-11
PAL Audio and Video Synced During Transfer
(PAL Method 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Figure 1-12
PAL Audio and Video Digitized Separately
(PAL Method 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Figure 1-13
Workflow: DV Project with Mixed Sources . . . . . . . . . .56
Figure 1-14
Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Figure 1-15
Video Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
19
Tables
Table 1-1
Film Shoot Specifications. . . . . . . . . . . . . . . . . . . . . . . . . 58
Table 2-1
Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Table 2-2
Ratio of Film to Video with FPS . . . . . . . . . . . . . . . . . . . 67
Table 4-1
Drive Filtering Options . . . . . . . . . . . . . . . . . . . . . . . . . 129
Table 4-2
Digitize Settings: General Tab . . . . . . . . . . . . . . . . . . . 132
Table 4-3
Digitize Settings: Media Files Tab . . . . . . . . . . . . . . . . 138
Table 4-4
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Table 4-5
Deck Preferences Options . . . . . . . . . . . . . . . . . . . . . . . 152
Table 4-6
Film Project Pulldown and Transfer Settings. . . . . . . 164
Table 4-7
Audio Project Settings Options . . . . . . . . . . . . . . . . . . 174
Table 4-8
Audio Tool Components . . . . . . . . . . . . . . . . . . . . . . . . 181
Table 4-9
Video Input Tool Components . . . . . . . . . . . . . . . . . . . 198
Table 4-10
Luminance Settings for Video Input . . . . . . . . . . . . . . 205
Table 5-1
Function Keys Available When Digitizing . . . . . . . . . 213
Table 5-2
Locators Mapped to Function Keys . . . . . . . . . . . . . . . 216
Table 5-3
Digitize Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . 238
Table 5-4
VTR Emulation Settings: Telecine Emulation . . . . . . 260
Table 5-5
Telecine Slave Mode Controls . . . . . . . . . . . . . . . . . . . 265
Table 7-1
Import Settings Options — Image Tab . . . . . . . . . . . . 290
Table 7-2
Import Setting Options — OMFI Tab . . . . . . . . . . . . . 295
Table 7-3
Import Setting Options — Shot Log Tab. . . . . . . . . . . 296
Table 7-4
Support for Photoshop Layer Options . . . . . . . . . . . . 307
Table 7-5
Support for Photoshop Special Layer Types . . . . . . . 307
Table 8-1
Video Format Output Parameters . . . . . . . . . . . . . . . . 324
Table 8-2
Luminance Settings for Video Output . . . . . . . . . . . . 326
20
Table 8-3
24p and 25p Project Output Options . . . . . . . . . . . . . .357
Table 8-4
Audio Play Rates for 24p and 25p Projects . . . . . . . . .359
Table 8-5
VTR Emulation Settings: Record and
Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .373
Table 9-1
Available Avid Applications for AvidLinks Export. .389
Table 9-2
Export Settings Dialog Box Options . . . . . . . . . . . . . . .392
Table 9-3
Export Settings Dialog Box
OMFI and AAF Settings Options. . . . . . . . . . . . . . . .397
Table 9-4
Export Settings Dialog Box (DV Stream Options) . . .409
Table 9-5
Choosing a QuickTime Export Option . . . . . . . . . . . . .411
Table 9-6
QuickTime Reference Options . . . . . . . . . . . . . . . . . .414
Table 9-7
QuickTime Movie Options . . . . . . . . . . . . . . . . . . . . .419
Table 9-8
QuickTime Movie Format Options . . . . . . . . . . . . . . . .423
Table 9-9
AVI Settings Options (Windows Only) . . . . . . . . . .437
Table 9-10
AVI Video Compression
Dialog Box Options (Windows Only) . . . . . . . . . . . .440
Table 9-11
Export Settings Dialog BoxAudio Settings Options . .450
Table 9-12
Graphic Format Settings Options . . . . . . . . . . . . . . .453
Table 9-13
Graphic Export Settings Options . . . . . . . . . . . . . . . .458
Table 9-14
Devices for Transferring Files . . . . . . . . . . . . . . . . . . . .461
Table 9-15
Default Folder and File Locations (Windows) . . . . . .464
Table 9-16
Default Folder and File Locations (Macintosh) . . . . . .464
Table A-1
Graphics File Import Specifications . . . . . . . . . . . . . . .479
Table A-2
Graphic Import Frame Sizes: Interlaced. . . . . . . . . . . .483
21
Table A-3
Graphic Import Frame Sizes: Progressive. . . . . . . . . . 484
Table A-4
Graphic Import Frame Sizes: MultiCamera . . . . . . . . 484
Table A-5
Graphic Import Frame Sizes: DV . . . . . . . . . . . . . . . . . 485
Table A-6
Animation File Import Specifications . . . . . . . . . . . . . 486
Table A-7
QuickTime File Import and Export Specifications . . 487
Table A-8
AVI File Import and Export Specifications. . . . . . . . . 488
Table A-9
OMFI File Import Specifications . . . . . . . . . . . . . . . . . 491
Table A-10
Recommended Field Settings for Two-Field
Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Table B-1
Avid Resolution Groups . . . . . . . . . . . . . . . . . . . . . . . . 500
Table B-2
DV Resolution Groups. . . . . . . . . . . . . . . . . . . . . . . . . . 501
Table B-3
Resolution Specifications: Interlaced . . . . . . . . . . . . . . 504
Table B-4
Resolution Specifications: Progressive . . . . . . . . . . . . 505
Table B-5
MultiCamera Resolution Specifications: Video
(Interlaced) Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Table B-6
MultiCamera Resolution Specifications: Progressive
Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Table B-7
Resolution Specifications: DV. . . . . . . . . . . . . . . . . . . . 508
Table B-8
Estimated Storage Requirements: Interlaced . . . . . . . 511
Table B-9
Estimated Storage Requirements: Progressive. . . . . . 514
Table B-10
Estimated Storage Requirements: DV . . . . . . . . . . . . . 517
Table C-1
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . 519
Table C-2
Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . . 522
Table C-3
Avid Log Column Headings. . . . . . . . . . . . . . . . . . . . . 524
Table C-4
Avid Log Data Headings. . . . . . . . . . . . . . . . . . . . . . . . 527
22
Using This Guide
The Avid Media Composer and Film Composer Input and Output Guide
presents information to help you bring material into your Avid system
and send material out. Material for input includes video footage, film
footage that has been transferred to video, graphic images, audio, and
other elements that you use to create a sequence. Material for output
includes sequences, clips, individual frames, and audio, either as a
work in progress or as a finished piece.
This guide includes information on planning projects, logging
information into bins, digitizing footage, and generating output. It
also includes information on importing files, exporting files, and
exchanging projects between Media Composer® or Film Composer®
systems.
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.
Who Should Use This Guide
This guide is intended for editors at all levels of experience,
particularly video editors who are unfamiliar with film-originated
24
projects and editors responsible for the input and output stages of a
project.
About This Guide
The Contents lists all topics included in the book. They are presented
with the following overall structure:
•
Chapters 1 and 2 present conceptual information to help you plan
a project and understand the film-to-tape transfer process.
•
Chapters 3 through 9 include conceptual information and
step-by-step procedures for all aspects of input and output.
•
The appendixes include supplementary material covering file
format specifications, compression ratios, Avid log specifications,
and information about the vertical blanking interval.
•
An index at the end of this manual helps you locate the
information you need.
Symbols and Conventions
Unless noted otherwise, the material in this document applies to the
Windows® 2000 and Macintosh® operating systems. When the text
applies to a specific operating system, it is marked as follows:
•
(Windows) or (Windows only) means the information applies to
the Windows 2000 operating system.
•
(Macintosh) or (Macintosh only) means the information applies to
the Macintosh operating system.
The majority of screen shots in this document were captured on a
Windows 2000 system, but the information applies to both
Windows 2000 and Macintosh systems. Where differences exist, both
Windows 2000 and Macintosh screen shots are shown.
Using This Guide
25
The Media Composer and Film Composer documentation uses the
following special symbols and conventions:
1. Numbered lists, when the order of the items is important.
a.
•
Bulleted lists, when the order of the items is unimportant.
-
t
Alphabetical lists, when the order of secondary items is
important.
Indented dashed lists, when the order of secondary items is
unimportant.
One arrow indicates a single-step procedure. Multiple arrows in a
list indicate that you perform one of the actions listed.
The k symbol refers to the Apple or Command key. Press and hold
the Command key and another key to perform the keyboard
equivalent.
In this document, Avid drive refers to the Macintosh system’s internal
hard drive. Apple Computer, Inc. names the internal hard drive
Macintosh HD. Depending on your system’s setup, the internal hard
drive might have a different name.
Courier Bold font identifies text that you type.
Look here in the margin
for tips.
In the margin, you will find tips that help you perform tasks more
easily and efficiently.
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.
w
A warning describes an action that could cause you physical harm.
Follow the guidelines in this guide or on the unit itself when
handling electrical equipment.
Symbols and Conventions
26
If You Need Help
If you are having trouble using Media Composer or Film Composer,
you should:
1. Retry the action, carefully following the instructions given for that
task in this guide.
2. Check the documentation that came with your hardware for
maintenance or hardware-related issues.
3. Check the release notes supplied with your Avid application for
information on accessing the Avid Web site and the Avid
Knowledge Center.
4. For support services, call Avid Customer Support:
-
Broadcast products — call 800-NEWS-DNG (639-7364).
-
Postproduction products — call 800-800-AVID (2843).
Related Information
The following documents provide more information about your Avid
Media Composer or Film Composer system:
Using This Guide
•
Avid Media Composer and Film Composer Release Notes for the
Windows 2000 Operating System
•
Avid Media Composer and Film Composer Release Notes for the
Macintosh Operating System
•
Avid Symphony and Composer Products Site Preparation Guide for the
Windows 2000 Professional Operating System
•
Avid Composer Products Site Preparation Guide for the Macintosh
Operating System
•
Avid Symphony and Composer Products Setup Guide for the
Windows 2000 Professional Operating System
27
•
Avid Composer Products Setup Guide for the Macintosh Operating
System
•
Avid Media Composer and Film Composer Getting Started Guide for
Video Editing
•
Avid Film Composer and Universal Offline Editing Getting Started
Guide
•
Avid Media Composer and Film Composer Quick Reference for the
Windows 2000 Operating System
•
Avid Media Composer and Film Composer Quick Reference for the
Macintosh Operating System
•
Avid Media Composer and Film Composer Editing Guide
•
Avid Media Composer and Film Composer Effects Guide
•
Avid Products Collaboration Guide
This guide provides step-by-step instructions for transferring
project files, audio files, and graphics and effects files between
various Avid products.
The most recent update of the Avid Products Collaboration Guide is
provided online. Check the release notes supplied with your Avid
application for information on accessing online documentation.
•
Avid Media Composer Products Online Publications
This online collection provides electronic versions of most
documents listed in this section, as well as documents for related
Avid applications. You can view these documents with Adobe®
Acrobat® Reader®, which you can install from the CD-ROM.
•
Avid Media Composer and Film Composer Help
The Help system provides all the information included in the
Avid Media Composer and Film Composer Editing Guide, the Avid
Media Composer and Film Composer Input and Output Guide, and the
Avid Media Composer and Film Composer Effects Guide supplied with
your system. The Help operates in a Web browser. To open the
Help, choose Media Composer Help or Film Composer Help from
the Help menu in the Media Composer or Film Composer
Related Information
28
application. For information on using Help, click the Using Help
button in the Help system.
If You Have Documentation Comments
Avid Technology continuously seeks to improve its documentation.
We value your comments about this guide, the Help, the Online
Publications CD-ROM, and other Avid-supplied documentation.
Simply e-mail your documentation comments to Avid Technology at
TechPubs@avid.com
Please include the title of the document, its part number, revision, and
the specific section you are commenting on in all correspondence.
How to Order Documentation
To order additional copies of this documentation from within the
United States, call Avid Telesales at 800-949-AVID (2843). If you are
placing an order from outside the United States, contact your local
Avid representative.
Using This Guide
CHAPTER 1
Planning a Project
This chapter presents suggested workflows and other information that
can help you plan your film-originated or video-originated project.
This chapter includes the following topics:
•
Working with Multiple Formats
•
Working with 24p Media
•
•
Types of Projects
•
Planning a Video Project
•
Planning a 24p or 25p Project
•
Planning a DV Project (Windows Only)
•
Film Project Considerations
30
Working with Multiple Formats
Avid systems offer you a flexible approach to finishing your project,
whether it originates as video or film.
For video projects, you can use the offline capabilities of the
Media Composer or Film Composer system and the Total Conform
capabilities of the Symphony system to produce the highest quality,
uncompressed broadcast masters.
For film and 24-fps or 25-fps HDTV (high-definition television)
projects, you can use the Media Composer or Film Composer system’s
Universal Offline Editing capabilities to digitize footage at 24 fps or
25 fps and edit the content in its native frame rate. Then use the
Symphony system’s film-tape-film-tape (FTFT) and Total Conform
capabilities to finish and deliver uncompressed NTSC, PAL, 4:3, 16:9,
and letterbox formats, as well as frame-accurate film cut lists and edit
decision lists (EDLs), all from the same 24p (24-fps progressive) or 25p
media.
With new DTV (digital television) formats expanding the options for
content distribution, there is renewed interest in the oldest format in
the industry: 24-fps film. In addition to its common, worldwide
format, film provides the highest resolution master for archiving
purposes. Through a telecine transfer and the digitizing process, the
Avid system digitizes and stores film frames as 24-fps progressive
media, or 24p.
For more information
about the film-to-tape
transfer process, see
Chapter 2.
Planning a Project
Progressive media is composed of single frames, each of which is
vertically scanned as one pass. The Avid system creates 24p media by
combining (deinterlacing) two video fields into a single full,
reconstructed frame. For NTSC film-to-tape transfers, the system
31
creates 24p media by removing the extra fields inserted by the 2:3
pulldown process and by creating progressive frames.
Working in 24p simplifies digital editing of film or other
24-fps-originated content, such as HDTV video that has been
downconverted to ITU-R 601 digital video. In addition, 24p media
requires less storage and processing power than 30-fps media. Because
24p provides a common production format for multiversion,
multiformat delivery; it promises to become the new universal format
for all film and video content.
An important aspect of the 24p format is that it allows you to output
either NTSC or PAL video from the same project.
For more information, see “How the Avid System Stores and Displays
24p and 25p Media” on page 73.
The 25p format is primarily for use in countries where PAL video is
standard. When you transfer 25-fps film footage to 25-fps PAL video,
no modifications are necessary due to matching frame rates.
The 25-fps feature provides the following advantages:
•
Simultaneous input of video and audio in sync
•
Frame-accurate ink number tracking
•
Digital cut recording directly to videotape
•
Frame-accurate cut lists and change lists
•
Frame-accurate audio EDLs for online editing of audio tracks
•
Frame-accurate EDLs for assembling footage from the transfer or
for preparing an online show master
32
The source for 25p is typically 25-fps film or 25-fps HDTV format. The
methods for creating and storing 25p media are the same as for 24p.
For an example of a 25p project workflow, see “25-fps Film or HD
Video Source, SDTV Downconversion, Multiformat Output” on
page 44.
n
You can digitize the audio directly from the original Nagra reels or DAT
tapes, and sync within the Avid system. For more information, see
“Alternative Audio Paths” on page 47.
Types of Projects
When you start a project on your Avid system, you need to decide on a
project type. Choose your project type based on your source footage. If
your Avid system includes support for 24p and 25p projects, you can
choose one of the following options from the New Project dialog box:
For information on
creating a new project,
see the editing guide or
Help for your Avid
system.
•
24p NTSC: For film-originated footage or other 24-fps footage,
transferred to NTSC videotape
•
30i NTSC: For NTSC video-originated footage (30 fps)
•
24p PAL: For film-originated footage or other 24-fps footage,
transferred to PAL videotape
•
25p PAL: For 25-fps film-originated footage or other 25-fps
footage, transferred to PAL videotape
•
25i PAL: For PAL video-originated footage (25 fps)
In these options, 24p and 25p indicates 24-fps or 25-fps progressive media.
For these projects, your source footage is digitized and stored as 24 or
25 full, discrete frames per second. In the 30i NTSC and 25i PAL
options, the i represents interlaced frames played at 30 fps or 25 fps. An
interlaced frame consists 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.
Planning a Project
33
For 30i NTSC projects and 25i PAL projects, you can choose the
Matchback option, which lets you digitize and edit film-originated
footage at 30 fps or 25 fps and “match back” to a cut list for
conforming your edit to film. For more information, see “Using the
Matchback Option” on page 368.
Your Avid system also includes features that enable you to digitize
and edit multicamera projects. For more information, see Chapter 6
and the editing guide or Help for your Avid system.
An Avid video project is one that digitizes and stores 30-fps NTSC or
25-fps PAL media as digital video that conforms to the ITU-R 601
standard (SDTV or standard-definition TV). Possible workflows for
video projects are:
•
Video source (Figure 1-1)
•
High-definition (HD) source with SDTV downconversion
(Figure 1-2)
In these workflows, offline editing is done on a Media Composer or
Film Composer system, and finishing is done on a Symphony system.
Alternatively, you can use a Media Station XL system to digitize
footage or output a finished master. For more information, see the Avid
Media Station XL Workflow Guide. For information about the Media
Station XL product, contact your Avid representative or visit the Avid
Web site.
n
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.
34
1. (Option) Import a log
file to create a bin.
(Step 1)
Log
2. If you imported a log
file, batch digitize in the
Media Composer or
Film Composer offline
system. Otherwise, log
and digitize, or digitize
on-the-fly.
3. Complete offline
edits and create a final
sequence.
4. Copy project
information from the
offline system to the
Symphony online
system.
5. Batch digitize the
sequence in an online
resolution in the
Symphony system.
6. Use Symphony to
finish the project.
7. Create a master tape
(NTSC or PAL,
depending on your
source footage).
Source footage:
NTSC 30 fps or
PAL 25 fps
Betacam or
Digital Betacam
VTR
(Step 2)
Media Composer
or Film Composer
offline editing
system
(Step 3)
Betacam
(Step 4)
Source footage:
NTSC 30 fps or
PAL 25 fps
Proj
Betacam or
Digital Betacam
VTR
(Step 5)
Symphony
finishing system
(Step 6)
(Step 7)
Figure 1-1
Planning a Project
Betacam
Betacam
25-fps or
30-fps master
Workflow: Video Project with Video Source
35
2. If you imported a log
file, batch digitize in the
Media Composer or
Film Composer offline
system. Otherwise log
and digitize, or digitize
on-the-fly. Use an HD
VTR or other
equipment to
downconvert the HD
source.
(Step 1)
HD
Log
HD source footage:
NTSC 30 fps or
PAL 25 fps
(Step 2)
HD VTR
Media Composer
or Film Composer
offline editing
system
(Step 3)
3. Complete offline
edits and create a final
sequence.
4. Copy project
offline system to the
Symphony online
system.
5. Downconvert the
source footage and
batch digitize the
sequence in an online
resolution in the
Symphony system.
HD
(Step 4)
Proj
HD source footage:
NTSC 30 fps or
PAL 25 fps
HD VTR
(Step 5)
(Step 6)
Symphony
finishing system
6. Use Symphony to
finish the project.
7. Create a master tape
(NTSC or PAL) or EDL
for conforming an
HDTV master.
(Step 7)
Betacam
25-fps or
30-fps master
Figure 1-2
EDL
EDL for conformed
HDTV master
Workflow: Video Project with HD Source, SDTV
Downconversion
36
A 24p or 25p project is one that uses 24p or 25p media, which is
created and stored in the Avid system. In most cases, the source
footage is film shot at 24 fps (for 24p) or 25 fps (for 25p), but new
technology is introducing 24p and 25p videotape formats, both for
cameras and VTRs. For 24p or 25p videotape, you need to use a 24p
VTR to downconvert the high-definition format of HDTV to SDTV
digital video for digitizing by the Avid system.
n
The 24p cameras and VTRs can typically work with either 24p or 25p footage.
Two possible workflows for 24p projects are:
•
“24-fps Film Source, SDTV Transfer, Multiformat Output” on
page 37
•
“24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output” on page 41
For information about a typical 25p workflow, see “25-fps Film or HD
Video Source, SDTV Downconversion, Multiformat Output” on
page 44.
For film productions that screen dailies, the paths might be somewhat
different. For more information, see “Viewing Dailies” on page 59.
Alternatively, you can use a Media Station XL system to digitize
footage or output a finished master. For more information, see the Avid
Media Station XL Workflow Guide. For information about the Media
Station XL product, contact your Avid representative or visit the Avid
Web site.
Planning a Project
37
NTSC and PAL Image Sizes
The Universal Mastering capabilities of your Avid system let you
create both NTSC and PAL master tapes from the same project. If you
plan to output both formats, consider the following information.
In the Avid system, NTSC video uses a 4:3 aspect ratio with a screen
display of 720 x 486 pixels, except for DV footage, which uses a screen
display of 720 x 480 pixels. PAL video uses the same aspect ratio, but
includes an additional 90 horizontal lines for a total screen display of
720 x 576. During the process of creating a digital cut, the Avid system
resizes the video image to the appropriate screen dimensions. For
example, if you are working in an NTSC project and want to output
PAL video, the Avid system resizes the NTSC video image to the
larger PAL screen dimensions. This is the same process used in other
standalone standards converters.
Because PAL has more horizontal lines of resolution than NTSC,
resizing from PAL to NTSC results in better quality, especially for
imported graphics. If you plan to output both NTSC and PAL versions
of a sequence, consider using PAL film-to-video transfer and graphics
sized for PAL. Your choice will depend on other production
requirements, such as audio workflow and hardware availability.
n
The Avid system's Title tool uses downstream-key (DSK) capabilities to apply
the correct title to each output format for your project. For more information,
see the effects guide or Help for your Avid system.
24-fps Film Source, SDTV Transfer, Multiformat Output
The workflow shown in Figure 1-3 and Figure 1-4 illustrates a possible
path for film footage shot at the standard 24 fps, transferred to SDTV
(standard definition television or ITU-R 601) video, and digitized at
24 fps. Figure 1-3 shows the offline stage of the workflow, using a
Media Composer or Film Composer system with Universal Offline
38
Editing. Figure 1-4 shows the online stage, using a Symphony system,
film-tape-film-tape relinking, and multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For alternative audio workflows, see “Alternative
Audio Paths” on page 47.
For details on the telecine transfer process, see “Stage 1: Transferring
Film to Video” on page 65.
You can digitize directly from film during the film-to-tape transfer
process by using Telecine Slave mode with VTR record emulation. For
more information, see “Digitizing During the Film-to-Tape Transfer”
on page 256.
Planning a Project
39
1. The telecine process
uses one-light or
best-light transfer and
syncs picture and sound
to create ITU-R 601
video. The process adds
2:3 pulldown to film
footage to create an
NTSC videotape, or
uses 4.1% speedup for
PAL videotape. The
telecine process also
creates a shot log (for
example, a FLEX file).
2. Convert the shot log
file with Avid Log
Exchange (ALE), then
import the shot log file
into Media Composer
or Film Composer to
create a bin or bins.
footage in an offline
resolution, based on the
shot log. The Avid
system removes the 2:3
pulldown and creates
24p media.
4. Edit at 24 fps, apply
Pan and Scan and other
effects, and create a
final sequence.
5. Create a floppy disk
with project
information for transfer
to the Symphony online
system. Create a 24p
pull list for another
telecine process, for
retransfer of footage
used in the final edit.
Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)
Film shot
at 24 fps
Telecine controller
and record deck
(Step 1)
(Step 2)
Log
Betacam
Digital Betacam, D5,
DCT, or D1 format
(NTSC or PAL)
DCT, or D1 VTR
(Step 3)
Media Composer
or
Film Composer
offline system
(Step 4)
(Step 5)
Pull list
Proj
To the Symphony
system
Figure 1-3
To the telecine
system
Offline Workflow: 24-fps Film Source, SDTV Transfer
40
uses the pull list and a
full color-corrected
transfer to create NTSC
or PAL videotape with
selects from the original
negative (picture only).
The process also creates
a new shot log file.
7. Copy the project
floppy disk to the
Symphony online
system.
From the
offline
system
(Step 6)
Telecine transfer process (picture only)
Pull list
Film shot
at 24 fps
(Step 7)
8. Convert the new shot
log with ALE and
import it into the
Symphony system.
From the
offline
system
Betacam
Proj
(Step 8)
9. Batch digitize in an
online resolution, based
on the new shot log file.
10. Relink the sequence
and clips by key
numbers (FTFT) and
complete any other
finishing.
11. Generate multiple
formats. For NTSC and
PAL, the system
reinserts the pulldown
or re-creates the
speedup. For
conforming film, it
creates a 24p cut list.
DCT, or D1 format
(NTSC or PAL)
Log
DCT, or D1 VTR
(Step 9)
Symphony
online
system
(Step 10)
Cut list
(Step 11)
Betacam
NTSC 29.97 fps
4:3 or 16:9
or
Betacam
or
PAL 25 fps
4:3 or 16:9
Conformed
film cut
Figure 1-4
Planning a Project
Online Workflow: 24-fps Film Source, SDTV Transfer,
Multiformat Output
41
Multiformat Output
This workflow is based on film or video footage shot at 24 fps and
planned for HDTV (high-definition television). Different workflows
are being developed for this new technology, which includes 24p tape
formats, VTRs, and cameras. This workflow presents one possible
path.
Figure 1-5 shows the offline stage of the workflow, using a
Editing. Figure 1-6 shows the online stage, using a Symphony system
with Universal Mastering and multiple output formats.
telecine transfer. For alternative audio workflows, see “Alternative
Audio Paths” on page 47.
For details on the telecine transfer process, see Chapter 2.
process by using Telecine Slave mode with VTR record emulation. For
more information, see “Digitizing During the Film-to-Tape Transfer”
on page 256.
42
1. Source videotape
comes either from a
telecine transfer or a
24-fps video camera.
The telecine process
transfers 24-fps film
footage at 1:1 (no
pulldown). It also
2. For telecine transfer
projects, convert the
shot log file with ALE
and import it into
Media Composer or
Film Composer to
shot log. Use a 24p deck
to downconvert HDTV
to ITU-R 601 video. The
deck adds 2:3 pulldown
(NTSC) or 4.1%
speedup (PAL). The
Avid system removes
the extra pulldown
fields and creates 24p
media.
Pan and Scan or other
final sequence.
5. Create a 24p pull list
for another telecine
process, for retransfer of
footage used in the final
edit. Create a floppy
disk with project
system.
Planning a Project
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)
Film shot
at 24 fps
Telecine controller
and record deck
HD 24
(Step 1)
(Step 2)
HD 24
Log
1:1 transfer
24-fps HD
format
Video shot by
24-fps camera
24p HD VTR
For example, an HDW-F500 VTR
(Step 3)
Media Composer
or
Film Composer
offline system
(Step 4)
(Step 5)
Pull list
Proj
To the Symphony
system
Figure 1-5
To the telecine
system
SDTV Downconversion
43
6. For film-originated
projects, the telecine
process uses the pull list
and full color-corrected
transfer to create HDTV
videotape with selects
from the original
7. Copy the project
information from
floppy disk to the
Symphony online
system.
new shot log file with
ALE and import it into
the Symphony system.
Downconvert either the
telecine transfer tape or
HDTV source tape.
and clips by key
numbers (FTFT) and
complete any other
finishing.
formats for output. For
NTSC and PAL, the
Symphony system
reinserts the pulldown
or re-creates the
speedup. For
conforming film, it
For HDTV, it creates a
24p EDL for use in an
online suite.
(6)
From the
offline
system
Pull list
Film shot
at 24 fps
(7)
From the
offline
system
HD 24
HD 24
Proj
Video shot by
24-fps camera
Log
(8)
(9)
Symphony
online
system
(10)
24p EDL
Cut list
Betacam
(11)
NTSC 29.97 fps
4:3 or 16:9
or
Betacam
or
or
EDL
PAL 25 fps
4:3 or 16:9
Conformed
film cut
HD
Conformed
HDTV master
Figure 1-6
Downconversion, Multiformat Output
44
Multiformat Output
This workflow is based on film or video footage shot at 25 fps and
planned for HDTV (high-definition television). Different workflows
are being developed for this new technology, which includes 25p tape
formats, VTRs, and cameras. This workflow presents one possible
path.
Figure 1-7 shows the offline stage of the workflow, using a
Editing. Figure 1-8 shows the online stage, using a Symphony system
with Universal Mastering and multiple output formats.
telecine transfer. For more information about digitizing and
synchronizing audio, see “Alternative Audio Paths” on page 47.
n
For NTSC output this method slows the audio by 4%. If you plan to output to
both NTSC and PAL, you might want to shoot at 24 fps and use 24p instead
of 25p.
For details on the telecine transfer process, see Chapter 2.
Planning a Project
45
1. Source videotape
comes either from a
telecine transfer or a
25-fps video camera.
The telecine process
transfers 25-fps film
footage at 1:1 (no
pulldown). It also
shot log file with ALE
and import it into
Media Composer or
Film Composer to
shot log. Use a 25p deck
to downconvert HDTV
to ITU-R 601 video. The
deck does not need to
add pulldown or speed
up the audio since the
footage will remain at
25 fps. The Avid system
creates 25p media.
Pan and Scan or other
final sequence.
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)
Film shot
at 25 fps
Telecine controller
and record deck
HD 25
(Step 1)
(Step 2)
HD 25
Log
1:1 transfer
25-fps HD
format
Video shot by
25-fps camera
25p HD VTR
(Step 3)
Media Composer
or
Film Composer
offline system
(Step 4)
(Step 5)
5. Create a 25p pull list
for another telecine
process, for retransfer of
footage used in the final
edit. Create a floppy
disk with project
system.
Pull list
Proj
To the Symphony
system
Figure 1-7
To the telecine
system
SDTV Downconversion
46
6. For film-originated
projects, the telecine
process uses the pull list
and full color-corrected
transfer to create HDTV
videotape with selects
from the original
7. Copy the project
information from
floppy disk to the
Symphony online
system.
(6)
From the
offline
system
Pull list
Film shot
at 25 fps
(7)
From the
offline
system
HD 25
HD 25
Proj
new shot log file with
ALE and import it into
the Symphony system.
Downconvert either the
telecine transfer tape or
HDTV source tape.
and clips by key
numbers (FTFT) and
complete any other
finishing.
formats for output. For
NTSC, the Symphony
system inserts 2:3
pulldown and slows
down the audio by 4%.
No adjustment is
needed for PAL. For
conforming film, it
For HDTV, it creates a
25p EDL for use in an
online suite.
Planning a Project
Video shot by
25-fps camera
Log
(8)
(9)
Symphony
online
system
(10)
25p EDL
Cut list
Betacam
(11)
NTSC 29.97 fps
4:3 or 16:9
or
Betacam
or
or
EDL
PAL 25 fps
4:3 or 16:9
Conformed
film cut
HD
Conformed
HDTV master
Figure 1-8
Downconversion, Multiformat Output
47
Alternative Audio Paths
The workflows in this section illustrate four alternative paths for
digitizing and synchronizing audio:
•
NTSC Audio and Video Synchronized During Transfer
•
NTSC Audio and Video Digitized Separately
•
PAL Audio and Video Synchronized During Transfer (PAL
Method 1)
•
PAL Audio and Video Digitized Separately (PAL Method 2)
The Avid system provides multiple formats for output. These
workflows illustrate which formats are appropriate for audio-only,
and which formats are appropriate for video with audio.
NTSC Audio and Video Synchronized During Transfer
This method uses audio and video synced in the telecine system and
transferred to NTSC videotape.
48
to create NTSC ITU-R
601 video. The process
adds 2:3 pulldown,
slows the film speed to
23.976 fps (labeled
24 fps), and slows the
audio to 44056 Hz or
47952 Hz (digital) or
59.94 Hz (analog).
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)
Film shot
at 24 fps
Telecine controller
and record deck
(Step 1)
2. Digitize the footage
in the Avid system. Set
the pulldown switch in
the Digitize tool to 0.99.
The system digitizes
video and audio at the
slowed-down speed,
removes the 2:3
pulldown, and creates
24p media.
3. Edit and finish at
24 fps. During editing,
audio plays at the
original rate of
44100 Hz or 48000 Hz
(digital) or 60 Hz
(analog).
4. Choose one or more
outputs, depending on
your project needs.
Betacam
Digital Betacam,
D5, DCT, or D1
deck
(Step 2)
Avid video
editing
system
(Step 3)
(Step 4)
Figure 1-9
Planning a Project
Digital Betacam,
D5, DCT, or D1
format tape
DAT
Digital cut at
24 fps (NTSC) or
24 fps (PAL) for
audio transfer
Betacam
Digital cut at
23.976 (NTSC) or
25 (PAL) for
broadcast master
NTSC Audio and Video Synchronized During
Transfer
49
NTSC Audio and Video Digitized Separately
With this method, you digitize audio and video separately, and then
synchronize them in the Avid system.
creates NTSC ITU-R 601
video. The process adds
2:3 pulldown and slows
the film speed to
23.976 fps (labeled
24 fps). For effects
work, some footage can
be transferred and
digitized without
pulldown
(frame-to-frame).
2. Digitize the audio. If
audio was transferred
at 29.97 fps, set the
pulldown switch in the
Digitize tool to 0.99. For
field audio at 30 fps, set
the pulldown switch
to 1.0.
(Step 1)
Film shot
at 24 fps
(Step 2)
DAT
Sound
recording
(Nagra or DAT)
Digital Betacam,
D5, DCT, or D1
format tape
Betacam
Digital Betacam,
D5, DCT, or D1
deck
(Step 3)
3. Digitize the picture
footage in the Avid
system. The system
removes the 2:3
pulldown and creates
24p media.
(Step 4)
4. Use the AutoSync™
feature to sync picture
and sound. Edit and
finish at 24p.
(Step 5)
your project needs.
Avid video
editing
system
DAT
Digital cut at
24 fps (NTSC) or
24 fps (PAL) for
audio transfer
Betacam
Digital cut at
23.976 (NTSC)
or 25 (PAL) for
broadcast master
Figure 1-10 NTSC Audio and Video Digitized Separately
50
PAL Audio and Video Synchronized During Transfer (PAL Method 1)
This method uses audio and video synced in the telecine system and
transferred to PAL videotape. This method is known as PAL Method 1.
It is most commonly used for 24-fps film footage that is intended for
PAL TV broadcast.
to create PAL ITU-R 601
video (25 fps). The
process adds 4.1%
speedup.
(Step 1)
Nagra or DAT
playback system
DAT
2. Digitize the footage
in the Avid system. The
system creates
frame-to-frame 24p
media.
Sound
recording
(Nagra or
DAT)
Film shot
at 24 fps
Telecine controller
and record deck
Betacam
Digital Betacam,
D5, DCT, or D1
format tape
(Step 2)
3. Edit and finish at 24p.
During editing and
playback, audio is
scrubbed to play at
44100 Hz or 48000 Hz.
During playback or
digital cut at 25 fps,
audio plays at 44100 Hz
or 48000 Hz.
your project needs.
Digital Betacam,
D5, DCT, or D1
deck
Avid video
editing
system
(Step 3)
(Step 4)
Betacam
Digital cut at
25 fps (PAL) or
23.976 fps (NTSC)
for broadcast
master
Figure 1-11 PAL Audio and Video Synced During Transfer
(PAL Method 1)
Planning a Project
51
PAL Audio and Video Digitized Separately (PAL Method 2)
With this method, you digitize audio and video separately, and then
synchronize them in the Avid system. This method is known as PAL
Method 2.
creates PAL ITU-R 601
video without sound
(MOS). The process
adds 4.1% speedup.
(Step 1)
Film shot
at 24 fps
2. Digitize the audio
(without speedup) in
the Avid system.
DAT
(Step 2)
Sound
recording
(Nagra or DAT)
3. Digitize the picture
footage in the Avid
system. The system
creates 24p media.
Digital Betacam,
D5, DCT, or D1
format tape
Betacam
Digital Betacam,
D5, DCT, or D1
deck
(Step 3)
4. Use the AutoSync
feature to sync picture
and sound. Edit and
finish at 24p. During
editing, audio plays at
44100 Hz or 48000 Hz.
(Step 4)
your project needs.
(Step 5)
Avid video
editing
system
DAT
Digital cut at
24 fps (PAL) or
24 fps (NTSC) for
audio transfer
Betacam
Digital cut at
25 (PAL) or
23.976 (NTSC)
for audio transfer
Figure 1-12 PAL Audio and Video Digitized Separately
(PAL Method 2)
52
Audio Transfer Options for 24p PAL Projects
When you create a 24p PAL project, you must specify the appropriate
audio transfer rate for the project. (This is not necessary for a 25p PAL
project because there is no film speedup during the transfer.) The New
Project dialog box provides Audio Transfer options that allow you to
select either Film Rate or Video Rate. This value is project specific and
should not be changed after you create the project unless you have a
specific element that you need to transfer at a different rate.
n
The Audio Transfer options are also located in the Film Settings dialog box
and can be changed after the project is created. See “Transfer Settings for Film
Projects” on page 141.
The Audio Transfer options are:
n
Planning a Project
•
Film Rate (100%): Select this option when your 24-fps film footage
has been transferred MOS (roughly translated as “without
sound”) to 25 fps by speeding up the film, and the audio comes in
separately at 100% 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% (PAL Method 1).
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 Settings dialog box to
change the audio transfer rate.
53
For more information,
see “Compression and
Resolutions” on
page 499.
Media Composer and Film Composer with the DV Option (available
on Windows systems only) allows you to record, edit, and output DV
media. This option supports the following DV (digital video) formats:
•
DV 25 4:1:1 (NTSC and PAL)
•
DV 25 4:2:0 (PAL)
•
DV 50 4:2:2 (NTSC and PAL)
These resolutions appear, along with other Avid resolutions, wherever
a list of resolutions appears (for example, in the Video Resolution
pop-up menu of the Media Creation tool). The exact list depends on
whether you are working in an NTSC or PAL project.
Understanding DV
For information on
connecting DV
equipment, see the
setup guide for your
Avid system.
DV refers to a video compression format that can be transferred
through equipment that conforms to IEEE Standard 1394. This
equipment (cameras, video and audio decks, cables, connectors, and
processing boards) is sometimes referred to as FireWire® or i.LINK™.
IEEE 1394 connections let you transfer digital data (both video and
audio) directly from a DV camera or deck to an Avid system with no
conversion losses.
When you configure the Avid system for a DV camera or deck, you
need to choose OHCI (for example, from the Video pop-up menu in
the Digitize tool). The OHCI (Open Host Controller Interface)
specification is a standardized way of interacting with the 1394 bus.
The IEEE 1394 interface that conforms to the specification can provide
a connection between a computer and a DV camera or deck that will
operate in a standard way.
The Avid system does not use the default Microsoft OHCI driver, but
instead uses a custom OHCI driver. Whenever you connect a new DV
device (camera or deck), the Avid system automatically links the
54
device to the custom OHCI driver. For more information on linking a
DV device, see the release notes for your Avid system. For information
on physically connecting a DV device, see the Avid Symphony and
Composer Products Setup Guide for the Windows 2000 Professional
Operating System.
DV Workflows
There are several workflows for systems with the DV Option:
•
•
•
Planning a Project
You can work in native DV.
-
Use a FireWire connection to record DV footage directly from
a camera or deck.
-
Use any Media Composer or Film Composer features to edit
in DV format.
-
Output to a DV deck.
You can work with ITU-R 601 digital media or analog media that
is recorded through the Meridien™ I/O box.
-
The Avid system converts the video to a supported DV
resolution (DV 25 or DV 50).
-
Edit in DV format.
-
Output to a DV deck, to a digital deck, or to an analog deck,
depending on your requirements.
You can work in a DV project with mixed sources:
-
Record native DV footage.
-
Record ITU-R 601 or analog media that is converted to DV
format.
-
Edit in DV format
-
Output to a DV deck, to a digital deck, or to an analog deck,
depending on your requirements.
55
•
You can work in a DV project that will be cut as film.
-
Create a matchback project.
-
Use a FireWire connection to record DV footage directly from
a camera or deck.
-
Edit in native DV format.
-
Use the FilmScribe™ application to output a cut list.
DV resolutions and OHCI input and output are not available in
progressive projects.
•
n
You can work in an Avid Unity™ MediaNet environment. You can
edit in DV while sharing DV footage with other DV systems. For
example, in a broadcast facility, you can use a system with the DV
Option to create long form and promo programs from the material
that is gathered for news, while other editors use Avid
NewsCutter® systems to create the new stories.
Media Composer and Film Composer systems with the DV Option support
DV 50 media, but cannot record it in its native format (it can record SDI or
analog video and compress it as DV 50). To record and edit DV 50 footage in
its native format, the editing system must be part of an Avid Unity MediaNet
network, along with a NewsCutter system. Record the footage on the
NewsCutter system and then use Avid Unity MediaNet to access and edit the
media.
For information about DV input and output, see the following
sections:
n
•
“Configuring Decks” on page 144
•
“Setting Up the Digitize Tool” on page 156
•
“Using the Digital Cut Tool” on page 342
Systems with the DV Option support recording and digital cut of 44.1-kHz
and 48-kHz audio only. They do not support recording and digital cut of
32-kHz (12-bit) audio. If you are recording DV audio, set your camera or deck
to record 16-bit audio (48 kHz).
56
The following illustration shows a possible workflow for a DV project.
This workflow uses both DV media and Betacam media as source
footage.
2. Connect your
equipment. For SDI or
analog video, use the
Meridien I/O box. For
DV video, use the 1394
connection.
DV
(Step 1)
Betacam
Log
Betacam or
Digital Betacam
VTR
DV
camera
or deck
(Step 2)
Source footage:
NTSC 30 fps or
PAL 25 fps
Avid
Meridien I/O box
1394 connection
3. Digitize footage to
create DV 25 media. If
you imported a log file,
batch digitize.
Otherwise, log and
digitize or digitize
on-the-fly.
(Step 3)
Media Composer
or Film Composer
with the DV Option
(Step 4)
4. Complete edits and
create a final sequence.
Avid
Meridien I/O box
Betacam or
Digital Betacam
VTR
DV deck
5. Output a master tape:
DV, analog, digital, or
all three. Output NTSC
or PAL.,\ depending on
your source footage.
DV
(Step 5)
Betacam
25-fps or
30-fps master
Figure 1-13 Workflow: DV Project with Mixed Sources
Planning a Project
57
Starting a DV Project
When you start a DV project, choose either NTSC or PAL, depending
on the format of your media. If your system includes 24p and 25p
support, choose either NTSC 30i or PAL 25i. If you are planning to use
your footage to create film, choose the Matchback option. For more
information about starting a project, see the editing guide or Help for
your Avid system.
Editing in DV
In general, you edit DV footage in the same way you edit any other
footage. However, note the following:
•
You can mix NTSC DV resolutions (DV 25 and DV 50), or you can
mix PAL DV resolutions (DV 25 and DV 50). However, you cannot
record a digital cut to a DV deck with mixed DV resolutions. You
need to perform a mixdown first. You can record mixed DV
resolutions to an SDI or to an analog deck.
•
You cannot mix NTSC and PAL resolutions, and you cannot mix
DV resolutions with other uncompressed or compressed
resolutions.
The DV Option gives you real-time effects. If you are recording a
digital cut to a DV camera or a DV deck, you need to render all effects.
If you are recording through the Meridien I/O box to a digital deck or
to an analog deck, the system maintains real-time effects.
58
This section presents information that could be useful when planning
film projects that you will edit on an Avid system.
Film Shoot Specifications
Use the guidelines in Table 1-1 to help you plan for film shoots.
Table 1-1
Film Shoot Specifications
Element
Supported Formats
Notes
Film type
16mm
Use Standard 16mm or Super 16mm.
Super 16’s aspect ratio closely matches 16:9.
35mm: 2, 3, 4, and 8 perf
16mm, 35mm 4 perf, and 35mm 3 perf are
supported as projects in the Avid system. The
remaining formats are supported through ink
numbers and auxiliary ink numbers, which
you choose in the Film Settings dialog box.
For more information, see the editing guide
or Help for your Avid system.
65mm: 5, 8, 10, and 15 perf
Film wind
B-wind
Always use camera rolls with key numbers in
ascending order.
Audio media
1/4-inch audiotape (Nagra)
Use to record analog audio.
DAT or DA88 (digital audiotape)
Use to record digital audio.
Planning a Project
59
Table 1-1
Film Shoot Specifications (Continued)
Element
Supported Formats
Notes
Audio timecodes
30-fps drop-frame or
non-drop-frame
Use for NTSC transfer projects, and for
generating audio EDLs.
25-fps timecode
Use for PAL transfer projects, and for
generating audio EDLs in the PAL format.
Audio sync to in-camera timecode
(Aaton® or Arri® 24-fps timecode)
Use for automatic syncing of sound with
picture in the Avid system.
Clapsticks
Use for manual syncing of sound with
picture.
Electronic slate (smart slate)
Use for semiautomatic syncing.
In-camera timecode, with audio
sync
Use for automatic, “slateless” syncing in the
telecine.
Slate information
Camera roll, scene and take, shoot
date, sound-roll ID
Mark sound-roll ID as a backup.
Sound-roll cues
Sound-roll ID, date, start and end
time-of-day timecode
Include verbal time-of-day cues as a backup.
Sync methods
Viewing Dailies
Viewing dailies is a critical part of the film production process. With an
Avid system, there are two different ways to produce dailies.
•
The film dailies method relies on work print for screening,
transferring, and creating conformed cuts during editing.
•
The video dailies method relies on videotape transfers from negative
for screening, transferring, and creating conformed cuts during
editing.
60
Film Dailies Method
The film dailies method involves the general procedures shown in
Figure 1-14. Specifics, such as tape formats, vary depending on
facilities and needs.
1. Prepare work print
for the circled (chosen)
takes.
....................
.....................
....................
.....................
Negative
2. Sync work print with
audio mag track, and
assemble each take on a
roll with ink numbers.
(Steps 1 and 2)
3. Screen the film dailies
before telecine transfer.
Work print
(Step 4)
....................
Mag track
KEM roll
(Step 3)
Screening
4. Mount and transfer
the rolls to tape in
telecine.
5. (Option) Enter ink
numbers manually into
the Avid system after
you digitize, to match
the ink number on the
work print.
6. Generate ink number
lists for preparing cuts
from the work print,
and key number lists
for conforming the
negative.
Telecine
(Step 5)
Betacam
Transfer
(Step 6)
Cut list
Conformed cut
Figure 1-14 Film Dailies Method
When you work with film dailies and work print, the advantages are:
Planning a Project
•
You can screen the dailies immediately after the lab work.
•
You can use work print previews to view the full film aspect
ratios, resolutions, and contrast ranges. For this reason, film
dailies are often preferred for feature film projects.
61
The disadvantage is that the magnetic track and work print require
additional facilities, procedures, and costs.
Video Dailies Method
The video dailies method involves the general procedures shown in
Figure 1-15. Specifics, such as tape formats, vary depending on
facilities and needs.
1. Prepare film negative
for circled (chosen)
takes.
2. Transfer reels of
negative synced to
audio in telecine.
Generate a
simultaneous online
transfer, or create the
online transfer from
selects after editing the
sequence.
4. Import existing key
numbers and timecode
information into the
Avid system, then
digitize.
....................
Negative
(Steps 1 and 2)
Nagra or DAT
playback system
Assembled
takes
Telecine controller
and record deck
Sound
recording
(Step 3)
Betacam
Screening
Transfer
1”
3. Screen the videotape
dailies after the transfer.
....................
Transfer
(Steps 4 and 5)
5. Edit using the Avid
system.
(Step 6)
Cut list
Conformed cut
Alternatively, generate
a matchback list of
selects for printing
selects and conforming
negative.
Betacam
Preview
EDL
1”
6. Record a digital cut to
preview the sequence
with effects, or generate
EDLs for editing the
videotape transfers.
Master
Figure 1-15 Video Dailies Method
62
The advantage of working with video dailies and film negative is that
you can avoid the cost of work print until the finishing stages, or
altogether. The disadvantage is you are limited to the aspect ratio,
resolution, and contrast range of video previews. For this reason,
video dailies are preferred for television projects, but you can also use
this method to economize on a feature film production.
Planning a Project
CHAPTER 2
Film-to-Tape Transfer
Methods
To capture and edit film-originated footage in your Avid system, you
must transfer the footage to videotape. This chapter presents the
following information about film-to-tape transfer methods:
•
Understanding the Transfer Process
•
Transferring 24-fps Film to NTSC Video
•
Transferring 24-fps Film to PAL Video
•
How the Avid System Stores and Displays 24p and 25p Media
To help you plan the transfer, this chapter also includes the following
sections:
•
Film-to-Tape Transfer Guidelines
•
Film-to-Tape Transfer Options
Understanding the Transfer Process
You have your film rolls from the day’s shooting, and you’re ready to
edit on your Avid system. To digitize that footage into the system, you
first need to transfer the film to videotape. This process uses a special
64
film projector called a telecine (the term loosely translates as
“video-film”). The telecine is usually part of a production system that
includes audiotape recorders, a controller, and other equipment.
After you’ve decided on a telecine facility and have supplied your
requirements (see “Film-to-Tape Transfer Guidelines” on page 75 and
“Film-to-Tape Transfer Options” on page 76), the telecine facility
performs the film-to-tape transfer. The steps in the process differ,
depending on whether you include audio and whether the transfer
produces NTSC or PAL videotapes. The following sections describe
these steps.
n
You can digitize directly from film during the film-to-tape transfer process by
using Telecine Slave mode with VTR record emulation. For more information,
see “Digitizing During the Film-to-Tape Transfer” on page 256.
If you use an NTSC transfer, the film-to-video process takes place in
two stages:
•
Stage 1: Transferring Film to Video
•
Stage 2: Digitizing at 24 fps
The following illustration shows a simplified view of the NTSC
film-to-video transfer process. For information about this workflow,
see “Planning a 24p or 25p Project” on page 36.
Telecine
2:3 pulldown
23.976 fps
Stage 1
Film shot at 24 fps
Betacam
Digitize and reverse
pulldown to 24 fps.
Stage 2
Betacam or
Digital Betacam
video signal 29.97 fps
Avid editing system at 24 fps
65
Stage 1: Transferring Film to Video
The NTSC film-to-video transfer occurs as a two-part process: the
telecine adds extra frames during transfer and, at the same time,
slightly reduces the film’s running speed.
Frames Versus Fields
To understand how the telecine transfers film to videotape, you need
to understand the relationship between frames and fields.
An NTSC video image consists of 525 horizontal lines of information.
The electron gun on a video monitor displays the odd-numbered lines
first and then the even-numbered lines. Each full scan of
odd-numbered or even-numbered lines constitutes a field. At 30 fps,
each field takes 1/60th of a second to display; therefore, an entire
frame of two fields is scanned each 1/30th of a second. The
combination of these two fields (odd and even) is called interlacing.
A film frame, in contrast, is one full picture; it has no fields. The
telecine process takes each film frame and creates a two-field video
frame.
Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video
Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in
frame rates between film and video prevents a direct frame-to-frame
transfer.
To compensate, the telecine process creates an extra six frames every
second (the difference between 24 and 30). That is, it creates five video
frames for every four film frames. But remember, each video frame is
subdivided into two video fields. To be more precise, the telecine
creates 10 video fields (the equivalent of five video frames) for every
four film frames. This is referred to as a 4:5 ratio. Table 2-1 states this
relationship between film and video.
66
Table 2-1
Ratio of Film to Video
Film
Video
24 fps
30 fps
4 frames
5 frames (10 fields)
The telecine uses a method known as pulldown to create the extra
frames. As each film frame moves through the telecine projector, it is
held in place (pulled down) while a specific number of fields are
recorded on videotape. To transfer four film frames to 10 video fields,
the telecine process alternates between creating two and three video
fields per film frame (referred to as 2:3 pulldown). To transfer four film
frames to 10 video fields, the telecine pulls down the first film frame
and records two video fields, pulls down the second film frame and
records three video fields, and repeats the process.
The four frames in each series are referred to as A, B, C, and D. The
standard method for identifying the resulting fields is to label them as
A1, A2, B1, B2, and so forth. The following diagram illustrates the 2:3
pulldown process.
Four film frames
A
B
C
D
Five NTSC video frames (10 fields)
A1
odd
A2
even
B1
odd
B2
even
B3
odd
C1
even
C2
odd
D1
even
D2
odd
D3
even
Timecode change
Timecode change
Timecode change
Timecode change
67
The telecine alternates between capturing odd-numbered and
even-numbered fields. For example, B1 and B3 both contain the
odd-numbered scan lines of the B film frame. Later in the transfer
process, when the Avid system digitizes the fields, it must capture an
odd-numbered and an even-numbered field for each frame.
When you view the resulting video, you get the impression that you
are watching the video at 24 fps even though it is playing at 30 fps (or
more precisely, at 29.97 fps).
Part 2: Slowing the Film Speed to 23.976 fps
NTSC video, the broadcast standard used in the United States, Japan,
and other countries, plays at an actual rate of 29.97 fps, although it is
usually referred to as 30 fps.
An accurate conversion requires exact adherence to the 4:5 ratio, but
this ratio breaks down when you compare 24 fps to 29.97 fps. To
achieve a true 4:5 ratio, the film frame rate is slowed down to
23.976 fps. The telecine process makes this correction automatically,
slowing NTSC video 0.1 percent from the original film speed, so that
the video plays at 99.9 percent of its original speed.
Table 2-2 adds this new ratio.
Table 2-2
Ratio of Film to Video with FPS
Film
Video
24 fps
30 fps
4 frames
5 frames (10 fields)
23.976 fps (0.999 x 24)
29.97 fps (0.999 x 30)
68
Maintaining Synchronized Sound
In most cases, the sound for your production has been recorded on a
digital audio system, such as a DAT (digital audiotape), or ¼-inch tape
system, such as a Nagra recorder. You need to synchronize the sound
with the picture and make sure they are in sync in the Avid system.
You can take one of three basic paths:
•
Transfer the original sound recording to mag track, sync the mag
track to the film work print, and transfer both to videotape
through a telecine process.
•
Sync the original sound recordings to picture during the telecine
process, and transfer both to videotape.
•
Transfer only the picture through the telecine process, digitize
picture and sound separately, and sync them in the Avid system.
If the telecine transfers sound along with picture (one of the first two
paths), the sound is slowed by 0.1 percent, to maintain sync with the
picture. The reference signal slows from 60 Hz to 59.94 Hz and the rate
at which the audio is recorded changes from 44100 Hz to 44056 Hz, or
from 48000 Hz to 47952 Hz.
Optionally, you can transfer only picture, and digitize the original
audio directly into the Avid system. This approach can save telecine
expense and give you better quality audio. For more information, see
“Alternative Audio Paths” on page 47.
69
The telecine has converted your film footage into video running at
29.97 fps. Now you’re ready to use the digitizing process to input the
material as a 24p NTSC project.
During the digitizing process, the Avid system reverses the pulldown
procedure to capture the film footage at 24 fps. It removes the extra
fields added by the pulldown process to create full-frame, 24p media.
The digitize process captures video and audio at the slowed-down
speed (0.999).
To digitize audio
transferred at 29.97 fps
(video rate) you must
set the pulldown switch
to 0.99 in the Digitize
tool. For more
information, see
“Setting the Pulldown
Switch” on page 162.
The following illustration shows each stage of the film-video-24p
process.
Four film frames
A
B
C
D
Film at 24 fps
A1
odd
A2
even
B1
odd
B2
even
B3
odd
C1
even
C2
odd
D1
even
D2
odd
D3
even
Four digitized frames
A
B
Skip this field.
C
D
Skip this field.
Betacam or Digital Betacam
29.97 fps
24p media at 24 fps
If you have transferred sound along with picture, the Avid system
captures audio at the slowed-down speed. Then during editing and
playback, the system speeds up the play rate by 0.1 percent to play in
sync with the 24-fps video. Audio plays at 44100 Hz or 48000 Hz.
70
Now you can edit the material at 24 fps on the Avid system. This
approach ensures that all your edits correspond to true film frames so
that you see an accurate representation of the finished film.
If you use a PAL transfer, the film-to-video process also takes place in
two stages:
•
Stage 1: Transfer the film to videotape by speeding up the film rate
during the telecine process.
•
Stage 2: Digitize the transferred videotape into the Avid system at
the sped-up rate.
The following illustration shows a simplified view of the PAL
film-to-video transfer process. For information on this workflow, see
“Planning a 24p or 25p Project” on page 36.
Telecine
transfer with
4.1% speedup
Stage 1
Digitize
Betacam
Betacam or
Digital Betacam
video signal 25 fps
Film shot at 24 fps
Stage 2
Avid editing system at 24 fps
There are two approaches to synchronizing sound, which are often
referred to as PAL Method 1 and PAL Method 2.
71
PAL Method 1
With PAL Method 1, you synchronize sound with picture during the
telecine process.
Stage 1: Transferring Sound and Picture to Videotape
Some PAL film-to-tape
transfers use pulldown.
This method is not
currently supported in
Avid systems.
As with an NTSC film-to-tape transfer, the telecine process creates two
video fields for each film frame. However, because the film rate of
24 fps is close to the PAL video rate of 25 fps, most PAL film-to-tape
transfers involve simply speeding up the frame rate. This speedup
changes the frame rate from 24 to 25 (an increase of 4.1%). There is no
pulldown that creates extra fields.
With PAL Method 1, there are two ways to sync sound with picture in
the telecine process:
•
Transfer the original sound recording to mag track, sync the mag
track to the film work print, and transfer both to videotape
through a telecine process.
•
Sync the original sound recordings to picture during the telecine
process, and transfer both to videotape.
In either case, the telecine process speeds up sound at the same rate as
picture: 4.1%.
After you’ve received the PAL transfer tapes, the next step is digitizing
the footage in a 24p PAL project. During the digitizing process, the
Avid system digitizes the material at the PAL rate of 25 fps, capturing
every picture frame. It stores the two video fields as a single
progressive frame, which you edit at 24 fps.
72
n
Select this option in the
Film Settings dialog
box. For more
information,
see“Selecting Settings”
on page 127 and the
editing guide or Help
for your Avid system.
You must digitize audio along with video at the PAL rate of 25 fps if you want
to use audio that was transferred along with picture during the telecine
process. You set the Audio Transfer rate as Video Rate (100+%) in the New
Project dialog box. For more information, see “Audio Transfer Options for
24p PAL Projects” on page 52.
You have the option of playing back the footage at 24 fps or 25 fps. If
you choose 24 fps, the system slows both the picture and the sound by
4.1 percent for playback. This approach lets you edit at the original
film rate, but the slowdown creates a limitation for audio. Because you
digitize the audio at a rate faster than playback, some audio samples
are duplicated during playback, and sound quality is compromised.
If you choose to play back at 25 fps, there is a different limitation with
audio. Because you are playing back at the sped-up rate (4.1%), the
audio pitch rises slightly. This is usually acceptable for broadcast, so
PAL Method 1 is primarily used for PAL television broadcast.
PAL Method 2
With PAL Method 2, you digitize sound and picture separately.
Stage 1: Transferring Picture to Videotape
Some PAL film-to-tape
transfers use pulldown.
This method is not
currently supported in
Avid systems.
With PAL Method 2, you use the same telecine process for picture
(create a video frame of two fields for each film frame, speed up rate
by 4.1 percent). The difference is that you do not synchronize sound as
part of the telecine process.
Now that you have your picture-only videotapes (at the rate of 25 fps)
and your source recording tapes, you need to follow a two-step
process:
73
1. Digitize the picture to create 24p media.
2. Digitize the sound at the film rate of 24 fps.
When you created the project, you set the Audio Transfer rate as
Film Rate (100%) in the New Project dialog box. For more
information, see “Audio Transfer Options for 24p PAL Projects”
on page 52.
In most cases, you will choose to edit at 24 fps. The sound will
maintain source quality (44.1 kHz and 48 kHz) and will play in sync
with 24-fps video.
PAL Method 2 is used primarily for film projects.
How the Avid System Stores and Displays 24p and
25p Media
When the Avid system digitizes video that has been transferred from
film (or video shot at 24 fps), it creates 24p media. It creates this media
by capturing the video fields, by dropping extra pulldown fields
(NTSC transfers only), by combining (deinterlacing) two fields for
each film frame (A1+A2, B1+B2, and so forth), and by storing the
fields together as a full frame. The system always stores media as a
fully reconstructed, progressive frame. It is the construction of this full
frame that gives you the flexibility to create multiformat output.
You typically use 25p media when digitizing film or video shot at
25 fps. In this case, the system also stores the media as a fully
reconstructed, progressive frame. The difference is that there is no
need for pulldown fields since there is a 1:1 correspondence between
the source tape and the digitized frames.
How the Avid System Stores and Displays 24p and 25p Media
74
Displaying Media While Editing
When you click the Play button while editing a clip or a sequence
(sometimes referred to as Edit Play), the system separates (interlaces)
the progressive frames into fields and does the following:
Choose your preference
for playback in the Film
Settings dialog box. For
more information, see
the editing guide or
Help for your Avid
system.
•
On the Source, Record, Playback, or pop-up monitor, the system
displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on
your project and editing preference.
•
On an NTSC monitor, the system does one of two things:
•
-
If playing at 23.976 fps (audio pulldown ON), the system
performs a 2:3 pulldown that replicates the telecine pulldown,
and displays the interlaced media at 29.97 fps.
-
If playing at 24 fps (audio pulldown OFF), the system
performs a 2:3 pulldown, drops every 1000th frame in the
Client monitor, and displays the interlaced media at 29.97 fps.
On a PAL monitor, the system does one of two things:
-
If playing at 24 fps, the system duplicates two fields per
second to display the interlaced media at 25 fps.
-
If playing at 25 fps, the system performs a 4.1 percent
speedup, maintains 1:1 transfer of film frames to video frames,
and displays the interlaced media at 25 fps.
For 25p projects, 25 fps is the only playback rate. The playback
rate is 1:1 with no speed change.
By default, the system uses a mode called Fast Frame Display
(available from the Special menu), which displays one field of the
progressive frame. You can display the full frame if necessary, such as
when checking for dropouts created during the film-to-tape transfer,
and step through frame by frame. However, the display will be slower.
For more information, see the section on detecting video dropouts in
the effects guide or Help for your Avid system.
75
Displaying Media During a Digital Cut
The Digital Cut tool lets you output multiple formats at various play
rates, all from 24p and 25p media. When you click the Play Digital Cut
button, the system displays the sequence as described in the previous
section, depending on your choice in the Digital Cut tool. For more
information, see “Choosing Output and Timecode Formats for 24p
and 25p Projects” on page 356.
Observe the following general guidelines when transferring film to
tape:
•
Instruct the telecine facility to record timecode on the address
track.
•
Instruct the facility to use only a telecine transfer process when
transferring to NTSC videotape. Do not use a film chain or any
other transfer device.
•
PAL transfers do not require pulldown so you can use either a
telecine or a film chain. However, quality is much better on a
telecine.
•
Transfer all of the project’s source film footage to disk or tape by
using either the NTSC or PAL method.
-
n
For NTSC projects, you can mix footage transferred at 24 fps
(23.976 fps) or 30 fps (29.97 fps) and mix sound transferred at
1.0 or 0.99.
Do not mix 24-fps and 30-fps transfers on the same transfer tape.
-
For PAL projects, you cannot mix audio that has been
transferred at 4.1% speedup (PAL Method 1) with audio that
has not been sped up (PAL Method 2).
76
n
PAL film-to-tape transfers that use pulldown are not currently supported in
Avid systems.
This section describes options for transfer quality and various
screening and editing aids that you can request during the transfer
process, based on the considerations of budget and available facilities.
Transfer Quality
The quality of the film-to-tape transfers depends upon several options
for the telecine transfer. The transfer quality options available from a
telecine facility include:
•
One-light: This transfer involves a single setting of color
correction values, resulting in the simplest, fastest, and least costly
type of transfer. One-light transfers are often used during offline
stages of editing.
•
Best-light: This transfer involves optimum settings of the
color-grade controls, but without scene-by-scene color correction.
Best-light transfers are an intermediate level in terms of both
quality and cost.
•
Timed (scene-by-scene): This transfer involves color correcting
each scene or shot during transfer. Timed transfers are the most
expensive and time consuming. This option sets up the proper
black and white levels so that you can perform a tape-to-tape color
correction from the source tapes, if needed.
77
on FTFT, see “Relinking
Clips by Key Number”
on page 249.
You can use the Film-Tape-Film-Tape (FTFT) feature to perform two
separate telecine processes for a project:
•
Perform a one-light or best light transfer to obtain the most
material for the initial edits.
•
After editing is complete, perform a timed, fully color-corrected
transfer of the clips that will be used in the final cut.
After you perform the final telecine operation, you can digitize at a
finishing resolution, such as 1:1 (uncompressed).
Additional Film Transfer Aids
The transfer facility might have available one or more of the following
production aids, which you can include in your film-to-tape transfer:
c
•
Automatic logging: Whenever possible, you should instruct the
facility to log tracking information directly into a computer
database program. Logs generated automatically are more
accurate than manual logs and can be imported easily into the
Avid system. A log file typically indicates the relative timecode,
key numbers, and pullin (“A” frames) for each clip that will be
digitized.
•
A keypunch at the head of each camera roll: Ask the lab or
transfer house to punch the head of each camera roll at the zero
frame and give you a list of the corresponding key numbers. After
you have digitized, you can match this list with your digitized
material to check for potential transfer errors.
•
Burn-in code: If the transfer facility is equipped with a timecode
or film code character generator, you can instruct the facility to
display or “burn-in” tracking codes on the videotape transfer.
Burn-in code provides visual feedback for logging and tracking
footage.
Burn-in code cannot be removed from the image and should be used
only for the offline stage of a project.
78
•
16:9 wide screen format: The Avid system supports the 16:9 wide
screen display format. You can either shoot your footage by using
a 16:9 lens or transfer the footage anamorphically to display a
larger area of the film aspect ratio during offline and online
editing. Also, this aspect ratio lets you create media that takes
advantage of new 16:9 monitors that conform to SDTV and HDTV
standards.
CHAPTER 3
Logging
When you import shot log files or log directly into a bin, you provide
the Avid system with frame-accurate clip information used to digitize
the source footage. The logs you create form the foundation for
organizing, tracking, storing, retrieving, and generating lists of edit
information throughout your project. The following sections provide
techniques for preparing log information before digitizing:
•
Preparing Log Files for Import
•
Importing Shot Log Files
•
Setting the Pulldown Phase
•
Logging Directly into a Bin
•
Logging Film Information
•
Modifying Clip Information Before Digitizing
•
Exporting Shot Log Files
80
Preparing log files for importing into a bin can involve one or more of
the following methods:
•
Convert a log file generated by a telecine or other film-to-tape
transfer system, as described in “Using Avid Log Exchange to
Convert Log Files” on page 80. This is the most accurate method
for providing the Avid system with frame-accurate clip
information for digitizing the transferred source tapes.
•
Use a word processor or standard text editor to create and import
logs, as described in “Creating Avid Logs” on page 90.
•
Use the MediaLog™ application to log the material and transfer
the bins directly into the Avid system, as described in
“Transferring Bins from MediaLog” on page 91.
Consider double-checking any log files before you import them. See
“Double-Checking the Log Files” on page 94.
Using Avid Log Exchange to Convert Log Files
You can use the Avid Log Exchange (ALE) utility included with your
system to quickly convert shot log files created by other sources.
You can then import the files directly into bins, as described in
“Importing Shot Log Files” on page 94.
The ALE utility allows you to:
•
Modify the text in a log file.
•
Convert log files to the ALE file.
•
Convert an ALE file to either an ATN or FLX file.
Any options you set in the ALE utility are saved each time you exit the
ALE utility.
Logging
81
When you are converting an ATN file that contains multiple sections
to an ALE file, multiple ALE files are created. The Avid Log Exchange
window displays only the first ALE file created. The succeeding ALE
files are given the same file name with incremental numbering. For
example, the file Nations1.atn is converted to Nations1.ale,
Nations1_2.ale, Nations1_3.ale, and so on. The converted output files
are stored in the folder containing the original input file.
Converting Log Files with Avid Log Exchange (Windows)
To convert a log file to an ALE file:
1. Click the Start button, and then point to Programs.
2. Point to Avid, point to Utilities, and then click Avid Log Exchange.
The Avid Log Exchange window opens.
3. Choose Open from the File menu.
The Open dialog box appears.
4. Double-click the file you want to convert.
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5. Depending on the type of file you are opening, one of the
following occurs:
-
If the file type is recognized by the ALE utility, the file appears
in the Avid Log Exchange window.
-
If the file does not contain the Windows line ending format,
then the Line Endings dialog box appears. Choose an option
from the following table:
Click
To
Display & Save
Open the file in the Avid Log Exchange
window and change the file to the Windows
format.
Display Only
Open the file in the Avid Log Exchange
window, but not change the file.
Ignore
Display the file as is without changes.
The file appears in the Avid Log Exchange window.
For specific information on the various file
types shown here, see
Appendix C.
-
If the file type is not recognized, the Choose File Type dialog
box appears. Select the type of file you are converting and
click OK.
The file appears in the Avid Log Exchange window.
6. Use the Options menu to select the tracks to include in the Tracks
column of the log. The default track selections are Log V, Log A1,
and Log A2.
After you import the log into an Avid bin, the system digitizes all
tracks shown in this column when batch digitizing.
Logging
83
7. Choose Clean from the Options menu if you want Avid Log
Exchange to clean the ALE output file to eliminate overlapping
timecodes for clips. By default, Clean is selected.
When you choose Clean, the utility removes the end timecode
from any clip that overlaps the start of the next clip.
8. If you chose Clean, you can also choose Relaxed from the Options
menu to prevent deleting events that come earlier in the transfer.
Relaxed is not set by default.
For example, if you transfer film footage with a timecode of
2:00:00:00 and then add some clips at the end with a timecode of
1:00:00:00, Relaxed prevents the Clean function from deleting the
clips. This occurs when you shoot footage across the midnight
hour and the first half of the film has 24 hours and the second half
has 0 hour.
9. Choose ALE from the Convert menu.
The default output selection is the Avid Log Exchange (ALE)
format. This is the required format for import into an Avid bin.
The Avid Log Exchange window displays the converted ALE file.
The converted file has the same file name as the original file,
except the file name extension matches the converted file format.
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10. (Option) Choose the original file from the Window menu if you
want to convert the file again using different options.
11. Choose Close from the File menu.
If you made changes in the editor, a message box appears.
12. Click Yes.
Logging
85
The converted file is stored in the same folder as the original log
file.
Using Drag-and-Drop Conversion for Log Files (Windows)
Use this shortcut to convert any type of file into an ALE file.
To convert a log file by using drag-and-drop conversion:
1. Check the options that are set in the ALE utility (see “Converting
Log Files with Avid Log Exchange (Windows)” on page 81). The
current options are used when you perform drag-and-drop
conversion.
2. Create a shortcut for the ALE utility.
3. Open the folder that contains the files you want to convert,
positioning the folder so the Shortcut icon for the ALE utility is
visible.
4. Select the files you want to convert.
5. Drag the selected files to the Shortcut icon for the ALE utility, and
release the mouse button.
86
6. Depending on the type of files you are converting, one of the
following occurs:
-
If the file type is recognized by the ALE utility, a message box
appears, indicating the conversion was successful.
-
If the file type is not recognized, the Choose File Type dialog
box appears.
Select the type of the file you are converting and click OK.
A message box appears, indicating the conversion was
successful.
-
If the file type is an ALE file, the ALE Convert Type dialog box
appears.
Select a file type for the converted output file and click OK.
A message box appears, indicating the conversion was
successful.
7. Click OK to close the message box.
The converted files have the same file names as the original files,
except the file name extension matches the converted file format.
For example, the .ale file name extension is added to the new file
names for the Avid format. The converted files are stored in the
folder containing the original log files.
Converting Logs with Avid Log Exchange (Macintosh)
You can use the Avid Log Exchange (ALE) utility included with your
system to quickly convert shot logs that are created during a
film-to-tape transfer. You can then import the files directly into bins, as
described in “Importing Shot Log Files” on page 94.
Logging
87
To convert a file:
1. In the Finder, open the Applications folder on the Avid drive.
Open the Utilities folder and locate the Avid Log Exchange
application inside the folder labeled ALE f.
2. Double-click the Avid Log Exchange icon to start the application.
The Avid Log Exchange dialog box appears.
Files you can convert
Files you can generate
Clean
option
Track
selection
Convert button
For specific information
on the various file types
shown here, see
Appendix C.
Quit button
3. Make selections for Input and Output.
The default output selection is the Avid Log Exchange (.ALE)
format. This is the required format for import into an Avid bin.
4. Select the tracks to include in the Tracks column of the log. After
you import the log into an Avid bin, the system digitizes all tracks
shown in this column when batch digitizing.
5. Select the Clean option if you want Avid Log Exchange to clean
the input file to eliminate overlapping timecodes for clips.
88
When you select the Clean option, the utility removes the end
timecode from any clip that overlaps the start of the next clip.
6. Click the Convert button to open the Select File to Convert dialog
box.
7. Open the drive and folder that contain the files you want to
convert.
Location of the files
File to be converted
8. Double-click the input file name. Only one file is converted at a
time.
Avid Log Exchange stores the converted file in the same folder as
the original input file.
Logging
89
Input file
Converted file
The original file name extension is replaced by the extension for the
new format. The .ALE files can be imported only into Avid products.
Using Drag-and-Drop Conversion for Log Files (Macintosh)
To convert a log file by using drag-and-drop conversion:
1. Check the options that are set in the ALE utility (see “Converting
Logs with Avid Log Exchange (Macintosh)” on page 86). The
current options are used when you perform drag-and-drop
conversion.
2. Insert the floppy disk into the floppy drive, if the files you want to
convert are stored on a floppy disk.
3. Open the folder that contains the Avid Log Exchange icon.
4. Open the folder that contains the files you want to convert,
positioning the folder so the Avid Log Exchange icon is visible.
5. Select files for conversion.
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6. Drag the selected files to the Avid Log Exchange icon and release.
The system converts the files to Avid format, adding the .ALE file
name extension to the new file names.
Creating Avid Logs
You can prepare an Avid log on any type of IBM®-compatible or
Macintosh computer by using a word processing application or a text
editor. To ensure accuracy, you must follow the Avid log specifications
described in Appendix C.
Applications for Creating Avid Logs
You can use any word processing application or text editor to create
Avid logs. However, you must save the file as a text document (ASCII
format).
Windows systems ship with an text editor called WordPad. To open
WordPad, click the Start button, point to Programs, point to
Accessories, and then click WordPad.
Macintosh systems ship with a text editor called SimpleText. To open
SimpleText, double-click the Avid drive, open the Applications folder,
and double-click SimpleText.
Logging
91
Required Information for Logging
When logging manually, you should document the following
information:
•
Identify the source tape for each shot.
•
Document each clip’s name, start timecode, and end timecode.
•
In the case of NTSC transfer tapes for film projects, you must
supply pulldown information in the Pullin column of the bin
before you can digitize.
This is the minimum information required to digitize successfully. You
can also add other information such as comments, auxiliary
timecodes, or key numbers for film projects. You can make a separate
log file for each videotape, or log clips from several different
videotapes in one log.
To create Avid Logs, using a word processor:
1. Enter shot log information according to the specifications
described in Appendix C.
2. Save your file as a text file in the Save As dialog box.
c
The Avid system only accepts text files (ASCII format).
After you double-check the log, import it into the Avid system. For
more information, see “Importing Shot Log Files” on page 94.
Transferring Bins from MediaLog
For information on specific MediaLog procedures, see the Avid
MediaLog User’s Guide.
The MediaLog program is a standalone application that speeds the
process of creating and importing log information from a Windows or
Macintosh computer. MediaLog mirrors the Avid system interface for
creating projects, bins, and clip information in the bin, and includes
serial deck control for logging directly from tape.
92
n
The version of MediaLog for your platform (Windows or Macintosh) is
included with your Avid system. To order a different version of MediaLog,
contact your Avid representative.
If you log your source footage by using MediaLog, you can transfer
the bins directly to the Avid system for batch digitizing by moving the
bin files. You can also import the logs by using the same procedure as
you would for other Avid-compatible log formats, as described in
“Importing Shot Log Files” on page 94.
Transferring Bins (Windows)
To transfer bins from MediaLog:
1. Save the MediaLog bins to a floppy disk.
If you are using MediaLog for Macintosh, make sure the disk is
DOS-formatted or that your Windows system can mount
Macintosh-formatted disks by using a third-party utility.
If your MediaLog folders are available through a server or other
networked source, then locate the MediaLog folder there instead.
2. Insert the floppy disk from MediaLog into the Avid system’s
floppy drive.
3. Open the project folder in which you want to store the MediaLog
bins. This folder is usually located in one of the following folders,
depending on how the application was installed:
drive:\Program Files\Avid\Media Composer\Avid Projects
drive:\Program Files\Avid\Film Composer\Avid Projects
4. Double-click My Computer and double-click the Floppy Disk
icon.
5. Ctrl+click the bins in the floppy disk window, and choose Copy
from the Edit menu.
6. Click the project folder window to make it active, and choose
Paste from the Edit menu.
Logging
93
Transferring Bins (Macintosh)
To transfer bins from MediaLog:
1. Save the MediaLog bins to a floppy disk.
If your MediaLog folders are available through a server or other
networked source mounted on your desktop, then locate the
MediaLog folder there instead.
2. Quit the Avid application.
3. In the Finder, open the project folder where you want to store the
MediaLog bins. This folder is usually located inside the Avid
Projects folder on the Avid drive.
4. Insert the floppy disk from MediaLog into the Avid system’s
floppy drive.
5. Double-click the Floppy Drive icon.
6. Shift+click the bins in the Directory window and drag them into
the project folder.
Associating the Bin with Your Project
To associate the transferred bins with your project:
1. Restart the Avid application and open your project.
2. Associate the imported bins with your project by doing the
following:
a.
Choose Open Bin from the File menu.
b.
Locate the new bin by using the Open Bin dialog box.
c.
Double-click the bin to open it within your project.
The new bin appears in the Bins scroll list in the Project window.
The bins you have imported contain master clips only with no
associated media files. Before you can view or manipulate these clips,
you must create the associated media files by batch digitizing the
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source material. For information about batch digitizing, see “Batch
Digitizing from Logged Clips” on page 235.
Double-Checking the Log Files
When importing shot logs for video, the Avid system compares the
video duration to the video out minus the video in. When importing
film shot logs, the system compares the key number out minus the key
number in.
Open the Console
window by choosing
Console from the Tools
menu. For more
information, see the
If the system detects a discrepancy, it reports the error to the Console
and does not bring the clip into the bin. The best way to ensure that
clips are not discarded on import is to double-check the logs for
discrepancies in duration and marks.
You can also import an
EDL to a bin for use in
digitizing. For more
Avid EDL Manager
User’s Guide.
You can import any log created or converted to meet Avid log
specifications. For film projects, most telecine and other film-to-tape
transfer systems generate a log that you can import directly to the bin,
after you convert it to .ALE format by using the Avid Log Exchange
utility. Even if the telecine facility supplies you with an .ALE file, you
should process it through the ALE utility, using the Clean function.
For more information, see “Using Avid Log Exchange to Convert Log
Files” on page 80.
You can combine or merge events while importing a log so that fewer
master tapes require digitizing, as described in this section.
Logging
95
To import shot log files into a bin:
1. If you have created Import settings for importing shot log files,
select the Import setting that you want to use from the Settings
scroll list. See “Creating and Using Import Settings” on page 287.
2. Open the bin in which you want to store the imported files. Click
anywhere in an open bin to select it, or create a new bin for the
shot log import.
3. Choose Import from the File menu.
The Select Files to Import dialog box appears.
Windows
Look in pop-up menu
Source file list
Files of Type
pop-up menu
96
Macintosh
Directory pop-up menu
Source file list
Show pop-up menu
4. Choose Shot Log from the Files of Type pop-up menu (Windows)
or Show pop-up menu (Macintosh).
5. Click the Options button to open the Import Settings dialog box, if
you want to select options for combining events on import.
For information on Import settings, see “Import Settings Options”
on page 289.
6. After selecting the appropriate options, click OK to close the
Import Settings dialog box and return to the Select Files to Import
dialog box.
7. Use the Look in pop-up menu (Windows) or Directory pop-up
menu (Macintosh) to locate the folder containing the source file.
8. Select the source file from the list and click the Open button.
When the system finishes importing the file, the clips appear in
the selected bin.
Logging
97
For information about
the pulldown process,
see “Transferring 24-fps
Film to NTSC Video”
on page 64.
If you are logging or digitizing 24-fps sources (film-to-tape transfers,
media downconverted from 1080p/24 footage, or both), you can set
the pulldown-to-timecode relationship for a transferred tape in the
Film Settings dialog box.
Set Pulldown
Phase option
You set this relationship by selecting the pulldown phase (sometimes
called the pulldown frame or pullin frame), which is the video frame at
which the master clip starts. The pulldown phase is designated A, B,
X, C, or D. Film labs and transfer houses typically use the A frame to
start the transfer.
The following illustration shows the relationship between film frames
and video frames.
98
Four film frames
A
B
C
D
n
A1
odd
A2
even
B1
odd
B2
even
B3
odd
C1
even
C2
odd
D1
even
D2
odd
D3
even
A
B
X
C
D
This setting is not available in matchback projects. However, you can modify
the pulldown phase after you log it. See “Entering Pulldown Information” on
page 113.
The Set Pulldown Phase setting lets you log, digitize, and
digitize-on-the-fly more easily, because the correct pulldown phase of
any IN point for a particular tape is automatically determined. Setting
the correct pulldown phase prevents inaccuracies in cut lists and
matchback EDLs. It also prevents incorrectly digitized clips that
appear to stutter when played in 24p NTSC projects.
For example, if you set the pulldown phase of 00:00:00:00 as A
(indicating that the A frame is located at timecodes ending in 0 or 5),
any timecode that you log will calculate its pulldown phase based on
the same sync point, regardless of where you set the IN point. If you
use the Digitize tool to log a clip that starts at 01:00:10:01, the Avid
system automatically enters B in the Pullin column of the bin. If you
digitize with an IN point at 01:00:10:01, the system begins to digitize at
the next A frame, in this case, 01:00:10:05.
Logging
99
fixing an incorrectly
logged sync point, see
“Modifying the
Pulldown Phase After
Digitizing” on page 253.
The pulldown-to-timecode relationship might vary from tape to tape,
or within the same tape, depending on how the footage was
transferred. If you find that a tape requires a different pulldown phase,
you can change the setting in the Film Settings dialog box, or use the
Modify Pulldown Phase dialog box before digitizing (see “Modifying
the Pulldown Phase Before Digitizing” on page 116.
To set the pulldown phase:
1. Determine the correct pulldown phase for 00:00:00:00 in one of the
following ways:
t
If you are digitizing film-to-tape transfers, check the transfer
log.
t
If you are digitizing tapes that have been downconverted
from 1080p/24, check what pulldown frame was set for
00:00:00:00 on the deck that performed the conversion.
t
If you still cannot determine the pulldown phase, see
“Determining the Pulldown Phase” on page 115.
2. Double-click Film in the Settings scroll list of the Project window.
3. Select the option Set Pulldown Phase of Timecode 00:00:00:00 and
then choose the correct pulldown phase (A, B, X, C, D) from the
pop-up menu.
4. Click OK.
You can log clips directly into a bin by using the Digitize tool in one of
two ways described in this section:
For complete
information on working
with bin headings and
clip information, see the
•
Log directly into a bin with an Avid-controlled deck for
semiautomated data entry.
•
Log manually during or after viewing of footage offline with a
non-Avid-controlled deck or other source.
100
Tips for Logging Preroll, Logging Timecode, and Naming
Tapes
Observe the following important guidelines for preroll, timecode
formats, and naming of tapes when logging prior to digitizing.
Logging Preroll
Be sure to leave adequate preroll with continuous timecode prior to IN
points when logging your tapes. The recommended minimum preroll
is 2 seconds for Betacam playback, 5 seconds for 3/4-inch U-matic
playback, and 6 seconds for DV playback.
n
You set the default preroll for tape playback by using Deck Settings. For more
information, see Table 4-4 on page 150.
Logging Timecode
Within an NTSC project, check the timecode format of each tape
(drop-frame versus non-drop-frame timecode) when you are logging
without a tape in the deck. Log drop-frame timecode by using
semicolons (;) between the hours, minutes, seconds, and frames. Log
non-drop-frame timecode with colons (:).
n
To change the logged timecode format, choose Modify from the Clip menu.
For information, see “Modifying Clip Information Before Digitizing” on
page 121.
Naming Tapes
When entering tape names in the Digitize tool, consider the following:
Logging
•
Tape names must be alphanumeric characters (A to Z, 0 to 9). They
can include uppercase and lowercase characters. The maximum
length of a name is 32 characters.
•
It is possible to have a single tape listed as several different tapes if
you alter the case of the letters. For example, if you type a single
101
name as TAPE, Tape, and tape on three different occasions, all three
names will appear. This can cause significant problems in keeping
track of clips when batch digitizing, redigitizing, and generating
an EDL. Choose a case convention and maintain it throughout a
project.
n
If you want your Avid system to consider master clips as coming from the
exact same tape, you should try to choose that tape name from the Select Tape
dialog box. If you do not see the tape you are looking for, but know you have
online media from that tape, you should click the Scan for Tapes button. For
more information, see “Logging with an Avid-Controlled Deck” on page 103.
•
It is important that you devise a naming scheme for your tapes.
For example, tapes with similar names can be easily sorted and
viewed together in a bin. However, it can be difficult to
distinguish among numerous tapes with similar names when
trying to locate a specific tape quickly. Name tapes based upon the
amount and complexity of your source material.
•
If you are planning to generate an edit decision list (EDL) for
import into an edit controller for online editing, double-check the
controller’s specifications beforehand. Some edit controllers will
truncate source tape names to as few as six characters, while
others will eliminate characters and truncate to three numbers.
Alterations like these at the EDL stage might cause the system to
identify different source tapes with similar names in the same way,
causing you to lose track of source material.
Naming a New Tape from the Keyboard
You can name a new tape without taking your hands off the keyboard.
To create a new tape name by using a keystroke in Digitize mode:
1. Choose Digitize from the Tools menu.
The Digitize Tool window opens.
2. Put a tape in the deck or click the Source Tape Display button.
The Select Tape dialog box appears.
102
3. Press Ctrl+N (Windows) or Command+N (Macintosh).
A new tape name text box appears.
4. Type the new tape name.
5. Press Enter (Windows) or Return (Macintosh) to register the tape
name.
6. Press Enter (Windows) or Return (Macintosh) or click OK to close
the Select Tape dialog box.
Logging
103
Logging with an Avid-Controlled Deck
connecting a
compatible deck to your
system, see the setup
guide for your Avid
system.
When you log with a compatible tape deck controlled from within
your Avid system, you can automate part of the logging process by
using buttons to enter frame-accurate timecode information from the
deck. This method is more accurate than manual entry because
timecodes are transferred directly from tape to the bin.
To log clips directly into a bin from an Avid-controlled deck:
1. Make sure the deck is properly connected and turned on.
2. Open the bin where you want to store the clips.
The Digitize tool opens. Playback from the deck is displayed in the
Client monitor.
Digitize/Log Mode button
Mark IN button
Channel Selection buttons
Clip Name text box
Clip Comment text box
Timecode
display
Deck controls
Deck Selection pop-up menu
Source Tape Display button
104
n
If you forget to connect and turn on the power to the deck before opening the
Digitize tool, you can reinitialize deck control after turning it on by choosing
Check Decks from the Deck Selection pop-up menu.
4. If the Digitize tool is not currently in Log mode, click the
Digitize/Log Mode button until the LOG icon appears.
5. Select a deck from the Deck Selection pop-up menu.
For more information, see “Selecting a Deck in the Digitize Tool”
on page 158.
6. Insert your tape into the deck.
You can select the option “Show other project’s tapes” to display
the tape names and associated project names for all bins that have
been opened in the current session.
n
Because the media file database does not open when you start your Avid
system, tape names of all online media files do not appear automatically.
If the tape name you are searching for does not appear in the Select Tape
dialog box, click the Scan for Tapes button. Tape and project names are listed.
Logging
105
New tape name
List of tapes
Show Tapes option
For guidelines when
naming tapes, see
“Naming Tapes” on
page 100.
7. Provide the system with a tape name in one of the following ways:
t
Select the name of the tape from the list in the Select Tape
dialog box and click OK.
t
Click New if the tape is not in the list. A new tape name line
appears in the dialog box. Type the new name and click OK.
The tape name is displayed in the Digitize tool.
A message that the system is waiting for you to mark an IN point
is displayed in the message bar.
8. Set either an IN point or an OUT point for the clip you want to log
using one of the following methods:
Mark IN
t
If you want to keep the deck running while you log: Start the
deck. At the point where you want to start the clip, click a
Mark IN button (you can use either the Mark IN button in the
upper left of the Digitize tool or the Mark IN button in the
lower right) or press the F4 key. The deck continues to play.
106
n
Mark IN
If you want to pause the deck while you enter a clip name and comments, see
“Pausing the Deck While Logging” on page 107.
t
If you want to cue your source tape to the start or end point:
Use the deck controls in the Digitize tool to cue your source
tape to the start or end point. Click a Mark IN button or the
Mark OUT button in the lower right of the Digitize tool.
t
If you want to log using timecode: If the footage starts at a
known IN point or ends at a known OUT point, type the
timecode in the text box next to the Mark IN or the Mark OUT
button. Then enter the mark by pressing the Go To IN or the
Go To OUT button, which scans the tape forward to the mark,
or by pressing Enter (Windows) or Return (Macintosh).
Mark OUT
Go to IN
Go to OUT
Mark OUT
and Log
Mark IN
and Log
c
After you set the mark, the Mark IN button changes to the Mark
OUT and Log button or the Mark IN and Log button, depending
on the first mark that you set.
For NTSC film-to-tape transfer or footage downconverted from
1080p/24, you must log the correct pulldown phase. See “Setting the
Pulldown Phase” on page 97 and “Entering Pulldown Information”
on page 113.
9. (Option) Enter a clip name and comment in the corresponding text
boxes in the Digitize tool.
10. To finish logging the clip, do one of the following:
Logging
t
If the deck is running: Click the Mark OUT and Log button or
press F4. The clip is logged into the bin and the deck continues
to play.
t
If you want to cue the remaining start or end point: Use the
deck controls to locate the start or end point. Set the remaining
IN or OUT point either by clicking the Mark OUT and Log
button or the Mark IN and Log button. The clip is logged into
the bin.
107
t
Log Clip
If you want to log using timecode: Type a timecode for the
clip’s IN point, OUT point, or duration in the timecode text
boxes next to the corresponding icon. Then enter the mark by
pressing the Go To IN or the Go To OUT button, which scans
the tape forward to the mark, or by pressing Enter (Windows)
or Return (Macintosh). To log the clip into the bin, click the
Log Clip button in the upper left of the Digitize tool.
The clip name, which is automatically named and numbered by
the system, is highlighted in the bin and ready to be renamed.
11. (Option) Rename the clip by typing a new name in the highlighted
area.
n
Consider changing the clip name immediately, because it is easy to forget the
contents of each clip if you are logging many clips. You can, if necessary,
accept the clip name and proceed with the logging process and change the clip
names in the bin at a later time.
12. Repeat these steps until you have logged all your clips.
n
While viewing the footage, you can continuously update your marks
on-the-fly by clicking the Mark IN button or the Mark OUT button
repeatedly before entering the second mark.
Pausing the Deck While Logging
If the deck is playing while you log clips, you can direct the Avid
system to automatically pause the deck after you set an IN point and
an OUT point. While the deck is paused, you can enter the name and
comment for the clip you want to log.
To pause the deck while logging:
1. In the General tab of the Digitize Settings dialog box, select the
Pause Deck While Logging option.
2. Set up your deck and the Digitize tool as described in “Logging
with an Avid-Controlled Deck” on page 103.
108
3. When you reach the point where you want to start the clip, click
the Mark IN button in the upper left of the Digitize tool or press
the F4 key. The Mark IN button changes to the Mark OUT button
and the deck continues to play.
Mark IN
Mark OUT
4. When you reach the point where you want to end the clip, click
the Mark OUT button in the upper left of the Digitize tool or press
F4 again. The Mark OUT button changes to the Log Clip button,
and the deck pauses.
5. Enter a clip name and comment in the corresponding text boxes in
the Digitize tool.
6. Click the Log Clip button or press F4.
Log Clip
The system logs the clip in a bin, and the deck starts playing again.
Using a Memory Mark
To use a memory mark for a particular location on a tape:
t
Click the Mark Memory button in the Digitize tool to mark the
location.
t
Click the Go to Memory button to move through the tape to the
marked location.
t
Click the Clear Memory button to clear the memory mark.
You can add one mark per tape. The memory mark is not stored on the
tape. When you remove the tape from the deck and insert another tape
into the deck, the mark is cleared.
Mark Memory button
Logging
Clear Memory button
Go to Memory button
109
Logging with Non-Avid-Controlled Decks
You can use the Digitize tool to log clips directly into a bin from a
source that is not controlled by your Avid system. For example, you
can log clips from a deck that is not connected to the system, or from
handwritten or printed log information for a tape that was previously
logged but is not currently available.
To log clips directly into a bin from a non-Avid-controlled deck:
1. If there is a deck connected to the system, eject the tape from the
deck.
n
For NTSC projects, when you are logging within the Digitize tool, you
should leave the deck empty. If a tape remains in the deck, the system will
determine drop-frame or non-drop-frame from that tape whether or not it
matches your tape’s timecode format.
2. Double-click Deck Preferences in the Settings scroll list of the
Project window to open the Deck Preferences dialog box.
3. For NTSC projects, choose Non-Drop-Frame or Drop-Frame from
the “When no tape in deck log as” pop-up menu.
4. Click OK to close the dialog box.
5. Open the bin where you want to store the clips.
7. Click the Digitize/Log Mode button in the Digitize tool until the
LOG icon appears.
110
Mark IN button
Channel
Selection buttons
Message
bar
Clip Name text box
Clip Comment
text box
Timecode
display
Clear IN
button
Clear OUT
button
Deck controls
Deck Selection
pop-up menu
Clear
Memory
button
Source Tape Display button
Mark OUT button
Mark IN button
Mark Memory button
Go to Memory button
8. Click the Source Tape Display button.
A dialog box appears.
9. Click Yes to open the Select Tape dialog box.
10. Double-click the name of the tape in the dialog box, or click New
and enter the name of the tape.
11. Click OK.
12. Select the tracks that you want to log, using the Channel Selection
buttons in the Digitize tool.
13. Type the start timecode in the Mark IN text box.
14. (Option) Enter a clip name and comment in the corresponding text
boxes.
Logging
111
15. Type the end timecode in the Mark OUT text box.
c
For NTSC film-to-tape transfer or footage downconverted from
1080p/24, you must log the correct pulldown phase. See “Setting the
Pulldown Phase” on page 97 “Entering Pulldown Information” on
page 113.
16. Click the Log Clip button.
Log Clip
The clip is logged into the bin. The clip name, which is
automatically named and numbered by the system, is highlighted
in the bin and ready to be renamed.
17. (Option) Rename the clip by typing a new name in the highlighted
area.
n
Consider changing the clip name immediately, because it is easy to forget the
contents of each clip if you are logging many clips. You can, if necessary,
accept the clip name and proceed with the logging process and change the clip
names in the bin at a later time.
18. Repeat these steps until you have logged all your clips.
Once you have entered or imported the basic log information into a
bin, you might want to add film-related log information before
digitizing. This section describes procedures and formats for adding
various film headings.
The following are some important requirements for film-based
projects:
•
The minimum information required for digitizing is the data
recorded in the Start and End video timecode columns, and the
pulldown phase for NTSC transfers, which is noted in the Pullin
column (24-fps capture only).
112
For information on digitizing long clips to multiple files, see “General
Settings” on page 140.
•
Each reel of film can be logged as a separate clip, and will
correspond to a single master clip, only if the video transfer of the
film reel has continuous pulldown (NTSC format), and continuous
timecode (NTSC and PAL). If the film reels for your project do not
meet this condition, then you must log each take on a reel of film as
a separate clip, which will correspond to a single master clip.
If you log each reel as a separate clip, you can use the F1 and F2
keys to create subclips for each take. See “Creating Subclips
On-the-Fly” on page 215.
•
If you want to produce a cut list, or use film-tape-film-tape for
redigitizing, you must log key numbers. You can add key numbers
after digitizing, before you create the cut list.
•
All film and video reference numbers must be in ascending order.
Displaying Film Columns
To display film columns in the bin:
1. Choose Film from the Bin View pop-up menu, which is located at
the bottom of the Bin window, to display all the required film
column headings.
2. To log data under optional headings (for example, Ink Number,
Auxiliary TC1-Auxiliary TC5, or Film TC), choose Headings from
the Bin menu and Ctrl+click (Windows) or click (Macintosh) the
Logging
113
specific headings you want to add from the Bin Column Selection
dialog box.
3. You can also track custom information for the job by creating a
custom heading. To create a new heading, type a name that
describes the information in the headings bar at the top of the bin.
For more information on customizing bin views, see the editing
guide or Help for your Avid system.
Entering Pulldown Information
importing a log file, see
“Importing Shot Log
Files” on page 94.
To accurately digitize NTSC transfer tapes in 24p projects, you need to
enter pulldown information into the bin. (This information is not
required for PAL transfer tapes.) Setting the correct pulldown phase
114
prevents inaccuracies in cut lists and matchback EDLs. If you are
importing a log generated during the telecine transfer, the pulldown
information is automatically included in the bin.
Start timecode
Pullin column
(information required for NTSC)
If you do not have a transfer log, or if the transfer log is incorrect, you
need to add the information manually. If you log clips by using the
Digitize tool, the Avid system uses the A frame as the default
pulldown phase. You might need to edit this value.
n
For 24p projects, you can set a default pulldown phase in the Film Settings
dialog box. See “Setting the Pulldown Phase” on page 97 (24p projects only).
n
For matchback projects, you need to log key number information before you
can log pulldown information.
By specifying the pulldown phase in the Pullin column, you
accomplish the following:
Logging
•
You ensure that the clips will start with the correct frame for the
pulldown. Otherwise, you might experience inaccuracies in
key-number tracking and in the cut lists.
•
You indicate where the pulldown fields are located so that the
Avid system can accurately eliminate the pulldown fields during
the digitizing process, leaving you with a frame-to-frame
115
correspondence between your digital media and the original
24-fps footage (24p projects only).
To do this, you must indicate whether the sync point at the start of
each film clip transferred to tape is an A, B, C, or D frame, as described
in this section. In most cases, the sync point is the A frame.
Determining the Pulldown Phase
It is easiest to determine the pulldown of a sync point (or pulldown
phase) if you ask your film lab to keypunch (cut a small hole in) the
sync frame at the zero frame in the original film footage before
transferring the film to video. Many film labs or transfer houses can
also provide a pulldown frame indicator displayed at the far right of
the burn-in key numbers, depending on the equipment available.
Ideally, the A-frame pulldown coincides with timecode ending in 0
and 5 (:00, :05, :10, and so on).
For instructions on
determining the
pulldown phase for
material already
digitized, see
“Modifying the
Pulldown Phase After
If the footage has not been keypunched, you can determine pulldown
according to clapsticks or any other distinctive frame at the beginning
of the clip. Determining the pulldown is easier if the frames depict
motion.
To determine the pulldown phase:
1. While viewing the video transfer on a monitor, go to the
keypunched (or clapsticks) sync point for the beginning frame of
the clip you’re logging.
2. Step (jog) past the sync point frame field-by-field, using the step
wheel on the tape deck. You will see either two or three
keypunched fields. If the footage is not keypunched, look for two
or three fields with little or no motion.
3. If there are two fields, the pulldown is either A or C. Step through
the fields again, and note where the timecode changes:
-
If the timecode does not change from the first to the second
field, the fields came from an A frame.
116
-
If the timecode changes from the first to the second field, the
fields came from a C frame.
The following illustration shows a keypunch on the A frame.
Notice where the timecode changes.
Four film frames
A
B
C
D
A1
odd
A2
even
B1
odd
B2
even
B3
odd
C1
even
C2
odd
D1
even
D2
odd
D3
even
A
Timecode change
B
Timecode change
X
Timecode change
C
Timecode change
D
4. If there are three keypunched fields, or fields without motion, the
pulldown is either B or D. Step through the fields again and note
where the timecode changes:
-
If the timecode changes between fields 2 and 3, the fields came
from a B frame.
-
If the timecode changes between fields 1 and 2, the fields came
from a D frame.
5. Enter or edit the information in the Pullin column in the
appropriate bin, as described in the next section.
Modifying the Pulldown Phase Before Digitizing
After you determine the correct pulldown phase (as described in the
previous section) you can modify the pulldown phase before
digitizing in one of the following ways.
Logging
117
To modify the pulldown phase directly in the Pullin column:
1. Click the Text tab to display all bin information.
2. Click the cell that you want to modify.
3. Click the cell again. The pointer changes to an I-beam.
4. Type the pulldown phase and press Enter (Windows) or Return
(Macintosh).
To modify the pulldown phase for multiple clips:
1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you
want to modify.
2. Choose Modify from the Clip menu.
3. Choose Pull-in from the Modify Options pop-up menu.
4. Select A, B, C, or D.
5. Click OK.
The pullin for all selected clips is changed, based on the pulldown
phase that you selected.
To modify the pulldown phase for multiple clips that have the same
pulldown-to-timecode relationship:
1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you
want to modify.
2. Choose Modify Pulldown Phase from the Clip menu.
The Modify Pulldown Phase dialog box appears.
118
3. Choose the correct pulldown phase for timecodes ending in 0 or 5
from the pop-up menu.
4. Click OK.
The pulldown phase for each selected clip is changed, based on
the pulldown phase you selected for 00:00:00:00.
The Pulldown Phase setting also appears in the Film Settings
dialog box (24p projects only). You can override that setting with
the Modify Pulldown Phase dialog box. The selection in the Film
Settings dialog box remains the same. For more information, see
“Setting the Pulldown Phase” on page 97.
n
n
If you want to modify the pulldown phase after digitizing, you must first
unlink the clips. See “Modifying the Pulldown Phase After Digitizing” on
page 253.
After you digitize an NTSC transfer, the timecode shows a loss of every fifth
frame of video. For example, don’t be alarmed if you find that your timecode
jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame,
just an extra pulldown field.
Entering Frames-per-Second Rates for PAL Transfers
When you log in advance for PAL film-to-tape transfers, you must log
the footage as clips that have a 25-fps play rate, as listed in the FPS
column of the bin. If you want, you can digitize the footage on-the-fly,
without logging the clips first. The minimum information required to
capture the footage is the data logged in the Start and End video
timecode columns.
Logging
119
Entering Key Numbers
To add key numbers:
t
Highlight the KN Start column, then type the key number for the
sync point at the start of the clip by using one of the following
formats:
-
Keykode™ Format: Type a two-character manufacturer and
film type code, a six-digit prefix for identifying the film roll, a
four-digit footage count, a two-digit frame offset, and then
press Enter (Windows) or Return (Macintosh).
The Avid system adds a space, hyphen, and either a plus sign
(for 35mm projects) or an ampersand (for 16mm projects) to
format the number. For example, in a 35mm project, to enter
KJ 23 6892-1234+15, type KJ236892123415. In a 16mm project,
typing the same number results in the code KJ 23
6892-1234&15.
-
Other Formats: Enter other key-number formats in the Ink
Number column. Type up to eight characters for the prefix, up
to five characters for the footage count, two digits as the frame
count, and then press Enter (Windows) or Return (Macintosh).
The Avid system automatically calculates the ending key number
(KN End), based on the timecode duration.
c
Make sure the correct number appears when you press Enter
(Windows) or Return (Macintosh). For key number formats other
than Keykode, you might need to type the space, hyphen (-), and
plus sign (+) or ampersand (&) to format the number correctly.
120
Entering Additional Timecodes (Option)
Consider the following when you enter additional timecodes:
•
n
Logging
In one of the Aux TC columns (that is, Aux TC1 through Aux
TC5), type an auxiliary timecode that syncs with the video
timecode logged in the Start column. You can enter up to five
auxiliary timecodes. Supported timecodes depend on your project:
30-fps for NTSC (drop-frame or non-drop-frame) and 25-fps for
PAL. Use one of the following formats:
-
Enter a two-digit format for hours, minutes, seconds, and
frames. You need not enter a leading zero. (For example, to
enter 01:23:02:00, type 1230200.)
-
When working with drop-frame timecode in the NTSC format
(not applicable to PAL), enter a semicolon to indicate
drop-frame timecode (for example, to enter 01;23;02;00, type
01;230200).
•
In the Sound TC column, enter the Nagra or DAT timecode for the
original audio for the start of the clip. The timecode should sync
with the video timecode logged in the Start column in the bin.
Enter the source sound-roll identifier in the Soundroll column.
Supported timecodes depend on your project: 30-fps for NTSC
(drop-frame or non-drop-frame) and 25-fps for PAL. The clip to be
digitized must contain an audio track.
•
In the Film TC column, enter timecode generated by a film camera
(using Aaton or Arriflex timecode) for tracking the picture at the
start of the clip. The film timecode should sync with the video
timecode logged in the Start column. Only 24-fps timecode is
supported. The clip to be digitized must contain a video track.
•
In the TC24 column, enter timecode for original HDTV sources
(1080p/24) or audio DATs created for PAL feature film
productions that use in-camera timecode.
You can use the Duplicate command to convert timecodes from one format to
another. For more information, see the editing guide or Help for your Avid
system.
121
Entering the Ink Number (Option)
To enter ink numbers:
1. Open the Film Settings dialog box by clicking Film in the Settings
scroll list of the Project window.
2. Make sure the correct options are selected for ink number format
and ink number display, and click OK.
n
You can log different ink number formats in the same project as long as you
change the ink number setting to the appropriate format before you log each
type. Changing the ink number setting affects only the next ink numbers you
log, not numbers that are already logged.
3. Return to the bin and enter numbers under the Ink Number
heading.
For example, use Keykode format or use a two-digit prefix to
identify the roll, a hyphen, a four- or five-digit footage count, a
plus sign, and a two-digit frame count (for example,
AA-00924+00).
Entering Additional Film Data
You can continue to log additional film data into the Labroll, Camroll,
Soundroll, Scene, and Take columns, or into your own custom
columns, as necessary. You can include the information in these
columns on the cut lists you create for your edited sequence.
You can change or modify the information logged in the bin. This is
especially useful if you find that some of the data is incorrect, or if you
need to update the information based on technical needs, such as
varying timecode formats or film specifications.
122
There are two ways to modify clip information before digitizing:
•
You can modify the information directly by clicking in a column
and by entering the new information one field at a time.
•
You can use the Modify command to change selected groups of
clips all at once.
For more information, see “Modifying Clip Information” in the editing
For information on modifying the pulldown phase, see “Entering
Pulldown Information” on page 113.
c
Modifying tape names and timecodes will affect any key numbers
entered for the selected clips.
You can export a shot log file from the Avid system in one of two
formats for making adjustments in a text processor or for importing
into another system.
To export a shot log based on clip information in a bin:
1. Open the bin containing the clips you want to export. If necessary,
click the Text tab to display all clip information.
2. Click a Clip icon to select it. Ctrl+click (Windows) or Shift+click
(Macintosh) each additional clip you want to export.
3. Choose Export from the File menu.
The Export As dialog box (Windows) or Destination dialog box
(Macintosh) appears with a default file name in the File name text
box (Windows) or Export As text box (Macintosh), based on the
file type.
Logging
123
4. Choose the Export setting by doing one of the following:
t
If you have previously created an Export setting for exporting
shot log files, choose the setting from the Export pop-up
menu. Then, go to step 9.
For information on creating Export settings, see “Customizing
Export Settings” on page 390.
t
If you want to review or edit Export settings, go to step 5.
5. Click Options.
The Export Settings dialog box appears.
6. Select either Avid Log Exchange or Tab Delimited as the file type.
7. To modify an existing setting, choose Save.
8. To save the setting with a new name, choose Save As and enter a
name in the dialog box that appears.
The Export Setting name is added to the list of formats available
from the Export dialog box.
9. Click Save to close the Export As dialog box (Windows) or the
Destination dialog box (Macintosh).
10. (Option) Change the file name. In most cases, keep the default file
name extension.
11. Select the destination folder for the file and click Save.
The file is exported and appears at the chosen destination.
124
Logging
CHAPTER 4
Digitizing is the process of creating digital media from videotape or
audio input. Before you begin this process — described in Chapter 5
— you need to complete the following preparations:
•
Preparing the Hardware for Digitizing
•
Selecting Settings
•
Configuring Decks
•
Setting Deck Preferences
•
Understanding Drop-Frame Timecode and Non-Drop-Frame
Timecode
•
Entering Capture Mode
•
Setting Up the Digitize Tool
•
Preparing for Audio Input
•
Preparing for Video Input
This chapter also provides a check list for preparing to digitize.
126
Preparing the Hardware for Digitizing
Your source material can originate from a videotape, a digital
audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or
straight off-the-air, with the proper hardware configuration.
n
n
For information on connecting your equipment, see the setup guide for your
Avid system.
Whenever you connect a new DV device (camera or deck), the Avid system
automatically links the device to the custom OHCI driver. For more
information on linking a DV device, see the release notes for your Avid
system (DV Option only).
You should check the following items before digitizing:
on the 16:9 format
option, see the editing
guide or Help for your
Avid system.
•
Client monitor: Before you begin digitizing and editing, set up
your NTSC or PAL Client monitor by using a color bar generator
(or house pattern) and lock in those settings, if you have not done
so already.
•
16:9 format: You can edit with video in the 16:9 aspect ratio for
display of wide-screen images used in the high-definition
television (HDTV) format. To view the footage on a Client
monitor, you must have a 16:9-compatible Client monitor.
•
Remote switch: The deck control switch on the front of the source
deck must be set to remote rather than local to control the deck
with the Digitize tool.
•
Striped drives: If your footage contains complex images that you
digitize at high resolution, you must use striped drives. See
“Getting Information About Striped Drives” on page 127.
•
DAT (digital audiotape): To digitize music or audio from a DAT
machine, check the setup guide for your Avid system to determine
whether your model requires VLXi® for deck control. Also, when
digitizing from DAT, you must choose the proper sync setting. For
more information, see “Preparing for Audio Input” on page 171.
127
Getting Information About Striped Drives
Avid maintains a set of tables on the Web containing information
about striping drives.
To get information about striped drives:
1. Go to www.avid.com and access the Customer Support
Knowledge Center.
For more information, see the release notes supplied with your
Avid system.
2. Click the Documentation tab.
3. Click the Drive Striping Tables link.
Selecting Settings
locating and modifying
settings, see the editing
Avid system.
Several settings dialog boxes have a direct bearing on the digitizing
process. Before digitizing, review the options in the following sections.
Selecting Settings
128
Media Creation Settings
The Media Creation dialog box allows you to set the video resolution
and to select drives for digitizing, creating titles and motion effects,
importing, and performing audio and video mixdowns. You also set
drive filtering in the Media Creation dialog box.
n
c
You can also choose a video resolution and select drives directly in the
Digitize tool, the Save Title dialog box, the Select Files to Import dialog box,
the Audio Mixdown dialog box, and the Video Mixdown dialog box. The
Media Creation settings change to the resolution and drives you have chosen.
If you are using Avid Unity LANshare or Avid Unity PortServer Pro,
make sure to specify a supported resolution. For information on
supported resolutions, see the LANshare or PortServer Pro
documentation.
Setting Drive Filtering
To set drive filtering:
You can also open the
Media Creation dialog
box by choosing Media
Creation from the Tools
menu.
1. Double-click Media Creation in the Settings scroll list of the Project
window.
The Media Creation dialog box appears.
129
2. If necessary, click the Drive Filtering tab.
3. Select an option, as described in Table 4-1:
Table 4-1
Drive Filtering Options
Option
Description
Filter Based on
Resolution
Prevents the Avid system from digitizing media to
drives that do not have sufficient speed to play the
media. Drives affected by this option are unavailable
when you try to access them with the Digitize tool.
n
Drive filtering does not verify the drive speed when
you select a drive while rendering effects. Use care
when you select your target drive for rendering to be
sure it is fast enough to play the media.
Filter Out System
Volume
Removes as a storage choice the drive on which the
operating system resides. This drive does not appear in
drive selection menus except for the Import, Export,
and Relink dialog boxes.
Filter Out Launch
Volume
Removes as a storage choice the drive on which your
Avid application resides.This drive does not appear in
drive selection menus except for the Import, Export,
and Relink dialog boxes.
Selecting Settings
130
4. Click OK to save your settings.
c
The Avid system will not prevent you from using non-Avid drives,
but their reliability cannot be assured.
Choosing a Video Resolution and Drives
To choose a video resolution and drives in the Media Creation
dialog box:
You can also open the
box by choosing Media
Creation from the Tools
menu.
1. Double-click Media Creation in the Settings scroll list of the Project
window.
The Media Creation dialog box appears.
2. Click the tab for the area in which you want to set options.
3. Choose a video resolution from the Video Resolution pop-up
menu.
The Video Resolution pop-up menu contains a list of the available
compression ratios. The list of resolutions depends on the model
of your Avid system and the type of project.
n
The default resolution for video projects is the highest two-field, compressed
resolution. The default for film projects (24p and 25p projects) is 14:1.
131
n
Clicking Apply to All sets your chosen video resolution for all four tabs. Your
settings are not saved until you click OK.
4. Choose a video drive and an audio drive. To choose the same
drive for both audio and video, click the Single/Dual Drives
button. If you are working with the Digitize tab, you can select a
drive group.
n
n
Because there is no audio associated with titles or motion effects, you can only
choose a video drive in the Titles or the Motion Effects tab of the Media
Creation dialog box.
Clicking Apply to All sets your chosen video and audio drives for all five
media tabs. Your settings are not saved until you click OK.
5. Click OK to save your settings.
Digitize Settings Dialog Box
The Digitize Settings dialog box includes four tabbed sections:
General, Batch, Edit, and Media Files. A fifth section, labeled Telecine,
appears if you are using Film Composer with the Telecine option. The
following sections describe options in the General and Media Files
tabbed sections. For information on the Batch options, see “Digitize
Settings: Batch Tab” on page 237. For information on the Edit options,
see “Digitizing to the Timeline” on page 232. For information on
Telecine options, see “Setting the Default Tape Timecode Format” on
page 263.
Selecting Settings
132
Digitize Settings: General Tab
Table 4-2 describes the options in the General tab of the Digitize
Settings dialog box.
Table 4-2
Digitize Settings: General Tab
Option
Description
Stop deck after digitize
Select this option to stop the deck when the digitize operation is
complete.
Pause deck after digitize
Select this option to pause the deck when the digitize operation is
complete.
Preroll Method
Choose one of four methods from the pop-up menu. For more
information, see “Selecting the Preroll Method” on page 134.
133
Table 4-2
Digitize Settings: General Tab (Continued)
Option
Description
Force unique clip name
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 choose, is not already used by any other object in the
bin.
Activate bin window after
digitize
Select this option if you want the Avid system to change the focus from
the Digitize Tool window to a bin window after digitizing is complete.
This allows you to immediately start working in the bin.
Space bar stops digitize
Select this option if you want to use the space bar to create clip names
during the digitizing process. When you press the space bar during a
digitize operation, the system stops digitizing, creates a clip from the
digitized material, and places the clip in the active bin.
Digitize across timecode
breaks
When this option is selected, the system begins digitizing a new master
clip at each timecode break. Select this option when you are performing
unattended batch digitizing or autodigitizing. Deselect this option if
you plan to digitize the entire tape as a single clip by digitizing to
multiple media files. For more information, see “Digitizing Across
Timecode Breaks” on page 136.
Latency for external
timecode mode n frames
Use this setting to compensate for problems that could occur when
digitizing with external timecode, as described in “Digitizing with
External Timecode” on page 230.
If you notice that your digitized media consistently starts on the wrong
frame (usually one or two frames off), use this option to ensure that
digitizing starts on the correct frame. The option is deselected by
default.
Capture a single video
frame only
When this option is selected, the system digitizes a single frame, video
only, from your clip. When you click the Record button, the system
captures the currently displayed frame. The clip can be used as a freeze
frame; or, for animators, single-frame clips can be used as keyframes
before “in-betweening.”
Selecting Settings
134
Table 4-2
Digitize Settings: General Tab (Continued)
Option
Description
Ask before discarding
a canceled clip
When this option is selected, the system queries whether you want to
keep or discard the incomplete clip after you click the Trash icon.
If you do not select this option, the system discards canceled clips
without querying.
Ask for name when a new
tape is seen
This option is selected by default. If the option is deselected, the system
will not prompt you for a tape name when you insert a tape into the
deck. This can be useful when you are in a hurry to digitize and know
that you are inserting the correct tape. However, in most cases, you
should leave the option selected to ensure that you are creating a project
that can easily be redigitized at a later date. Proper tape naming is
critical to Total Conform because it simplifies the batch digitizing
process that might be performed by another editor.
Display incoming
video in the client monitor
When this option is selected, incoming video is displayed in the Client
monitor as soon as you open the Digitize tool.
If you do not select this option, you must click the V track in the Digitize
tool to display incoming video in the Client monitor.
Pause Deck While Logging
When this option is selected, the deck pauses after you set an OUT
point. This option allows you time to type the name of the clip. For
more information, see “Pausing the Deck While Logging” on page 107.
When this option is deselected, the deck continues playing after you set
an OUT point.
Selecting the Preroll Method
The Preroll Method pop-up menu in the General tab of the Digitize
Settings dialog box includes the following four methods that help you
digitize more efficiently when a source tape contains timecode breaks:
•
Best Available: The Avid system first checks the tape for timecode
to use for preroll.
-
If there is no timecode, or not enough timecode, the system
uses the control track for preroll.
135
-
If there is not enough control track for preroll, the system
adjusts the specified preroll time to accommodate the amount
of valid control track available.
After the system adjusts the preroll to the individual shot, it
will return to using the user-specified preroll time until it
needs to adjust the time again.
-
If the adjusted preroll time is too short to sync lock at the IN
point, the system does not digitize the shot and displays an
error message.
Use this method to digitize material as automatically as possible.
As the system makes multiple attempts to preroll, this method
might be slower at times but will almost always perform the
preroll without interruption.
•
Standard Timecode: The Avid system uses timecode to determine
the preroll point.
If there is a not enough consecutive timecode (for example, if there
is a break in the timecode), the system does not digitize the shot
and displays an error message.
Use this method if you know the timecode is consecutive or if you
want to determine if there are timecode breaks.
•
Best Available Control Track: The Avid system uses the control
track to determine the preroll point.
-
If there is not enough control track for preroll, the system
adjusts the specified preroll time to accommodate the amount
of valid control track available.
After the system adjusts the preroll to the individual shot, it
will return to using the user-specified preroll time until it
needs to adjust the time again.
-
If the adjusted preroll time is too short to sync lock at the IN
point, the system does not digitize the shot and displays an
error message.
Use this method if you know there are timecode breaks and want
to digitize material as automatically as possible. Because the
Selecting Settings
136
system does not use timecode, it might occasionally digitize the
wrong frames if there is a problem with the control track.
•
Standard Control Track: The Avid system uses the control track to
determine the preroll point.
If there is a break in the control track, the system stops digitizing
and displays an error message.
Use this method if you know the control track is continuous or if
you want to determine if there are breaks in the control track.
To set the preroll method:
1. Double-click Digitize in the Settings scroll list of the Project
window.
The Digitize Settings dialog box appears.
2. Click the General tab.
3. Choose a method from the Preroll Method pop-up menu.
4. Click OK to close the dialog box and apply the options.
Digitizing Across Timecode Breaks
If the tape you are digitizing contains breaks in the timecode, there are
two settings in the General tab of the Digitize Settings dialog box that
you can use to digitize across the timecode breaks:
•
Preroll Method
By default, the Avid system uses the Best Available preroll method
(see “Selecting the Preroll Method” on page 134). If you know that
the timecode contains breaks, you can choose Best Available
Control Track.
•
Digitize across timecode breaks
When you select this option, the system begins digitizing a new
master clip at each timecode break. Select this option when you
are performing unattended batch digitizing or autodigitizing.
137
Deselect this option if you plan to digitize the entire tape as a
single clip by digitizing to multiple media files.
To select settings for digitizing across timecode breaks:
window.
2. Click the General tab.
3. Select the preroll method (see “Selecting the Preroll Method” on
page 134).
4. Select the option “Digitize across timecode breaks.”
Digitize Settings: Media Files Tab
Table 4-3 describes the options in the Media Files tab of the Digitize
Selecting Settings
138
Table 4-3
Option
Digitize Settings: Media Files Tab
Description
Digitize to a single file, 2 GB When this option is selected, digitizing stops when the digitized media
limit
occupies 2 gigabytes (GB) of storage space on the media drive.
Digitize to multiple files.
Maximum (default)
digitizing time: n minutes
When this option is selected, the system writes digitized video to
multiple files across multiple drive partitions. Select this option if clips
might exceed the 2-GB file size limit. For complete instructions, see
“Digitizing to Multiple Media Files” on page 139.
When the “Digitize to multiple files” option is selected, the system
preallocates space on the drive partitions to accommodate the specified
number of minutes. The value in the text box acts as a limit for the
amount of preallocated space. Be careful not to underestimate. The
default is 30 minutes
139
Table 4-3
Option
Digitize Settings: Media Files Tab (Continued)
Description
During digitize, clip is
(Windows only) When this option, also known as “chunking,” is
updated in MediaManager. selected, the digitized media is sent in segments so that workgroup
Segment length:
users can begin accessing and using the media as soon as possible. For
more information, see the Avid Unity MediaManager Setup and User’s
Guide.
n
Switch to emptiest
drive when:
Do not select this option unless you are part of a workgroup
environment.
When this option is selected, the system switches to another storage
drive when the specified amount of time remains.
Digitizing to Multiple Media Files
You can digitize to multiple media files across multiple drive volumes,
with the following advantages:
•
You can create longer clips whose media files would otherwise
exceed the file-size limitation of 2 GB.
•
You can group all drive volumes with the multiple file options,
enabling the system to record continuously during digitizing of
long clips — such as satellite feeds or program airchecks. For more
information, see “Targeting a Drive Group” on page 168.
•
The system makes more efficient use of drive space, particularly
when digitizing long clips.
To select settings for digitizing to multiple media files:
window.
2. Click the Media Files tab.
3. Select “Digitize to multiple files.”
Selecting Settings
140
4. Indicate the maximum digitizing time. You can accept the default
or enter a different time limit in the text box, based on the
following explanation:
Before digitizing, the system goes through a process of preparing
the drives. This process is called preallocation. With the “Digitize to
multiple files” option selected, the length of the preallocation
process depends on the number of minutes indicated in the text
box. This option instructs the system to preallocate according to an
estimated maximum clip length. The default is 30 minutes.
c
If you think that any of your digitized clips might exceed
30 minutes, make sure you enter a higher estimate in this field;
otherwise, the system will stop digitizing at 30 minutes.
n
For media file management purposes, any clip whose media exceeds the 2-GB
limit will have more than one media file associated with it. When you view the
source Timeline for the clip loaded in the Source monitor, you will also notice
edit breaks based on the separate media files (the breaks do not appear in the
record-side Timeline).
For more information on managing media files, see the editing guide or Help
General Settings
The General Settings dialog box (accessed through the Settings scroll
list of the Project window) includes the following options that are
important for digitizing.
•
Project Type: The top portion of the dialog box displays the
project type (NTSC or PAL) and other useful information such as
the type of film used as source media.
•
NTSC Has Setup: This option applies to standard NTSC format
and is selected by default. If the source footage is in the
141
NTSC-EIAJ format standard (used primarily in Japan), deselect
NTSC Has Setup.
•
Preserve Specific VBI Lines: Only choose this option if you have
a specific need for preserving information in the Vertical Blanking
Interval of digitized frames. For more information, see
Appendix D. This setting is off by default.
For information about other settings in the General Settings dialog
box, see the editing guide or Help for your Avid system
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 digitizing. For
information about other film settings, see the editing guide or Help for
your Avid system.
Selecting Settings
142
film-to-tape transfer
methods, see Chapter 2.
•
(NTSC only) Picture Transfer Rate allows you to specify the type
of film-to-tape transfer that you digitize:
-
Without pulldown: Choose 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% of the actual speed.
-
With 2:3 pulldown: Choose 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.
If you are digitizing sound that has been created during an NTSC
film-to-tape transfer, you need to set the pulldown switch before
143
you begin digitizing. See “Setting the Pulldown Switch” on
page 162.
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).
•
(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 digitize at a different rate, you can use the Film
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% 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% 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” on page 52.
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 Settings dialog box to
change the audio transfer rate.
Selecting Settings
144
•
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 digitizing
audio only.
•
Set Pulldown-to-Timecode Relationship allows you to set a
default pulldown phase for a 24p NTSC project. See “Setting the
Pulldown Phase” on page 97.
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 scroll list of the Project
window.
Deck control settings
145
For information on setting Deck Preferences, see “Setting Deck
Preferences” on page 151.
c
You must manually configure the appropriate hardware connections
before Deck Configuration settings can take effect. For more
information, see the setup guide for your Avid system.
To configure a deck or multiple decks:
1. Double-click Deck Configuration in the Settings scroll list.
The Deck Configuration dialog box appears.
2. 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 to automatically open a
Channel dialog box.
Configuring Decks
146
n
Channel refers to the signal path for deck control, whether directly through a
serial port or through a V-LAN® VLXi system connected to a serial port.
Direct serial port connection allows one deck for each channel, while a V-LAN
VLXi system provides multiple decks.
3. Choose one of the following from the Channel Type pop-up menu,
depending upon your system configuration.
on V-LAN equipment,
contact your Avid sales
representative.
n
-
FireWire if you are controlling a DV camera or deck through a
FireWire connection (DV Option only)
-
Direct if you are controlling a deck through an RS-422
connection to the serial port.
-
VLAN VLX if you are controlling decks through a
V-LAN/VLXi connection.
Timecode is embedded in the DV signal, so it will be correct whether the DV
device is controlled by a FireWire connection or an RS-422 connection.
However, batch digitizing might be inaccurate through a FireWire
connection. If batch digitizing accuracy is critical, use RS-422 for deck
control (DV Option only).
4. Choose one of the following items from the Port pop-up menu:
n
-
OHCI if you chose FireWire for the channel (DV Option only).
-
COM1 or COM2 if you chose Direct or VLAN VLX for the
channel.
If you are not sure which port to choose, 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.
147
5. Click OK to close the Channel dialog box.
A dialog box appears 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, along with the autoconfigured deck.
n
Do not autoconfigure a DV camera or deck. Not all DV devices respond to the
Auto-configure command. Due to this limitation, Auto-configure selects only
a generic device template. When a digital camera is attached to your system,
choose the proper device from the Deck Type pop-up menu, described later in
this procedure. When a deck is attached, choose the applicable deck from the
Deck Type pop-up menu.
Decks appear on the right side.
Channel boxes
appear on the
left side.
n
You can reopen the Channel settings to change the options at any time by
double-clicking the channel box.
Configuring Decks
148
7. If you did not autoconfigure the deck, click the channel box to
select it.
8. Click Add Deck to open the Deck Settings dialog box.
n
With a deck already connected to the system, you can click the Autoconfigure
button to bypass the Deck Settings dialog box and automatically configure a
deck with the default settings.
9. Select settings based on your deck. For information on Deck
settings, see “Deck Settings Options” on page 149.
10. Click OK to close the Deck Settings dialog box and return to the
Deck Configuration dialog box.
n
You can reopen the Deck Settings dialog box to change the options at any time
by double-clicking the deck box in the Deck Configuration dialog box.
11. Repeat steps 2 to 10 for each additional channel or deck you want
to configure.
149
12. (Option) Select the “Verify configuration against actual decks”
option if you want the system to check the deck configuration
against the decks 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.
13. Type a name in the Configuration Name text box to name the deck
configuration. The new deck configuration will appear in the
Settings scroll list of the Project window.
14. Click Apply to complete the configurations and close the Deck
Configuration dialog box.
15. If necessary, double-click Deck Preferences in the Settings scroll
list of the Project window to adjust global deck control options.
For more information, see “Setting Deck Preferences” on page 151.
Deck Settings Options
To access the Deck Settings dialog box, do one of the following:
t
Click the Add Deck button in the Deck Configuration dialog box.
t
Choose Adjust Deck from the Deck Selection pop-up menu in the
deck controller section of the Digitize tool.
t
Double-click the deck name in the Deck Settings dialog box.
Configuring Decks
150
Table 4-4 describes the Deck Settings options.
Table 4-4
Option
Suboption
Deck Settings Options
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 you have selected. Not all decks include this
information.
Deck Type
Choose your manufacturer and model from the pop-up menus.
These decks have been qualified to work with your Avid
system.
Address
For V-LAN VLXi use only (see your V-LAN VLXi
documentation). If you are using direct serial port deck control,
this option is unavailable.
Preroll
Specifies how many seconds the tape rolls before the system
starts to digitize or starts a digital cut. The default is based on
the type of VTR.
Fast Cue
Speeds up long searches, if your decks can read timecode in
fast forward or rewind mode. Otherwise, this option is not
useful.
Switch to ff/rew
(seconds): n
When this option is selected, the system switches to fast
forward or rewind if the target timecode is beyond the
specified number of seconds from your current location on the
tape.
By default, the deck switches to fast forward or rewind to reach
a target timecode that is more than 60 seconds away.
If your deck shuttles very quickly, you can increase this number
so that the system uses fast cue only for long searches.
151
Table 4-4
Option
Deck Settings Options (Continued)
Suboption
Description
Switch to search
(seconds): n
When this option is selected, the system switches out of fast
forward or rewind when it is within the specified number of
seconds of the target timecode. By default, the system switches
to search mode when it is 25 seconds from the target timecode.
Deleting Deck Configuration Elements
You can delete deck configuration elements to remove or replace them.
To delete deck configuration elements in the Avid system:
1. Double-click Deck Configuration in the Settings scroll list of the
Project window.
2. Click a channel box, a deck box, or the entire configuration to
select it.
3. Click the Delete button.
4. Click Apply to complete the changes and close the dialog box.
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 scroll list of the Project window.
152
Table 4-5 describes the Deck Preferences options.
Table 4-5
Option
Deck Preferences Options
Description
When the deck contains no You choose the timecode format (Drop Frame or Non-drop Frame) for
tape, Log as:
logging clips when no tape is in the deck. When a tape is in the deck, the
system automatically uses the existing timecode format on the tape. See
“Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode”
on page 153).
Allow assemble edit for
digital cut
You can use the assemble-edit features in the Digital Cut tool along with
the assemble-editing capabilities of your record deck. Select this option to
record frame-accurate digital cuts quickly and without striping entire tapes
in advance. For more information about digital cuts and assemble editing,
see “Using the Digital Cut Tool” on page 342 and “Enabling Assemble-Edit
Recording” on page 340.
153
Table 4-5
Deck Preferences Options (Continued)
Option
Description
Stop key pauses deck
This option defines the function of the space bar (stop key) 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 deck control section of the Digitize tool and the
Deck Controller tool always stops the decks. (Choose New Deck Controller
from the Tools menu to access the Deck Controller tool.)
Shuttle holds speed
The Shuttle button in the deck control section of the Digitize tool and the
Deck Controller tool continues shuttling at a constant speed instead of
stopping when you release it.
Stop any paused decks
when quitting
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 in your
digital cut (particularly visible as noise during black), deselect this option
and record the digital cut again. With the option deselected, the timecode
display in the deck controller will not update for the duration of the digital
cut.
Understanding Drop-Frame Timecode and
Non-Drop-Frame Timecode
Timecode is an electronic indexing method that denotes hours,
minutes, seconds, and frames that have elapsed on a videotape. For
example, a timecode of 01:03:30:10 denotes a frame that is marked at
1 hour, 3 minutes, 30 seconds, and 10 frames.
NTSC video (the video format used mainly in the United States) uses
one of two formats: drop-frame timecode and non-drop-frame timecode.
Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode
154
Drop-frame (DF) timecode is designed to match the NTSC scan rate of
29.97 frames per second (fps). Two frames of timecode are dropped
every minute except for the tenth minute. No video frames are
actually dropped. Drop-frame timecode is indicated by semicolons
between the digits; for example, 01;00;00;00.
Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps
and is indicated by colons between the digits; for example, 01:00:00:00.
Non-drop-frame timecode can be easier to work with, but does not
provide accurate timing for NTSC broadcast.
For example, a typical 1-hour show uses 52 minutes of video. If your
program ends at 01:52:00:00 (non-drop-frame), and it is broadcast at
29.97 fps, it will last 94 frames too long (approximately 3 seconds). The
final credits could be cut off.
The following illustration compares the two types of timecode at the
1-minute mark. Notice that no frames are actually dropped.
Non-drop-frame
timecode
01:00:59:28
01:00:59:29
01:01:00:00
01:01:00:01
01:01:00:02
01;00;59;28
01;00;59;29
01;01;00;02
01;01;00;03
01;01;00;04
Drop-frame
timecode
PAL video (the video format used in many countries other than the
United States) uses a scan rate of 25 fps. Timecode is indicated by
colons. There is no need for drop-frame timecode in PAL video.
You set the default timecode format for logging clips in the Deck
Preferences dialog box (see “Setting Deck Preferences” on page 151).
155
You set the default starting timecode in the General Settings dialog
box (see the editing guide or Help for your Avid system). In both
cases, you can choose drop or non-drop.
You can change the starting timecode of a sequence or, for NTSC
projects, the type of timecode. See the editing guide or Help for your
Avid system.
Capture mode provides you with the Digitize tool and the controls
you need to capture your footage in digital form. When you enter
Capture mode, the system initializes the Digitize tool and establishes
an interface with the playback equipment attached to the system.
To enter Capture mode:
1. Make sure the playback deck is properly connected to the system
and is turned on.
2. Open your project and the bin in which you want to store your
master clips.
3. Enter Capture mode in either of the following ways:
t
With the bin active, choose Go To Capture Mode from the Bin
menu. The Digitize tool opens, with the active bin positioned
directly below it.
t
Choose Digitize from the Tools menu. The Digitize tool opens,
but the active bin does not change its position.
4. Make sure you are in Digitize mode. If the Digitize tool is in Log
mode, click the Digitize/Log Mode button until the DIG icon
appears.
n
In Capture mode, the Client monitor displays the playback footage at all times
when the video track is selected in the Digitize tool.
156
The Digitize tool provides controls for cueing, marking, and logging
footage, and specifies digitizing parameters such as source and target
locations. Deck control in the Digitize tool operates in the same way as
in the deck controller.
To open the Digitize tool:
1. Do one of the following:
t
Click a bin to activate it and choose Capture Mode from the
Bin menu. (For more information, see “Entering Capture
Mode” on page 155.)
t
Choose Digitize from the Tools menu.
2. Make sure you are in Digitize mode. If the Digitize tool is in Log
mode, click the Digitize/Log Mode button until the DIG icon
appears.
The following illustration shows the Digitize tool for 25-fps and 30-fps
projects.
157
Digitize indicator
Trash
Toggle Source button
Telecine monitor
Record button
Channel Selection
buttons
Video and
Audio Input
pop-up menus
Message bar
Subclip Status
indicators
Clip Name text box
Resolution
pop-up menu
Clip Comment text
box
Color/Monochrome
Selection button
Single/Dual Drive
Mode button
Time remaining
on target drives
Target Drive
pop-up menus
Deck controls
Deck Selection
pop-up menu
Source Tape
Display button
When you are working in a 24p NTSC project, the Digitize tool
includes a pulldown button. For more information, see “Setting the
Pulldown Switch” on page 162.
If your system includes Telecine Slave mode, the Digitize tool includes
a Telecine monitor. For more information, see “Digitize Tool Controls
for Telecine Slave Mode” on page 263.
Set up the Digitize tool by using the following procedures:
•
“Selecting a Deck in the Digitize Tool” on page 158
•
“Selecting a Source Tape” on page 159
•
“Selecting Source Tracks” on page 161
158
•
“Setting the Video and Audio Input” on page 161
•
“Setting the Pulldown Switch” on page 162
•
“Choosing a Resolution in the Digitize Tool” on page 165
•
“Choosing Color or Monochrome in the Digitize Tool” on
page 165
•
“Choosing a Target Bin” on page 166
•
“Selecting the Target Drives” on page 166
•
“Interpreting the Time-Remaining Display” on page 169
•
“Selecting a Custom Preroll” on page 170
Selecting a Deck in the Digitize Tool
The Deck Selection pop-up menu in the Digitize tool contains a list of
any decks that were connected to the system, powered up, and
initialized when you entered Capture mode.
The Deck Selection pop-up 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 Options” on page 149.
•
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 turned off or the decks were disconnected when you
first entered Capture mode.
If the words “No Deck” appear in the pop-up menu, you need to
configure a deck in the Deck Configuration dialog box. See
“Configuring Decks” on page 144.
159
If a deck name appears in italics in the pop-up menu, the deck has lost
power or has been disconnected. Choose Check Decks from the
pop-up menu to reestablish deck control.
n
Once deck control has been properly initialized, it will remain active for all
deck controllers throughout the session until you quit the application.
To activate playback from an available deck:
t
n
Choose the deck from the Deck Selection pop-up menu.
You must have V-LAN VLXi hardware to manage more than one deck at a
time. For more information on V-LAN equipment, contact your Avid sales
representative.
Selecting a Source Tape
To select a source tape:
1. Insert a tape into your deck.
n
If a tape is already in the deck, click the Source Tape Display button in the
Digitize tool.
160
deck preferences, see
“Setting Deck Preferences” on page 151.
n
For information on tape
naming conventions,
see “Naming Tapes” on
page 100.
2. In an NTSC project, play the tape for a few seconds 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.
Drop-frame timecode appears in the Timecode indicator with semicolons
between hours, minutes, seconds, and frames. Non-drop-frame timecode
appears with colons. For more information, see “Understanding Drop-Frame
Timecode and Non-Drop-Frame Timecode” on page 153.
t
Click the name of the tape from the list in the Select Tape
t
Expand the list by selecting the “Show other project’s tapes”
options or by clicking the Scan for Tapes button.
t
Click New if the tape is not in the list. A new tape name line
161
Selecting Source Tracks
You can choose the tracks to digitize from the source tape.
To select only those tracks that you want to digitize:
t
Click the Channel Selection buttons in the Digitize tool
Channel Selection
buttons
n
When you use an Avid-controlled deck, the TC (timecode) track will be
selected by default, and the system will digitize the timecode from the source
tape. If you deselect the TC button, the system will digitize with time-of-day
timecode. For more information, see “Digitizing with Time-of-Day Timecode”
on page 230.
If you are not seeing the source video or hearing source audio in
Capture mode, click the Channel Selection buttons to make sure they
are not the cause.
n
When batch digitizing, if the tracks are already logged into the bin, this
selection will be made automatically, unless you deselect the option “Digitize
the tracks logged for each clip” in the Digitize Settings dialog box. For more
information on Batch Digitize settings, see “Batch Digitizing Clips” on
page 240.
Setting the Video and Audio Input
The Video and Audio pop-up menus show you the current input
settings for the Video Input tool and the Audio Project Settings dialog
box.
162
To set the video input:
t
Choose one of the following from the Video pop-up menu:
Composite, Component, S-Video, Serial Digital, or OHCI (DV
Option only).
To set the audio input:
t
n
Choose one of the following from the Audio pop-up menu:
Analog, AES/EBU, S/PDIF, OHCI (DV Option only), Microphone
(two-channel audio only), or Mic w/Phantom Pwr (two-channel
audio only).
Systems with the DV Option support recording and digital cut of 44.1-kHz
and 48-kHz audio only. They do not support recording and digital cut of
32-kHz (12-bit) audio. If you are recording DV audio, set your camera or deck
to record 16-bit audio (48 kHz).
For more information see, “Preparing for Video Input” on page 197
and “Adjusting Audio Project Settings” on page 173.
n
If you change the settings in the Digitize tool, the settings in the Video Input
tool or in the Audio Project Settings dialog box change automatically.
Setting the Pulldown Switch
If you are digitizing sound created during an NTSC film-to-tape
transfer, you need to set the pulldown switch before you begin
digitizing. If you are digitizing picture only, you do not need to set the
switch.
n
Make sure your film preferences are set properly. For more information, see
“Transfer Settings for Film Projects” on page 141.
To set the pulldown switch:
t
Click the Pulldown button in the Digitize tool.
163
When the pulldown switch is off, the button is gray, and a label
explains that audio will be digitized (sampled) at the same speed at
which it was recorded (1.00).
Pulldown button off
When the pulldown switch is on, the button is green, and a label
explains that audio will be digitized (sampled) at 0.99 percent of its
recorded speed (referenced to NTSC video), to match the slowdown
rate at which the footage was transferred.
Pulldown button on
Film Project Pulldown and Transfer Settings
Table 4-6 indicates how the pulldown switch and transfer settings
should be set, depending on your input media.
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Table 4-6
Film Project Pulldown and Transfer Settings
Project
(Set in the
New
Project
Dialog Box)
Pulldown
Switch
Setting and
Indicator on Source
Playback
Meridien
Speed
I/O Box
Original sound source synced
to NTSC during transfera.
24p NTSC
On (0.99)
29.97 fps
Picture Transfer Rate:
With 2:3 Pulldown
NTSC MOS film-to-tape
transfer with separate audio.
Digital audio (DAT) or analog
audio (Nagra) to sync with
video in the Avid systemb.
24p NTSC
Off (1.0)
Audio: 30.00
fps
With 2:3 pulldown
Type of Input Media
Film to Video Transfer
Settings (Set in Film
Settings Dialog Box)
Picture: 29.97 Audio Source Tape TC
fps
Rate: 30.00
FTFT transfer or retransferring 24p NTSC
an effect. This method allows
you to save time since no audio
is involved in the transfer.
NAc
29.97 fps
Without pulldown
PAL film-to-tape transfer with 24p PAL
synced sound or simul-DAT
(Method 1)
tapes.
Off (1.0)
Audio and
picture both
25 fps
(100%+)
Picture Transfer Rate: NA
Audio Transfer Rate:
Video Rated
PAL MOS film-to-tape transfer 24p PAL
with separate audio. Digital
(Method 2)
audio (DAT) or analog audio
(Nagra) to sync with video in
the Avid system.
Off (1.00)
Audio:
25 fps (100%) Audio Transfer Rate:
Film Rate
Picture:
25 fps
PAL film-to-tape transfer with 25p
synced sound or simul-DAT
tapes.
Off (1.00)
Sound and
picture at
25 fps
a. For digitizing picture and sound from NTSC tape, or sound only from simul-DAT tapes
created during telecine transfer.
b. For direct input of audio. Digital audio requires proper AES/EBU or S/PDIF connections.
c. NA = Not applicable.
d. See “Audio Transfer Options for 24p PAL Projects” on page 52.
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If you are digitizing audio only, make sure to choose the proper audio
setup options. For more information, see “Establishing Sync for
Audio-Only Input” on page 171 and “Adjusting Audio Project
If you have set a digital sync mode in the Audio Project Settings dialog
box, the Pulldown button is inactive and a message states that the
Pulldown button has no effect.
Choosing a Resolution in the Digitize Tool
You can set the
resolution used for
digitizing in the
Digitize tool or in the
box, accessed through
the Settings scroll list in
the Project window. See
“Media Creation
n
To choose a resolution in the Digitize tool:
t
Click the Res (Resolution) pop-up menu and make a selection.
The resolution list contains a list of the available compression ratios,
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 resolutions. For 24p and 25p projects, the list shows
progressive, full-frame resolutions. Choose 1:1 for uncompressed
media.
For more information on the video resolutions, see Appendix B.
Choosing Color or Monochrome in the Digitize Tool
The Color/Monochrome Selection button in the Digitize tool allows
you to filter out all of the color from each frame of video when
digitizing. If your original media is black and white, using the
Monochrome option will give you more efficient storage and picture
quality. Choose the Color (also known as full chroma) option if you
intend to create full-color digital cuts.
The system displays the button in color or as a monochrome image
depending on the current setting.
166
c
If you choose the Monochrome option and you intend to create
full-color digital cuts, you will need to redigitize using the Color
option before creating the digital cut.
Choosing a Target Bin
You select a target bin as the destination for the master clips created
when you digitize on-the-fly. Alternatively, you select a target bin
containing the logged clips you will use to batch digitize your media.
To choose a target bin:
t
Click the Bin pop-up menu in the Digitize tool and make a
selection. If you have opened the Digitize tool through Capture
mode, a bin will already be selected. Only opened bins appear in
the Bin pop-up menu.
To open a bin, do one of the following:
on working with bins,
Help for your Avid
system.
t
For a bin created in the current project, double-click the bin in the
Project window.
t
For a bin created in a different project, choose Open Bin from the
File menu, and then locate and open the bin in the Open dialog
box (Windows) or Select a Bin dialog box (Macintosh).
t
Create a new bin by clicking the New Bin button in the Project
window.
Selecting the Target Drives
To select a target drive:
For tips on targeting
media drives for effective storage and playback, see Appendix B.
1. Decide whether to digitize audio and video to a single drive, or
separate drives, as described in the following sections. When
digitizing using the uncompressed resolution, you must select
167
separate drives for audio and video. See “Targeting Separate
Drives for Audio and Video” on page 167.
2. Choose the specific target drives from the pop-up menus, as
described in the following sections.
Targeting a Single Drive
By default, the Digitize tool targets a single media drive volume for
digitizing the audio and video for each clip. Target a single drive when
you are digitizing in a single-field resolution, for instance, and
playback performance is not an issue.
n
If you choose the uncompressed resolution, you must target separate drives
for audio and video.
To target a single drive:
1. Click the Single/Dual Drives button to display the Single Drive
icon.
2. Choose a drive volume from the Target Drive pop-up menu.
The name shown in bold in the menu has the most storage
available. The time remaining on the selected drive, displayed at
the right of the menu, is calculated based on your resolution
selection.
Targeting Separate Drives for Audio and Video
You can target separate physical drives for audio and video tracks. If
you choose the uncompressed resolution, you must target the audio to
the audio drives and target the video to the video drives. This
improves performance because the system is not required to address
all the information in separate locations on a single drive. You can also
digitize for the longest continuous amount of time because the system
is storing material on two drives rather than one.
168
n
To achieve optimal performance, stripe two or more drives. For more
information, see “Getting Information About Striped Drives” on page 127.
To target separate drives for audio and video:
1. Click the Single/Dual Drives button to display the Dual Drive
icon.
Two Target Drive pop-up menus appear. The top one is targeted
for video and the bottom one is targeted for audio.
2. Choose separate drives for audio and video from each Target
Drive pop-up menu.
The names shown in bold in the menus have the most storage
available. The time remaining on each selected drive, displayed to
the right of each menu, is calculated based on your video
resolution selection.
Targeting a Drive Group
Targeting a drive group (a group of media drives) is especially useful
when you are digitizing long clips to multiple media files (see
“Digitizing to Multiple Media Files” on page 139). After you create a
drive group, it appears in the Target Drive pop-up menu for the
project.
To create and target a drive group:
1. Choose Change Group from the Target Drive pop-up menu in the
Digitize tool.
The Drive Group dialog box appears.
169
2. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple
drives to include in the digitizing session, or click the All button to
select all drives.
3. Click OK to close the dialog box and create the drive group.
The group appears in the Target Drive pop-up menu.
When you digitize, any clip that exceeds the capacity of a drive
(whether that drive is empty or already contains media files) will
continue digitizing onto another drive in the group.
Interpreting the Time-Remaining Display
The Digitize tool displays the time remaining on the chosen drive after
you select a resolution and target drive or drives for the digitized
media.
170
Time remaining on
the chosen drives
You can interpret this display based on the following factors:
•
Each digitized clip has a maximum file size limit of 2 GB. Any
video clip whose media exceeds the 2-GB limit will have more
than one media file associated with it.
•
When you choose another resolution, the time-remaining display
adjusts accordingly.
Selecting a Custom Preroll
The Custom Preroll option and pop-up menu in the Digitize tool allow
you to select how many seconds the tape rolls before the digitizing
starts. This option overrides the global preroll setting in the Deck
Custom Preroll option
171
The Avid system supports direct input of eight channels of audio.
Source track assignments are mapped directly to audio tracks in the
digitized clips. For example, when you digitize source footage with
audio channels 1 to 5, the resulting master clip has matching audio
tracks 1 to 5.
n
n
Eight-channel audio input requires the appropriate hardware configuration.
For more information, see the setup guide for your Avid system.
For information about preparing for audio input on two-channel audio
systems, see “Adjusting Audio Input on Two-Channel Audio Systems” on
page 186.
Prepare for audio input by using the following procedures described
in this section:
•
“Establishing Sync for Audio-Only Input” on page 171
•
“Adjusting Audio Project Settings” on page 173
•
“Choosing the Audio File Format” on page 178
•
“Using the Audio Tool” on page 180
•
“Calibrating the Eight-Channel Audio I/O Device” on page 190
•
“Using the Console Window to Check Audio Levels” on page 196
Establishing Sync for Audio-Only Input
When you digitize audio with video, the video input always generates
sync for both.
When you digitize audio only, sync for the input signal can come from
several sources:
•
Analog audio input: If you are digitizing audio-only from an
analog source, sync is generated from a black burst generator or
172
house sync source when it is connected to both REF IN on the
Meridien I/O box and the audio deck. If there is no reference
signal connected, sync is generated from internal timing.
c
n
If you need to synchronize audio with video clips recorded on
separate devices in the field, Avid recommends that you connect
video reference to both REF IN on the Meridien I/O box and the
audio deck for sync. Otherwise, you might experience drifting of the
audio during editing.
For more information on connecting a reference signal, see the setup guide for
your Avid system.
•
Digital audio input: If you are digitizing audio from a digital
source (such as a DAT recording, for example), you should
establish sync from the digital source. For more information, see
“Checking for a Valid Digital Sync Signal” on page 172 and
“Adjusting Audio Project Settings” on page 173.
•
DV: If you are digitizing audio from a DV source, sync is
generated through the 1394 connection (DV Option only).
Checking for a Valid Digital Sync Signal
If you are digitizing audio-only input from a digital source such as a
DAT deck, the eight-channel audio converter is limited to acquiring a
digital sync signal from channels 1 and 2.
c
Channels 1 and 2 are often the first choice for input of a signal that
provides digital sync. If you want to input audio from channels 3
through 8, however, you must have a valid digital signal coming in
on channels 1 and 2.
Check for a valid digital sync signal as follows:
•
If the yellow indicator light labeled DIGITAL on the audio
converter shines steadily during input, the system is receiving a
valid digital sync signal.
173
•
If the yellow light blinks during input, the system is not receiving
a valid sync signal. Make sure you have a digital sync signal
source properly connected to channel 1 or channel 2.
The effects of capturing audio without a valid digital sync source can
include random noise, silence, or a jittering effect in the audio when
played back.
Adjusting Audio Project Settings
You can use the Audio Project Settings dialog box to check the current
configuration of audio hardware, and to choose various input options.
n
The Audio Project settings also store the mappings between tracks and output
channels that you set up in the Audio tool. For more information, see “Saving
the Audio Project Settings as Site Settings” on page 177).
To open the Audio Project Settings dialog box:
t
Double-click Audio Project in the Settings scroll list of the Project
window.
The Audio Project Settings dialog box appears.
174
Table 4-7 describes the options in the Audio Project Settings dialog
box.
Table 4-7
Option
Suboption
Audio Project Settings Options
Description
Card
The type of audio card installed (informational only).
Peripheral
The type of peripheral audio device attached to the system
(audio interface) (informational only).
Slot
The slot where the audio card is located (informational only).
HW Calibration
–14 dBFS
–18 dBFS
–20 dBFS
Allows you to select a default audio calibration to match your
audio I/O peripheral hardware calibration. For more
information, see “Calibrating the Eight-Channel Audio I/O
Device” on page 190.
175
Table 4-7
Audio Project Settings Options (Continued)
Option
Suboption
Description
Sample Rate
44.1 kHz
Allows you to choose audio rate settings. The broadcast
standard for most high-end video postproduction houses is
48 kHz. Choose the rate based on the requirements of your
facility.
48 kHz
For information on changing the sample rate for individual
sequences and audio clips, see the editing guide or Help for
your Avid system.
n
Sync Mode
The Sample Rate settings do not affect the sample rate of audio
signals that are brought in digitally through the AES/EBU or
S/PDIF connectors on the audio I/O device.
Video Sync
Allows you to choose a source for audio sync.
AES/EBU
Use Video Sync for all analog audio input and output. Video
sync ensures the audio sample clock is always in sync with the
video clock for analog audio input and output. This prevents
long-term drift between audio and video. Audio locks to the
video output signal except for digitizing video, when it is
locked to the video input signal.
S/PDIF
DV
Use one of the following two digital formats when you are
working with digital audio input and output, such as DAT
(digital audiotape):
• AES/EBU (Audio Engineering Society/European
Broadcasting Union), the industry digital format
• S/PDIF (Sony®/Philips® Digital Interface Format), the
consumer format
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.
Use DV if you are recording through the 1394 connection
(OHCI) (DV Option only).
See “Establishing Sync for Audio-Only Input” on page 171.
n
Changing the audio input selection will automatically choose
the correct audio clock source for audio sync.
176
Table 4-7
Option
Suboption
Description
Input source
Analog
Allows you to choose a sources for input.
AES/EBU
S/PDIF
OHCI
Microphone
(Two-channel
audio only)
Select OHCI for DV input. If you choose OHCI, the Sync Mode
is automatically set to DV (DV Option only).
Mic w/Phantom A condenser microphone with phantom power draws power
Pwr (Two-channel from the audio board.
audio only)
You can damage the microphone if you connect or
disconnect it while Mic w/Phantom Pwr is selected.
Choose Analog or Microphone from the Input Source
pop-up menu before you connect or disconnect a
microphone.
c
Audio File
Format
(OMF) WAVE
(OMF) AIFF-C
Allows you to choose the file format for the audio. For more
information, see “Choosing the Audio File Format” on
page 178.
SDII (Macintosh
only)
High and Slow
Render Sample
Rate Conversion
Balanced
Quality
Low and Fast
Allows you to set the conversion quality of all non-real-time
sample rate conversions.
177
Table 4-7
Option
Suboption
Description
Convert Sample
Rates When
Playing
Always
Allows you to choose whether or not to perform the conversion
rate.
Never
If you choose the option Never, the segments not set at the
sample rate chosen in the Audio Project Settings dialog box will
play as silence.
If you choose Always, the system will 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.
Show
Mismatched
Sample Rates as
Different Color
Setting
Yes
No
Allows the system to identify a specific sample rate by color. If
you select Yes, clips that use the audio project sample rate are
displayed as black. For example, if you have chosen 48 kHz
from the Sample Rate pop-up menu, the sample plot of these
clips is displayed as black, and the sample plot of clips with
different sample rates (such as 44.1 kHz) is displayed as white.
Allows you to name the setting for future use. The name you
enter will appear in the Settings scroll list. See “Saving the
Audio Project Settings as Site Settings” on page 177.
Saving the Audio Project Settings as Site Settings
The values you set in the Audio Project Settings dialog box are saved
as Project settings.
Besides the entries in the Audio Project Settings dialog box, the Audio
Project settings also store the mappings between tracks and output
channels that you set up in the Audio tool. See “Adjusting Output on
Eight-Channel Audio Systems” on page 333. The values are not visible
in the Audio Project Settings dialog box. Open the Audio tool to view
the current values (see “Using the Audio Tool” on page 180).
178
You can also save the Audio Project settings as site settings so that all
projects open with the same audio settings.
To save the Audio Project settings as a site setting:
1. Choose Site Settings from the Special menu.
The Site Settings folder opens.
2. Click the Settings tab in the Project window.
3. Drag the Audio Project Settings icon (or the icon of an Audio
Project setting that you created using the Setting option) to the Site
Settings folder.
New projects that you open on this system will use the Audio
Project site settings.
Choosing the Audio File Format
Your Avid system supports the creation of audio media in the
industry-standard Audio Interchange File Format (AIFF-C) and RIFF
Waveform Audio File Format (WAVE).
n
Avid applications for the Macintosh operating system continue to support the
Sound Designer II™ (SDII) format.
AIFF-C, SDII (Macintosh only), and WAVE audio media files can be
mixed within a project. The system defaults are as follows:
n
•
(Windows) OMF® (WAVE)
•
(Macintosh) AIFF-C
Choose the AIFF-C format (Windows) or the SDII format (Macintosh) for all
audio media when you need to transfer audio media files directly to a
Pro Tools® system for audio sweetening.
179
To choose the audio file format:
1. Double-click Audio Project in the Settings scroll list of the Project
window.
2. Choose either OMF (AIFF-C), SDII (Macintosh only), or OMF
(WAVE) from the Audio File Format pop-up menu.
3. Click OK.
Audio is written in the chosen file format when you:
•
Digitize audio tracks in Capture mode.
•
Create new clips by using the Audio Punch-In tool.
•
Create tone media by using the Audio tool.
•
Mix down audio tracks by choosing Audio Mixdown from the
Special menu.
If you switch the audio format in the middle of a project, all new audio
media files will be 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
OMF (AIFF-C) format and the B-side (incoming) is OMF (WAVE),
the rendered file will be OMF (AIFF-C).
•
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.
180
Using the Audio Tool
For information on
output procedures
involving the Audio
tool, see “Preparing for
Audio Output” on
page 331.
Audio Tool
button
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.
•
Check audio levels before digitizing.
To open the Audio tool:
t
Choose Audio Tool from the Tools menu.
t
Click the Audio Tool button in the Digitize tool.
The Audio tool displays meters for eight channels or two-channels,
depending on the model of your Avid system.
Output Control button
Setup Control button
In/Out toggle buttons
Reset Peak
button
Peak Hold Menu
button
Digital scale
(fixed)
Volume unit scale
(adjustable)
Meters
Table 4-8 describes the Audio tool components.
181
Table 4-8
Component
Audio Tool Components
Description
Output Control button Displays a panel that contains a single slider control for raising or lowering
global audio output.
Setup Control button
Displays a panel of audio output options for channel assignments, for mixing
tracks, and for ignoring audio effects and volume settings.
Reset Peak button
Resets the current maximum peak measurements. It also stops the playback
of the internal calibration tone.
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 pop-up menu that allows you to choose options for customizing
the meter displays, and for setting and playing back the internal calibration
tone.
Digital scale
The digital scale to the left of the meters displays a fixed range of values from
0 to –90 dB (decibels), according to common digital peak meter standards.
Volume unit scale
The volume unit 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
Track audio levels dynamically for each channel as follows:
• Meters show green below the target reference level (default reference level
is –20 dB 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 (zero) dB.
• Thin green lines at the bottom indicate signals below the display range.
182
Resizing the Audio Tool
You can resize the Audio tool for greater visibility during input and
output. For example, when batch digitizing in a busy facility, you can
make the tool larger to watch levels from across a room.
To adjust the size of the Audio tool:
t
Click the top or bottom of the tool and drag it to the preferred size.
Adjusting the Reference Level
The volume unit scale (VU) to the right of the meters is a sliding scale
relative to the fixed digital scale displayed on the left. You can adjust
the volume unit scale up or down based upon the headroom parameters
of your playback devices.
To customize the volume unit scale:
1. Choose Set Reference Level from the PH (Peak Hold) pop-up
menu.
The Set Reference Level dialog box appears.
2. Enter the new value for the reference level (–12, for example), and
click OK.
3. Choose Calibrate from the PH pop-up menu.
The volume unit scale slides to match the new reference level,
which is displayed on the digital scale.
183
Digital scale displays
corresponding reference
value.
n
n
Volume unit scale
slides up to display
less headroom.
Adjusting the reference level requires recalibration of the audio I/O device.
For more information, see “Calibrating the Eight-Channel Audio I/O Device”
on page 190.
If the reference level doesn’t match the hardware calibration setting, the 0 VU
entry appears red in the Audio tool.
184
Choosing a Peak Hold Option
The Peak Hold pop-up menu provides two menu items for displaying
peak levels in the meters, as follows:
•
When you choose Peak Hold, the meters display a normal rising
and falling volume trail in the meters. This is the default option.
•
When you choose Infinite Hold, each meter permanently retains a
single bar at the peak volume level measured during playback.
The effect is cumulative: the bar continues to rise and hold with
each new peak, and serves as a record of the highest peak for each
channel.
185
Infinite Hold peaks
remain during and after
playback.
To delete the peaks and start over at any time:
t
Click the RP (Reset Peak) button.
To enable either Peak Hold or Infinite Hold:
t
n
Click the PH button and choose an option from the pop-up menu.
You can switch between Peak Hold and Infinite Peak and select Reset Peak
while playing the audio with the Audio Loop Play button. For a description of
the Audio Loop Play button, see the editing guide or Help for your Avid
system.
186
Adjusting Audio Input Levels for Eight-Channel Systems
You can use the Audio tool to check the audio input levels. If the input
levels are too high (hot) or too low, you need to adjust the output level
of your source signal, if possible.
c
You cannot adjust the input levels for the eight-channel audio I/O
device from within the Audio tool.
Before you digitize, make sure the audio I/O device is properly
calibrated. See “Calibrating the Eight-Channel Audio I/O Device” on
page 190.
To check and adjust input levels:
1. Click the In/Out toggle buttons in the Audio tool for the channels
that you will use for input. The Audio tool displays an I for Input.
2. Play back the source audio (from a videotape or DAT, for
example). If the recording includes reference tone, cue to the tone
and play it back.
3. Adjust the output on the playback device so that the device’s
volume meter shows the appropriate level for the reference signal
in the Audio tool (0 VU for videotape playback, for example). You
can adjust the output by using a deck that supports output gain or
by sending the signal through a mixing console.
Adjusting Audio Input on Two-Channel Audio Systems
If your Avid system has the two-channel audio option, you adjust the
audio input level across both channels using a single slider control that
you access from the Audio tool.
For more information on using the Audio tool, see “Using the Audio
Tool” on page 180.
187
To adjust global audio input:
1. Open the Audio tool by doing one of the following:
t
Choose Audio Tool from the Tools menu.
t
Click the Audio Tool button in the Digitize tool.
The Audio tool opens.
Show/Hide Input
Control button
2. Click the Show/Hide Input Control button (the Microphone icon).
The Audio tool expands to display a microphone and a single
slider control.
188
Input slider control
3. Drag the slider to raise or lower the audio input level.
Creating Tone Media
You can create your own tone media as a master clip for editing
directly into sequences.
To create tone media:
1. Open a bin.
2. Choose Create Tone Media from the PH (Peak Hold) pop-up menu
in the Audio tool.
The Create Tone Media dialog box appears.
189
3. Set the appropriate calibration tone parameters for the project. You
can also use the default output tone of –20 dB (digital scale) with a
1000-Hz signal.
n
If you set the tone media frequency to 0, the system generates random noise.
Also, a value of –777 generates a tone sweep.
4. Choose the number of tracks of tone you want to create (up to 8
tracks).
5. Choose a target bin for the tone master clip and a target drive for
the tone media file from the pop-up menus.
6. Click OK.
After a few seconds, the media file is created and a master clip
appears in the target bin. The default name reflects the options
you selected. You can rename the clip by typing a new name.
190
Calibrating the Eight-Channel Audio I/O Device
connecting the
eight-channel audio
I/O device, see the
setup guide for your
Avid system.
You can use the calibration features of the Audio tool to fine-tune the
input and output channels of the eight-channel audio I/O device.
These adjustments should be made when you first install the system,
and should be repeated occasionally thereafter (once a month, for
example).
Prior to Avid Media Composer and Film Composer Release 10.0, all
Avid editing systems were calibrated for analog 0 Volume Unit (VU) to
be digital –14 dB. However, Sony digital decks are calibrated to –20 dB,
which has become the emerging standard.
The application’s default audio hardware calibration is now set to
–20 dBFS and new audio I/O devices (888 I/O™) shipping from Avid
are calibrated to –20 dBFS.
You can use the Audio Project Settings dialog box to change your
default audio hardware calibration. However, if you change the
application’s default, you must recalibrate your audio I/O device to
match. If the settings do not match, the analog VU (volume unit) scale
in the Audio tool will display incorrect values.
To help you maintain the correct values, the 0 VU display on the
Audio tool is red if the hardware and software calibration values do
not match.
191
Volume Unit scale value
To synchronize the audio hardware calibration setting with the
audio I/O device, do one of the following:
t
Change the calibration of the audio I/O device to match the
application’s hardware calibration setting value.
t
Change the application’s hardware calibration setting value to
match the calibration of the audio I/O device.
For procedures on how to calibrate the audio I/O device, see
“Calibrating Input Channels for the Audio I/O Device” on page 193
and “Calibrating Output Channels for the Audio I/O Device” on
page 195.
For example, if your audio I/O device is calibrated to –14 dBFS, you
can set the application’s hardware calibration setting value to
–14 dBFS. After you change the application’s hardware calibration
setting value, the following settings also change to match:
•
Reference Level in the Set Reference Level dialog box (Peak Hold
pop-up menu — Audio tool)
•
Calibration Tone in the Set Calibration Tone dialog box (Peak Hold
pop-up menu — Audio tool)
192
Changing the Audio Hardware Calibration Setting
n
If you use the default hardware and software settings, you do not need to
change the audio hardware calibration settings.
n
This procedure may not work with some older systems. For more information,
see the release notes for your Avid product.
To change the audio hardware calibration setting:
window.
2. Select a new default hardware calibration setting from the HW
Calibration pop-up menu: –14 dBFS, –18 dBFS, or –20 dBFS.
A message box appears.
193
t
If the calibration of your audio I/O device does not match the
new Hardware Calibration setting value, click Help for
procedures on how to calibrate the audio I/O device, or see
“Calibrating Input Channels for the Audio I/O Device” on
page 193 and “Calibrating Output Channels for the Audio
I/O Device” on page 195.
t
If the calibration of your audio I/O device matches the new
Hardware Calibration setting value, click OK.
4. Save the new Hardware Calibration as a Site setting.
For information on establishing global settings, see “Using Site
Settings” in the editing guide or Help for your Avid system.
Calibrating Input Channels for the Audio I/O Device
To calibrate input channels for the audio I/O device:
window.
2. Select a new default hardware calibration value from the HW
Calibration pop-up menu: –14 dBFS, –18 dBFS, or –20 dBFS.
194
3. Click OK.
4. Connect a sine wave generator that can produce a 1-kHz tone,
+4 dBu @ 0 VU to channel 1 of the audio I/O device.
5. Send a 1-kHz tone into channel 1 of the audio I/O device.
6. In the Audio tool, click the In/Out toggle buttons for channel 1 to
display I for input.
You should see a level in the meter display.
7. Choose Calibrate from the PH (Peak Hold) pop-up menu in the
Audio tool.
The Audio tool changes to Calibrate mode: the scales display a
range of approximately 2 dB, and the meters indicate levels within
this range.
Peak Hold
pop-up menu
Indicates the hardware
calibration value you
selected in step 2: –14,
–18, or –20.
The Volume Unit scale
varies, displaying a custom
reference level setting,
+1 dB above and –1 dB
below.
195
8. Adjust the channel 1 input level by inserting a screwdriver into the
trim pot on the audio I/O device and turning it until the Audio
tool’s on-screen meter reaches 0 VU.
The input channel is now calibrated.
9. Repeat this procedure for each input channel of the audio I/O
device.
To return to the default Audio tool display:
t
Choose Calibrate from the PH (Peak Hold) pop-up menu.
Calibrating Output Channels for the Audio I/O Device
If the input channels of the audio I/O device are calibrated correctly,
you can use the input channels to calibrate the output channels.
To calibrate output channels for the audio I/O device:
1. Make sure the audio I/O device is calibrated properly for input
(see “Calibrating Input Channels for the Audio I/O Device” on
page 193).
2. Connect two output channels to two different input channels. For
example, connect output channels 1 and 2 to input channels 7
and 8.
3. Choose Set Calibration Tone from the Peak Hold (PH) pop-up
menu in the Audio tool.
4. Click the In/Out toggle buttons to display I for the channels you
are using for input, for example, 7 and 8. Click the In/Out toggle
buttons to display O for the channels you are calibrating, for
example, 1 and 2.
5. Choose Calibrate from the Peak Hold (PH) pop-up menu.
6. Choose Play Calibration Tone from the Peak Hold (PH) pop-up
menu.
196
7. Adjust the audio I/O device trim pots on the output channels (1
and 2) to 0 VU, using the meters of the input channels (7 and 8) as
your guide.
8. Repeat this procedure for each channel.
Using the Console Window to Check Audio Levels
Once you have played back audio through the Audio tool, you can use
the Console window to view a list of precise information about the
peak levels.
To check peak levels in the Console:
1. Open the Audio tool (see “Using the Audio Tool” on page 180).
2. Click the RP (Reset Peak) button to clear the system’s record of the
most recent maximum peaks.
3. Play a sequence or portion of the sequence.
4. After playing back the audio, open the Console window by
choosing Console from the Tools menu.
5. In the Console command line, type:
DumpMaxPeaks
6. Press Enter (Windows) or Return (Macintosh).
A list of peak values appears in the Console window.
197
The Avid system provides a Video Input tool for calibrating composite
video, component video, and S-Video.
n
If you are capturing serial digital video or DV, for example, from a D1, D5,
DV, or digital Betacam VTR, you cannot adjust levels by using the video
input controls in your Avid system. If you plan to make adjustments at the
source deck, information in this section regarding the internal Waveform and
Vectorscope monitors might be useful.
To open the Video Input tool, do one of the following:
t
Choose Video Input Tool from the Tools menu.
t
Click the Video Input Tool button in the Digitize tool.
The Video Input tool appears.
Vectorscope Monitor button
Waveform Monitor
button
Waveform monitor
Vectorscope monitor
Input
pop-up
menu
Settings
pop-up
menu
Consumer Src and 100% Bars buttons Preset buttons
Table 4-9 describes the Video Input tool components.
198
Table 4-9
Video Input Tool Components
Component
Description
Input pop-up menu
Lets you choose either a Composite, Component, Serial Digital, OHCI
(DV Option only), or S-Video input source. You cannot adjust video
input for Serial Digital or OHCI.
Sliders
Let you change the value for each setting.
Preset buttons
The preset buttons are highlighted when the factory preset levels are
displayed.
Settings pop-up menu
Lets you save the settings for an individual tape each time you calibrate
bars.
Waveform Monitor and
Vectorscope Monitor
buttons
Open or hide the Waveform monitor and the Vectorscope monitor.
n
Your Avid system supports the SMPTE/EBU component standard for
625 timing and Betacam component levels for 525 timing. The system
does not support the MII component video standard.
Consumer SRC (Source) This button is used when a source has no built-in time-base corrector,
button
such as a number of 3/4-inch U-matic or S-Video deck models (see
“Calibrating Video Input” on page 199).
n
100% Bars button
The Composite and S-Video sliders are unavailable when the Consumer
SRC (Source) button is selected
This option is used when the source tape has color bars with 100%
(versus 75%) chrominance levels.
Using the Factory Preset Buttons
The preset buttons in the Video Input tool show the status of each
calibration setting as follows:
•
When you first open the Video Input tool in a new project, all
preset buttons are lit (green), with the factory presets loaded for
each slider.
199
Preset buttons
Sliders
•
When you click the slider of a lit preset button, the arrow changes
to black and the slider moves to the position of the pointer.
•
When a preset button has a black arrow and you click it, the arrow
becomes lit (appears green), and the slider moves to the factory
preset level for that parameter.
•
When you click a lit preset button, the arrow changes to black, and
the slider returns to the last manual setting.
As you adjust levels in the tool, you can switch the preset buttons
between the levels you set manually and the factory preset levels.
Calibrating Video Input
For information on
calibrating for video
output, see “Calibrating
for Video Output” on
page 321.
c
This section provides essential information for input calibration. You
should calibrate the input levels for each videotape when you digitize
to ensure the continuity of picture quality between tapes.
When you redigitize media from a project created on a different
Avid system, only reuse settings that originate on systems that use
the Meridien video I/O board. For projects from other Avid systems,
check the Video settings for each tape.
200
Before you calibrate the video input, check the following:
•
Make sure your monitor is properly calibrated for displaying
footage accurately. For more information, see your monitor’s
hardware documentation.
•
If your system’s output settings have not already been calibrated
according to house standards, use the procedures described in
“Calibrating for Video Output” on page 321. If you are in a facility
where this is not necessary, leave the output settings at their preset
values.
•
If you are using footage in the NTSC-EIAJ format (used primarily
in Japan), deselect the option NTSC Has Setup in the General
Settings dialog box. This will enable the appropriate display for
the setup portion of the signal in the Waveform monitor and also
adjusts the gain range. For more information, see “General
To calibrate the video input:
1. Make sure you have properly connected the playback VTR to the
system. For more information, see the setup guide for your Avid
system.
2. Choose Video Input Tool from the Tools menu.
The Video Input tool opens.
3. Choose the appropriate input channel from the Input pop-up
menu based on your source tape format: Composite, Component,
or S-Video.
The Video Input tool displays the appropriate parameters for the
chosen video format.
n
For a description of each parameter, click the Video Input tool and press the F1
key (Windows) or Help key (Macintosh).
201
n
n
Sync for video input comes from the source selected in the Video Input tool,
whether composite, component, S-Video, OHCI (DV Option only), or Serial
Digital. The proper source device must be connected to the Meridien I/O box
or 1394 connection, as described in the setup guide for your Avid system. You
cannot adjust video input for Serial Digital or OHCI.
When you digitize audio with video, the audio is always synced to the video
source. For information regarding sync during audio-only input, see
“Establishing Sync for Audio-Only Input” on page 171.
4. Cue the tape to the section containing bars and tone (usually the
beginning) and play the tape.
n
Always play the tape when calibrating. Signal display is unstable when the
tape is paused.
202
The Client monitor displays one of the following types of bars (or
a variation of them).
Full-field color bars
Color bars can be either 75% or 100% of peak levels.
Full-field bars (NTSC or PAL)
100% white
SMPTE standard split bars
SMPTE bars (NTSC only)
75% white
Color bars
(top 67% of frame)
7.5 black level
(NTSC with setup)
100% white
(lower 25% of frame)
5. If you are digitizing from a consumer-grade video deck (such as a
home VCR) or a deck that has no built-in time-base corrector
(which includes a number of 3/4-inch U-matic or S-Video models)
and you are having trouble with the incoming video quality, click
203
the Consumer Source button located below the sliders in the Video
Input tool.
If clicking the Consumer Source button does not improve the
video quality, Avid recommends that you purchase a time-base
corrector (TBC). For more information, see the release notes for
your Avid product. Make sure the deck and TBC support the
advanced sync feature. This feature eliminates the one-frame
delay that many TBCs introduce.
Do not click this button if you have added a time-base corrector
(TBC) to the deck.
n
The Composite and S-Video sliders are unavailable when the Consumer
Source button is selected.
6. Click the 100% Bars button if the source tape contains 100% bars
for calibration.
n
To distinguish between 100% and 75% full-field bars, you will notice in
100% bars that the luminance waveform plot displays fairly even steps from
the first bar (white) to the last bar (black). In 75% bars, the white bar is at
100%, which causes a larger step from the first bar (white) to the first color
bar.
204
Waveform
Monitor
button
7. Open the Waveform monitor by clicking the icon located second
from the upper right corner of the tool.
NTSC waveform values
(IRE)
White level at 100 IRE (digital 235)
(100% bars)
White level at 77 IRE (digital 180)
(75% bars)
Black level at 7.5 IRE (digital 16)
(Black level falls at 0 IRE
for NTSC-EIAJ)
Line slider
PAL waveform values
(volts)
White level at 1 V (digital 235)
(100% bars)
Black level at 0.3 V (digital 16)
Line slider
8. Adjust the Line slider located below the Waveform monitor to
display the appropriate line of the test pattern, then adjust the
luminance values based on Table 4-10.
205
Table 4-10
Parameter/
Video Standard a
Black level (setup)
Video Standard:
NTSC
NTSC-EIAJ
PAL
White level (gain)
Video Standard:
NTSC
NTSC-EIAJ
PAL
Luminance Settings for Video Input
SMPTE Bars
Full-Field Bars at
75% or 100% Signal Level
Adjust Line slider to
approximately 190
approximately 150
Adjust Black slider to
place black level at:
7.5 IRE
0.0 IRE
NAb
7.5 IRE
0.0 IRE
0.3 V
approximately 220
approximately 150
Adjust Gain/Y Gain slider
to place white level at:
Adjust Gain/Y Gain slider
to place white level at:
100 IRE
100 IRE
NAb
100 IRE
100 IRE
1.0 V
a. Includes NTSC-EIAJ used in Japan
b. NA = Not applicable
Vectorscope
9. Open the Vectorscope monitor by clicking the Vectorscope button.
10. Adjust the Line slider to display the signal for color bars at around
line 150 (this applies to all formats and all types of bars).
button
n
To switch between a display of perfectly calibrated bars and your input signal
while making adjustments, press and release the Shift key.
206
11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY
Gain and BY Gain sliders (component) until the angle and
amplitude of the six color vectors fall within the target boxes on
the Vectorscope monitor.
n
c
There is no hue adjustment for PAL video.
If you incorrectly selected or deselected the 100% Bars button, the
factory presets for Saturation or RY and BY Gain will be incorrect.
Adjusting these controls in this condition results in oversaturated or
undersaturated video.
Saving Video Input Settings
You can save the settings for an individual tape each time you
calibrate bars. Saved settings are restored each time you choose the
same tape for redigitizing clips.
The following are the Video Input settings that are saved and restored:
n
•
Level adjustments made with the sliders
•
Selection status of the Consumer Source or 100% bars options
Video Input settings do not restore the source format (Composite,
Component, S-video, OHCI, or Serial Digital). Instead, the source format you
choose in the Video Input tool remains the default for that project until you
choose another format from within the project. This allows you to establish a
new format on a project basis when moving between systems, or from the
offline to the online phase.
To save the Calibration settings for a tape:
1. After calibrating as described in “Calibrating Video Input” on
page 199, choose Save As from the Settings pop-up menu.
The View Name dialog box appears.
207
2. Accept the default name (matching the tape name), or type a new
name for the settings.
c
If you do not use a name that matches the tape name, the system will
not recall the setting automatically the next time you load the tape.
3. Click OK.
Whenever you batch digitize or choose a tape name during digitizing,
the system recalls the saved settings as follows:
n
c
•
The system looks for a Tape setting with the same name as the
tape. If the setting exists, the system recalls it.
•
If no matching Tape setting exists, the system looks for a setting
labeled “Default” and loads that setting. For information on
customizing this default setting, see “Saving a Custom Default
Setting for the Video Input Tool” on page 208.
•
If no matching Tape setting or “Default” setting exists, the Video
Input tool is left in its prior state (with the most recent settings
applied during the session).
Tape settings and the Default setting are Project settings, and are available to
the current project only.
When you redigitize media from a project created on a different
the Meridien video I/O board. For projects from other Avid systems,
check the Video settings for each tape.
208
Saving a Custom Default Setting for the Video Input Tool
You can create a default setting that is recalled by the system
whenever you load a new tape or when there is no Tape setting that
matches a loaded tape.
Whenever you mount a new tape that does not have its own setting,
the system will recall these default settings.
To create a customized default Video Input tool setting:
2. Adjust the Calibration settings, as described in “Calibrating Video
Input” on page 199.
3. Choose Save As from the Settings pop-up menu in the Video Input
tool.
The View Name dialog box appears.
4. Type Default, and click OK. (You must use this spelling and
initial capitalization.)
Adjusting Video Levels for Tapes Without Color Bars
Color bars are the best way to set the video levels consistently.
However, if you have a tape or series of tapes with no color bars, you
might need to adjust levels by using the internal Waveform and
Vectorscope monitors.
n
Calibrate your Client monitor before making these adjustments.
209
To adjust video levels for tapes without color bars:
t
Find a series of frames in the footage that includes black areas.
Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ,
or 0.3 V for PAL on the Waveform monitor. Blacks should not seem
flat and lacking detail.
t
Find a series of frames in the footage that includes white areas.
(Bright, well-lit regions work better than white objects.) Whites
should peak at around 100 IRE for NTSC and NTSC-EIAJ, or 1.0 V
for PAL on the Waveform monitor. Whites should not be washed
out or lacking detail.
t
Find a series of frames in the footage that includes skin colors.
Skin colors should fall generally between the target boxes for the
red and yellow vectors in the Vectorscope monitor. Skin colors
should be realistic.
t
Check that chroma does not exceed 110 or fall below –120 on the
vector.
t
Check that pure yellows are a rich gold and not reddish or
greenish in tone. Find a pure yellow and adjust both hue and
saturation as necessary.
Digitizing Preparations Check List
Use this check list to help you prepare for the digitizing process.
Check your hardware configurations, particularly connections
between your deck and the Avid system. (See the setup guide for your
Avid system and “Preparing the Hardware for Digitizing” on
page 126.)
If you are working on a complex project with multiple streams of
video and high-resolution images, make sure your drives are striped
properly. (See “Getting Information About Striped Drives” on
page 127.)
Digitizing Preparations Check List
210
Select options in the Digitize Settings, General Settings, and Film
Settings (24p and 25p projects only) dialog boxes. (See “Selecting
Settings” on page 127.)
Configure your deck or decks using Deck Configuration and Deck
Preferences settings. (See “Configuring Decks” on page 144 and
“Setting Deck Preferences” on page 151.)
Set up the Digitize tool for video resolution and color compression.
(See “Setting Up the Digitize Tool” on page 156.)
Insert a tape into the deck, enter Capture mode, and set up the Digitize
tool for source tape, source deck, pulldown switch (24p projects) and
other requirements. (See “Entering Capture Mode” on page 155 and
“Setting Up the Digitize Tool” on page 156.)
Establish audio sync, select audio settings, and set up the Audio tool.
(See “Preparing for Audio Input” on page 171.)
Use the Video Input tool to choose the input source; set the video input
levels for setup, gain, saturation, and hue; save your Video settings for
future use. (See “Preparing for Video Input” on page 197.)
CHAPTER 5
Digitizing
When you digitize, you convert source material from videotape into
master clips that contain reference information. You also create
associated media files that contain the digital audio and video. Once
you prepare the capture tools, as described in Chapter 4, you can
digitize the source material in one of several ways, as described in the
following sections:
•
Before You Begin Digitizing
•
Special Digitizing Procedures
•
Digitizing and Logging at the Same Time
•
Digitizing with External Timecode
•
Digitizing to the Timeline
•
Digitizing Video Without Pulldown into a 24p NTSC Project
•
Batch Digitizing from Logged Clips
•
Redigitizing Your Material
•
Relinking Clips by Key Number
•
Modifying the Pulldown Phase After Digitizing
•
Digitizing During the Film-to-Tape Transfer
212
Before You Begin Digitizing
Depending upon your immediate needs, use the following guidelines
for working through this chapter based on a chosen digitizing method:
•
If you want to add locators, create subclips, or log errors to the
console during digitizing, see “Special Digitizing Procedures” on
page 213.
•
If you have no logs and want to begin digitizing right away, see
“Digitizing and Logging at the Same Time” on page 219.
•
If you want to digitize video to multiple media files across
multiple drives, see “General Settings” on page 140.
•
If you have logs already entered in a bin and would like to
automate the digitizing process with playback from an
Avid-controlled deck, see “Batch Digitizing from Logged Clips”
on page 235.
•
If you are redigitizing deleted media or have imported a sequence
that lacks the associated media files, see “Redigitizing Your
Material” on page 243.
•
If you have not already prepared a structure of bins for your
project, as described in the editing guide or Help for your Avid
system, consider the following tips before digitizing:
•
Digitizing
-
You can create one bin for each source tape. This avoids
slowing the system with large bins, associates each bin with a
source tape for better organization, and simplifies redigitizing.
-
You can name the bin after the tape, so that when you
autodigitize or digitize on-the-fly without noting a tape name,
the system will automatically name each clip or take after the
bin (tape) and will number them sequentially for easy
reference.
If you are working with a multicamera production, see Chapter 6
for information on the digitizing process.
213
Table 5-1 lists the Function keys that are available when the Digitize
tool is active. Digitize mode overrides any other functions mapped to
these keys.
c
Digitizing on-the-fly can cause incorrect pulldown and stuttering
playback. Do not use the F1 or F2 keys for digitizing 24-fps film that
has been transferred to NTSC video unless you have set the correct
pulldown phase. See “Setting the Pulldown Phase” on page 97.
Table 5-1
Function Keys Available When Digitizing
Press
To
F1
Mark the beginning of the subclip while digitizing.
F2
Mark the end of the subclip while digitizing.
F3, F5 to F12
Add a locator to the current frame while digitizing.
Each Function key adds a different color locator. See
“Adding Locators On-the-Fly” on page 216.
F4
Start the digitizing process when in Digitize mode.
In Log mode, press once to mark an IN point. Press
again to mark an OUT point to log the clip in the bin.
This section describes several optional procedures that you can use
during the digitizing process.
214
Logging Errors to the Console Window
The Console window is useful for logging errors that occur during the
digitizing process.
To open the Console window:
t
n
Choose Console from the Tools menu.
For more information about the Console, see the editing guide or Help for
your Avid system
Consider the following when choosing whether to log errors to the
Console during digitizing:
on Digitize settings, see
“Redigitizing Your
Material” on page 243.
•
If the option “Log errors to the console and continue digitizing” is
selected on the Batch tab of the Digitize Settings dialog box, when
you batch digitize and the system encounters an error, it will abort
the clip, will enter error comments into the console, and will
continue digitizing the next clip.
•
If the option “Log errors to the console and continue digitizing” is
not selected, a message will appear and the system will pause if an
error occurs while digitizing. If this happens, do the following:
a.
Click Try Again to retry the operation. The clip might digitize
successfully.
b.
If the clip does not digitize the second time you try, the error
message appears again. Click Next Clip to bypass the clip that
caused the error, and continue batch digitizing any remaining
clips, or click Abort to cancel the entire batch digitizing
process.
Note all errors, messages, and steps that you have taken and decide
whether to troubleshoot the problem on your own, or contact your
reseller or Avid Customer Support.
Digitizing
215
Creating Subclips On-the-Fly
creating subclips after
digitizing, see the
Subclips are marked sections of a longer master clip that you can view
and edit like any other object in a bin. This section describes a shortcut
method for creating subclips on-the-fly during digitizing. The
maximum number of subclips you can generate while digitizing a clip
is 100.
When Subclips are created in 24p or 25p projects, they are always
created as “hard” subclips. This means that you will not be able to trim
past the edges of the subclip when adjusting transitions and edits.
Hard subclips prevent film tracking information errors for editing and
cut lists.
To create a subclip on-the-fly:
1. Start digitizing as usual.
2. At the point where you want to begin the subclip, press the F1 key.
This action highlights the subclip IN point in the Digitize tool.
Subclip Status
indicator
3. While the system is digitizing, you can enter a name for the
subclip by typing the name. Press the Tab key to enter comments
about the clip.
4. When you want the subclip to end, press the F2 key. This
highlights the subclip OUT point in the Digitize tool.
n
You can press the F2 key repeatedly as you search for the end point of the
subclip. The system accepts the last occurrence as the end point. You can
also press the F1 key at anytime before pressing F2 again to remove the
previous subclip marks and to start a new subclip IN point.
The subclip appears in the target bin when you stop digitizing.
When digitizing is complete, a number appears between the
subclip indicators to show the number of subclips created.
216
c
For NTSC film-to-tape transfers, you must log the correct pulldown
phase before you create subclips. For more information, see
“Entering Pulldown Information” on page 113.
Adding Locators On-the-Fly
on specific uses for
locators, see the editing
Avid system.
Locators mark a single frame within a clip or sequence so that you can
attach a note or find the frame at a later time. This section describes a
shortcut method of adding locators on-the-fly while digitizing.
When the Digitize tool is active, eight colored locators are mapped to
nine Function keys on the keyboard. The locators override any other
functions mapped to these keys. Table 5-2 lists the colored locators and
the Function keys they are mapped to during digitizing.
Table 5-2
Locators Mapped to Function Keys
Locator Color
Function Key
Red
F3 and F5
Green
F6
Blue
F7
Light blue (cyan) F8
Digitizing
Magenta
F9
Yellow
F10
Black
F11
White
F12
217
To add a locator to a frame while digitizing:
t
Watch the playback of the footage in the Edit monitor and press
one of the locator keys when you see the appropriate shot or
frame.
Adding Clip Names and Comments On-the-Fly
The Avid system’s Annotate feature allows you to type clip names and
comments during the digitizing of a clip. This information is saved in
the clip Name and Comments columns in the bin. You can add
comments about such things as color correction or directions for
editing.
n
To carry your comments over to the sequence so that they will appear in the
Timeline, in cut lists, or in EDLs, you must add the comments again when
creating the sequence by using the Add Comments command in the Clip
Name menu.
To add clip names and comments on-the-fly:
1. Start typing the clip name at any time during the digitizing of a
clip.
The Annotate window opens on screen, allowing you to see the
text as you type.
2. After typing the clip name, press the Tab key and begin typing
comments. You cannot edit the text until after the digitizing is
complete, but you can backspace and retype the information.
218
Controlling Decks from the Keyboard
You can use the J-K-L keys to control a deck from the Digitize tool,
Digital Cut tool, and Deck Controller window.
The J-K-L keys work the same as they do in the Source and Record
monitors as shown in the following table.
Press
To
K
Stop the deck.
L
Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.
J
Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal
speed.
K+L
Shuttle the deck at 0.25x normal speed.
J+K
Shuttle the deck at –0.25x normal speed.
The following restrictions apply:
Digitizing
•
The Digitize tool, Digital Cut tool, or Deck Controller window
must be selected for keys to be active.
•
Single-field stepping is not supported.
•
If you remap the function of the J-K-L keys, you will no longer be
able to control decks with those keys.
219
Mapping the Record Button
You can map the Record button from the Command palette to a key on
the keyboard or to a button on a JL Cooper Media Control Station
(MCS3). This allows you to start digitizing by pressing a key or by
pressing a button on the MCS3.
n
The Record button works for either the Digitize tool or the Audio Punch-In
tool, depending on which tool is active.
n
The Record button is in the Play tab of the Command palette.
For more information on mapping buttons and for information on the
MCS3, see the editing guide or Help for your Avid system.
When you digitize without entering log information in a bin ahead of
time, the system creates clips and associated media files while you
digitize. Digitizing in this manner involves manually cueing source
footage with an Avid-controlled deck, using the deck controls in the
Digitize tool.
There are several ways to digitize and log at the same time:
•
Digitizing from a mark IN to a mark OUT. This method lets you
specify the exact timecode location to begin and end digitizing.
You can also specify only a mark IN or mark OUT, and enter the
other mark on-the-fly. These procedures are described in
“Digitizing from a Mark IN to a Mark OUT” on page 221.
•
Digitizing on-the-fly. This method is easier than setting marks,
but it is less precise. It involves using the deck controls in the
lower left corner of the Digitize tool to cue, play, and stop the
source footage manually while digitizing. These procedures are
described in “Digitizing On-the-Fly” on page 223.
220
c
Digitizing on-the-fly and autodigitizing can cause incorrect
pulldown and stuttering playback. Do not use these methods for
digitizing 24-fps film that has been transferred to NTSC video
unless you have set the correct pulldown phase. See “Setting the
Pulldown Phase” on page 97.
•
Autodigitizing. This method requires the least amount of
supervision and effort, but usually calls for more digitizing time
and drive storage space. It involves playing each source tape from
a cue point near the beginning and letting the system digitize the
entire tape, automatically naming and entering each cut into the
bin. These procedures are described in “Autodigitizing” on
page 226.
Two additional techniques you can use when digitizing and logging at
the same time are described in “Digitizing from a
Non-Avid-Controlled Deck” on page 228 and “Digitizing with
Time-of-Day Timecode” on page 230.
You can log and digitize at the same time with either a PAL or NTSC
film-to-tape transfer as the source. However, when digitizing an NTSC
transfer, you must observe the following basic rules:
n
Digitizing
•
Specify the pulldown frame before digitizing. See “Entering
Pulldown Information” on page 113.
•
The mark IN must be an A frame, and you cannot digitize with a
mark OUT only, unless you have set the correct pulldown phase.
See “Setting the Pulldown Phase” on page 97.
When you capture footage from an NTSC film-to-tape transfer with
pulldown, the playback flickers in the Client monitor during digitizing
because the system is dropping occasional frames due to the pullin process.
The footage will play back smoothly in the Avid system, however, once the
pullin conversion is complete.
221
Digitizing from a Mark IN to a Mark OUT
Digitizing from a mark IN to a mark OUT lets you specify exactly
where to begin and end digitizing. You can specify both marks, or only
a mark IN or a mark OUT, and the system enters 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 mark IN, the mark OUT, or both, quickly and
accurately
Setting Both Marks
To digitize by specifying a mark IN and a mark OUT:
1. Make sure you selected the proper Digitize settings and set up the
capture tools, as described in Chapter 4.
Mark IN
Mark OUT
Go to IN
2. Set either a mark IN or a mark OUT for the clip you want to
digitize, using either of the following methods:
t
Use the deck controls in the Digitize tool. Cue your source
tape to where you want to start or end the clip, and click the
Mark IN or 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. Finish logging the clip, using either of the following methods:
t
Set the corresponding IN or OUT point.
222
t
Type a timecode for the clip’s duration in the text box next to
the Duration mark (below the mark OUT) in the format
HH:MM:SS:FF.
The system automatically calculates the appropriate timecode for
the corresponding mark IN, mark OUT, or duration.
4. Click the Record button in the Digitize tool, or press the F4 key.
The Digitize tool automatically rewinds the tape to the preroll
point before the IN point of the clip, and the tape begins to play.
The Record button becomes bright red, and the message bar
displays the message that the Avid system is digitizing.
5. While the system is digitizing, 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 digitizing. (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, digitizing stops and
the system creates a new clip in the bin.
Setting Only One Mark
To set only one mark and enter the other mark on-the-fly:
t
Set an IN point and click the Record button to begin digitizing.
Then, click the Record button again to stop digitizing on-the-fly
and set a mark OUT.
This method is useful if you do not need a precise mark OUT. You
save time because you do not have to shuttle to locate the mark
OUT before digitizing.
t
Digitizing
Set a mark OUT only, then move to a position on the tape that is a
few seconds before where you want to start digitizing. Play the
tape and then immediately click the Record button to begin
digitizing on-the-fly. When the tape reaches the clip’s OUT point,
digitizing stops.
223
This method is useful if you do not need a precise mark IN, but do
need to stop at a precise OUT point, for example, just before a
timecode break.
Digitizing On-the-Fly
Use the digitizing 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 into the system or setting marks
•
If your source tape does not have timecode
•
If you are digitizing from a digital source such as a CD or DAT
player
•
If you are digitizing from a live source, such as a studio feed, or an
in-house router
There is a slight delay of several frames after you manually select a spot both
to start and to stop digitizing. Therefore, use this method when you do not
need precise beginning and end points in your clip.
•
c
If you are digitizing from a source deck that cannot be controlled
by the Digitize tool or a V-LAN/VLXi unit
playback. Do not use these methods for digitizing 24-fps film that
has been transferred to NTSC video, unless you have set the correct
To digitize on-the-fly:
2. Click the Digitize/Log Mode button on the Digitize tool until the
DIG icon appears.
224
3. (Option) Click the triangular opener in the Digitize tool to display
the Name and Cmnt text boxes, if you plan to enter clip names or
comments during digitizing.
Triangular opener
(Click to display
comments.)
4. Use the deck controls in the bottom left corner of the Digitize tool
to locate the position on the tape where you want to start
digitizing.
Single-Frame Backward button
Shuttle button
Single-Frame Forward button
Fast Forward/Rewind
buttons
Stop button
Pause button
Play button
Eject button
Clear Marks buttons
5. To begin digitizing, play the deck; when it gets up to speed, click
the Record button or press the F4 key.
n
Digitizing
Make sure you have cleared any previous marks so that the deck does not
begin cueing to the previous location.
225
Digitizing begins within a few frames, and the timecode for the
clip’s IN point appears. The Digitize indicator, to the right of the
Record button, flashes on and off. The message bar displays a
message that your Avid system is digitizing.
6. While the system is digitizing, you can type a clip name in the
Name text box.
Digitize indicator
Message bar
Triangular opener
n
If you want comments
to appear in EDLs or cut
lists, add them during
editing by using the
Add Comments
command from the Clip
Name menu. For more
If the Name text box is not visible on the Digitize tool, you can type a clip
name but you cannot view your typing. To display the Name text box, you
must click the triangular opener before you begin digitizing.
7. Press the Tab key after typing a clip name to enter comments
about the clip. You cannot edit the text during digitizing, but you
can backspace to retype the comments.
8. Click the Pause button at any time to pause play. You can also
abort the digitize procedure by clicking the Trash button. The clip
will be discarded.
9. To stop digitizing and enter the OUT point of the clip, click the
Record button, or press the Escape key on the keyboard.
The system creates a new clip in the bin. It also enters basic log
information for each clip, consisting of the mark IN, the mark
OUT, the duration, and any other information typed in during the
digitize procedure.
226
10. If you did not enter a clip name while digitizing, type it now while
the clip name is highlighted in the bin. If you return to the Digitize
tool and begin another clip, the default clip name remains in the
bin until you change it.
In some circumstances, the digitized material might exceed the 2-GB
media file size limit. In such a case, set up the Digitize tool to digitize
to multiple media files. For more information, see “General Settings”
on page 140.
Autodigitizing
Autodigitizing an entire tape can save you time by allowing you to
bypass both the logging process and the time it takes to cue each shot.
However, this process requires the most storage space, and it takes
time to digitize an entire tape.
When you autodigitize, you mount and cue your tape to a starting
point and start the digitizing process through the Digitize tool. If you
follow the tips and techniques described in this section, you can allow
the system to complete the digitizing process unattended.
c
c
Digitizing
The Avid system can digitize across timecode breaks, but it cannot
digitize across control-track breaks in the recording (that is, if the
recorded footage breaks up into noise between shots). If such breaks
in recording exist on your tape, consider using the methods
described in “Digitizing On-the-Fly” on page 223.
playback. Do not use these methods for digitizing 24-fps film that
has been transferred to NTSC video unless you have set the correct
227
Before you begin autodigitizing entire tapes:
on Digitize settings, see
“Digitize Settings
Dialog Box” on
page 131.
•
Select the following settings in the Digitize Settings dialog box
(accessed from the Settings scroll list in the Project window):
-
Digitize to multiple files (Media Files tab)
-
Preroll Method: Best Available or Best Available Control Track
(General tab)
-
Digitize across timecode breaks (General tab)
-
Log errors to the console and continue digitizing (Batch tab)
•
Turn off the Fast Cue option and set the preroll to approximately
4 seconds in the Deck Settings dialog box. For more information,
•
You should have accurate notes on the number and content of
takes on each tape to identify the content of each clip when
necessary.
To autodigitize:
1. Create one bin for each tape.
This keeps bins to a manageable size and automatically names all
clips from each tape after the name of their respective bins.
2. Name each bin after the source tape number. By default, all clips
are named after the tape and are numbered incrementally
beginning with .01.
3. Open the bin for the first tape and choose Go To Capture Mode
from the Bin menu.
5. Load the source tape and cue past any false starts.
6. Play the tape, and wait 4 seconds before clicking the Record
button.
228
Digitizing from a Non-Avid-Controlled Deck
If you have a deck that cannot be controlled directly by the system,
you can digitize with manual deck control.
To digitize with manual deck control:
1. Enter Capture mode and set up the tools, as described in
Chapter 4.
2. Click the Toggle Source button in the Digitize tool until the Deck
Offline icon appears to disable the deck controls and leave only
the Tape Name display.
n
Digitizing
The TC button also disappears. The footage will be digitized with time-of-day
timecode generated by the system.
229
3. Click the Tape Name display to open the Select Tape dialog box
and identify the source tape.
You can select the option “Show other project’s tapes” to display
the tape names and associated project names for all bins that have
been opened in the current session.
n
Because the media file database does not open when you start your Avid
system, tape names of all online media files do not appear automatically.
If the tape name you are searching for does not appear in the Select Tape
dialog box, click the Scan for tapes button. Tape and project names are listed.
New tape name
List of tapes
Show Tapes option
For guidelines in naming tapes, see “Naming
Tapes” on page 100.
t
Select the name of the tape from the list in the Select Tape
t
Click New if the tape is not in the list. A New Tape name line
The tape name is displayed in the Digitize tool.
5. Play the tape manually and click the Record button to stop and
start the digitizing of each clip.
230
Digitizing with Time-of-Day Timecode
When you digitize with an Avid-controlled deck, you can digitize your
footage with time-of-day timecode rather than source timecode.
To digitize with time-of-day timecode:
1. Enter Capture mode and set up the tools, as described in
Chapter 4.
2. When selecting tracks, deselect the TC button.
3. Digitize by using any of the techniques described in “Digitizing
LTC (longitudinal or linear timecode) from an external source allows
production facilities to digitize from multiple sources at the same time
that they are recording to tape. A facility that has a central timecode
generator can use that clock to send identical timecode to all systems.
This timecode output can be run directly to the Avid system through
the LTC IN connection on the Meridien I/O box.
External timecode is especially useful for live events, dramatic
multicamera shows, and video material coming in on routers that do
not support timecode. You can start editing immediately after the
shooting without waiting to digitize from the backup reference tapes.
If you are taking a feed from a source based on a time-of-day timecode
generator, setting IN and OUT points is especially useful. When the
time of the external timecode source matches the IN point, the Avid
system begins to digitize. Digitizing stops when the external timecode
matches the OUT point.
Digitizing
231
To prepare for digitizing with external timecode:
2. Click the Toggle Source button until the External Timecode icon
appears.
TC Source
pop-up menu
3. Choose LTC Input from the TC Source pop-up menu.
The menu contains two other choices:
-
Internal: Uses internal system timecode.
-
Auto Detect: Detects LTC input by default. If the LTC input is
deactivated, the Digitize tool automatically switches to
internal timecode. If the LTC Input is reactivated, the Digitize
tool switches back to LTC Input.
4. Digitize by using any of the techniques described in “Digitizing
232
n
If you notice that your digitized material is consistently one or more frames
off, use the Latency for External Timecode Mode option in Digitize settings
dialog box to fix the problem. See “Digitize Settings Dialog Box” on
page 131.
You can digitize footage directly from tape to a sequence loaded in the
Timeline in one step, bypassing several steps such as organizing and
reviewing clips, marking edit points, and performing edits.
To digitize to the Timeline:
1. Prepare for digitizing (see Chapter 4).
2. Set options in the Digitize Settings dialog box:
a.
Click the Settings tab in the Project window.
b.
In the Settings scroll list, double-click Digitize. The Digitize
Settings dialog box appears.
c.
Click the Edit tab.
d. Select Enable Digitizing to Timeline.
e.
Set the handle length (the amount of footage you want to
digitize before and after the IN and OUT points of the clips).
f.
Click OK.
3. Load a sequence into the Record monitor.
4. (Option) Patch tracks you are digitizing (source tracks) to the
tracks in your sequence (record tracks). See “Patching When
Digitizing to the Timeline” on page 233.
5. Mark an IN point in the sequence or move the position indicator to
where you want the edit to take place.
Digitizing
233
6. Mark the source material that you want to digitize by using the
Digitize tool logging controls. For a description of the controls, see
“Logging with an Avid-Controlled Deck” on page 103.
7. (Option) Mark an OUT point based on the following:
t
If you are recording to the middle of a sequence in the
Timeline, mark both IN and OUT points for frame accuracy.
t
If you are recording to the end of a sequence, you can mark
just an IN point and then mark the OUT point later on-the-fly.
8. Click the Splice-in button or the Overwrite button in the Digitize
tool to choose the type of edit.
Splice-in
button
Overwrite
button
Record
button
9. Click the Record button to begin recording.
10. If you did not mark the OUT point in advance, click the Record
button again when the footage reaches the appropriate frame.
If you already marked an OUT point, recording will stop
automatically.
When digitizing ends, the clip appears in place in the sequence, and a
master clip appears in the bin.
Patching When Digitizing to the Timeline
By default, the tracks you have selected for digitizing (V1, A1, A2, and
so on) are edited to the corresponding tracks in the Timeline. You can
patch the digitized footage to any track in the Timeline.
234
To patch tracks when digitizing to the Timeline:
1. In the Digitize tool, click and hold the Track Selector button for the
track (video or audio) that you want to patch.
2. From the pop-up menu, choose the track to which you want to
patch the digitized footage.
For example, if you want to digitize video footage to track V2, click
and hold the red V button in the Digitize tool and choose V2 from the
pop-up menu. The Track Selector panel in the Timeline displays the
resulting patch.
Choose the track
to patch.
n
n
Digitizing
The result is
displayed in
the Timeline.
You can also patch tracks in the Timeline in the same way that you patch
tracks when editing from the Source monitor. See the editing guide or Help for
your Avid system.
Only tracks that are enabled in the Timeline are available for tracking. Other
tracks appear dimmed in the pop-up menu.
235
Digitizing Video Without Pulldown into a 24p NTSC
Project
Film-to-tape transfers that were made without using pulldown can be
digitized directly into a 24p project. This feature is useful when special
effects are generated on a frame-to-frame basis to tape and need to be
integrated into a 24p project.
Before digitizing the footage, choose Video Rate from the Film to
Video Transfer pop-up menu in the Film Settings dialog box. The
Film-to-Video Transfer setting allows you to specify the type of
film-to-tape transfer that you are digitizing. For more information, see
“Transfer Settings for Film Projects” on page 141.
n
For normal 24-frame capture, select Pulldown from the Film to Video
Transfer pop-up menu in the Film Settings dialog box.
Once you have imported a log or have manually logged a group of
clips into a bin, you can automate the digitize process by using the
Avid system’s batch-digitizing capabilities. When you batch digitize,
you open a bin, select the clips you want to digitize, and choose Batch
Digitize from the Clip menu. The Avid system automatically finds the
start and end timecode for each clip and digitizes it. To batch digitize,
source tapes must have timecode that matches the timecode for the
selected clips.
You can also use the batch-digitizing process to redigitize clips you
have already digitized. The redigitizing process is described in
“Redigitizing Your Material” on page 243.
Digitizing Video Without Pulldown into a 24p NTSC Project
236
n
When you capture footage from an NTSC film-to-tape transfer with
pulldown, the playback flickers in the Client monitor during digitizing
because the system is dropping occasional frames due to the pullin process.
The footage will play back smoothly in the Avid system, however, once the
pullin conversion is complete.
Preparing to Batch Digitize
Preparing for batch digitizing involves an option of resizing the
Digitize tool, and establishing settings that allow you to batch digitize
with minimal supervision.
Resizing the Digitize Tool
Because your clips are already logged in a bin, you can simplify the
interface during batch digitizing by hiding the deck controller and
logging controls in the Digitize tool.
To resize the Digitize tool during batch digitizing:
t
Triangular opener
Digitizing
Click the triangular opener to the left of the deck controller.
237
The triangle points to the right, and the deck control and logging
controls close.
Preparing Settings for Unattended Batch Digitizing
Unattended batch digitizing allows you to digitize a large number of
clips with minimal supervision by selecting Digitize settings that
avoid a pause in the digitize process.
To prepare for unattended batch digitizing:
window.
2. Click the Batch tab and select the following options:
-
Log errors to the console and continue digitizing.
-
Switch to the emptiest drive if current drive is full.
For additional options, see “Digitize Settings: Batch Tab” on
page 237.
3. Click the General tab and select “Digitize across timecode breaks.”
(For more information, see “Digitizing Across Timecode Breaks”
on page 136.)
c
You cannot batch digitize clips that contain timecode breaks
between the logged IN and OUT points. Also, you cannot digitize
across breaks in the recording (that is, if the recorded footage breaks
up into noise between shots). If such breaks in recording exist on
your tape, consider using the methods described in “Digitizing
Digitize Settings: Batch Tab
The Batch Digitize settings specify how to batch digitize clips.
Table 5-3 describes the Batch Digitize Settings options. For information
on the General Digitize settings, see “Digitize Settings: General Tab”
238
on page 132. For information on the Media Files settings, see
“Selecting the Preroll Method” on page 134. For information on the
Edit options, see “Digitizing to the Timeline” on page 232.
Table 5-3
Digitize Settings: Batch Tab
Option
Description
Optimize for disk space.
When this option is selected, the system digitizes only the exact amount
of material in the master clips plus any additional handles. The tape will
pause and preroll independently for each master clip that is batch
digitized.
Optimize for batch speed.
When this option is selected, the system speeds up batch digitizing 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.
• For film projects, the two clips must have the same pulldown phase
relationship. See “Modifying the Pulldown Phase After Digitizing”
on page 253.
n
Switch to the emptiest drive
if current drive is full.
If you select this option, the system might occasionally digitize more
than is required.
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 digitizing. The system switches before
starting to digitize the clip, based on the number of minutes in the clip.
For complete instructions, see “Preparing Settings for Unattended Batch
If you do not select this option, digitizing stops when a drive becomes
full.
Rewind tape when finished.
Digitizing
When this option is selected, the system automatically rewinds tapes
after batch digitizing is finished.
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Table 5-3
Digitize Settings: Batch Tab (Continued)
Option
Description
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.
n
Log errors to the console
and continue digitizing.
If you select both “Rewind tape when finished”and “Eject tape when
finished,” the system will rewind and then eject the tape when digitizing
is complete.
When this option is selected, the system continues batch digitizing
when errors occur and reports the errors to the Console window
(choose Console from the Tools menu to view the Console window).
Deselect this option to stop digitizing when an error occurs. In this case,
the system displays a dialog box describing the problem and asks if you
want to continue. For complete instructions, see “Logging Errors to the
Console Window” on page 214.
Digitize the tracks logged for When this option is selected, the system digitizes the tracks that were
each clip.
entered when the clip was logged.
Deselect this option to use the Digitize tool to choose which tracks to
digitize. Note that you cannot digitize more tracks than were actually
logged.
Use the audio sample rate
logged for each clip.
When this option is selected, the system uses 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 Audio Projects Settings dialog box).
Use the video compression
logged for each clip.
When this option is selected, the system uses the video compression
logged for each clip. To determine the current Compression setting,
display the Video column heading in the bin.
Deselect this option to use the Media Creation dialog box or the Digitize
tool to choose video compression.
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Batch Digitizing Clips
To batch digitize clips:
2. Open the bin that stores the clips you want to digitize.
3. If you are redigitizing media from a project created on a different
the Meridien video I/O board. For projects from other Avid
systems, check the Video settings for each tape. For more
information, see “Calibrating Video Input” on page 199.
4. Select the clips to batch digitize:
n
t
Choose Select All from the Edit menu to select all the clips.
t
Ctrl+click (Windows) or Shift+click (Macintosh) to select
specific clips.
If you are batch digitizing the original source master clips used in the
sequence, the sequence will automatically be updated. Therefore, you might
want to deselect the sequence during this procedure.
5. Choose Batch Digitize from the Clip menu.
The Batch Digitize dialog box appears.
Digitizing
241
Handle length options
appear only when a
sequence is selected.
n
If the clips that you want to batch digitize are not highlighted in the active
bin, Batch Digitize appears dimmed in the Clip menu.
6. Select options in the dialog box:
on handle lengths when
redigitizing, see “Redigitizing Sequences” on
page 244.
-
If the bin contains some clips that are already digitized and
you do not want to redigitize those clips, select the option
“Offline media only” If this option is not selected and some of
the selected clips have media files, the system deletes the
media files and redigitizes new media files.
-
Select “All clips in a group edit” to allow digitizing of each
clip in a group clip.
-
If your selections include a sequence for batch digitizing, the
dialog box prompts you for handle length information; the
system will create new master clips based on the length of
edited clips in the sequence.
-
(Option) Select “Extend handles beyond master clip edges” to
allow the handles to extend before the beginning and after the
end of the original master clip. When you batch digitize,
deselecting this option prevents digitizing across a
discontinuous timecode error.
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For example, if the starting timecode for a master clip is
1:00:10:00 and the resulting master clip after a decompose
with handles causes the new master clip to begin at 1:00:09:00,
batch digitizing will fail if there are any timecode
discontinuities between 1:00:09:00 and 1:00:10:00.
7. Click OK.
If you have not loaded a tape, the system prompts you to insert
the first tape.
8. Insert the tape into the tape deck and click Mounted.
9. Click OK to confirm the tape and deck entries and begin the
digitizing process. The system digitizes each clip from the tape, in
start timecode order.
10. If the system needs another source tape, the system prompts you
for the tape. At this point, you have several options:
n
t
Insert the new tape and click Mounted to continue the
digitizing process.
t
Click “Skip this clip” to bypass just the first clip from the tape
and continue digitizing the remaining clips.
t
Click “Skip this tape” to bypass all the clips from the mounted
tape. The system then prompts you for the next tape.
t
Click Abort to end the batch-digitizing process. You can also
stop digitizing at any time by clicking the Trash button in the
Digitize tool.
To bypass specific clips in the process of batch digitizing a particular tape, you
must abort each clip manually by clicking the Trash button, then click next
clip in the Abort window to continue.
When the system has finished batch digitizing, a dialog box notifies
you that the process is complete.
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243
Redigitizing is the process of capturing previously digitized source
footage based on existing clips and sequences. Redigitizing uses the
batch-digitizing process and does not require extra logging time
because the clip information for such things as source tracks,
timecodes, and compression settings already exists in the bin.
There are several situations in which you might want to redigitize:
c
•
You can redigitize a sequence after you transfer it from another
system, such as an offline Media Composer.
•
You can redigitize low-resolution clips at a higher resolution
setting after they have been edited into a sequence.
•
You can quickly redigitize selected clips if you make an error
while digitizing the first time (for example, if you forget to check
audio levels or set the wrong resolution).
•
You can redigitize clips if you accidentally delete media files.
Redigitizing requires your original source footage. Do not delete the
media files if the source footage is no longer available, unless you
will not need the material again.
For information on loading the media database to relink clips, see the
editing guide or Help for your Avid system.
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Redigitizing Master Clips and Subclips
The procedure for redigitizing master clips and subclips is identical to
the process for batch digitizing logged clips. See “Batch Digitizing
from Logged Clips” on page 235.
Although the procedure is the same, the result is slightly different, as
follows:
•
Master clips are linked to entire media files and serve as sources
for subclips and sequences. Therefore, when you redigitize a
master clip, changes in compression settings and levels affect all
subclips and sequences created from the master clip.
•
Subclips are smaller sections of master clips. When you redigitize
a subclip, the system creates a new master clip that is linked to
new media files and reflects the shortened length of material.
Therefore, redigitizing subclips streamlines the digitize process.
Also, redigitizing breaks the link from the subclip to the original
master clip. But if you edit the subclip into a sequence, the
sequence will reflect any changes in the newly digitized subclip.
Redigitizing Sequences
Redigitizing a sequence creates new master clips and associated media
files based on the length of each shot edited into the sequence. It
breaks any links to the original source clips, and only the sequence and
its new master clips are linked to the newly digitized media files.
There are two approaches to redigitizing a sequence:
Digitizing
•
Use Decompose to create a bin of clips, and then batch digitize the
clips.
•
Redigitize the sequence without using Decompose.
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Saving Two Versions of a Sequence When Redigitizing
To save the original version of your sequence before redigitizing, you
can create a duplicate. For example, use this method if you create a
sequence at a low resolution to save storage space and want to
redigitize the sequence at a higher resolution while retaining the first
version. Avid recommends this method if you intend to use the
Decompose feature.
To make a duplicate of the sequence:
1. Select the sequence in the bin and choose Duplicate from the Edit
menu.
2. (Option) Create a new bin by choosing New Bin from the File
menu and move the duplicate sequence into the new bin. This step
saves you the confusion of mingling new sequences and master
clips with existing ones, especially when using Decompose.
Using Decompose When Redigitizing
Decompose allows you to create new, shorter master clips based only
on the material you have edited and included in your sequence, which
saves system disk space. You can choose the handle length of the new
master clips. Decompose breaks any links to the original source clips,
and only the sequence and its new master clips are linked to the newly
digitized media files.
Decompose creates new master clips in the bin for each shot in the
sequence prior to redigitizing. Using Decompose gives you greater
control during the redigitizing process. You can use this procedure to
sort clips in the bin, modify the clips, and then redigitize selected clips
in the sequence.
For film projects, clips created with Decompose retain all the
information from the original master clips, including Pullin column
information, key numbers, ink numbers, or any other information
formerly entered in the bin.
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To use Decompose:
1. Activate the bin that stores the sequence and select the sequence.
2. Choose Decompose from the Clip menu.
The Decompose dialog box appears.
3. To preserve clips that already have existing media files, select the
option “Offline media only.” Do not select this option if you plan
to decompose and redigitize the entire sequence.
4. Select other options for the types of clips to decompose: digitized,
imported, or all clips in a group edit.
5. Click the Handle Length text box and type the number of
additional frames you want to digitize at the heads and tails of the
new master clips. This provides enough overlap for trimming and
adding transition effects.
c
Digitizing
If you attempt to trim or add effects with no handles, you will
receive an error message notifying you that there is insufficient
media.
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6. (Option) Select “Extend handles beyond master clip edges” to
allow the handles to extend before the beginning and after the end
of the original master clip. When you batch digitize, deselecting
this option prevents digitizing across a discontinuous timecode
error.
For example, if the starting timecode for a master clip is 1:00:10:00
and the resulting master clip after a decompose with handles
causes the new master clip to begin at 1:00:09:00, batch digitizing
will fail if there are any timecode discontinuities between
1:00:09:00 and 1:00:10:00.
7. Click OK.
The new master clips appear in the bin. You can now sort and
select these clips like all other objects in the bin.
8. Proceed with the redigitizing procedures described in “Batch
Digitizing Clips” on page 240.
Redigitizing the Sequence Without Using Decompose
When you redigitize the sequence without using Decompose, the
digitizing process creates media files for each shot in the sequence
during the digitizing process. Bypassing the Decompose procedure
saves only a small amount of time, and you cannot make changes after
the media files are created without repeating the entire procedure.
Therefore, review “Using Decompose When Redigitizing” on page 245
before proceeding.
To redigitize a sequence:
2. Open or activate the bin that stores the sequence.
3. Choose Go To Capture Mode from the Bin menu.
4. Select the sequence you want to redigitize.
5. Choose Batch Digitize from the Clip menu.
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The Batch Digitize dialog box appears.
6. To preserve clips that already have existing media files, select the
option “Offline media only.” Deselect this option if you plan to
redigitize the entire sequence.
7. (Option) Select all clips in a group edit.
8. Click the Handle Length text box and type the number of
additional frames you want to digitize at the heads and tails of the
new master clips. This provides enough overlap to allow for
trimming and transition effects.
c
If you attempt to trim or add effects with no handles, you will
receive an error message notifying you that there is insufficient
media.
9. (Option) Select “Extend handles beyond master clip edges” to
allow the handles to extend before the beginning and after the end
of the original master clip. When you batch digitize, deselecting
this option prevents digitizing across a discontinuous timecode
error.
Digitizing
249
For example, if the starting timecode for a master clip is 1:00:10:00
and the resulting master clip after a decompose with handles
causes the new master clip to begin at 1:00:09:00, batch digitizing
will fail if there are any timecode discontinuities between
1:00:09:00 and 1:00:10:00.
10. Click OK.
The system prompts you to insert the first tape.
11. Insert the tape into the tape deck if you have not already done so.
12. Click Mounted to indicate to the system that the correct tape is
loaded and ready for digitizing.
13. Click OK to confirm the tape and deck entries.
The system digitizes each clip from the tape, in start timecode
order. If another source tape is needed, the system prompts for the
tape.
You can stop the batch-digitizing process at any time by clicking
the Trash button in the Digitize tool.
When batch digitizing is finished, a message box notifies you that the
process is complete. The new master clips appear in the bin, and
associated media files exist on the targeted drive or drives.
For illustrations of
workflows that include
FTFT relinking, see
“Planning a 24p or 25p
Project” on page 36.
The film-tape-film-tape (FTFT) relinking feature lets you re-create an
offline, film-originated sequence as a final finished sequence by using
the key numbers of the original film footage. During the offline stage,
you digitize and edit footage that was transferred to tape through a
one-light or best-light telecine transfer (FT). During the finishing stage,
you batch digitize, relink by key number, and edit footage that was
transferred through a second timed, color-corrected telecine transfer
(FT). Alternatively, if you are finishing a sequence in an online suite
250
and need only an EDL, you do not need to batch digitize the footage.
Just import the new shot log, relink to the offline items, and then create
the EDL.
Relinking by key number eliminates the need for the telecine transfer
facility to match the timecode and pulldown of the second transfer to
the timecode of the first transfer.
n
For more information about relinking, see the editing guide or Help for your
Avid system.
To relink clips by key number:
1. After you have finished editing the offline sequence, use the
FilmScribe application to create a pull list of the clips used in the
sequence. (For information on using FilmScribe, see the FilmScribe
documentation.)
2. Have the telecine facility use the pull list to pull selects from the
original negative and to transfer picture-only footage by using a
timed, color-corrected telecine process. You do not need to transfer
audio again. The telecine facility supplies a new shot log file along
with the transfer tape.
3. In your original project, create a new bin.
4. Duplicate the edited offline sequence and move it to the new bin.
At this point, the duplicate sequence is still linked to the original
media.
c
Duplicate your sequence before relinking. If you relink to the
original sequence, you will lose your links to the original media.
5. Process the new log file through ALE and import it into the bin
that holds the duplicated sequence. (For more information, see
“Using Avid Log Exchange to Convert Log Files” on page 80 and
“Importing Shot Log Files” on page 94.)
6. (Option) Batch digitize the clips imported from the new log file.
Choose 1:1 or another high-quality resolution. (For more
Digitizing
251
information, see “Batch Digitizing from Logged Clips” on
page 235.)
7. Select the duplicated sequence and the new clips.
8. Choose Relink from the Clip menu.
The Relink dialog box appears.
9. Choose “Key Number (KN Start) - picture only” from the Relink
By pop-up menu.
10. Select the option “Relink all non-master clips to selected online
items.”
11. (Option) If you did not batch digitize the original clips, select
“Allow relinking to offline items.”
12. In most cases, select the option “Relink only to media from the
current project.”
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Deselect this option if you know the new clips were digitized with
a different project name. Also, if the sequence does not relink to
the new clips, try deselecting the option and relinking again.
13. Click OK.
The new clips are linked to the sequence. If you duplicated the offline
sequence, the offline sequence is still linked to the original clips. If you
did not duplicate the sequence and you need to relink to the original
clips, follow this procedure:
1. Duplicate the sequence.
2. Create a new bin and move the sequence to the bin.
3. Locate the original clips. Look for a bin with the original clips, or
use the Media tool to locate the original clips.
n
For information on the Media tool, see the editing guide or Help for your Avid
system.
4. Copy the clips to the bin that contains the duplicated sequence.
5. Select the sequence and the original clips.
6. Follow steps 8 through 13 in the previous procedure.
Digitizing
253
You can also determine
the correct pulldown
phase from the original
tape. See “Entering
Pulldown Information”
on page 113.
If you have digitized film-originated clips (NTSC transfer only) that
seem to stutter, the problem could be an incorrectly logged pulldown
phase. The pulldown phase is the video frame at which the master clip
starts: A, B, X, C, or D. You log this pulldown phase in the Pullin
column of a bin. To solve the problem, you need to determine the
correct “pullin” frame, modify the clip information, and redigitize the
clip.
To check for an incorrect pullin frame:
1. Look for a section of the clip that includes a series of frames with
motion.
2. Step through the clip frame by frame (using the Step buttons or
another method) and look for two frames that have no movement.
If the pattern is two frames of movement followed by two frames
of no movement, the pullin is incorrect.
To determine the correct pullin frame, use one of the following
approaches:
t
If the source footage includes burn-in code with the pulldown
phase, go to the start of the clip and look for the pulldown for the
first frame.
t
If you want to maintain the start timecode for each clip, review the
original tape field by field, using the procedure described in
“Entering Pulldown Information” on page 113.
t
If you do not need to maintain the start timecode:
a.
Step through the clip frame by frame (using the Step buttons
or another method). Look for two frames that are identical (no
movement).
b.
Think of these frames as frames B and X of a four-frame series.
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No movement
A
B
X
D
Incorrect sequence
A
B
C
D
Correct sequence
Step backward (either one frame from the B frame or two
frames from the X frame) to locate the correct A frame. Note
the last digit of its timecode. Timecode for all A frames in the
clip will start either with this digit or this digit plus 5. For
example, if the A frame has the timecode 1:00:10:20, timecode
for all A frames in the clip will end in either 0 or 5.
c.
Compare these digits with the last digit of the start timecode
(first frame) of the clip to determine the correct pullin. For
example, if the A frame ends in 0 or 5, and the start timecode
ends in 4, the pullin is D.
d. If the pullin for the clip is the X frame, you need to modify the
timecode to produce a number you can associate with a pullin.
For example, if the A frame ends in 0 or 5, and the start
timecode ends in 2, the pullin falls on the X frame and you
need to modify the timecode along with the pullin. Move
forward one frame to create a start timecode ending in 3. Then
you can change the pullin to C.
c
When you change the timecode of a clip, you lose the key number of
the clip and need to enter it in the bin, adjusting it to match any
changes to the timecode.
After you determine the pullin frame, modify the clip information as
follows.
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255
To modify the clip information:
1. In a bin, select the clip you want to modify and press the Delete
key.
The Delete dialog box appears.
2. Deselect the option “Delete master clip(s)” and select “Delete
associated media file(s).”
3. Click OK.
The original media file is deleted.
4. Make sure the clip is still selected. Press Ctrl+Shift and choose
Unlink from the Clip menu.
The clip information is unlinked and you can modify the clip
information.
5. Type the correct letter for the pulldown phase in the Pullin
column. If necessary, type a new timecode and key number.
For multiple clips, you can use the Modify command or the
Modify Pulldown Phase command. See “Modifying the Pulldown
Phase Before Digitizing” on page 116.
With the new clip information in the bin, batch digitize the clip. See
“Batch Digitizing Clips” on page 240. If the pulldown phase is
accurate, the clip should play smoothly, with no repeated frames.
n
This method might not work for some clips that start with either an A frame
or a D frame. If, after you modify the clip as described previously, the clip still
stutters, modify the clip again. This time, if the pullin is A, change it to D. If
the pullin is D, change it to A.
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process by using Telecine Slave mode with VTR record emulation.
The Avid system emulates a record VTR, which eliminates the need to
digitize from videotape after the transfer is complete. However, you
should always transfer to at least one tape format at the time of the
transfer in case any of the footage needs to be redigitized. Telecine
Slave mode streamlines the transfer process because digitizing is
performed during the transfer.
You use the telecine controller to create master clips during the
digitizing process. The Avid system logs the clips and media files into
a bin you have chosen.
As you record, Telecine Slave mode creates a virtual tape in a bin in the
form of a sequence that emulates the structure of a film-to-tape
transfer.
The following illustration shows an example workflow using Telecine
Slave mode.
Digitizing
257
1. Prepare work print
for the circled (chosen)
takes.
2. Sync work print with
audio mag track, and
assemble each take on a
roll with ink numbers.
3. Screen the film dailies
before telecine transfer.
....................
.....................
....................
.....................
Negative
(Steps 1 and 2)
Work print
....................
Mag track
(Step 3)
Screening
4. Mount and transfer
the rolls directly to disk
with Telecine Slave
mode.
5. (Option) Enter ink
numbers manually into
the Avid system after
you digitize, to match
the ink numbers on the
work prints.
KEM roll
(Step 4)
Telecine
(Step 5)
Betacam
Transfer
6. Generate ink number
lists for preparing cuts
from the work print,
and key number lists
for conforming the
negative.
(Step 6)
Cut list
Conformed cut
Preparing to Digitize in Telecine Slave Mode
After you load the source film into the telecine, you need to set up the
Avid system for Telecine Slave mode. Follow the appropriate
procedures in Chapter 4. Then, follow the procedures in this section to
prepare to digitize in Telecine Slave mode.
Selecting the VTR Emulation Serial Port
The VTR Emulation serial port setting determines if VTR emulation is
in use. When you select a serial port for VTR emulation, VTR
emulation is enabled.
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To enable VTR emulation:
1. Make sure the telecine controller is connected properly.
For installation procedures, see the VTR emulation section in the
setup guide for your Avid system.
2. Choose Serial (COM) Ports (Windows) or Serial Ports (Macintosh)
from the Tools menu.
The Serial (COM) Ports tool opens.
3. Choose a serial port from the VTR Emulation pop-up menu that
matches the telecine controller’s serial port cable connection.
4. Click the Close button (Windows) or Close box (Macintosh).
The Avid system saves the settings as a Site setting that affects all
projects.
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259
Selecting VTR Emulation Settings
The settings in the VTR Emulation Settings dialog box affect how the
Avid system simulates a deck.
Select the VTR Emulation settings in the following order:
1. Emulation Type (required)
2. Device Code (required)
3. Edit Delay (required)
4. (Option) Runup
When you select the VTR Emulation settings, do one of the following:
t
If your telecine controller has the ability to create setup files for
individual decks, make a setup file for the Avid system VTR
emulation.
t
If your telecine controller applies deck settings to all decks with a
selected device code number, select a device code number for the
Avid system VTR emulation that is different from the other decks
in your work area.
260
Table 5-4 describes the VTR Emulation Settings options.
Table 5-4
VTR Emulation Settings:
Telecine Emulation
Option
Description
Emulation Type
Allows you to choose Telecine Record Emulation, Play Emulation, or
Direct Record Emulation.
Device Code
Allows you to select the device code that identifies the VTR that the Avid
system will emulate. The telecine controller adjusts to this choice. The
default value is a Sony PVW-2800, which performs all the common play
and record functions.
You do not need to change the device code value unless your edit
controller does not recognize the VTR emulator or you want to emulate a
specific VTR.
Runup (frames)
Adjusting the Runup parameter can help the Avid system to synchronize
with the telecine controller during preroll. If the telecine controller cannot
synchronize with the Avid system after the Avid system is running, adjust
the Runup setting. The Runup parameter uses frames as the unit of
measurement.
The Runup should typically be between 1 and 10. Adjust the value up or
down, based on whether the Avid system starts ahead of or behind the
telecine controller at the beginning of the preroll.
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261
Table 5-4
VTR Emulation Settings:
Telecine Emulation (Continued)
Option
Description
Edit Delay
Adjusts how much time the controller gives the Avid system to get ready
before digitizing begins. The edit delay is also referred to as edit offset and
trim.
The Edit Delay value in the VTR Emulation Settings dialog box must
match the telecine controller’s Edit Offset setting. If the Edit Delay
parameters do not match, you’ll notice that the recorded material will
begin a few frames earlier or end a few frames later than intended. For
the device code Sony PVW-2800, set this parameter to 6 fields. Setting the
Edit Delay parameter below 4 fields might cause edits to start a few
frames late.
Always adjust the value on the telecine controller. If the values don’t
match, consult your telecine controller documentation to determine how
to assign the edit delay value on your telecine controller. Use the default
value unless told otherwise by an authorized Avid support
representative.
Inhibit preloading when Avid recommends that you do not inhibit preloading under normal
cueing by single frame circumstances.
Preloading occurs by default. It improves playback performances by
preparing the digitized 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 Avid system to
present a sequence of still images as in a slide presentation.
To select the VTR Emulation settings:
1. Double-click VTR Emulation in the Settings scroll list of the Project
window.
The VTR Emulation Settings dialog box appears.
262
2. Choose Telecine Record Emulation from the Emulation Type
pop-up menu. See Table 5-4.
3. Choose the type of deck you want to simulate from the Device
Code pop-up menu. See Table 5-4.
4. Choose the appropriate number of fields from the Edit Delay
pop-up menu. See Table 5-4.
5. (Option) Type the appropriate number of frames in the Runup
(frames) text box. See Table 5-4.
6. Click OK.
Automatically Deleting Short Clips
You can set the Avid system to automatically delete master clips and
subclips that are shorter than a predetermined length. Short clips are
usually associated with test footage, such as bars or tone.
To automatically delete clips that are shorter than a set length:
window.
2. Click the Telecine tab.
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263
3. Select “AutoDelete clips shorter than,” and choose a length from
the pop-up menu that represents the length of clips to be deleted.
All master clips and subclips shorter than the set length will be
automatically deleted.
n
The head and tail clips created during an autosequence are 1 second longer
than the length you choose for the “AutoDelete clips shorter than” option.
4. Click OK.
Setting the Default Tape Timecode Format
To set the default tape timecode format:
window.
2. Click the Telecine tab.
3. Type the default timecode format in the text box:
t
For non-drop-frame, type colons (:) between the hours,
minutes, seconds, and frames.
t
For drop-frame, type semicolons (;) between the hours,
minutes, seconds, and frames.
4. Click OK.
Digitize Tool Controls for Telecine Slave Mode
The Digitize tool provides additional controls for Telecine Slave mode.
Set the appropriate Digitize tool controls as described in Chapter 4.
Then, follow the procedures in this section to set the Digitize tool for
Telecine Slave mode.
264
The Digitize tool displays additional buttons used in Telecine Slave
mode.
Telecine monitor
Digitize indicator
LOC/REM button
(local/remote)
Message bar
Digitizing
Toggle Source
button
(displaying
Telecine Slave
Mode icon)
265
Table 5-5 describes the Digitize tool controls used in Telecine Slave
mode.
Table 5-5
Telecine Slave Mode Controls
Control
Description
Telecine monitor
Allows you to view the virtual tape sequence to check the
recording progress
Telecine Slave Mode icon
Indicates the Avid system is simulating a record VTR that responds
directly to the controls from the telecine controller.
Digitize indicator
Flashes red during the digitizing process.
LOC/REM button
(local/remote)
Switches the Digitize tool controls between local and remote.
When you select LOC, you can change the configuration of the tool
and use the Avid system to control playback of recorded media.
When you select REM, the tool is slaved to the telecine
configuration. This mimics the behavior of the Local/Remote
switch found on many decks.
Message bar
Describes the current status of the Digitize tool.
Selecting Telecine Slave Mode
To select Telecine Slave mode:
1. (Macintosh only) Drag the Digitize tool to the Edit monitor.
The Digitize tool needs to be in the Edit monitor for footage to
play.
Telecine Slave
Mode icon
2. Click the Toggle Source button in the Digitize tool until the
Telecine Slave Mode icon appears.
3. Choose a name for the virtual tape sequence; see “Choosing a
Source Tape Name” on page 266.
266
Choosing a Source Tape Name
When you choose a source tape name, you are naming the virtual tape
sequence. The virtual tape sequence appears in the selected bin when
you enter Remote mode and begin digitizing. You will also notice that
a HEAD CLIP and TAIL CLIP appear in the bin. These two clips act as
markers for the beginning and end of the virtual tape sequence. Each
clip is 1 second longer than the length chosen for the “AutoDelete clips
shorter than” option on the Telecine tab of the Digitize Settings dialog
box. See “Automatically Deleting Short Clips” on page 262.
The default virtual tape sequence length is 1 hour. The length
automatically increases during the digitizing process if you record a
clip outside the bounds of the virtual tape sequence.
When you finish digitizing and logging, you can delete the virtual
tape sequence, head clip, and tail clip.
Digitizing and Logging in Telecine Slave Mode
To begin digitizing and logging:
1. Make sure the Avid system is ready for digitizing or logging. See
“Preparing to Digitize in Telecine Slave Mode” on page 257.
2. Click the LOC/REM button to select REM (remote) mode to begin
the digitizing process.
When you select Remote mode, control is transferred to the
telecine controller.
n
The first time you enter Remote mode after starting a new project and setting
up a virtual tape sequence, the Set Tape Timecode dialog box appears. See
“Formatting and Setting the Virtual Tape Timecode (Telecine Slave Mode)”
on page 267.
3. Start the transfer. The Digitize indicator in the Digitize tool flashes
red when recording and digitizing starts.
Digitizing
267
n
If digitizing does not begin, make sure the VTR Emulation serial port is set
correctly. See “Selecting the VTR Emulation Serial Port” on page 257.
4. (Option) While the Avid system is digitizing, you can type clip
names in the Name text box. Press the Tab key after typing a clip
name to enter comments about the clip in the Comment text box.
c
n
Do not begin typing in the Name or Comment text box until after
preroll has begun.
After you type text in the Name text box or the Comment text box, you must
press Enter (Windows) or Return (Macintosh), or click outside the Digitize
tool before you type a timecode or footage number in the Telecine monitor in
the Digitize tool.
If you digitize beyond the default length of the sequence, the virtual
tape sequence size increases. During the digitizing process, master
clips are created in the selected bin and are added to the sequence
automatically.
The Telecine monitor in the Digitize tool allows you to view the virtual
tape sequence to check the recording progress.
c
Do not use the playback controls in the Record monitor or in the
Timeline when the telecine controller is playing from or recording
to the Avid system.
Formatting and Setting the Virtual Tape Timecode (Telecine Slave Mode)
You need to set a timecode for the virtual tape sequence. This process
is similar to striping a tape before recording on it. Make sure that
enough preroll time is available and that the timecode characteristics
(drop-frame, non-drop-frame) are preset.
n
To view or change the default tape timecode format, see “Setting the Default
Tape Timecode Format” on page 263.
268
To format and set the virtual tape timecode:
1. Click the LOC/REM button in the Digitize tool to enter Remote
mode for the first time after setting up a virtual tape.
The Set Tape Timecode dialog box appears.
2. Type the starting timecode in the Start text box.
3. Type a length for the virtual tape (in hours and minutes) in the
Length text boxes.
Digitizing
t
Click OK to begin digitizing.
t
Click Cancel to return to local mode.
CHAPTER 6
Multicamera Planning and
Digitizing
Your Avid system’s multicamera editing tools allow you to
incorporate multiple camera angles easily into the nonlinear editing
process. This chapter describes workflows and digitizing for
multicamera projects. Techniques for editing multicamera projects are
described in the editing guide and Help for your Avid system.
This chapter describes the following topics:
n
•
Developing a Postproduction Model
•
Digitizing Methods
•
Checking the Bins
For information on multicamera resolutions, see “MultiCamera Resolutions”
on page 506.
270
As the name indicates, multicamera production multiplies the amount
and complexity of source material you manage in a project. As a result,
comprehensive postproduction planning is essential to avoid the
hazards of mismatched shots, takes, and entire reels during digitizing
and grouping.
This section presents a postproduction model that can help you
organize your material. While the routines of a typical situation
comedy are used to illustrate these organizing principles, you can
easily adapt this model to suit the particular needs of other
productions, such as sports, documentary, and music videos.
Avid recommends the following guidelines for organizing a large
multicamera project:
•
Choose a tape-numbering scheme and be consistent.
•
Record or film the multicamera shoot logically according to offline
and online editing needs.
•
Manage the production path of both sound and picture for quality
and efficiency.
Tape Numbering Schemes
Because multicamera production involves both sequential and
synchronous recording on numerous reels, a comprehensive
numbering scheme for reels, takes, and clips can help avoid confusion.
Tape Numbering for Video Productions
Many situation comedies that record on videotape classify their
master record reels with two digits indicating both the sequential and
synchronous identity of the tape, as follows:
•
The first digit indicates the order in which the reel was recorded.
271
•
The second digit indicates the source that feeds the reel.
For example, if there is a line feed or director’s cut (a switched version
of the show), this source is designated with a 0 (zero), so that reel 10 is
the first reel of the line feed. Reel 11 is the first reel recorded on ISO
(isolation) camera 1, and so forth.
Each set of reels, then, forms a decimal group, called a tape load. Each
load is traditionally referred to by its prefix. In this example, reels 10 to
14 are called the tens, reels 20 to 24 the twenties, and so on.
This scheme is illustrated in “Digitizing Workflow” on page 277.
Tape Numbering for Film Productions
Many multicamera film productions use alphabetical designations for
classifying source footage. For example, the cameras are referred to as
A, B, and C, covering the scene from left to right as viewed from the
camera side. A fourth camera X is often a floater, used to grab
close-ups and miscellaneous shots. You can classify the shot rolls with
the letter of the source camera, then number them sequentially. For
example, camera roll A1 is the first roll for camera A.
This scheme is illustrated in “Digitizing Workflow” on page 277.
Production Paths
In addition to a numbering scheme, you can organize the flow of
recorded material throughout postproduction to make efficient use of
resources and to maintain the quality of video and audio.
272
Production Paths for Video Productions
For videotaped production, often two sets of reels are recorded during
production: a set of online masters and a set of offline work tapes. The
online masters remain untouched until editing of the final show
master begins. Clips from the offline work tapes are digitized, and
then are used for editing and generating an EDL or digital cut for
review.
Online masters
Online edit
Finished program
Betacam
D2
Simultaneous
multicamera
recording
EDL
Digitize
Offline edit
Offline work tapes
3/4 inch
Facilities and tape formats might vary. The basic model can apply to
any multicamera production in which a broadcast-quality program is
the goal.
273
Production Paths for Film Productions
For multicamera television productions shot on film, the most
common picture path is described in “Video Dailies Method” on
page 61. This involves simultaneously transferring the camera rolls to
both a set of offline tapes (3/4-inch cassettes, for example) and a set of
online tapes (such as Betacam or 1-inch). The primary differences are:
•
Each take is multiplied by four; therefore, all reels require strict
organization and labeling at all stages to avoid confusion.
•
Many productions use time-of-day timecode as the audio
timecode, synced to picture by using a smart slate. These audio
timecodes can be transferred to the address track of tapes in
telecine and imported into the Sound TC column or an Auxiliary
TC column.
•
Alternatively, you can record in-camera timecode both on film and
on an audio track for autosyncing in the Avid system.
Multicamera filming
Online masters
Online Edit
Finished program
1”
EDL
D2
Simultaneous
telecine
Cut list
Telecine
Offline work tapes
Digitize
Offline Edit
274
For workflows that
include multiformat
output, see “Planning a
24p or 25p Project” on
page 36.
Facilities and formats might vary. The basic model can apply to any
multicamera production in which high-quality output is the goal.
Managing Audio
The multicamera editing tools allow you to patch channels of audio
from any source clip to any track during editing. You can strategically
designate specific channels of audio to record on specific reels or
tracks in preparation for editing and generating an effective EDL or
cut list.
Audio for Videotape Productions
In the following example, the goal is to create a finished master with
production dialog on channel 1, music and sound effects on channel 2,
audience left on channel 3, and audience right on channel 4. To achieve
this, you record channels to offline work tapes with only two channels
as follows:
•
Line Feed: dialog on channel 1, mono audience on channel 2
•
Camera 1: dialog on channel 1, music and effects on channel 2
•
Cameras 2 and 3: dialog on channel 1, mono audience on 2
•
Camera 4: audience left on channel 1, audience right on 2
If the online master tapes are capable of recording four channels of
audio, they usually duplicate the configuration of channels on the final
master.
275
Record
Dialog &
audience
Digitize
Line
10
Online edit
Video
only
Ch 1: Dialog
Ch 2: Music & FX
Ch 3: Audience L
Ch4: Audience R
D2
Cam 1
Dialog &
effects
11
Cam 2
Dialog &
audience
12
Video &
audio
Video
only
EDL generates
the final mix.
Offline edit
Cam 3
Dialog &
audience
13
Video
only
Cam 4
Audience L
Audience R
14
Video &
audio
Digitize and patch selected channels.
Audio for Film Productions
In the following example, the goal is to create a finished master tape
with production dialog on channel 1, music and sound effects on
channel 2, audience left on channel 3, and audience right on channel 4.
Your production might use a 1/2-inch four-track audiotape recorder,
as follows:
•
Dialog on track 1
•
Audio timecode on track 2
•
Stereo audience left on track 3
•
Stereo audience right on track 4
276
Record:
Transfer:
1”
Track 1: Dialog
Ch 1: Dialog
Track 2: Audio TC
Track 3: Audience L
Ch 2: (Clear)
Ch 3: Audience L
Track 4: Audience R
Ch 4: Audience R
Online masters
Address track: Audio TC
Telecine
Finished program:
Offline work tapes
(four channels)
Ch 1: Dialog
D2
Ch 2: Music & Effects
EDL
EDL generates
the final mix.
Ch 3: Audience L
Ch 4: Audience R
Patch and edit selected tracks.
Digitize all tracks.
Any music and effects during production can be recorded as wild
sound and can be edited into the program on track 2 along with
additional effects and music during postproduction. All tracks are
transferred to tape in telecine, with audio timecode recorded onto the
address track and used during digitizing and editing.
This is just one example. Choose the appropriate path for your
production.
277
Digitizing Workflow
The organization of the digitize bins helps to avoid slowing the system
with large bins. It also keeps editing resources free of clutter.
To use the digitize bins:
1. When you are ready to digitize, create one bin for each tape (for
film productions, usually each day’s worth of takes will fit onto a
single dailies tape).
This keeps bins to a manageable size. When you autodigitize, the
system automatically names each clip (take) after the name of the
bin (tape), and numbers them sequentially.
2. After digitizing, you can rename the clips to reflect the scene and
take.
3. Gather the clips for each tape load or take into one bin.
This avoids accidentally grouping clips with the same timecode
from different days.
4. Sort the clips by name so they group in the correct order.
5. After creating groups or multigroups, move all the new clips into
a separate bin.
This simplifies the contents of the bin for editing.
278
The following illustration uses the numbering scheme and production
plan described in previous examples to show the video path for the
first tape load you digitize.
Line
10
Cam 1
3. Gather all multigroups into
one bin for easy access.
11
2. Gather each tape load into one
bin, sort by name, create groups,
then create a multigroup.
Cam 2
12
Cam 3
13
Cam 4
14
1. Digitize each reel separately.
279
For television productions shot on film, scenes are often referred to as
Scene A, B, C, and so forth. When the film is transferred to tape for
offline editing, you can import the log of the transfer and batch
digitize the reels, as shown in the following illustration.
Cam A
Reel
001
Cam B
2. Gather takes into one bin,
sort by name, then group.
Reel
002
3. Gather appropriate groups
into one bin for each act.
Cam C
Reel
003
Cam X
Reel
004
1. Digitize each reel separately.
Digitizing Methods
on logging and
digitizing procedures,
see Chapter 3,
Chapter 4, and
Chapter 5.
Video productions generally use three approaches to digitizing
multicamera material:
•
Log in advance and digitize selected takes: This method allows
you to shorten the time required for digitizing and to lessen the
amount of digitized material by logging timecodes noted on
selected takes during the shoot and subsequent screenings.
Digitizing Methods
280
•
Log and digitize all takes in advance: This is similar to the
previous method, except that you save less storage space by
digitizing portions of all takes.
•
Autodigitize entire reels: This method allows you to bypass the
logging procedure, but requires the most storage space.
Film productions generally use one digitizing method: import the log
from the telecine transfer and use this to batch digitize.
However you choose to digitize, you should have accurate notes on
the number and content of takes on each reel to identify the content of
each clip when necessary.
Logging Tips
For additional logging
tips, see “Tips for
Logging Preroll,
Logging Timecode, and
Naming Tapes” on
page 100.
The following tips apply to methods that involve logging in advance
for digitizing multicamera material:
•
Narrow the IN and OUT points to avoid false starts on one or
more reels in a tape load.
•
Save time by logging just one ISO reel in each tape load, by
exporting in the .ALE format, by modifying reel and clip names in
a text editor, and then by reimporting into bins for each of the
other reels.
•
Name each clip with the source tape name (same as the master
tape to be used in online) and a cut number, for quick
identification when clips get moved or copied.
281
Autodigitizing Tips
The following tips apply to autodigitizing entire reels:
on digitize settings and
deck settings, see
“Selecting Settings” on
page 127 and “Setting
Deck Preferences” on
page 151.
•
Select the “Digitize across timecode breaks” option in the General
tab of the Digitize Settings dialog box before digitizing.
•
Select the “Log errors to the console and continue digitizing”
option in the Batch tab of the Digitize Settings dialog box.
•
Under Deck Settings, turn off the Fast Cue option and set the
preroll to approximately 4 seconds. The Deck Settings dialog box
is accessed by clicking the Add Deck button in the Deck
Configuration dialog box.
•
When you load a tape and assign a name to a source reel, give the
reel the same name as the online master tape (same as the work
tape).
•
Name each bin after the source reel number. By default, all clips
are named after the reel and are numbered incrementally
beginning with the file name extension .01.
•
To start digitizing, cue the source reel past any false starts, play the
tape, and wait 4 seconds before clicking the Record button in the
Digitize tool.
Storage Tips
The following tips can help you make the best use of media drives:
•
To save storage space, digitize only the audio channels required
for offline editing.
•
For the most efficient playback of multicamera material, distribute
the reels in each tape load between drives.
•
To avoid switching drives while digitizing the same reel, target
one volume per reel whenever possible.
Digitizing Methods
282
With a large multicamera production, you can plan the use of drives in
advance, based on the number of drives available, the chosen
resolution, and the length of each reel.
Consider the following example:
•
You have a four-camera production yielding two tape loads
(approximately 30 minutes per tape).
•
You want to autodigitize at 20:1 video resolution.
•
You need to digitize 2-channel audio at 44.1 kHz from camera 1
and camera 4.
•
For storage, you have four 9-GB drives.
With this set of circumstances, you might distribute the media as
shown in the following illustration. Storage requirements are based on
information provided in “Storage Requirements” on page 508.
Work tapes
Tracks digitized
Storage required
Line
10
x2
3.60 GB
Cam 1
11
x2
4.24 GB
Cam 2
12
x2
Cam 3
13
x2
Cam 4
14
x2
3.60 GB
3.60 GB
4.24 GB
Targeted drive
283
Checking the Bins
Before gathering the digitized clips into bins for grouping, you should
open the bins in each tape load or take and compare the clips for
inconsistencies. You can take steps to conform the bins now and avoid
problems during grouping and editing, as described in the following
sections.
Replacing Missing Clips
After grouping, if you find one bin has fewer clips than the others in
the tape load or take, the ISO reel or camera might have been stopped
during a particular take. If you group the take with the missing
camera, the shots shift in the Quad Split or Nine Split to fill the
missing angle, which can disorient the editor. Correct this problem by
creating a dummy clip.
To create a dummy clip:
1. Log a new source clip into the bin.
2. Match the timecode from one of the clips from another camera,
and use any name.
When the clips are grouped and loaded during editing, this dummy
clip displays the message “Media Offline,” and maintains the
distribution of camera angles in the Quad Split or Nine Split.
Deleting Extra Clips
For specific procedures
for deleting clips, see
the editing guide or
Help for your Avid
system.
If a particular bin has more clips than the others in the load, one or
more false starts might have been recorded during digitizing. If you
create a multigroup, the extra clips form unusable sections with only
one or two camera angles.
Checking the Bins
284
To eliminate extra clips:
1. Compare timecodes among bins until you isolate the unique clips.
2. Load the clips into the Source monitor, and compare timecodes
with a line script, if available.
3. If the clips are useless, delete them and their media until you have
the same takes in each bin.
Checking Audio and Image Quality
Check the Audio column to make sure the audio was recorded on the
correct channels, from the correct source reels, at the correct sample
rate (in kHz). You cannot play back audio compressed at different
rates within the same group or multigroup.
You can also spot-check the picture quality by loading two or more
clips from each bin into the Source monitor and viewing the clips. If
you find a problem, you can redigitize before the edit session begins.
For more information, see “Redigitizing Your Material” on page 243.
CHAPTER 7
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. The following sections describe how to import
files:
•
Preparing to Import Files
•
Working with Mixed-Resolution Projects
•
Creating and Using Import Settings
•
Importing Files
•
Using the Drag-and-Drop Method to Import Files
•
Importing Photoshop Graphics
•
Importing Editcam Files
•
Reimporting Files
286
Preparing to Import Files
Before you begin the import process, make sure the system and the
files are ready for import as follows:
•
To read about issues and tips for mixed-resolution projects, see
“Working with Mixed-Resolution Projects” on page 286.
•
For graphics file and OMFI (Open Media Framework®
Interchange) file import, prepare the files in advance according to
specifications described in Appendix A.
•
For a complete description of all options in the Import Settings
dialog box, see Table 7-1 on page 290.
Working with Mixed-Resolution Projects
on mixing resolutions,
see Appendix B.
You can work with mixed resolutions in the same sequence. This
feature allows you to import graphics that will match the resolution of
the final sequence.
For example, assume that you want to use a low resolution such as
20:1 for your initial work and then redigitize your media at 2:1 for the
final version. In this case, you should import the graphics at 2:1. Then
when you redigitize your material, you will not have to reimport the
graphics.
If you plan to redigitize your media at a higher resolution, the lower
resolution must be from the same family (single-field or two-field). For
example, if you plan to finish at 2:1, you could start the project at 20:1,
but not at 15:1s.
n
Importing Files
You cannot mix 1:1 media with other resolutions.
287
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” on page 312.
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
AudioVision®. 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 302).
The default Import setting and any additional Import settings you
create appear in the Settings scroll list (see the editing guide or Help
for your Avid system). After you select a setting in the Settings scroll
list, the parameters remain the default settings for all imported files,
unless you change them during import.
Creating a New Import Setting
To create a new Import setting:
The Settings scroll list appears.
288
Custom setting
name column
2. Click Import.
3. Choose Duplicate from the Edit menu.
4. Name the setting by clicking the Custom setting name column, by
typing a name, and by pressing Enter (Windows) or Return
(Macintosh).
5. Double-click the new Import setting.
The Import Settings dialog box appears.
6. Select the appropriate options. See “Import Settings Options” on
page 289.
7. Click OK.
Once you create a new import setting, you can choose the setting
whenever you import a frame, clip, or sequence. For more
information, see “Importing Files” on page 297 and “Using the
Drag-and-Drop Method to Import Files” on page 302.
Importing Files
289
Modifying an Existing Import Setting
To modify an existing Import setting:
2. Double-click an Import setting.
The Import Settings dialog box appears.
3. Select the appropriate options, as described in the following
section.
4. Click OK.
Import Settings Options
The following illustration shows the default settings for the Image tab.
290
Table 7-1 describes the options available in the Image tab of the Import
Table 7-1
Import Settings Options — Image Tab
Option
Suboption
Description
Aspect Ratio,
Pixel Aspect
601, non-square
Select this option to import images with the dimensions used
by the Avid system: 720 x 486 (NTSC) or 720 x 576 (PAL). Also
use this option for 720 x 540 images, or for other images that fit
the 4:3 aspect ratio. You can use this option to maintain field
data when you import two-field media that follows exact NTSC
or PAL dimensions.
The system converts the existing pixel dimensions, if necessary,
so that the image fills the screen.
If the aspect ratio of the original frames does not match the 4:3
aspect ratio used by the Avid system, the imported frames
might appear distorted.
For best full-screen resolution of files created in a square-pixel
environment, use 648 x 486 (NTSC) or 768 x 576 (PAL). To create
a single resolution for both NTSC and PAL, use 720 x 540.
n
Maintain,
non-square
This option is selected by default.
Select this option for an image that was created in a
non-square-pixel environment, but does not match exact NTSC
or PAL dimensions. Maintain, non-square will preserve up to
486 (NTSC) or 576 (PAL) lines, and will either remove
additional lines or pad with video black if there are fewer lines.
Maintain, non-square never scales or resizes.
Importing Files
291
Table 7-1
Option
Suboption
Import Settings Options — Image Tab (Continued)
Description
Maintain, square Select this option for an image that was created in a squarepixel 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 system fills the rest of the screen with video black. If the
image has an alpha channel, this black will be keyed out in the
alpha channel.
Do not use this option if you are importing:
• Images in the 720 x 486 (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
Maintain and
Resize, square
Select this option for an image that was created in square-pixel
terms.
The system fits the longest dimension to the screen size and fills
in the missing pixels in the shorter dimension with video black,
creating a border. If the image has an alpha channel, this black
will be 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 486 (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 486 (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
292
Table 7-1
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.
When the field ordering of the imported media matches the
field ordering of the project format, no special processing is
required. For more information, see “Field Ordering in Graphic
Imports and Exports” on page 492.
This setting does not apply to OMFI imports when the import
resolution matches the OMFI file.
Non-interlaced
Select this option to import still images to all formats without
concern for the temporal ordering of the fields. This is the
default value.
Odd (upper field Select this option for the odd-field to occur temporally first
first)
during import. The first line in the image belongs to the odd
field.
Even (lower field Select this option for the even field to occur temporally first
first)
during import. The first line in the image belongs to the even
field.
Color Levels
Importing Files
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, and you are importing at a
high resolution (2:1). Do not use this option to reimport an
image that has already been imported with dithering.
601
Select this option if the imported graphics file uses video levels
based on the ITU-R 601 (formerly CCIR 601) standard. These
graphics include Avid color bars or images that include
superblack (zero black) for keying purposes.
293
Table 7-1
Option
Suboption
Description
Alpha
Use Existing
Select this option to import the image, using the existing alpha
channel information.
Invert Existing
Select this option to reverse the black and white elements of the
alpha channel if they differ from the matte key requirements of
the system: a white background, a black foreground, and a gray
transparency blend between the two.
Ignore
Select this option to import an image that contains alpha
channel transparency information as one opaque graphic. The
imported graphic appears as a single master clip in the bin.
n
n
Single Frame
Import
Duration n
seconds
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 “Graphics File Import
Specifications” on page 478.
For information on importing real-time moving mattes, see the
effects guide or Help for your Avid system.
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.
294
Table 7-1
Option
Autodetect
Sequential Files
Suboption
Description
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” on page 485.
The following illustration shows the default settings for the OMFI tab.
Importing Files
295
Table 7-2 describes the options available in the OMFI tab of the Import
Table 7-2
Import Setting 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.
The following illustration shows the default settings for the Shot Log
tab.
296
Table 7-3 describes the options available on the Shot Log tab of the
Import Settings dialog box.
Table 7-3
Import Setting Options — Shot Log Tab
Option
Description
Maintain events as logged.
Select this option to maintain all events as
originally logged.
Combine events based on scene and automatically Select this option to combine all the events for a
create subclips.
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.
Importing Files
297
Table 7-3
Import Setting Options — Shot Log Tab (Continued)
Option
Description
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.
Merge events with known sources and
automatically create subclips.
Select this option to create subclips for events that
are merged or relinked to their source clips upon
import. Use this option if you have already
entered master clips in a bin for each camera roll
or master scene, and have subsequently logged all
the events related to those clips for import.
n
Merge events with known master clips.
You must select the clips that you want to merge
before choosing 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 digitized) master clips in a bin
for each take.
n
You must select the clips that you want to merge
before selecting this option.
Importing Files
You can access files for import from any folder, disk, or drive source
mounted on the desktop, such as a floppy disk, 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 on the internal
hard drive before you import the files. Using this folder helps you
Importing Files
298
manage graphics from multiple sources and streamlines the
reimporting process because all graphics will point to the same
original path.
For information on
using the
drag-and-drop method,
see “Using the
Drag-and-Drop Method
to Import Files” on
page 302.
To import files:
1. If you have created one or more Import settings, select the Import
setting that you want to use from the Settings scroll list (see
“Creating and Using Import Settings” on page 287).
2. Open the bin in which you want to store the imported files.
3. Choose Import from the File menu.
The Select Files to Import dialog box appears.
Look In pop-up menu
Views button
Windows
Source file list
File to import
Files of Type pop-up
menu
Options button
Single/Dual Drives button
Video Resolution pop-up menu
Video and Audio Drive
pop-up menus
Importing Files
299
Macintosh
Directory pop-up menu
Source file list
Show pop-up menu
Single/Dual Drives button
Resolution pop-up menu
Video and Audio
- Drive
pop-up menus
4. Choose an import file type from the Files of Type pop-up menu
(Windows) or the Show pop-up menu (Macintosh) to display only
files of the chosen file type in the source file list:
t
Choose Shot Log to import Avid Log Exchange (.ALE) files
containing clip information to a bin. For more information
about Avid log specifications, see Appendix C.
t
Choose either Graphic or Audio 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 Appendix A.
Importing Files
300
n
t
Choose OMFI to import files that have been saved in the
OMFI file format, such as sequences transferred from an
effects or digital audio workstation.
t
Choose CamCutter to import clips recorded with Editcam™ or
Editcam-station products. See “Importing Editcam Files” on
page 310.
t
Choose AAF to import files that have been saved in the AAF
file format.
t
(Windows only) Choose MetaSync™ Files to import XML files
that have been created by MetaSync Manager. These files must
use the .aeo filename extension. For more information, see the
Avid MetaSync Setup and User’s Guide.
By default, the system displays only file types that belong to the chosen
category in the file browser section of the dialog box. Choose All Files from the
Files of Type pop-up menu (Windows) or select the Show All Files option
(Macintosh) 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.
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
n
For sequentially numbered files (for example, myfile_001.jpg, myfile_002.jpg,
etc.), the system combines all of the files into one clip.
5. (Option) Click Options to adjust the Import settings.
The Import Settings dialog box appears. For a complete
description of all options in the Import Settings dialog box, see
“Import Settings Options” on page 289.
Importing Files
a.
Select the options you want and click OK to save the settings.
b.
Close the Import Settings dialog box and return to the Select
Files to Import dialog box.
301
6. Use the Look In pop-up menu (Windows) or the Directory pop-up
menu (Macintosh) to locate the folder containing the source files.
7. Choose a resolution for the imported media from the Video
Resolution pop-up menu (Windows) or the Resolution pop-up
menu (Macintosh). See “Working with Mixed-Resolution Projects”
on page 286.
8. Click the Single/Dual Drives button and choose a destination
drive for the imported file from the pop-up menu.
9. Select files or deselect files from the source file list by using the
standard selection methods for your operating system (Windows
or Macintosh).
10. Click Open.
When the system finishes importing the files, the clips appear in
the selected bin.
Importing Files
302
Using the Drag-and-Drop Method to Import Files
To import one or more files by using the drag-and-drop method:
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 287.
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 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 Shift+click
(Macintosh) the files and drag them to the bin.
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.
This section contains the following topics:
Importing Files
•
Importing Single-Layer Photoshop Graphics
•
Importing Multilayered Photoshop Graphics
303
Importing Single-Layer Photoshop Graphics
A single-layer graphic is a graphic that was created on a single layer or
a layered graphic that was flattened in Photoshop. The Avid system
imports this kind of graphic as a matte key or master clip, depending
on the format of the Photoshop file.
•
If the graphic uses a transparent background or an alpha channel,
the Avid system creates a matte key.
•
If the graphic uses a background color, the Avid system creates a
master clip.
To import a single-layer graphic, or a multilayered graphic that was
flattened in Photoshop:
t
n
Follow the standard instructions for importing a graphic, as
described in “Importing Files” on page 297.
Single-layer files that contain transparency gradients or feathering and a
transparent background do not import correctly. Partially transparent pixels
are displayed with either white or black blended into them, based on the
percentage of transparency. To avoid this problem, create an additional layer
in the original Photoshop file that contains at least one pixel of information,
such as a spot drawn with a paintbrush. Then import it as a layered file, as
described in “Importing Multilayered Files” on page 308. In the message box,
click Select Layers and select only the layer that contains the graphic
elements; do not select the additional layer.
Importing Multilayered Photoshop Graphics
A multilayered graphic is a graphic file that was created in Photoshop
with two or more layers. This section includes the following topics:
•
Understanding Multilayered Graphics Import
•
Importing Multilayered Files
304
n
You can import multilayered graphics created in Photoshop 6.0 or later.
Understanding Multilayered Graphics Import
When you import a multilayered graphic, you can import each layer
as a separate object (a matte key or master clip). You can then
manipulate individual layers like any other matte key or master clip.
You can also import the graphic as a flattened image, or select the
layers to import.
For example, a graphic artist might create a collage of still images,
with a layer of text. The goal is to edit the collage into a sequence,
building it up one image at a time, and then add the text. The
following illustration shows the graphics and layers in Photoshop.
Importing Files
305
The Avid system imports each layer as an individual matte key with
alpha channel. In this example, the graphic uses a background image,
so the system creates the background image as a master clip. (If the
graphic used a transparent background, the background layer would
be imported as a matte key.)
The following illustration shows the layers as they appear in a bin.
During the import, the Avid system creates a sequence with each layer
on a separate video track; this makes it easy to edit all layers into the
final sequence. This sequence preserves the names and order of the
layers as created in the original Photoshop file, as shown in the
following illustration.
You can then edit the tracks to build up to the full collage.
306
Note the following:
•
Graphics must be RGB 8 or 16 bits, or grayscale.
•
Layer order and layer names are preserved during import.
•
Hidden layers are imported as matte keys.
•
Opacity is converted to Foreground level in the Matte Key effect.
•
Text and shape layers are rasterized (converted from vector-based
to bitmap) during import.
Not all layer options and types are supported for import (see Table 7-4
and Table 7-5). For example, a title with a Drop Shadow and an Outer
Glow effect would not keep these effects when imported. To preserve
the effects in these layers, merge them in Photoshop (as described in
the Photoshop documentation) and then import the file.
You can also preserve layer effects and the original structure of the file
by importing the file in two stages:
1. For the first import, click Select Layers and select all layers except
the layers that contain layer effects.
2. For the second import, open Photoshop, hide the layers you’ve
already imported, and show the layers that contain layer effects.
During the import, click Flattened Image. The resulting image
contains only the layers that contain layer effects.
Importing Files
307
Table 7-4
Support for Photoshop Layer Options
Layer Option
Supported
Notes
Blending Mode
No
To preserve the blending mode (Dissolve, Multiply, and so on),
merge the layer into another layer that does not use a special
blending mode. Only normal mode is supported
Opacity
Yes
The imported layer’s Level is set to the opacity specified in
Photoshop. You can adjust opacity levels with the Foreground
Level control in the Effect Editor
Layer Group
Partial
Layer grouping is ignored. All layers, including grouped
layers, are imported as individual layers. To preserve a
clipping group, merge the grouped layers into the base layer.
Layer Set
Partial
All layers within a set are imported as individual layers.
Layer/Set Mask
No
Layer and set masks are ignored. To preserve a layer mask,
apply it to the layer. To preserve a set layer, merge the set into
an empty layer. To preserve a special layer’s mask, rasterize
the layer.
Layer Style
No
Layer styles are ignored. To preserve a layer style, you must
convert the style into layers.
Table 7-5
Support for Photoshop Special
Layer Types
Layer Option
Supported
Notes
Type Layer
Yes
Solid Layer
Yes
Solid layers are imported as a graphic with a full screen
opaque alpha channel.
Gradient Layer
Yes
Gradient transparency is preserved.
308
Table 7-5
Layer Option
Supported
Pattern Layer
Yes
Adjustment Layer
No
Support for Photoshop Special
Layer Types (Continued)
Notes
Adjustment layers include Levels, Curves, Color Balance,
Brightness/Contrast, Hue/Saturation, Channel Mixer,
Gradient Map, Invert, Threshold, and Posterize.
Importing Multilayered Files
To import a multilayered Photoshop file:
1. Prepare the Photoshop graphic for import, as described in
“Understanding Multilayered Graphics Import” on page 304.
2. Follow the standard instructions for importing a graphic, as
described in “Importing Files” on page 297. To create the matte
correctly, you need to click the Options button and select Alpha:
Invert Existing.
3. After you select one or more files and click open, a message box
appears.
-
Importing Files
If you select a single file, and the number of layers does not
exceed the number of tracks supported by your Avid
application, the following message box appears.
309
-
If you select a single file, and the number of layers exceeds the
number of tracks supported, the following message box
appears.
-
If you select multiple files, the following message box appears:
4. In the message box, do one of the following:
n
t
Click Sequence of Layers if you want to preserve all layers. If
the number of layers exceeds the number of tracks supported,
the Avid application creates a sequence that contains the
number of tracks supported. Additional layers are imported
into the bin, but not as tracks in a sequence. This choice
applies to all files you have selected for import.
t
Click Flattened Image if you want to import the graphic as a
single matte key or clip. The Avid application flattens the file
by combining the layers. This choice applies to all files you
have selected for import.
Hidden layers are not combined in the flattened image. Make sure all layers
that you want in the final image are visible. In addition, layers with partial
transparency do not display properly in the flattened, imported image. See
“Importing Single-Layer Photoshop Graphics” on page 303.
t
Click Select Layers if you want to select which layers to
preserve. The Select Layers dialog box appears.
310
Select the layers you want to import and click OK. If you select
more than 24 layers, the additional layers will be imported but
will not be included in the sequence.
The Avid application displays messages as it creates media for each
layer. At the end of the process, the objects are displayed in the bin you
have selected.
n
The matte keys will be edited into the sequence as downstream keys. In the
Effect Editor, to access parameters such as Position, deselect the Downstream
Key option.You might need to render multiple matte keys. For complete
information on downstream keys and rendering, see the effects guide or Help
You can import clips recorded with Ikegami's disk-based Editcam or
Editcam-station products. The Editcam is a digital news-gathering
(DNG) camera that uses Avid's CamCutter technology.
To import Editcam files:
1. (Option) Choose Mount All from the File menu.
Performing this step in all cases is good practice, but is not
necessary if you performed it previously or if you inserted the
FieldPak® before starting the Avid editing application.
2. Open a bin.
3. Choose Import from the File Menu.
4. Choose CamCutter from the Files of Type pop-up menu
(Windows) or the Show pop-up menu (Macintosh). Select the
CamCutter bin as follows:
Importing Files
311
n
a.
From the desktop, select the FieldPak by selecting the
FieldPak drive letter (Windows) or FieldPak volume name
(Macintosh).
b.
Open the bin folder on the FieldPak.
c.
Select the CamCutter bins or select the .spl files to be
imported.
The Outakes.bin contains clips that were discarded by the Editcam operator.
These clips are generally not imported, but can be.
5. Ignore the field specifying video resolution to be imported.
6. Ignore the field regarding video and audio drive selection.
7. Proceed with the import operation.
The system displays a dialog box asking you to identify the drives
that contain the media files.
8. Select the FieldPak drive letters (Windows) or volume names
(Macintosh) as appropriate.
n
If the drive or volume is not listed, go back to step 1 and follow the procedure
again.
9. Complete the import process.
The Avid system creates entries in the selected bin that reference the
clips on the FieldPak.
For more information on importing files, see “Importing Files” on
page 297.
Note the following restrictions:
•
The CamCutter clips are not copied onto a media drive. The Avid
application’s bin references the clips physically located on the
FieldPak. If you remove the FieldPak, the referenced clips will
appear as Media Offline.
312
•
The FieldPak has limited performance and is used only to record
and play back clips. If multiple streams of video are required to
perform advanced effects, it is possible that the data cannot be
supplied fast enough for proper operation. If this situation occurs,
you can do one of the following:
t
Render the effects (see the effects guide or Help for your Avid
system).
t
Consolidate the sequence to a valid media drive (see the
editing guide or Help for your Avid system).
t
Import the CamCutter clips as OMFI files. This effectively
copies the clips to a media drive (see “Import Settings
Options” on page 289).
For additional information regarding Editcam, CamCutter technology,
and how these systems operate with nonlinear editors, see the Web
site www.nltek.com
Reimporting Files
If you are working with master clips or sequences that contain
imported material, you can use the Batch Import command to
reimport the imported files. For example, you might want to:
c
Importing Files
•
Upgrade the video resolution of the imported files to an online
resolution for distribution.
•
Replace low-quality material with high-quality material finished
with other applications, such as Avid Media Illusion™.
•
Create new media files when the media files are lost or
accidentally deleted.
Reimporting requires your original source file. Do not delete the
media files for imported files if the source files are no longer
available unless you will not need the material again.
313
The Batch Import command allows you to reimport the imported files
while automatically linking the new imported material with the
original master clips and sequences. When you play your sequence
after reimporting the files, the new imported material plays in your
sequence.
When you reimport a media file, the entire media file, including all
tracks, is reimported. For example, if only the video track of an
imported file that contains both video and audio was edited into the
sequence, the reimport process will import both the video and audio
from the source file.
n
OMFI files can contain only one master clip when you reimport them.
Batch Import Dialog Box
The Batch Import dialog box allows you to select a source file for each
master clip that you selected in a bin. Your Avid system finds the
source file automatically if the source file is located in the same folder
where you last imported the file. The Batch Import dialog box appears
when you select a master clip or sequence and choose Batch Import
from the Clip menu.
Reimporting Files
314
Selected
Clips section
Video
Resolution
pop-up
menu
Import Target
section
Video Drive
pop-up
menu
Import
Options
section
Audio Drive
pop-up
menu
Selected Clips Section
The Selected Clips section shows the clips you selected for import. The
caption at the top of the section summarizes the total number of clips
shown and how many of them were found and are available to be
imported. Clips displayed in black were found and will be imported.
Clips displayed in red were not found in their original location. Use
the Set File Location button to find the source files for clips that were
Importing Files
315
not found. If you select one or more clips and click Skip This Clip, the
clips are removed from the list and are not imported.
Import Target Section
The Import Target section allows you to choose a resolution and
destination drives.
•
Video Resolution pop-up menu: Allows you to choose a video
resolution.
•
Video Drive and Audio Drive pop-up menus: Allow you to
choose a destination drive for the media files. To choose the same
drive for both audio and video, click the Single/Dual Drives
button.
Import Options Section
The Import Options section contains global settings that affect all the
files you are importing.
n
•
Use source compression for OMFI: When selected, the resolution
for OMFI files compressed with native resolution types (4:1s, 3:1,
1:1) is used. This allows for fast import of these files. When
deselected, the resolution in the Video Resolution pop-up menu is
used as the resolution for import. This option always overrides the
OMFI Resolution setting in the Import Settings dialog box.
•
Override clip settings with current settings: Allows you to
change the Import settings for all imported files. By default, each
file imports using the Import settings from the last time it was
imported.
If you change the Import settings by using the Import Options section, the
new settings apply to all the files you are importing.
Reimporting Files
316
Starting the Reimport Process
To reimport imported files:
1. Mount any removable media drives that held the original
graphics.
2. Open the bin, and select the imported master clips and sequences
that you want to reimport.
3. Choose Batch Import from the Clip menu.
4. Click one of the following:
t
Offline only: Reimports only the selected imported master
clips that are missing their media files.
t
All clips: Reimports all the selected imported master clips. For
example, click this button if you need to change the video
resolution of the imported master clips.
The message box disappears and the Batch Import dialog box
appears.
5. Click Skip This Clip to remove a clip from the list. It will not be
imported.
6. Locate the sources for files that weren’t found by doing the
following:
a.
Select a clip or clips displayed in red in the Selected Clips
section.
b.
Click Set File Location.
The Locate File dialog box appears.
Importing Files
317
c.
Navigate to the location of the source file.
If you select more than one clip displayed in red, the system
attempts to find the rest of the clips in the same folder as the
first clip and then, if not found there, in folders that maintain
the same relationship with the first clip’s folder.
When the clips are found, they are displayed in black.
7. Choose a video resolution for all the reimported files from the
Video Resolution pop-up menu.
8. Choose a destination drive or drives for all the media files from
the Video Drive and Audio Drive pop-up menus.
You can separate video and audio onto different drives.
9. (Option) By default, the file is imported using the Import settings
from the last time it was imported. You can change the Import
settings for all clips being imported by doing the following in the
Import Options section:
a.
Select “Override clip settings with current settings.”
b.
Click Current Settings to open the Import Settings dialog box.
c.
Select the appropriate options.
d. Click OK to close the Import Settings dialog box.
10. Click Import.
The file is imported.
Reimporting Files
318
Importing Files
CHAPTER 8
Generating Output
The Avid system provides tools for generating output for individual
tracks or entire sequences to various videotape or audiotape formats.
In addition, you can generate an edit decision list (EDL) for use in an
online suite and a cut list for creating film negatives. You can also use
VTR emulation for direct playback or recording of sequences by using
an edit controller in an analog editing suite. These options are
described in the following sections:
•
Preparing for Output
•
Using the Digital Cut Tool
•
Using EDL Manager
•
Using the Matchback Option
•
Using FilmScribe
•
Using VTR Emulation
Preparing for video output involves the following procedures:
•
Render all non-real-time effects in the sequence, as described in
the effects guide or Help for your Avid system.
320
•
Establish a sync source for output, as described in “Establishing
Sync for Output” on page 320.
•
Calibrate and adjust video output levels, as described in
“Calibrating for Video Output” on page 321.
•
Calibrate and adjust audio output levels, as described in
“Preparing for Audio Output” on page 331.
•
Decide whether you want to generate stereo or mono audio.
•
Mix down multiple audio tracks, if necessary, as described in the
effects guide or Help for your Avid system.
•
Prepare the record tapes, as described in “Preparing Record
Tapes” on page 338.
•
(Option) Record reference bars and tone to tape, as described in
“Recording Bars and Tone” on page 339.
•
(Option) Prepare for assemble editing, as described in “Enabling
Assemble-Edit Recording” on page 340.
•
For 24p projects and 25p projects, choose from among multiple
output formats, as described in “Choosing Output and Timecode
Formats for 24p and 25p Projects” on page 356.
Establishing Sync for Output
Sync for output comes from the reference input (REF) when black
burst or house sync is connected to the Meridien I/O box. If there is no
reference connected to the reference input, output sync is generated
from internal timing.
c
Generating Output
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 Meridien I/O box before performing a
digital cut. For more information, see the setup guide for your Avid
system.
321
Your Avid system supports LTC (longitudinal or linear timecode)
output. The LTC OUT connector on the Meridien I/O box provides
SMPTE or EBU timecode that you can use as a sync source for decks
with built-in synchronizers or to stripe a destination tape. You can also
use LTC to record non-drop-frame timecode for downstream
encoding. See “Outputting Drop-Frame and Non-Drop-Frame
Timecode Simultaneously for Downstream Encoding” on page 361.
If you connect a reference input while the Avid application is running,
you can reestablish sync by doing one of the following:
t
Exit and then restart the Avid application.
t
Open the Digital Cut tool.
t
Enter and then leave Capture mode.
Calibrating for Video Output
You can calibrate for video output by using any of the following
methods:
c
Before you calibrate video output for an NTSC-EIAJ project (for
Japan), make sure the “NTSC Has Setup” option is not selected in
the General Settings dialog box, accessed from the Settings scroll
list of the Project window.
•
Calibrating for video output by using the factory presets: You
should use the factory presets if you do not have an external
Waveform monitor, or your site engineers calibrate the system as a
general maintenance procedure. See “Using the Factory Preset
Buttons” on page 322.
•
Calibrating for video output: All users can follow the steps for
calibrating video output, as described in “Basic Video Output
Calibration” on page 322.
•
Calibrating/syncing output signals in a production facility:
Advanced users and house engineers should follow the steps for
322
adjusting and conforming output signals to house standards, as
described in “Advanced Video Output Calibration” on page 327.
Using the Factory Preset Buttons
The preset buttons in the Video Output tool show the status of each
Calibration setting as follows:
•
When the Video Output tool opens the first time you run the
application, all preset buttons are lit (green), with the factory
presets loaded for each slider.
•
When you click a slider of a lit preset button, the button dims
(appears gray), and the slider returns to the most recent manual
level setting.
•
When you click an unlit preset button, it becomes lit (green), and
the slider moves to the factory preset level for that parameter.
As you adjust levels in the tool, you can switch the preset buttons
between the levels you set manually and the factory preset levels.
Basic Video Output Calibration
You can perform basic output calibration when working with a
standalone editing workstation or in a production environment that
does not require advanced calibration of horizontal phase or use of
test patterns according to specific house standards.
n
Calibrating video output requires external Waveform and Vectorscope
monitors. If you do not have external Waveform or Vectorscope monitors,
keep the Video Output tool preset values.
To calibrate for video output:
1. Choose Video Output Tool from the Tools menu.
Generating Output
323
The Video Output tool opens.
n
Up to three output signals are active at once: Composite, Serial Digital, and
either Component or S-Video. You can record your output to any of these
devices, or all at once if you record manually. For more information, see the
setup guide for your Avid system.
2. Select the output format and display the appropriate controls:
n
-
For global controls (H Phase), click the Global Controls
button.
-
For composite output, click the Out 1: Composite button.
-
For component or S-video output, click the Out 2:
Component/S-Video button.
-
For serial digital output, click the Out 3: Serial Digital button.
For systems equipped with the serial digital I/O board (for recording to a D1
or digital Betacam VTR) or the Meridien digital video board set (for recording
to DV devices), the Video Output Tool does not display basic calibration
controls for Serial Digital or DV. All basic levels remain in digital form and
cannot be adjusted from within the Avid application. For H-Phase adjustment
of a Serial Digital output signal, see “Adjusting Phase Controls” on
page 328.
324
The Video Output tool displays the appropriate parameters for the
chosen video format, as described in Table 8-1.
Table 8-1
Video Format Output Parameters
Parameter
Video Formats
Description
Black
All formats,
except Serial Digital
A measurement of luminance in the video signal
that is referenced to the blackest point in the visible
picture. Also known as setup or pedestal. Color bars
are used to set the black level.
Video
Composite and S-Video
A measurement of luma (Y) in the video signal that
is the whitest point in the visible picture. Color bars
are used to set the white level.
Hue
(not available for PAL)
An attribution of color perception based on varying
proportions of red, green, and blue in the video
signal. Also known as color phase.
Sat
Saturation: a measurement of chrominance or the
intensity of color in the video signal.
Y Gain
Component
A measurement of luma (Y) in the video signal that
is the whitest point in the visible picture. Color bars
are used to set the white level.
RY Gain
Component
The red (R) minus luminance (Y) color-difference
signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the
following base equation for red (R), green (G), and
blue (B) components:
R–Y = –0.587G – 0.114B + 0.701R
BY Gain
Component
The blue (B) minus luminance (Y) color-difference
signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the
following base equation for red (R), green (G), and
blue (B) components:
B–Y= (–0.587G + 0.886B – 0.299R) * gain value
Generating Output
325
Table 8-1
Video Format Output Parameters (Continued)
Parameter
Video Formats
Description
SC Phase
Subcarrier phase: The color burst portion of a
composite or S-Video signal used to synchronize the
timing of two or more video signals.
H Phase
All formats
See “Adjusting Phase Controls” on page 328.
n
Sync for output comes from reference input (REF) on the Meridien I/O box. If
there is no reference signal connected to the reference input, output signals
are generated from internal timing. For more information, see “Establishing
3. Display color bars for calibrating:
-
If you edited digital bars and tone into the sequence, go to the
head of the bars and tone and click Play.
-
You can use internal bars from the Video Output tool by
choosing either SMPTE_Bars.pct (SMPTE standard bars) or
ColorBars.pct (full-field color bars) from the Test Patterns
pop-up menu.
Bars are displayed on the Client monitor, and the signal appears
on the external Waveform and Vectorscope monitors.
n
The internal Waveform and Vectorscope monitors do not display output
signals from the system.
4. Adjust luminance values based on Table 8-2.
326
Table 8-2
Parameter/
Video Standard a
Black level (setup)
Luminance Settings for Video Output
SMPTE Bars
Full-Field Bars at
75% Signal Level
Full-Field Bars at
100% Level
7.5 IRE
0.0 IRE
0.3 V
7.5 IRE
0.0 IRE
0.3 V
Adjust Video/Y Gain
slider to place white
level at:
Adjust Video/Y Gain
level at:
100 IRE
100 IRE
1.0 V
100 IRE
100 IRE
1.0 V
Video Standard:
NTSC
7.5 IRE
NTSC-EIAJ 0.0 IRE
PAL
NAb
White level (gain)
Adjust Video/Y Gain
level at:
Video Standard:
NTSC
100 IRE
NTSC-EIAJ 100 IRE
PAL
NAb
a. Includes NTSC-EIAJ used in Japan
b. NA = Not applicable
5. Adjust the Hue and Sat slider (composite or S-Video output), or
the RY Gain and BY Gain sliders (component output) until the
angle and amplitude of the six color vectors fall within the target
boxes on the Vectorscope monitor.
n
If you do not have separate Vectorscope and Waveform monitors, you can use
the Client monitor’s “blue only” feature, if available, to adjust SC phase
output. For more information on this feature, see your monitor’s
documentation.
6. Save this setting by choosing Save As from the Settings pop-up
menu, typing a name, and clicking OK.
Generating Output
327
n
Output settings are Site settings, available to all users and all projects on the
system.
Advanced Video Output Calibration
Advanced users and site engineers can use the following procedures
to fine-tune output signals by using various test patterns and phase
control. You can also adjust output by using the passthrough signal
from an input device.
Using Test Patterns
The expanded Video Output tool provides a pop-up menu of test
patterns you can use to calibrate the system output.
To display a test pattern:
t
In the Video Output tool, choose a pattern from the Test Patterns
pop-up menu.
328
To add test patterns to the list:
1. Find or create a PICT file for a chosen pattern.
n
You can create your own test pattern files by digitizing the pattern from
videotape and by exporting it as a PICT file. You can improve the accuracy of
the image by correcting colors and removing errors in a third-party
application such as Adobe Photoshop.
2. Place the file in either the NTSC or PAL folder, which is located in
one of the following folders:
-
(Windows) drive:\Program Files\Avid\Media Composer\
SupportingFiles\Test_Patterns
-
(Windows) drive:\Program Files\Avid\Film Composer\
SupportingFiles\Test_Patterns
-
(Macintosh) Media Composer:SupportingFiles:Test_Patterns
-
(Macintosh) Film Composer:SupportingFiles:Test_Patterns
For best results, size your new test pattern as follows:
-
NTSC test patterns should be 248 lines high with the top 5
lines set to RGB values 16, 16, 16 (ITU-R black, formerly CCIR
black).
-
PAL test patterns should be 296 lines high with the top 8 lines
set to 16, 16, 16.
-
Both NTSC and PAL test patterns should be 720 pixels wide.
The new test pattern appears in the Test Patterns pop-up menu in the
Video Output tool.
Adjusting Phase Controls
The Video Output tool provides controls for adjusting horizontal
phase globally for output. Click the Global Controls button to display
Horizontal phase, or H phase, which is the horizontal blanking
interval used to synchronize the timing of two or more video signals.
The Video Output tool also provides Hue (or SC-H phase) and SC
Generating Output
329
Phase (subcarrier phase) controls for timing two or more signals based
on the color burst portion of a composite or S-Video signal. Click the
Composite/S-Video button to display these controls
In most situations, you do not need to calibrate the horizontal phase or
subcarrier phase of the output signal. If you are working in a
production house in which timing is necessary between various
devices — such as switchers, decks, and monitors — use these controls
to adjust phase globally for all outputs from the Avid system.
Calibrating the System with Passthrough Signals
If you work in a production environment in which house standards
are used to synchronize a number of devices including the source
decks connected to your Avid system, you can calibrate the system one
time to conform to existing standards with the least amount of
alteration of the signal. This method involves the use of a passthrough
signal (a signal that gets sent directly from an input source through to
the output channels).
This advanced form of calibration is an alternative to Video Input tool
Calibration settings for each source tape, and involves calibrating
tapes at the source device, using external time-base correction. You
will need both a signal generator and external Waveform and
Vectorscope monitors to calibrate the system with passthrough.
To calibrate using a passthrough signal:
1. Connect a source signal with a test pattern from a signal generator.
3. Choose a video format from the Input pop-up menu.
The chosen input provides the passthrough signal.
4. Calibrate the input if necessary by using the Video Input tool, as
described in “Calibrating Video Input” on page 199.
330
5. Save the input calibration settings as the system Default setting, as
described in “Saving Video Input Settings” on page 206.
6. Choose Video Output Tool from the Tools menu.
The Video Output tool opens.
7. Choose Digitize Tool from the Tools menu.
The Digitize tool opens.
With the Digitize tool active, the input signal passes through to the
output channels.
8. Choose an output format in the Video Output tool.
n
on using the Video
Output tool, see “Basic
Video Output
Calibration” on
page 322.
You can precisely match only one output format at a time in phase to the
reference signal. In most cases, you should choose either Composite or Serial
Digital.
9. Calibrate any of the available controls in the Video Output tool
while checking the external Waveform and Vectorscope monitors.
For example, composite output provides Black, Gain, and
Saturation controls.
10. Select a test pattern from the Test Patterns pop-up menu in the
Video Output tool.
The test pattern appears and is sent to the output channels (the
input signal is no longer passed through). Additional controls are
enabled in the Video Output tool for phase control.
11. Make any necessary adjustments to H phase, SC phase, and Hue
by using the sliders in the Video Output tool while checking the
external Waveform and Vectorscope monitors.
n
Generating Output
Whenever the Digitize tool is active, hue, horizontal phase (H phase), and
subcarrier phase (SC phase) are set to values determined by the input
circuitry and are not available to control the outputs. Therefore, these controls
appear dimmed during passthrough.
331
12. Save this setting with an appropriate name by choosing Save As
from the Settings pop-up menu in the Video Output tool, typing a
name, and clicking OK.
The Video Output setting, a Site setting, will apply to all users and all
projects on the system. The Video Input setting you saved and named
Default will be recalled each time a new tape is loaded for digitizing in
the current project only.
Preparing for Audio Output
The Audio tool allows you to generate and customize calibration tone,
and to adjust global output levels. For information on additional audio
mix procedures such as adjusting volume and pan or mixing down
selected tracks, see the editing guide or Help for your Avid system.
The Avid system supports direct output of up to eight channels of
audio, depending upon your system’s configuration.
n
For two-channel audio systems, see “Adjusting Output on Two-Channel
Audio Systems” on page 336.
For eight-channel audio output, you can reassign output channels
from tracks in a sequence or clip to any of the eight optional output
channels. For more information, see “Adjusting Output on
Eight-Channel Audio Systems” on page 333.
You can also calibrate the output channels of the eight-channel audio
I/O device. See “Calibrating Output Channels for the Audio I/O
Device” on page 195.
c
Eight-channel audio output requires the appropriate hardware
configuration. For more information, see the setup guide for your
Avid system.
332
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 –20 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 1-kHz, 10-kHz, and 100-Hz
tone back to back.
For information on creating tone media, see “Creating Tone Media” on
page 188.
To change the parameters for the calibration tone:
1. Choose Audio Tool from the Tools menu.
2. Choose Set Calibration Tone from the Peak Hold (PH) pop-up
menu.
The Set Calibration Tone dialog box appears.
3. Enter new values for the tone level and frequency, and click OK.
To play back the tone:
t
Generating Output
Choose Play Calibration Tone from the Peak Hold pop-up menu.
333
To check the adjusted tone level in the meters:
t
Switch the In/Out toggle buttons to O for Output.
Calibrating Global Output Levels
You can use the meters and a master attenuator (output control slider)
in the Audio tool to make global level adjustments for output from the
Avid system. These adjustments affect levels for all output tracks to
both the speakers and to record devices.
c
You should leave this setting 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 consistently
overmodulated or undermodulated source material.
Adjusting Output on Eight-Channel Audio Systems
To adjust global output on a system equipped with an eight-channel
audio I/O device:
2. Click the Output Control button (the speaker icon) to display the
master attenuator (slider).
334
Output Control button
Setup Options panel
Peak Hold pop-up menu
Reset Peak
button
Setup Control
button
Bypass Effects
buttons
Output Control slider
(Master attenuator)
Stereo Mix Tracks
pop-up menu
Track number
displays
Output Options
pop-up menu
Channel
assignments
3. Click the Setup Control button to open the Setup Options panel.
4. Choose a type of output from the Output Options pop-up menu.
Generating Output
-
Choose Stereo Mix to mix the currently monitored audio
tracks into a stereo pair.
-
Choose Mono to pan all the currently monitored tracks to
center.
-
Choose Direct Out to map tracks directly to up to eight
channels of output (depending on your hardware
configuration).
335
5. (Option) Depending on your type of output, you can make
additional adjustments:
-
By default, Stereo Mix directs the mixed tracks to output
channels 1 and 2.
-
By default, Direct Out maps all audio tracks in numerical
sequence to existing output channels. To remap a track to any
channel click the channel assignment display and choose
another channel.
-
You can select between All and Timeline from the menu above
the track and channel selectors buttons as follows:
All allows you to choose between all available tracks. In this
case the Group menu (Grp) appears to allow you to assign
groups of output channels (channels 1–8, 9–16, and 17–24).
Timeline allows you to assign output channels to the tracks
that are monitored in the Timeline.
-
n
n
You can select Bypass Clip Gain, Bypass RT EQ, or Bypass
Auto Gain to disable the customized volume, real-time EQ, or
automation gain effects you applied with the audio tools.
The Bypass buttons are available in the individual Audio Effect tools. When
you bypass effects in the Audio tool, the corresponding button changes in the
individual Audio Effect tool.
The track-to-channel mappings are saved as part of the Audio Project
settings. You can also save these settings as site settings. See “Saving the
Audio Project Settings as Site Settings” on page 177.
6. Click the In/Out toggle buttons above the meters to display O for
Output.
7. Play back one of the following sources of reference audio:
t
Choose Play Calibration Tone from the Peak Hold pop-up
menu.
t
Play back a representative sequence or clip containing audio.
336
8. Watch the levels in the meters, and adjust the master attenuator to
the level that you want.
n
To adjust levels for individual tracks, you must use the Audio Mix tool or the
Audio Gain Automation tool.
9. Close the Audio tool.
Adjusting Output on Two-Channel Audio Systems
You can use the Audio tool to make adjustments to audio output
parameters for output from your Avid system.
c
You should leave the 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.
By default on Avid systems with the two-channel audio option, the
volume scales for Output sliders in the Audio tool reflect levels for
consumer-grade VCRs and recording devices.
For more information on controlling audio output, see “Preparing for
Audio Output” on page 331.
To adjust the output parameters:
Generating Output
337
Show/Hide Setup
Control button
Setup Options panel
Show/Hide Output
Control button
IN/OUT toggle
buttons
Peak Hold
pop-up menu
Output Control slider
(master attenuator)
Mix Mode Selection
pop-up menu
2. Click the Show/Hide Output Control button (the Speaker icon) to
display the master attenuator (slider).
3. Click the Show/Hide Setup Control button to open the Setup
Options panel.
4. Choose a type of output from the Mix Mode Selection pop-up
menu:
t
Choose Stereo to mix the currently monitored audio tracks
into a stereo pair.
t
Choose Mono to pan all the currently monitored tracks to
center.
5. You can select Clip Gain, RT EQ, or Auto Gain from the Bypass
pane to disable the customized volume, real-time EQ, or
automation gain effects you applied with the other audio tools.
338
6. Click the In/Out toggle buttons above the meters to display O for
Output.
7. Play back one of the following sources of reference audio:
t
Choose Play Calibration Tone from the Peak Hold pop-up
menu.
t
Play back a representative sequence or clip containing audio.
8. Watch the levels in the meters, and adjust the master attenuator to
the level that you want.
n
To adjust levels for individual tracks, you must use the Audio Mix tool.
9. Close the Audio tool.
Preparing Record Tapes
There are two basic methods of recording to tape: frame-accurate
recording by using the Digital Cut tool, and manual recording by
using controls on the record deck. Each of these methods requires
different treatment of the record tapes.
Frame-Accurate Recording
Frame-accurate recording involves using the Digital Cut tool to record
your sequence onto either 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 by using one of the following options:
•
Generating Output
If you intend to perform assemble-edit recording, you must record
black with timecode onto the tape including the necessary preroll
prior to the IN point plus at least 10 seconds (partially striped
tape).
339
•
If you intend to perform insert-edit recording, you must stripe the
record tapes (record black and timecode for the entire duration of
the tape) in advance (prestriped tape).
For complete instructions on recording a frame-accurate digital cut,
see“Using the Digital Cut Tool” on page 342.
n
The Avid system supports LTC output for recording onto tapes. For more
information, see “Establishing Sync for Output” on page 320.
Manual Recording
You can use the Digital
Cut tool with local
control of the record
deck. For more
information, see
“Recording a Digital
Cut to Tape (Local
Mode)” on page 352.
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 consumer grade
VHS or Hi8™.
To record manually:
1. Set the serial control switch on the record deck to Local.
2. Use the controls on the deck to start the videotape recording.
3. Play the sequence in your Avid system.
n
You cannot manually record to a DV deck or camera. Use the Digital Cut tool
with local control. For more information, see “Recording a Digital Cut to
Tape (Local Mode)” on page 352.
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
340
prepare it as a separate sequence that you can record by using the
Digital Cut tool. For more information on creating sequences, see
the the editing guide or Help for your Avid system.
•
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 manually record bars and tone:
1. Open the Video Output tool and the Audio tool by choosing them
2. Choose a color bars pattern from the Test Patterns pop-up menu in
the Video Output tool (see “Using Test Patterns” on page 327 ).
3. Choose Play Calibration Tone from the Peak Hold pop-up menu in
the Audio tool (see “Setting the Calibration Tone” on page 332).
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. Your deck must be capable of frame-accurate editing to
perform this step.
For information on creating your own tone media, see “Creating Tone
Media” on page 188.
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
Generating Output
To avoid accidentally breaking timecode on prestriped tapes during
digital cut recording, enable assemble editing only when in use, and
disable it during normal insert edit recording.
341
To enable assemble editing:
1. Double-click Deck Preferences in the Settings scroll list of the
Project window to open the Deck Preferences dialog box.
Assemble-editing
option
2. Select the option “Allow assemble edit for digital cut.”
3. Click OK.
Once assemble editing is enabled, you select additional options in the
Digital Cut tool when you are ready to record, as described in
“Recording a Digital Cut to Tape (Remote Mode)” on page 348.
These switches are often
located below the
machine’s playback
control buttons. For
the documentation
provided with your
record device.
In addition, make sure the record deck has the following settings:
•
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, return the Local/Remote switch to Remote for
deck control from within the Avid application.
342
The Digital Cut tool provides controls when you record a sequence to
tape. 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 348.
•
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 352.
You can use either Remote mode or Local mode Local mode to
preview the output of a digital cut before recording it to tape. See
“Previewing a Digital Cut” on page 345.
You can manually record a digital cut including countdown, but
the recording will not be frame accurate. For more information,
see “Preparing Record Tapes” on page 338.
n
Sync for output comes from reference input (REF) on the Meridien I/O box. If
there is no reference signal connected to the reference input, output signals
are generated from internal timing. For more information, see “Establishing
The Digital Cut tool provides several options for you to manage the
recording of your sequence. For example, you can:
Generating Output
•
Record by using either assemble or insert edits.
•
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).
343
•
Select the tracks to record to on the tape (Enable Track button –
Remote mode only).
•
Add black at the end of a digital cut.
If your Avid system includes support for 24p and 25p projects, the
Digital Cut tool displays a section where you can choose your output
format and title format. For more information, see “Choosing Output
and Timecode Formats for 24p and 25p Projects” on page 356. If your
system includes support for 24p and 25p projects, and you are
working on a video project, the output formats appear dimmed.
If your Avid system includes the DV Option, the Digital Cut tool lets
you choose the device to which you want to output: the Meridien I/O
box or a DV device connected through the 1394 connection.
The Digital Cut tool includes its own deck controls for:
•
Cueing a record deck from the Digital Cut tool (Remote mode
only).
•
Cueing the tape and adding an IN point. This capability applies
when you choose Mark In Time from the pop-up menu in the deck
control area (Remote mode only).
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 Digitize tool to review a digital cut.
344
Sequence Track buttons
Play Digital Cut button
Preview Digital Cut button
Halt Digital Cut button
Enable Track buttons
Deck
control
area
Output
formats
area
(Systems
with 24p
support
only)
Deck controls
Timecode text boxes
Selecting a Deck in the Digital Cut Tool
The Deck Selection pop-up menu in the Digital Cut tool contains a list
of all decks that were connected to the system, powered up, and
initialized when you opened the Digital Cut tool.
Generating Output
345
The Deck Selection pop-up 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,
•
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 pop-up menu, you need to
configure a deck in the Deck Configuration dialog box. See
“Configuring Decks” on page 144.
If a deck name appears in italics on the pop-up menu, the deck has lost
power or has been disconnected. Choose Check Decks from the
pop-up menu to reestablish deck control.
To activate an available deck for a digital cut:
t
Choose the deck from the Deck Selection pop-up menu.
Previewing a Digital Cut
You can preview your digital cut in Remote mode or Local mode
before actually making the cut.
n
You can manually record a digital cut including countdown, but the
recording will not be frame accurate. For more information, see “Preparing
Record Tapes” on page 338.
To preview a digital cut:
1. Choose Digital Cut from the Output menu.
2. Select Remote or Local in the deck control option area.
346
3. Select the options that you want for the digital cut. See “Using the
Digital Cut Tool” on page 342.
4. Select the audio tracks and topmost video track that you want
represented in the digital cut preview by using the Sequence Track
buttons.
The track display in the Digital Cut tool varies according to the
tracks existing in the sequence.
5. Click the yellow Preview Digital Cut button.
The Digital Cut tool goes through the motions of an insert edit and
shows you how the tape will appear before, during, and after the cut,
but does not actually change the master tape. You can then modify
your digital cut, if you want, before it is committed to the master tape.
Creating a Custom Countdown Display
The Custom Screen option allows you to change the font (type style),
size, and color of the countdown numbers. You can also import your
own graphic file as a background (PICT format only).
Any file format that can be translated by QuickTime can be imported
as a background (Macintosh only).
To create a custom countdown:
The Digital Cut tool opens.
2. Select Local in the Deck Control option area.
3. Select both the With Countdown and the Custom Screen options.
4. Click the Choose button.
The Custom Countdown dialog box appears.
Generating Output
347
5. (Option) Choose another font, font size, or font color from the
pop-up menus.
n
The menus display all currently available fonts, as determined by the contents
of the Fonts folder.
n
(Windows only) The Fonts folder is in the Windows Control Panel. For
information on adding fonts to your system, see the Microsoft Windows Help.
6. Click Import Picture to import an available graphic file to use as a
custom background.
The Select File dialog box (Windows) or Directory dialog box
(Macintosh) appears.
7. Locate a graphic file to serve as the new background image.
8. Select the graphic file and click Open.
9. Click OK.
The custom countdown screen is ready.
348
n
The best resolution for imported PICT files is 720 x 486 for NTSC and
720 x 576 for PAL. The resolution cannot be changed after importing.
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.
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.)
Generating Output
349
Enable Track buttons
Deck
control
area
(remote)
Output
formats
area
(Systems
with 24p
support
only)
Deck controls
Timecode text boxes
3. (DV Option only) Choose one of the following from the Target
Device pop-up menu:
t
Choose Meridien to output a DV sequence to a composite,
component, or serial digital device connected to the Meridien
I/O box.
t
Choose OHCI to output a DV sequence to a DV camera or
deck connected through the 1394 connection.
350
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. (Option) Select the Add Black at Tail option and enter a timecode
to add black at the end of the digital cut.
6. Choose a deck from the Deck Selection pop-up menu. See
“Selecting a Deck in the Digital Cut Tool” on page 344.
7. Select Remote in the Deck Control options area.
8. Choose either Insert Edit or Assemble Edit from the pop-up menu.
This menu only appears if you enabled assemble editing in the
Deck Preferences dialog box. For more information about this
option, see “Enabling Assemble-Edit Recording” on page 340.
9. Choose an option from the pop-up menu in the deck control
option area to indicate where to start recording on the tape.
t
Generating Output
Choose 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.
351
You can change the start
timecode to match the
record tape by using the
Get Clip Info command.
For more information,
Help for your Avid system.
t
Choose Record Deck Time to ignore the timecode of the
sequence and to start the recording wherever the record deck
is currently cued.
t
Choose 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
10. (Option) Select the Custom Preroll option and choose the number
of seconds from the pop-up menu 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.
11. Select the audio and video tracks that 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.
12. Select the video and audio tracks to record to on the tape by using
the Enable Track buttons.
13. For 24p and 25p projects, choose an output format and title
format, as described in “Choosing Output and Timecode Formats
for 24p and 25p Projects” on page 356 and “Choosing DSK Title
Formats” on page 364.
c
Make sure you connect the correct deck and black burst generator
for the output format you chose (NTSC or PAL).
14. Click the Play Digital Cut button or the Preview Digital Cut
button.
The system cues the record deck, then plays and records the
sequence. The playback appears in the Record monitor, and in the
Client monitor.
352
n
15. To stop the recording at any time, press the space bar or click the
Halt Digital Cut button.
n
n
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 control track
and timecode break up.
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 scroll list.
Then record the digital cut again. With the option deselected, the timecode
cut.
Recording a Digital Cut to Tape (Local Mode)
You can record to tape
without using the
Digital Cut tool. For
“Manual Recording” on
page 339.
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.
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.)
Generating Output
353
3. (DV Option only) Choose one of the following from the Target
Device pop-up menu:
-
Choose Meridien to output a DV sequence to a composite,
component, or serial digital device connected to the Meridien
I/O box.
-
Choose OHCI to output a DV sequence to a DV camera or
deck connected through the 1394 connection.
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 IN
points, OUT points, or both for recording a portion of the
sequence.
5. (Option) Select the Add Black at Tail option and enter a timecode
to add black at the end of the digital cut.
7. Select Local in the deck control option area.
354
Deck
control area
(local)
Output
formats
area
(Systems
with 24p
support
only)
Deck controls
(disabled)
8. (Option) Select the With Countdown option to record the digital
cut, using a countdown. The default countdown is a
computer-generated countdown containing the Avid logo.
9. (Option) Select Custom Screen for counting down by using a
customized countdown screen that you create, as described in
“Creating a Custom Countdown Display” on page 346.
10. Select the audio and video tracks that you want represented in the
digital cut from the Sequence Track buttons. The display of tracks
in the Digital Cut tool varies according to the tracks existing in the
sequence.
Generating Output
355
11. For 24p and 25p projects, choose an output format, as described in
“Choosing Output and Timecode Formats for 24p and 25p
Projects” on page 356 and “Choosing DSK Title Formats” on
page 364.
c
Make sure you connect the correct deck and black burst generator
for the format you chose (NTSC or PAL).
12. Press the Record button on the deck.
13. 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.
n
14. To stop the recording at any time, press the Halt Digital Cut
button.
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 scroll list.
Then record the digital cut again. With the option deselected, the timecode
cut.
356
Choosing Output and Timecode Formats for 24p and 25p
Projects
When you are working in a 24p or 25p project, you can output
multiple formats for NTSC video, PAL video, and audio — all from the
same progressive media. You choose the formats you want from the
Output Format pop-up menu in the Digital Cut tool.
Depending on the format you choose, you also need to:
•
Choose the timecode to output (see “Choosing the Timecode
Format for Output” on page 360).
•
Indicate the Destination Timecode Rate (see “Indicating the
Destination Timecode Rate” on page 362).
Output Format
pop-up menu
Choosing Output Formats for 24p and 25p Projects
To output a particular format:
t
Generating Output
In the Digital Cut tool, choose a play rate from the Output Format
pop-up menu.
357
A brief description of each output format is displayed in the Digital
Cut tool. Table 8-3 provides more extensive descriptions.
The play rate you choose determines how the digital cut is recorded.
For example, if you choose 23.976, you tell the Avid system to slow
down the play rate to match that used during an NTSC telecine
transfer. Then, when the system records the digital cut, it adds the
pulldown frames and re-creates a telecine transfer to an NTSC
videotape.
on film-to-tape
transfers, see Chapter 2.
For NTSC output, the Avid system automatically sets the pulldown if
necessary and turns on an indicator on the Meridien I/O box.
Table 8-3
Digital Cut
Tool Menu
Choice
(Playback
Speed)
24p and 25p Project Output Options
Target Project or System
Pulldown
Indicator on
Meridien I/O Output Format and
Recording Media
Box
23.976 (NTSC) NTSC TV; video screenings;
On (0.99)
digital audio workstations
(DAWs) that support pulldown
Picture and sound to NTSC
tape; sound to video-referenced
audiotape
24 (NTSC)
Audio for film projection;
DAWs (video for
reference only)
Off (1.00)
tape; sound to DAT or mag tape
29.97 (NTSC)
Animation projects; negative
cutting with lockbox; some
kinescope printing
On (0.99)
tape (sound for reference only)
24 (PAL)
Audio for film projection;
DAWs (video for
reference only)
Off (1.00)
Picture and sound to PAL tape;
sound to DAT or mag tape
358
Table 8-3
24p and 25p Project Output Options (Continued)
Digital Cut
Tool Menu
Choice
(Playback
Speed)
Target Project or System
Pulldown
Indicator on
Meridien I/O Output Format and
Recording Media
Box
25 (PAL)
PAL TV; video screenings
Off (1.00)
Picture and sound to PAL tape;
sound to DAT or mag tape
The following information describes what happens when you choose
each of these options:
•
23.976 (NTSC): Plays back the sequence at 23.976 fps (film rate).
This playback rate tells the Avid system to replicate a telecine
transfer with perfect 2:3 pulldown. The system adds frames and
slows the playback speed to create a digital cut to 29.97 fps. Use
this option for NTSC video output, such as broadcast masters. For
25p, the media is slowed down by 4.1 percent.
•
24 (NTSC): Plays back the sequence at 24 fps (film rate). This
playback rate tells the system to record audio at the film rate. If the
system records video, it maintains sync by adding pulldown fields
and dropping every 1000th frame. This video should be used for
reference only. Use this setting for direct audio output to be used
in sync with film projection. Also use this setting when audio
media files are being used in a digital audio workstation (DAW)
and you need a digital cut for picture reference. For 25p projects,
video and audio are slowed down 4 percent.
Before you output the digital cut, make sure you choose the
correct destination timecode rate. See “Indicating the Destination
Timecode Rate” on page 362.
•
Generating Output
29.97 (NTSC): Plays back the sequence at 29.97 fps. This playback
rate tells the system to speed up the playback speed without
adding pulldown fields. As a result, the sequence plays faster
(25 percent faster for 24p, 20 percent faster for 25p). Use this
option for animations and tape-to-film transfers where the
359
pulldown needs to be removed to have an exact frame-to-frame
relationship between the film and video.
•
24 (PAL): Plays back the sequence at 24 fps. This playback rate
tells the system to record audio at the film rate. For 25p projects,
audio is slowed down 4 percent. Video, when output to tape, can
be used only for reference because, to maintain sync, the system
replicates a pulldown telecine transfer with one extra pulldown
field occurring every 12th and 24th frame. Use this option when
audio media files are being used for film projection (PAL
Method 2) or in a DAW and you need a digital cut for picture
reference.
•
25 (PAL): Plays back the sequence at 25 fps. For 24p projects, this
playback rate tells the system to speed up the sequence by
4.1 percent, creating a frame-to-frame relationship between film
and video (PAL Method 1). For 25p projects, there is no change in
playback speed. There are no pulldown frames with this digital
cut setting. Use this option for PAL video output, such as a
broadcast master.
Table 8-4 summarizes the change in audio rates for 24p and 25p output
options.
Table 8-4
Audio Play Rates for 24p and 25p Projects
Output Play Rate
24p Source
25p Source
23.976 NTSC
0.1% slowdown
4.1% slowdown
24 NTSC
No change
4% slowdown
29.97 NTSC
25% speedup
20% speedup
24 PAL
No change
4% slowdown
25 PAL
4.1% speedup
No change
360
Choosing the Timecode Format for Output
If you choose one of the three NTSC output formats, you need to
indicate the timecode format for output: drop-frame or
non-drop-frame.
n
For information on connecting decks, see the setup guide for your Avid
system. For information on timecode, see “Understanding Drop-Frame
Timecode and Non-Drop-Frame Timecode” on page 153.
You can designate drop-frame or non-drop-frame timecode for devices
connected to one or both of the following outputs:
•
RS-422 (serial port on the computer)
•
LTC (LTC OUT on the Meridien I/O box)
RS-422 Output
and LTC Output
pop-up menus
By default, the pop-up menus display the timecode format of the
sequence that you have loaded into the Timeline.
Generating Output
361
To choose the timecode format for output:
t
In the Digital Cut tool, choose either or both of the following:
-
Drop or Non-Drop from the RS-422 Output pop-up menu
-
Drop or Non-Drop from the LTC Output pop-up menu
Outputting Drop-Frame and Non-Drop-Frame Timecode
Simultaneously for Downstream Encoding
You can output drop-frame and non-drop-frame NTSC timecode
simultaneously from a 24p or 25p project. A broadcast production
company might need to output drop-frame timecode for a broadcast
master, while outputting non-drop-frame timecode to track NTSC film
pulldown.
2:3 pulldown, see
“Transferring 24-fps
Film to NTSC Video”
on page 64.
Tracking the pulldown is important because some networks require
the 2:3 pulldown phase to be inserted in the VITC (vertical interval
timecode). Inserting the pulldown phase enables downstream
encoding of various compression formats (like MPEG-2) to be faster
and of higher quality.
It is easy to track pulldown information within non-drop-frame
timecode, because the relationship stays the same for the length of the
digital cut. The Avid system can use LTC (longitudinal timecode) to
output the non-drop-frame timecode.
To output drop-frame and non-drop-frame timecode simultaneously
for downstream encoding:
t
In the Digital Cut tool, choose both of the following:
-
Drop from the RS-422 Output pop-up menu
-
Non-Drop from the LTC Output pop-up menus
362
Indicating the Destination Timecode Rate
When you select 24 (NTSC) as your output format, the Destination
Timecode Rate pop-up menu (labeled Dest. TC Rate) appears. Choose
a timecode rate that matches the timecode rate of the recording device,
such as a DAT deck.
If you choose 29.97 fps as your Dest. TC Rate, the sequence duration
displayed in the Timecode Duration display of the Digital Cut tool will
be slightly shorter than the duration shown in the Timeline. This
shorter duration occurs because the video play rate is sped up in
comparison with the audio timecode rate. If you choose 30.00 fps, the
sequence duration in the Digital Cut tool will match the sequence
duration in the Timeline.
The value you choose (29.97 or 30.00) also sets the rate for LTC output,
if any, without changing the playback rate of the media being output
(24 NTSC).
Generating Output
363
Dest. TC
Rate
pop-up
menu
Timecode
Duration
display
To indicate the destination timecode rate:
t
In the Digital Cut tool, choose 29.97 fps or 30.00 fps from the Dest.
TC Rate pop-up menu.
364
Choosing DSK Title Formats
If your system supports 24p and 25p projects, the Title tool allows you
to save a title in any of four different formats: 4:3 NTSC, 4:3 PAL, 16:9
NTSC, 16:9 PAL. You can create titles in different formats in 24p, 25p,
25i, and 30i projects. If you have created different title formats, the
Digital Cut tool allows you to select the appropriate format for the
sequence you are recording:
t
4:3: Choose this aspect ratio for standard NTSC or PAL broadcast
masters
t
16:9: Choose this aspect ratio for wide-screen NTSC or PAL
broadcast masters
To create a master with an aspect ratio different from the native
aspect ratio (for example, to create a 4:3 master from 16:9 footage):
t
Use the Pan and Scan effect or a film mask. For more information
about the Title tool, pan and scan, and film masks, see the effects
Performing an Insert Edit with Pulldown
If you are working in an NTSC 24p project, and you need to insert a
segment into a sequence that has already been cut to tape, the Avid
system automatically adjusts the insert edit to maintain the correct
pulldown.
To perform an insert edit with pulldown:
1. Use IN and OUT points to mark the segment you want to insert.
3. Deselect the Entire Sequence option.
4. Select Remote in the deck control option area.
Generating Output
365
5. Choose Sequence Time to start the recording at a timecode existing
on tape that matches the start timecode of the sequence.
6. Choose Insert Edit from the pop-up menu. This menu only
appears if you enabled assemble editing in the Deck Preferences
dialog box. For more information about this option, see “Enabling
Assemble-Edit Recording” on page 340.
8. Select the video tracks that 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.
9. Select the video track to record to on the tape by using the Enable
Track buttons.
10. Choose 23.976 (NTSC) and either 4:3 or 16:9 from the Output
Options area.
The system cues the record deck, then plays and records the insert
edit. The Avid system automatically adds the correct pulldown
fields.
12. To stop the recording at any time, press the space bar or click the
Halt Digital Cut button.
366
Digital Cuts and Audio
You can use one of several tape formats and methods for audio output,
but the following are most common:
n
•
Record a digital cut directly to videotape by using analog output.
•
Record a digital cut directly to DAT or DA-88 by using digital
output.
•
Play the sequence to an audiotape recorder by using analog
output.
You cannot control some analog audio decks from the Digital Cut tool. If the
deck does not have a serial control port, you need to select Local when you
record the digital cut.
Your output choice in the Digital Cut tool automatically sets the
pulldown switch (see “Choosing Output and Timecode Formats for
24p and 25p Projects” on page 356).
If you perform an audio-only digital cut, the Avid system plays the
video tracks in the Client monitor to ensure the most accurate audio
sync. A message appears at the bottom of the Digital Cut Tool window.
For information about connecting a deck, see the setup guide for your
Avid system.
n
Generating Output
If your sequence contains audio clips with different sample rates, use the
Change Sample Rate dialog box to ensure that all the clips have the same
sample rate. For more information, see the editing guide or Help for your
Avid system.
367
Changing the Default Pulldown Phase for Sequences
on film-to-tape
transfers, see Chapter 2.
During a digital cut to 30-fps NTSC videotape, the Avid system
defaults to an A-frame pulldown conversion. If you are appending
sequences to the same output tape on which continuous pulldown is
required, you might need to change the default pulldown phase (or
pullin) to a B frame. A digital cut can begin only on field one of an A or
B frame.
For example, if one cut ends on an A frame, then before performing
the digital cut of the next sequence, change the pullin for the next
sequence to the B frame. You can determine the frame that ends a
sequence by checking the Pullout column in the bin that holds the
sequence.
If your sequence ends on a B or C frame, edit the sequence to end on
an A or D frame to create a continuous 2:3 pulldown.
To change the default pulldown phase for a sequence:
1. Open the bin that holds the sequence.
2. Check if the Pullin column appears. If not, follow these steps:
a.
Choose Headings from the Bin Fast menu.
b.
Ctrl+click (Windows) or click (Macintosh) Pullin.
3. Type A or B in the Pullin column.
-
Pullin A: The first frame of the sequence plays back as two
fields, the second frame as three fields, the third as two, and so
on.
-
Pullin B: The first frame of the sequence plays back as three
fields, the second frame as two fields, the third as three, and so
on.
Now you can perform a digital cut to append the new sequence.
368
Using EDL Manager
An EDL (edit decision list) is a detailed list of the edits contained in a
sequence, including all the timecode and supported effects
information required to re-create the sequence in an online videotape
suite. The EDL is organized into a series of chronological instructions
called events, which are interpreted by an edit controller that
automates the assembly of the videotape master.
Your Avid system includes EDL Manager, an application with
powerful features and sorting capabilities to help you prepare an EDL.
To start EDL Manager:
t
Choose EDL from the Output menu.
For more information on specific features and capabilities of EDL
Manager, see the Avid EDL Manager User’s Guide or the EDL Manager
Help.
The Matchback option on an Avid system, along with the Avid
FilmScribe application, allows you to generate a film cut list from a
30-fps or 25-fps video project that uses film as the source material. This
video-to-film conversion is useful in a variety of matchback
circumstances, including the following:
•
Use the Matchback option to generate both a videotape master for
the project along with a final cut on film.
•
Use the Matchback option to generate pull lists for retransferring
selects at high quality before online editing.
Matchback supports 16mm, 35mm 3-perf, and 35mm 4-perf formats.
Generating Output
369
n
Your system might not include the Matchback option. To purchase the
Matchback option, contact your Avid sales representative.
If you plan to use matchback, you must select the Matchback option
when you first create the project. See the editing guide or Help for
your Avid system.
n
Editors working in a film matchback project for the first time should pay extra
attention to duplicate material in the final edited piece. Use Dupe Detection
in the Timeline and verify any dupes flagged when delivering a cut negative.
For information on dupe detection, see the editing guide or Help for your
Avid system.
How Matchback Works
The matchback process refers to the video edit information for your
sequence and performs a conversion to create a matching 24-fps cut
list.
Because of the difference in frame rates between video and film (30 fps
or 25 fps for video versus 24 fps for film), the conversion of video edit
points might fall within a film frame, requiring the addition or
subtraction of a frame in that edit event in the resulting cut list.
For example, with a ratio of 24 film frames to 30 video frames, a
7-frame video edit corresponds to approximately 5.6 film frames.
However, film cuts cannot include partial frames, so the edit must be
rounded to 5 or 6 frames.
370
NTSC
video
Shot X
Shot Y
Shot Z
The matching film edit point
falls within a frame.
.................................................................................................................................
Film
.................................................................................................................................
To make these adjustments, the following occurs during matchback:
•
If the total video-sequence duration at the end of each cut is a
frame longer than the film, the system subtracts a frame from the
last video edit. If the video is a frame too short, a frame is added to
the last video edit.
•
Where an essential frame was added to or subtracted from the
beginning or end of each edit, the system adds matchback
information to the cut list, stating that matchback shortened or
lengthened the tail of the clip by one frame. The assistant editor or
negative cutter can use this information to check the edit.
•
Each track in the sequence must be corrected independently
because the start and end points for split edits are different for
each track. As a result, the picture and audio for a matchback
video edit might be out of sync by no more than one frame.
Matchback Limitations
Matchback is subject to the following limitations:
Generating Output
•
The Matchback option uses key numbers to conform the negative.
Therefore, you must have key-number information entered into
the bins for the project.
•
You can generate cut lists, but not change lists in a matchback
project.
371
•
The matchback information applies to the picture only. You must
generate a separate list (an EDL, for instance) for conforming the
audio source tapes.
•
Be sure to remove unwanted match frames (add edits) from your
sequence before generating the cut list. Otherwise, the calculation
of matchback frames will include these edits. For more
information, see the editing guide or Help for your Avid system.
Using FilmScribe
The FilmScribe application provides tools for creating frame-accurate
cut lists and change lists from 24p and 25p and matchback projects.
You can use these lists to conform a work print, a film negative, audio
tracks, or videotape transfers.
To start FilmScribe:
t
Choose FilmScribe from the Output menu.
For information on how to use FilmScribe, see the Avid FilmScribe
User’s Guide or the FilmScribe Help.
n
Your system might not include the FilmScribe application. To purchase
FilmScribe, contact your Avid sales representative.
Using FilmScribe
372
Using VTR Emulation
VTR emulation supports the following options:
n
•
Direct record emulation allows you to perform a quick record (also
known as a crash record) while using an edit controller. This
feature allows you to digitize the media being sent to your Avid
system immediately without setting up parameters like IN and
OUT points. An example of this type of recording would be
capturing data from a direct feed such as a satellite link.
•
Play emulation allows you to control a sequence loaded in the
Record monitor from an edit controller for playback in the edit
room along with other sources. After you enable VTR play
emulation, you can use the edit controller to shuttle, step (jog),
play, cue, and mark edit points on the sequence in the Record
monitor.
•
Telecine record emulation allows you to digitize directly from film
during the film-to-tape transfer process by using Telecine Slave
mode. Telecine Slave mode streamlines the transfer process
because digitizing is performed during the transfer. For more
information, see “Digitizing During the Film-to-Tape Transfer” on
page 256.
To use VTR emulation, you must connect a supported controller (any
controller that uses Sony serial control protocol) to the system by using a
special Avid 9-pin VTR emulation cable and a serial adapter. For information
about the cable connection, see the setup guide for your Avid system.
Enabling VTR Emulation
This section describes how to enable VTR emulation for either record
emulation or play emulation. For Telecine record emulation and the
Telecine Slave mode option, see “Digitizing During the Film-to-Tape
Transfer” on page 256.
Generating Output
373
To open the VTR Emulation Settings dialog box:
t
Double-click VTR Emulation in the Settings scroll list of the Project
window.
The VTR Emulation Settings dialog box appears.
Table 8-5 describes the VTR Emulation settings options for record
emulation and play emulation.
Table 8-5
VTR Emulation Settings: Record and Play
Emulation
Option
Description
Emulation Type
Use Direct Record Emulation when you want to perform a quick record
(also known as crash record). It allows the Avid system to record the
media being sent to it immediately without setting up parameters like
IN and OUT points.
Play Emulation supports all the basic deck control commands. This
mode is used when you want to shuttle, step (jog), play, cue, and mark
IN and OUT points with the controller.
Use Telecine Record Emulation to digitize directly from film during the
film-to-tape transfer process. For information about settings, see
“Selecting VTR Emulation Settings” on page 259.
Using VTR Emulation
374
Table 8-5
VTR Emulation Settings: Record and Play Emulation
(Continued)
Option
Description
Device Code
Select the device code that identifies the VTR that the Avid 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 record
functions.
You do not need to change the device code value unless your edit
controller does not recognize the VTR emulator or you want to emulate
a specific VTR.
Runup (frames)
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 emulator 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.
Avid recommends that you do not inhibit preloading under normal
circumstances.
Preloading occurs by default. 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 Avid
system to present a sequence of still images as in a slide presentation.
Using VTR Play Emulation
To use VTR play emulation:
1. Make sure the controller is properly connected.
2. Choose the appropriate VTR Emulation settings from the VTR
Emulation Settings dialog box. See “Enabling VTR Emulation” on
page 372.
Generating Output
375
The Serial (COM) Ports tool (Windows) or Serial Ports tool
(Macintosh) opens.
4. Select the appropriate port from the VTR Emulation pop-up
menu.
5. Close the Serial (COM) Ports tool (Windows) or Serial Ports tool
(Macintosh).
The system saves the setting as a Site setting, effective for all
projects.
6. Choose VTR Emulation from the Special menu when you are
ready to use the system for playback.
A check mark appears next to the command to indicate that the
system is ready. A yellow outline appears around the Play button
in the Record monitor to indicate that VTR emulation is active.
7. Use the edit controller to control the playback on your Avid
system.
After you have activated VTR play emulation, you can control the
sequence with an edit controller as follows:
n
•
You can shuttle, step (jog), play, cue, and mark points based on
master sequence timecode for editing onto another master. IN and
OUT points will appear in the Timeline only if the controller sends
that information to the Avid system.
•
Your control of the Avid system is for play only. For example, you
cannot arm tracks or send record commands to the Avid system
itself.
•
Smooth audio scrub is enabled by default, emulating analog audio
scrub on a VTR.
The VTR Emulation command behaves like a Local/Remote switch on a
playback device, with VTR play emulation disabled (in Local mode) by default
when you start the system.
Using VTR Emulation
376
Using VTR Emulation with PAL Projects
When you use VTR emulation with a 24p PAL project with separate
audio and video (Method 2), the timecode display above the monitors
might be different from the timecode seen by the edit controller.
To display video timecode above the monitors that matches the
timecode seen by the edit controller:
t
Choose TC 25 from the Tracking Information menu.
To display audio timecode above the monitors that matches the
timecode seen by the edit controller:
t
Choose TC 25p from the Tracking Information menu.
Limitations When Using VTR Play Emulation
When you use VTR play emulation, you can connect a record deck to
the edit controller and use the controller to record from the Avid
system to a record deck. However, depending on the controller and
the complexity of your sequence, you may not be able to maintain
frame accuracy while performing this operation. For a discussion of
the limitations that you might encounter when using the system in this
way, see the white paper entitled “Using VTR Emulation on Avid
Systems.” You can download this white paper from the Avid
Customer Support Knowledge Center, which you access from the Avid
Web site www.avid.com. To view the white paper, click the
Documentation tab and then click White Papers.
Using Direct Record Emulation
To use VTR direct record emulation:
1. Make sure the controller is properly connected.
2. Choose the appropriate VTR Emulation settings from the VTR
Emulation Settings dialog box. See “Enabling VTR Emulation” on
page 372.
Generating Output
377
The Serial (COM) Ports tool (Windows) or Serial Ports tool
(Macintosh) opens.
4. Select the appropriate port from the VTR Emulation pop-up
menu.
5. Close the Serial (COM) Ports tool (Windows) or Serial Ports tool
(Macintosh).
The system saves the setting as a Site setting, effective for all
projects.
6. Choose VTR Emulation from the Special menu when you are
ready to use the system for recording.
A check mark appears next to the command to indicate that the
system is ready. A yellow outline appears around the Play button
in the Record monitor to indicate that VTR emulation is active.
n
The VTR Emulation command behaves like a Local/Remote switch on a
playback device, with VTR record emulation disabled (in Local mode) by
default when you start the system.
The Digitize tool opens.
8. Select the tracks onto which you want to record by clicking the
Channel Selection buttons.
9. Choose a bin from the Bin pop-up menu.
10. Click the Toggle Source button until VTR appears.
11. Click the Timeline and move the position indicator to a point in a
sequence that allows sufficient preroll.
Sufficient preroll slightly exceeds the preroll setting of your edit
controller.
Using VTR Emulation
378
n
The recorded media is not recorded into your sequence. Your sequence is used
only to give the edit controller a timecode reference. Instead, the recorded
media generates a master clip that is placed in the bin you selected from the
Bin pop-up menu in the Record tool.
12. Using the controller, mark IN and OUT points.
13. Control recording from the controller.
Generating Output
CHAPTER 9
Exporting and Exchanging
Material
You can export and exchange material with another system, another
application, or another platform. Your Avid video-based editing
system provides tools for exporting clips and sequences in various
formats or for transferring projects and media between systems.
This chapter includes the following sections:
•
Understanding Export
•
Preparing to Export a Sequence
•
Exporting Frames, Clips, or Sequences
•
Using the Drag-and-Drop Method to Export Frames, Clips, or
Sequences
•
Using AvidLinks
•
Customizing Export Settings
•
Exporting OMFI and AAF Files
•
Exporting as an MPEG File
•
Using cleaner
•
Creating Files for a DVD
•
Exporting Video in DV Stream Format
380
•
Exporting as a QuickTime Movie
•
Exporting as an AVI File (Windows Only)
•
Installing the Avid Codecs for QuickTime or AVI on Other
Systems
•
Exporting from a Third-Party QuickTime or AVI Application
•
Exporting Tracks as Audio Files
•
Exporting as a Graphic File
•
Transferring a Project Between Avid Systems
•
Transferring Media to and from a Video Server
•
Sending Material Out for Review
Understanding Export
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.
You can export video, audio, or both for any of the following reasons:
•
You can export video files for touching up or creating special
effects in third-party applications or other Avid applications.
•
You can export files to be viewed as an AVI or QuickTime MPEG
movie.
•
You can use cleaner® software to create streaming media files in
formats such as RealVideo®, QuickTime, and Windows Media™.
•
You can exportMPEG files and other files compatible with
CD-ROM and DVD-R for use in multimedia projects.
•
You can export audio files for audio sweetening in a digital audio
workstation (DAW), such as a Pro Tools system.
381
•
n
You can use the export process to convert audio media files from
one supported audio format to another. Your Avid system
supports the AIFF-C, SDII- (Macintosh only), and WAVE formats.
If you plan to transfer the exported files to another Avid system or third-party
application, see “Transferring a Project Between Avid Systems” on page 460.
If you are exporting part or all of a sequence — to create an OMFI file,
an AAF file, a QuickTime file, an AVI file, or a graphic sequence, for
example — you can speed the export process by preparing the
sequence in advance, as follows:
on rendering, see the
effects guide or Help for
your Avid system.
•
Make sure all media for the sequence is online. For more
information about selecting offline items in a bin, see the editing
•
If you want to archive the source sequence before making any
alterations, duplicate the sequence, place the duplicate in another
bin, and prepare the duplicate for export. The original sequence
will be unaffected.
•
Consider rendering all effects in advance. Although any
unrendered effects are rendered on export (except for an OMFI or
AAF export), rendering effects in advance saves time during the
export process.
•
Always render fast-saved titles before using OMFI or AAF to
export a sequence, or before creating an EDL from the sequence.
•
If your sequence contains numerous video tracks, consider mixing
down the tracks in advance for faster export, unless you need to
preserve the multiple-track information. For more information
about mixing down video tracks, see the effects guide or Help for
your Avid system.
•
If your sequence contains numerous audio tracks with various
audio effects and level adjustments, consider mixing down the
382
tracks in advance for faster export, unless you need to preserve the
multiple-track information. For more information about mixing
down audio tracks, see the editing guide or Help for your Avid
system.
•
If your sequence contains audio clips with different sample rates,
use the Change Sample Rate dialog box to ensure that all the clips
have the same sample rate. See the editing guide or Help for your
Avid system. You can also use OMFI or AAF to change the sample
rate. See “Exporting OMFI and AAF Files” on page 393.
•
Check and adjust all pan and audio levels in advance. All current
Pan and Level settings in the sequence are carried to the exported
media. For more information on performing an audio mixdown,
see the editing guide or Help for your Avid system.
•
For OMFI or AAF files, consider consolidating the sequence to
create smaller source clips, thereby saving time and disk space.
For more information on consolidating media, see the editing
guide or Help for your Avid system.You can also consolidate as
part of the export. See “Exporting OMFI and AAF Files” on
page 393.
•
OMFI or AAF files with very complex sequences can fail during
import into some applications due to memory limitations. Try one
of the following solutions:
•
t
Break the sequence into smaller sequences and export the new
sequences.
t
Add more physical memory.
To export multiple clips in a single file, create a sequence from
them. For example, you can select all the clips, Alt+drag
(Windows) or Option+drag (Macintosh) them into the Record
monitor to create an instant sequence, and then export the
sequence.
383
This section provides the basic steps for exporting frames, clips, or
sequences. More specific information is provided in the following
sections:
For information on
using the
drag-and-drop method,
see “Using the
Drag-and-Drop Method
to Export Frames, Clips,
or Sequences” on
page 387.
•
“Exporting OMFI and AAF Files” on page 393
•
“Exporting as an MPEG File” on page 400
•
“Using cleaner” on page 403
•
“Creating Files for a DVD” on page 404
•
“Exporting Video in DV Stream Format” on page 407
•
“Exporting as a QuickTime Movie” on page 416
•
“Exporting as an AVI File (Windows Only)” on page 434
•
“Exporting Tracks as Audio Files” on page 448
•
“Exporting as a Graphic File” on page 451
To export frames, clips, or sequences:
1. Identify the portion of the clip or sequence that 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 Export Settings
dialog box. You can set this option before the export. See
“Customizing Export Settings” on page 390.
t
To export a single-frame graphic, mark an IN point to export
the marked frame from a bin or a monitor, or move the
position indicator to the frame you want to export. Make sure
Use Marks is selected and Sequential Files is deselected in the
Export Settings dialog box.
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
384
the IN point to the end of the clip or sequence. Make sure Use
Marks is selected in the Export Settings dialog box.
t
n
n
To export the entire clip or sequence, deselect the options
Use Enabled Tracks and Use Marks in the Export Settings
dialog box, and make sure the topmost track is monitored.
The entire clip or sequence is included when you export as an OMFI or an
AAF file or when you send the clip or sequence to cleaner software.
When you export as an OMFI or an AAF file, you do not need to select both
the sequence and its source clips. Select only the sequence to export all the
necessary information, including reference clips or source media.
2. Select the clip or sequence in one of two ways:
You can also right-click
(Windows) or
Shift+click (Macintosh)
and choose Export from
the shortcut menu.
t
Click the monitor that displays the clip or sequence you want
to export.
t
Click the clip or sequence in a bin. Ctrl+click (Windows) or
Shift+click (Macintosh) to select multiple clips or sequences.
The Export As dialog box appears with a default file name in the
File Name text box (Windows) or the Name text box (Macintosh),
based on the file type.
385
Windows
Macintosh
4. Choose a setting from the Export Setting pop-up menu.
This setting determines the format of the exported file. The default
setting is labeled Untitled. Any custom settings that appear in the
Settings scroll list of the Project window appear in the pop-up
menu. For information on creating custom settings, see
“Customizing Export Settings” on page 390.
386
n
The Avid system supplies you with several templates for Export settings. For
descriptions of the templates and their settings, see the Avid Products
Collaboration Guide on the Avid Media Composer Products Online
Publications CD-ROM. You can download the latest version from the Avid
Customer Support Knowledge Center. For information on accessing the
Knowledge Center, see the release notes for your Avid system.
5. (Option) If you want to view or modify the current Export setting,
or create a new one:
a.
Click the Options button to open the Export Settings dialog
box. For a description of your selections, see “Export Settings
Dialog Box Options” on page 392.
b.
To save your settings in the existing settings file, click Save.
c.
To create a new settings file, click Save As.
The Save Export Setting dialog box appears.
Name the setting by typing a name in the Setting Name text
box, and click OK. The new setting appears in the Settings
scroll list of the Project window.
6. In the Export As dialog box, select the destination folder for the
file.
7. (Option) Change the file name.
In most cases, keep the file name extension the same.
8. Click Save.
387
n
c
Your Avid system saves the intermediate movie that it makes for some formats
in a temporary folder. Make sure the temporary folder is on a drive with
plenty of space. You can view and change the location of the temporary file in
the General Settings dialog box, which you access from the Settings scroll list.
If a power failure or application error occurs during the export
process, the entire file is unusable. You need to repeat the export
process. The only exception is a sequential file sequence, where all
frames up to the point of failure are usable.
Using the Drag-and-Drop Method to Export Frames,
Clips, or Sequences
To export a frame, clip, or sequence by using the drag-and-drop
method:
1. Prepare the sequence, as described in “Preparing to Export a
Sequence” on page 381.
2. Select a clip or a sequence to export, as described in “Exporting
Frames, Clips, or Sequences” on page 383.
n
You cannot use the drag-and-drop method to export ALE, tab-delimited, or
sequential files.
3. In the Settings scroll list of the Project window, select the setting
you want to use for export.
The default Export setting, the preset templates, and any
additional Export settings you create appear in the Settings scroll
list. After you select a setting in the Settings scroll list, the
parameters remain the default settings for all exported files, unless
you change them during the export. This is especially useful when
you batch export a number of files directly from a bin at the same
time. To view or modify the parameters, double-click the setting.
For information on modifying options, see “Customizing Export
Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences
388
4. Export the frame, clip, or sequence by dragging the clip or
sequence you want to export to the location (folder or drive)
where you want to store the file. To select multiple objects,
Ctrl+click (Windows) or Shift+click (Macintosh) the objects and
drag the objects to the folder or drive.
n
During a drag-and-drop export, your Avid system saves an intermediate file
in a temporary folder. Make sure the temporary folder is on a drive with
plenty of space. You can view and change the location of the temporary file in
the General Settings dialog box, which you access from the Settings scroll list.
To save time, assign the temporary folder to a folder on the same drive where
you will be dragging the export.
Using AvidLinks
AvidLinks enables you to send data from your Avid system to other
Avid applications. The AvidLinks option provides you with a choice of
several OMFI Export templates. The resulting files will either be
composition only, or composition with embedded audio or video. For
more information on compositions, see “Exporting Through OMF
Interchange” on page 393.
You can use AvidLinks to export to any of the applications listed in
Table 9-1.
n
For the exported file to be useful in the target application, you must choose
one of the supported media objects.
389
Table 9-1
Available Avid Applications for AvidLinks Export
Avid Application
Output File
Format
AudioVision
OMFI
Sequence or master clip
Digidesign® Pro Tools
OMFI
Embed Audio in
Sequence or master clip
OMF Interchange file
Options
Supported Media
Objects
External Audio Files
(native AIFF-C only)
Media Illusion (Composition)
OMFI
Media Illusion (Video)
OMFI
Avid|DS (Composition)
OMFI
Sequence only
Convert to 1:1a
Master clip only
Sequence only
a. Media Illusion Release 6.0 requires uncompressed media (1:1 resolution). If your media is
not 1:1, select this option. The Avid system will create uncompressed media for the
exported file. If your media is 1:1, deselect this option and the exporting process will be
faster.
To use AvidLinks:
2. Select a clip or a sequence in a bin.
3. Choose AvidLinks from the File menu.
The AvidLinks submenu appears.
n
To access AvidLinks from the shortcut menu, right-click (Windows) or
Ctrl+Shift+click (Macintosh) the clip or sequence in the bin.
4. Choose an application from the AvidLinks submenu.
The AvidLink Export To dialog box appears with a default file
name in the File Name text box, based on the file type.
Using AvidLinks
390
Keep the default file name extension the same.
6. Select the destination folder for the file.
7. Click Save.
In addition to selecting preset templates, your Avid system allows you
to customize and name your Export settings. Use the following
procedures to customize your Export settings.
391
Creating a New Export Setting
You can also create a
new setting during the
export process. See
“Exporting Frames,
Clips, or Sequences” on
page 383.
To create a new Export setting:
2. Click Export.
3. Choose Duplicate from the Edit menu.
4. Name the setting by clicking the custom name column, typing a
name, and pressing Enter (Windows) or Return (Macintosh).
n
The custom name column is the center column in the Project window. When
you move the cursor over the custom name column, the cursor changes from a
pointing finger to a text insertion bar.
5. Double-click the new setting.
6. Select the appropriate file type and options based on the
descriptions in Table 9-2.
7. Click OK.
You can select this new setting whenever you export.
n
You can also create a new setting during the export process. See “Exporting
392
Export Settings Dialog Box Options
Table 9-2 describes the options in the Export As pop-up menu and
points to the appropriate section for more information.
Table 9-2
Export As
Option
Export Settings Dialog Box Options
Description
OMF 1.0
OMF 2.0
Select one of these options to export an OMFI composition for transfer to a
third-party workstation that supports OMFI. You can choose to export composition
only or embed the video and audio. See “Exporting OMFI and AAF Files” on
page 393.
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” on page 393.
QuickTime
Reference
Select this option to create a QuickTime reference movie. A QuickTime reference
movie contains pointers (links) to media files. This is similar to exporting as
composition only. See “Exporting QuickTime Reference Movies” on page 412.
MPEG-1
MPEG-2
Select one of these options to export the selected media object in an MPEG format.
See “Exporting as an MPEG File” on page 400.
DV Stream
Select this option to create a standard DV stream. 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” on page 407.
QuickTime
Movie
Select this option to create a self-contained QuickTime movie. See “Exporting as a
QuickTime Movie” on page 416.
AVI
(Windows only) Select this option to export an AVI file through the Avid Codec for
AVI or other compression tool. For more information, see Table 9-9 on page 437.
Audio
Select this option to export audio tracks in the WAVE format, Sound Designer II
(Macintosh only,) or AIFF-C audio format. See “Exporting Tracks as Audio Files” on
page 448.
393
Table 9-2
Export As
Option
Export Settings Dialog Box Options (Continued)
Description
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. Choose a file type from the pop-up menu.
See “Exporting as a Graphic File” on page 451. For information about supported file
types, see Appendix A.
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
“Using Avid Log Exchange to Convert Log Files” on page 80.
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.
OMFI and AAF are industry-standard file formats that let you
exchange compositions and media between applications.
Exporting Through OMF Interchange
OMF Interchange® (OMFI) is a platform-independent file format that
stores both the digital media (video, audio, graphics, animation) and
the information describing how the media is edited together to form a
final sequence. This editing information, called a composition, is the
OMFI representation of the sequence created in your Avid system. The
OMF Interchange format is the result of cooperative efforts of many
industry and standards partners and Avid Technology, Inc.
Any other program that supports OMFI can read OMFI files, even if
the program resides on a different computer platform. As a result,
with OMFI, you can transfer among different applications on different
platforms without worrying about cross-platform translations. This
394
can be very effective for importing animation or audio files created on
proprietary platforms.
c
To avoid errors and incompatibilities when you import and export
OMFI files, observe the recommendations in Appendix A.
Exporting Through AAF
Advanced Authoring Format (AAF), is a cross-platform, multimedia
file format that allows interchange of media and composition
information between AAF-compliant applications. These applications
are primarily content creation tools such as Avid editing systems,
Avid|DS, and Sonic Foundry's Sound Forge®, to name a few.
There are two general types of data in an AAF file:
•
Media such as audio and video
•
Composition information, or metadata, that provides the
instructions needed to combine and modify the media portions of
the AAF file to produce a complete multimedia program
Choosing an OMFI or an AAF Transfer Method
OMF Interchange and AAF, as implemented in your Avid system,
provide two basic methods for exporting files.
Method 1: Compositions with Linked Media
The Avid system can export an OMFI or an AAF file that contains only
the editing information about a selected master clip or sequence. The
file also contains links to the media used in the clip or sequence. You
then need to transfer both the OMFI or AAF file and the media files or
to redigitize the media on the other system. After you have transferred
the media once, you can transfer revised composition-only files, unless
you consolidate the media (in which case, you must transport the
395
consolidated media files, as well). You can consolidate media during
the export (see “Exporting as an OMFI or an AAF File” on page 395) or
before the export (see the Help or the editing guide for your Avid
system).
Method 2: Compositions with Embedded Media
The Avid system can export an OMFI or an AAF file that contains all
the editing information for the selected master clip or sequence along
with the video and audio media files for that master clip or sequence.
See “Exporting as an OMFI or an AAF File” on page 395.
n
(Macintosh only) Sound Designer II (SDII) audio media cannot be embedded
in an OMFI or an AAF file. When you export an OMFI or an AAF
composition to a product that supports the SDII audio format, you must
select an export method that links to the files. If the audio files are not in SDII
format, you must select Consolidate and Link to Consolidated Media and
select Convert Audio Sample Rate to SD2. See Table 9-3 on page 397.
Exporting as an OMFI or an AAF File
To export master clips or sequences as an OMFI or an AAF file:
The Export As dialog box appears.
You can create settings
in advance. See
“Customizing Export
4. Choose a setting from the Export Settings pop-up menu.
If you want to create a new setting, choose Untitled.
5. Click the Options button.
396
6. Choose OMF 1.0, OMF 2.0, or AAF from the Export As pop-up
menu.
7. Select options as described in Table 9-3 on page 397.
397
t
t
box, and click OK.
file.
11. Click Save.
c
process.
OMFI and AAF Export Settings Options
Table 9-3 describes the options for exporting OMFI and AAF files.
Table 9-3
OMFI and AAF Settings Options
Option
Suboption
Description
Export As:
OMF 1.0
Select this option if the application to which you are exporting
does not support OMFI Version 2.0.
OMF 2.0
supports OMFI Version 2.0. If you are not sure, select OMF 1.0.
398
Table 9-3
Option
OMFI and AAF Settings Options (Continued)
Suboption
Description
AAF
supports AAF.
Include All Video
Tracks in
Sequence
Select this option to include all video tracks from the sequence
in the OMFI or the AAF file. The Video Details tab appears.
Include All Audio
Tracks in
Sequence
Select this option to include all audio tracks from the sequence
in the OMFI or the AAF file. The Audio Details tab appears.
The following options appear in both the Video Details tab and the Audio Details tab:
Export Method:
Link to Current
Media
Select this option when you want to export an OMFI or an
AAF composition with links to the media in its current
location. Media is not embedded in the file.
Copy Media and
Link to Copied
Media
Select this option when you want to copy media to another
drive and export an OMFI or an AAF composition with links
to the copied media.
Consolidate and
Link to
Consolidated
Media
Select this option when you want to consolidate media and
export an OMFI or an AAF composition with links to the
consolidated media. For more information about
consolidating, see the editing guide or Help for your Avid
system.
Embed Media
Select this option to include (embed) video or audio media in
the OMFI or the AAF file.
Consolidate and
Embed Media
Select this option to first consolidate, then embed media in the
OMFI or the AAF file. Select the drive from the Target Drives
list. The default handle length is 60 frames. If you want to
change the default, type the length of the handles, in frames.
For more information about consolidating, see the editing
399
Table 9-3
Option
Suboption
Description
Destination
Folder:
Set
Click Set to select the drive and folder to which you want to
copy the media files.
Target Drive for
Consolidate:
Select the drive where you want to save the consolidated
media files.
Handle Length: xx
Frames
Enter the number of frames you want to use as handles for
consolidated clips. Handles refer to material outside the IN
and OUT points and are used for dissolves and trims with the
new, shorter master clips. The default is 60.
The following options appear in the Audio Details tab only:
Include Rendered
Audio Effects
Select this option to render audio effects during export.
Convert Audio
Sample Rate to:
Select this option if your sequence has a mix of sample rates
Project rate,
32 kHz, 44.1 kHz, and you need to create a single sample rate. (You set the
or 48 kHz
project rate in the Audio Project Settings dialog box. For more
information see “Adjusting Audio Project Settings” on
page 173. You can also use this option to change the sample
rate if the application to which you are exporting does not
support the current sample rate.
Convert Audio
File Format to:
If your sequence has a mix of audio file formats, and you want
to embed media, you must choose a single audio file format.
Audio files are converted to this format during export. This
choice is optional if you want to consolidate and link media.
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
industry-standard AIFF-C format. Note that your Avid system
does not compress audio media.
400
Table 9-3
Option
Suboption
Description
SD2 (Macintosh
only)
Select SD2 to link to audio tracks in the Sound Designer II
(SDII or SD2) format, for export to AudioVision or another
product that supports the SDII format. SDII audio media
cannot be embedded in an OMFI or AAF file. The converted
files are located in a folder labeled Exported Audio Media at
the top level of the drive with the most available space.
MPEG-1 files are used for Web downloads, CD-ROM distribution, and
other digital formats. They have a high compression rate and are
therefore relatively small. MPEG-2 files are used by DVD authoring
packages such as DVDit!™ by Sonic Solutions, and are larger and
better quality than MPEG-1 files.
If you want to output your sequence directly to a DVD-R burner
without first using a DVD authoring package, see “Creating Files for a
DVD” on page 404.
If your sequence includes audio, the export process creates a separate
audio file automatically. This audio file is synced to the MPEG file. You
need both files when you create a DVD.
To export a clip or sequence as an MPEG-1 or MPEG-2 file:
401
in advance. See
5. Click Options.
6. Choose MPEG-1 or MPEG-2 from the Export As pop-up menu.
n
t
Select Use Marks if you are exporting a marked sequence.
t
Select Use Enabled Tracks if you are exporting specific tracks
in a sequence.
t
Deselect Use Enabled Tracks and Use Marks if you are
exporting an entire sequence.
Use Enabled Tracks is selected by default.
8. Drag the Bit Rate slider to select a bit rate.
t
For MPEG-1, select between 1.2 and 1.8 megabits per second.
t
For MPEG-2, select between 4 and 8.0 megabits per second.
402
Low rates process more quickly, but produce lower quality; high
rates process more slowly, but produce higher quality.
9. Select the aspect ratio.
t
t
box, and click OK.
file.
13. Click Save.
The system processes the sequence and creates the following file
in the destination folder:
-
filename.mov.m1v for MPEG-1
-
filename.mov.m2v for MPEG-2
You can use the generated MPEG-2 video file with a DVD authoring
package such as DVDit! by Sonic Solutions.
n
c
To obtain the audio from the sequence, perform a separate audio export using
the WAVE format. See “Exporting Tracks as Audio Files” on page 448.
process.
403
Using cleaner
You can use Discreet™ cleaner software to turn clips and sequences
into streaming files. To use cleaner with your Avid system, install
either of the following on your Avid system:
n
•
cleaner EZ (from the CD provided by Avid)
•
cleaner 5 or later
If you have cleaner 5 or later installed on your system, you do not need to
install cleaner EZ.
The cleaner application provides you with many settings options. It
also has a Settings Wizard, which guides you through the process of
choosing the proper setting for your media.
When the Avid system exports to cleaner, it creates a QuickTime
reference movie. This QuickTime reference movie uses the setting
Digital Mastering Defaults. If you want more control over the
QuickTime reference movie, you can choose different options,
manually export a QuickTime reference movie, and open it in cleaner.
For more information about QuickTime reference movies, see
“Exporting QuickTime Reference Movies” on page 412.
To send a sequence or clip to cleaner:
1. Select a sequence or clip to export (see “Exporting Frames, Clips,
or Sequences” on page 383).
2. Choose Send To from the File menu and Cleaner from the
submenu.
The Avid system creates a QuickTime reference movie and starts
the cleaner application, with the sequence or clip ready for
processing.
For help using cleaner, see the documentation on the cleaner
CD-ROM.
Using cleaner
404
n
You can use Avid ProEncode™ to manage the encoding process. ProEncode
works with your Avid application to create a QuickTime reference movie and
to distribute it to multiple workstations for simultaneous creation of different
output formats. For information about ProEncode, contact your Avid
representative or visit the Avid Web site.
If you plan to output your sequence to a DVD, use the Create DVD
command from the File menu.
n
If you are using a Macintosh system with a SuperDrive™ (CD-RW/DVD-R),
you cannot use this procedure. For additional information, see the release
notes for your Avid system.
To create files for output to a DVD:
1. Make sure that you have an MPEG-2 export setting defined before
you begin. If you need to create a setting, “Creating a New Export
Setting” on page 391.
2. Select a sequence in a bin.
3. Choose Create DVD from the File menu.
The Create DVD dialog box appears.
405
4. Choose one of the following commands from the Function pop-up
menu:
-
Export MPEG2 and WAV Files: Use this command if you
want to export your sequence in a format that can be used by a
DVD authoring package such as DVDit! by Sonic Solutions.
-
Create DVD Volume on Disk: If you don’t have DVD writing
hardware attached to your Avid system, you can use this
command to create a DVD volume. Then you can move the
DVD volume to a system that has DVD writing hardware and
software.
-
Create DVD Volume and Write to DVD: If DVD writing
hardware is attached to your Avid system, you can select this
command to create the necessary files and send them directly
to the DVD writing hardware. Make sure that the DVD
writing hardware is connected and ready before you execute
the command.
5. Click Browse to select a folder to store the generated files.
6. Choose an MPEG-2 export setting from the Export Setting pop-up
menu.
406
7. (Option) Click Modify to make any changes to the export setting
in the Export Settings dialog box.
8. Click OK to start the export.
A progress indicator shows your progress.
n
The length of export depends on the length of the media you are exporting. For
example, it might take more than 1 hour to export a 3-minute sequence.
During the creation process, the system renders all effects and
creates MPEG-2 files from the video media. The system also
creates .wav files from the audio media.
Creating a DVD Volume
When you choose the Create DVD Volume on Disk command, the
system creates a folder named DVDVolume. This folder contains the
following two folders:
•
AUDIO_TS
•
VIDEO_TS
Use the AUDIO_TS and VIDEO_TS folders with your DVD writing
application to create the DVD.
n
n
The system creates an additional folder for storing the DVDVolume folder.
The name of this additional folder is based on the sequence name. You can
check for the name of this folder in the Create DVD dialog box.
The Create DVD Volume on Disk command also allows you to save the
resulting MPEG-2 and .wav files. The system prompts you with a dialog box
after the volume is created.
407
Use the DV Stream format when exporting video that will be
combined or processed with other DV-formatted media. This option
requires a video track.
To export in DV Stream format:
in advance. See
5. Click Options.
6. Choose DV Stream from the Export As pop-up menu.
408
7. Select options as described in Table 9-4.
409
Table 9-4
(DV Stream Options)
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 you select this option, 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 video format and an audio format for export.
Video and Audio
Select this option if you want to export an entire clip or sequence.
Video Only
Select this option if you want to export only the video.
Color Levels
Select this option to set the color levels of the exported media to RGB or ITU-R
601. If you are planning to export the file to another application and then
reimport it, choose 601.
File Field Order
These options allow you to select the field that is the upper field during export.
For 24p or 25p projects, these options do not appear; all fields are automatically
exported as progressive (still) frames.
Odd (Upper Field First): Select this option if you are working 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 working 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) will
be resized to fit the frame as specified in the width and height selections.
8. Click the Format Options button.
410
The DV Export Settings dialog box appears.
9. Select a video format and an audio format. For compatibility with
DV cameras that require unlocked audio, deselect Locked.
10. Click OK.
11. In the Export Settings dialog box, do one of the following:
t
t
box, and click OK.
file.
14. Click Save.
411
Table 9-5 describes the three basic methods for QuickTime export.
Table 9-5
Choosing a QuickTime Export Option
Option
Description
Same as Source
This option is available when you choose QuickTime Movie from the
Export Settings dialog box. 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 such as After Effects® or
cleaner.
n
Custom
You can also export a sequence directly to cleaner. See “Using cleaner” on
page 403.
This option is also available when you choose QuickTime Movie from the
Export Settings dialog box. 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. In
general, you should only use the Custom option if you have to directly
export a clip or sequence in a particular file format.
The Custom format is useful if you plan to export to an older ABVB or
NuVista system. However, if you have cleaner installed on your Avid
system, the cleaner software will also have access to the ABVB and NuVista
resolutions.
QuickTime Reference
QuickTime Reference is one of the options available from the Export As
pop-up menu in the Export Settings dialog box. This option is similar to
Same as Source, but the system links to the original media files. This is the
fastest method, but the movie can only be run locally or in an Avid Unity
MediaNet workgroup environment. If you move the QuickTime movie to
another system, you must also move the associated media files by creating
a self-contained QuickTime movie.
412
Exporting QuickTime Reference Movies
A QuickTime reference movie is a QuickTime movie that contains
composition information but no movie data. Instead, the movie
contains pointers to the original media in the OMFI MediaFiles
directory on local or network media drives. Because the QuickTime
reference movie does not contain media, the file is much smaller than a
QuickTime movie, usually only a few kilobytes per file. Therefore,
exporting a sequence as a QuickTime reference movie is faster and
takes up less disk space than exporting a sequence as a QuickTime
movie. When you play back the movie in QuickTime Player, the movie
references the media files for playback.
QuickTime reference movies are useful as long as you are working
with Avid OMFI media files available on your local system or in an
Avid Unity MediaNet workgroup. Advantages are speed and small
file size because the system does not copy the source media files into
the exported QuickTime file. However, if you expect to move the
exported QuickTime file to a system that doesn't have access to the
media, then you should use the standard QuickTime export so that the
media files and QuickTime wrapper can be moved as one file.
To export as a QuickTime reference movie:
You can set these
options in advance. See
4. Click Options.
5. Choose QuickTime Reference from the Export As pop-up menu.
413
The Export Settings dialog box displays the QuickTime Reference
options.
6. Select options as described in Table 9-6 on page 414.
t
t
box, and click OK.
file.
414
10. Click Save.
c
If a power failure or mishap occurs during the export process, the
entire file is unusable. You need to repeat the export process.
QuickTime Reference Export Options
Table 9-6 describes the QuickTime Reference options in the Export
Table 9-6
QuickTime Reference Options
Option
Description
Use Marks
When this option is selected, the system uses current IN and OUT points
in the selected clip or sequence to determine starting and ending frames
for the export. To export the entire clip or sequence, deselect this option or
mark the entire 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.
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 and the Digital Mastering Defaults options.
415
Table 9-6
QuickTime Reference Options (Continued)
Option
Description
Fill Spaces with Black
When this option is selected, blank spaces in video tracks are filled with
black in the QuickTime movie. Because QuickTime movies do not
recognize blank spaces, it is a good idea to select this option. When this
option is deselected, a QuickTime 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 and Digital
Mastering Defaults options.
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.
Premix Audio Tracks
When this option is selected, the audio tracks in the composition are
mixed to stereo AIFF-C files created at the same location as the movie.
When this option is deselected, the original audio is exported. This option
is selected automatically if you selected the Digital Mastering Defaults
option.
Fast Draft Defaults
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 Premix Audio Tracks.
Digital Mastering
Defaults
Select this option to render all video effects and premix audio tracks
before exporting the file. This option automatically selects Flatten Video
Tracks, Fill Spaces with Black, Render All Video Effects, and Premix
Audio Tracks.
Use Network Media
References
When this option is selected, the exported movie uses the machine and
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, Add Shares for
Media Drives appears dimmed.
416
Table 9-6
QuickTime Reference Options (Continued)
Option
Description
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.
Pixel Aspect Ratio
The pixel aspect ratio allows you to apply a scaling to the video: square,
4:3 non-square, or 16:9 non-square. Values for the pixel aspect ratio allow
you to control the display format without modifying the source file.
This feature creates metadata — additional data that is stored with the
QuickTime movie. Some applications, such as the QuickTime Player and
Avid ePublisher, can interpret this metadata and scale the image at
display time.
The pixel aspect ratio is useful for QuickTime reference movies because
you do not modify the source files of referenced movies. For example, if
your source movies are stored at the standard 720 x 486 for NTSC
(720 x 576 for PAL), you can create two different QuickTime reference
movies that use the same referenced source files — one that uses 4:3 and
another that uses 16:9.
To export as a QuickTime movie:
417
in advance. See
5. Click Options.
6. Choose QuickTime Movie from the Export As pop-up menu.
n
If you installed additional QuickTime Export formats, they appear in the
pop-up menu with tildes (~) before their names. This indicates that they have
not been qualified and are not supported by Avid.
QuickTime Movie (Same as Source)
QuickTime Movie (Custom)
418
7. Select Same as Source to use the resolution of the source file or
select Custom to customize your settings.
n
Using Same as Source results in the fastest export and is usually the best
choice for a movie that will be processed by another application. See
“Exporting as a QuickTime Movie” on page 411.
8. Select the remaining options as described in Table 9-7 on page 419.
To change the codec (compressor/decompressor) used for
compression, click Format Options. For a description of the
options, see “Selecting QuickTime Movie Format Options” on
page 422.
t
t
box, and click OK.
file.
12. Click Save.
c
process.
419
QuickTime Movie Export Options
Table 9-7 describes the QuickTime Movie options in the Export
Table 9-7
Option
Suboption
QuickTime Movie Options
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, mark the entire clip or
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.
Same as Source
When this option is selected, the original compression of
the clip is maintained. Avid recommends this option when
exporting for processing in other applications.
Custom
When you select Custom for a video export, the Video
Format options appear.
Format Options
Click the Format Options button to open the Movie
Settings dialog box. For more information, see “Selecting
QuickTime Movie Format Options” on page 422.
Video and Audio
Select this option to export both the audio and video.
Video Only
Select this option to export only the video. For example,
use this option if you want to add effects in a third-party
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 the audio in a
third-party application or you want to use the audio in a
multimedia project.
420
Table 9-7
QuickTime Movie Options (Continued)
Option
Suboption
Description
Video Format
Width x Height
This option sets the width and height of the clip.
Size to Fit: This option sizes to fit the specified width and
height. You can type in values or choose from the
predefined values in the Fast menu.
n
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
This option allows you to set the color levels of the
exported media to RGB or ITU-R 601. If you are planning
to export the file to another application and then reimport
it, choose 601.
421
Table 9-7
Option
Suboption
Description
File Field Order
These options allow you to specify how the system will
order the fields from an interlaced video project. 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) will be resized to fit the
frame as specified in the width and height selection.
This option is useful if you want to create a smaller file or
want to remove interlace jitter (the artifact created as the
system displays both fields at the same time in the
QuickTime movie).
For more information, see “Field Ordering in Graphic
Imports and Exports” on page 492.
Create Preview
Select this option if you want to create of a preview of the
QuickTime movie.
422
Table 9-7
Option
Suboption
Pixel Aspect Ratio
Description
The pixel aspect ratio allows you to apply a scaling to the
video: square, 4:3 non-square, or 16:9 non-square. Values
for the pixel aspect ratio allow you to control the display
format without modifying the source file.
This feature creates metadata — additional data that is
stored with the QuickTime movie. Some applications, such
as the QuickTime Player and Avid ePublisher, can interpret
this metadata and scale the image at display time.
The pixel aspect ratio is useful for the Same as Source
option because that option also preserves the original
format.
Selecting QuickTime Movie Format Options
Table 9-8 describes QuickTime codecs and settings that are available
on your Avid system. The codecs that appear depend on the version of
QuickTime that is installed. Not all settings are available for all codecs.
423
Table 9-8
Option
QuickTime Movie Format Options
Suboption
Description
Animation
For high-quality, lossless compression (in which no picture
information is lost).
Video
Settings
Compressor
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 ABVB
NuVista
For backward compatibility with systems using AVRs. See
“Using Avid Codecs for QuickTime” on page 429.
424
Table 9-8
Option
QuickTime Movie Format Options (Continued)
Suboption
Description
Avid Meridien
Compressed
For compression compatible with Avid products. Allows fast
import. See “Using Avid Codecs for QuickTime” on page 429.
n
For export at the same resolution as your current clips, select
Same as Source instead of Custom. See “Exporting as a
Avid Meridien
Uncompressed
For 1:1 resolution. Allows fast import. See “Using Avid Codecs
for QuickTime” on page 429.
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
information is lost). Uses the same algorithm as the Animation
method but saves the file in YUV RLE format, which separates
the luminance from the chrominance. All QuickTime
applications can read this format, but only some can write to
this format.
DV-NTSC
DV-PAL
For storing original or edited DV (digital video) footage in
QuickTime files.
Graphics
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.
425
Table 9-8
Option
Suboption
Description
Intel Indeo
Video 4.4
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
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
information is lost). Does not compress the file; results in very
large files.
Photo-JPEG
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).
426
Table 9-8
Option
Suboption
Description
Planar RGB
information is lost). Results in large files.
Encodes each image plane separately, using a
run-length-encoded 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
still-image format for newer Internet browsers.
Sorenson Video
For medium-to-high 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 and is recommended for Review & Approval
files. See “Sending Material Out for Review” on page 470.
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
small-screen-size playback from CD-ROM or hard drive.
427
Table 9-8
Option
Suboption
Colors
Description
Select the colors that you want included in the exported file. The
selections vary according to the codec you use. Some codecs
have only one color setting.
If you select the Sorenson codec, Millions of Colors is selected
automatically.
Do not select the option Millions of Colors +. This option creates
an alpha channel that is not used for export from your Avid
system. If you use 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 use. Some codecs
have only one Quality setting.
This slider does not adjust quality for the Avid Codecs for
QuickTime.
Motion
Filter
Frames per
second
Choose a frame rate from the pop-up menu. Choose 30 to
maintain full-motion video/animation. A frame rate of 29.97
conforms to NTSC video frame-rate standards. Choose 25 for
PAL 25p projects and choose 24 for 24p projects.
Key frame every
Use this option to have the system use keyframes as a reference
for subsequent frames. Enter a numeric value to specify the
frequency of the keyframes. Generally, enter a value of 1/2 the
play rate (for example, enter 12 for 24p or 25p projects and enter
15 for 30i projects).
Limit data rate
Allows you to specify the target data rate for the compressed
movie.
Choose Video
Filter
Allows you to apply a single effect filter during an export.
428
Table 9-8
Option
Suboption
Description
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.
Settings
Compressor
Choose 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 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 the header to download faster.
This is important for larger movies (movies that are longer than
several minutes).
Sound
Hinted Streaming Select this option if you are putting the exported file onto a
streaming video server. The file will 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
streaming.
A file with hinted streaming will also play as a progressive
download. However, it will probably play slower 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 Setting dialog box appears. For more
information, see QuickTime Help at:
www.apple.com/quicktime/products/tutorials/
hinttracks.html
429
Using Avid Codecs for QuickTime
You can use the following Avid codecs when exporting QuickTime
files from your Avid system or from third-party applications for
import into an Avid system:
•
Avid Meridien Compressed
•
Avid Meridien Uncompressed
•
Avid ABVB NuVista
The Avid codecs create encapsulated media files for export of
high-resolution files that are readable within QuickTime applications.
The two Avid Meridien codecs enable fast import to current Avid
products. Use the Avid ABVB NuVista Codec for QuickTime for
backward compatibility with systems using AVRs.
n
You get the best results using the Same as Source option. See “Exporting as a
Exporting with an Avid Meridien Codec
To export a clip or sequence with the one of the Avid Meridien
codecs:
in advance. See
5. Click Options.
430
7. Select Custom.
The Movie Settings dialog box appears.
9. Click Settings in the Video area.
The Compression Settings dialog box appears.
10. Choose Avid Meridien Uncompressed or Avid Meridien
Compressed from the Compressor pop-up menu.
11. Click the Options button.
The Quality slider does not affect your settings.
431
12. Choose the settings you want and click OK.
For Color Input, select the color levels of the source media. If you
are exporting from an Avid editing system, use ITU-R 601.
13. Click OK in the Compression Settings dialog box.
14. Click OK in the Movie Settings dialog box.
The Export Settings dialog box reappears.
t
t
box, and click OK.
file.
432
18. Click Save.
c
process.
Exporting with the Avid ABVB NuVista Codec for QuickTime
To export a clip or sequence with the Avid ABVB NuVista Codec for
QuickTime:
in advance. See
5. Click Options.
7. Select Custom.
The Movie Settings dialog box appears.
9. Click Settings in the Video area.
The Compression Settings dialog box appears.
433
10. Choose Avid ABVB NuVista from the Compressor pop-up menu.
11. Adjust the Quality slider.
The Avid ABVB/NuVista Codec Configuration dialog box
appears.
The Quality slider does not affect your settings.
12. Select the appropriate format for the media you want to create:
NTSC or PAL.
13. Select the appropriate board set for the media:
-
NuVista (Macintosh systems with the NuVista video board)
-
ABVB (Macintosh systems using the Avid Broadcast video
board)
14. For Input, select the color levels of the source media. If you are
exporting from an Avid editing system, select ITU-R 601.
15. Choose a resolution from the Resolution pop-up menu.
n
The menu updates according to the format and system type you choose.
16. Click OK to close the Avid ABVB/NuVista Codec Configuration
dialog box.
17. Click OK in the Compression Settings dialog box.
The Avid ABVB/NuVista Codec Configuration dialog box
reappears.
434
18. Click OK.
19. Click OK in the Movie Settings dialog box.
The Export Settings dialog box reappears.
t
t
box, and click OK.
file.
23. Click Save.
c
process.
To export as an AVI file:
435
in advance. See “Customizing Export Settings” on page 390.
5. Click Options.
6. Choose AVI from the Export As pop-up menu.
7. Select AVI options as described in Table 9-9 on page 437.
8. Select an AVI codec by clicking the Codec Options button.
The Video Compression dialog box appears.
436
9. Select the compressor you want, and click Configure to further
configure the codec. For more information, see Table 9-10 on
page 440.
10. Click OK to close the Video Compression dialog box and to return
to the Export Settings dialog box.
t
t
box, and click OK.
file.
14. Click Save.
c
process.
437
AVI Settings Options (Windows Only)
Table 9-9 describes the AVI settings options in the Export dialog box.
In the Video Format tab, you can also select further options by clicking
the Codec Options button.
Table 9-9
Option
Suboption
AVI Settings Options (Windows Only)
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,
Use Enabled
Tracks
When this option is selected, the system uses current IN and OUT
Video and Audio
Select this option if you want to export an entire clip or sequence
as an AVI file; for example, in a multimedia project. For more
information, see “Using the Avid Codec for AVI (Windows Only)”
on page 441.
Video Only
Select this option if you want to add effects in a third-party
application or to use only the video in a multimedia project.
Audio Only
Select this option if you want to use or enhance audio in a
third-party application or to use only the audio in a multimedia
project.
Video Format
Same as Source
When this option is selected, the original compression of the clip is
maintained.
Codec Options
When you click this button, the Video Compression dialog box
appears. For more information, see Table 9-10 on page 440.
438
Table 9-9
AVI Settings Options (Windows Only) (Continued)
Option
Suboption
Description
Custom
Width x Height
This option allows you to set the width of the clip; at this time you
can only select a height of 486.
Scale to Fit: This option will size 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 the color levels of the exported
media to RGB or ITU-R 601. If you are planning to export the file
to another application and then reimport it, choose 601.
FPS
This option sets the frame-per-second (fps) rate for AVI export.
File Field Order
These options allow you to choose the field that will be the upper
field during export. For 24p or 25p projects, these options do not
appear; all fields are automatically exported as progressive (still)
frames.
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) will be resized to fit the frame as
specified in the width and height selection.
Audio Format
Mono
Exports audio to a single channel.
Stereo
Exports audio to two channels.
439
Table 9-9
Option
AVI Settings Options (Windows Only) (Continued)
Suboption
Description
Sample Rate
Select this option to select the sample rate.
Project Rate: The native rate of the chosen audio media
(44.1 kHz or 48 kHz).
22.050 kHz: Half the sample rate of 44.1-kHz media.
11.025 kHz: One quarter the sample rate of 44.1-kHz media.
Sample Size
Select this option to select the sample size.
16-bit: When this option is selected, the system exports a 16-bit
audio sample size (currently the industry-standard bit rate for
audio).
8-bit: When this option is selected, the system exports an 8-bit
audio sample size for use in third-party systems that do not
support 16-bit. This option is also used to minimize the data
throughput requirements (for example, to improve playback in
multimedia projects).
440
AVI Video Compression Dialog Box Options (Windows Only)
Table 9-10 describes the AVI Video Compression dialog box options.
The list of codecs varies, depending on your platform and the version
of Windows installed.
Table 9-10
Dialog Box Options (Windows Only)
Option
Suboption
Description
Compressor
Microsoft Video 1 Select 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 by using the Temporal
Quality Ratio slider.
Cinepak Codec
by Radius
Select this option 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.
Avid AVI Codec
Select this option to choose Avid resolutions. See “Using the Avid
Codec for AVI (Windows Only)” on page 441.
Full Frames
(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. To export an uncompressed file at
1:1, use the Avid Codec for AVI.
Compression
Quality
Drag this slider to adjust the image quality for the exported file.
The selections vary according to the codec you use.
This slider does not adjust quality for the Avid Codec for AVI.
441
Table 9-10
Option
Suboption
Dialog Box Options (Windows Only) (Continued)
Description
Key Frame
Every n frames
Select 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 the
Avid Codec for AVI or for uncompressed files.
Data Rate n
KB/sec
Select this option to set a specific data rate for the compressed
file, in kilobytes per second. This option is not available for the
Avid Codec for AVI or for uncompressed files.
Using the Avid Codec for AVI (Windows Only)
The Avid Codec for AVI creates encapsulated media files for export of
high-resolution files that are readable within AVI-compatible
applications.
To export a clip or sequence with the Avid Codec for AVI:
in advance. See
5. Click Options.
6. Choose AVI from the Export As pop-up menu.
442
7. Click the Codec Options button.
The Video Compression dialog box appears.
8. Choose Avid AVI Codec from the Compressor pop-up menu.
9. Click the Configure button.
The Avid AVI Codec Configuration dialog box appears.
10. Select the appropriate format for the media you want to create:
NTSC or PAL.
443
11. Select the appropriate board set for the media: Interlaced or
Progressive.
12. Choose a resolution from the Resolution pop-up menu.
13. Click Close.
14. Click OK to close the Video Compression dialog box and return to
the Export Settings dialog box.
t
t
box, and click OK.
file.
18. Click Save.
c
process.
Installing the Avid Codecs for QuickTime or AVI on
Other Systems
When you install Avid Media Composer or Avid Film Composer on
your system, the Avid Codecs for QuickTime and the Avid Codec for
AVI are automatically installed. If you want to export a QuickTime or
Installing the Avid Codecs for QuickTime or AVI on Other Systems
444
AVI movie from a third-party application such as Adobe After Effects
for use on an Avid system, you should have the appropriate Avid
codec installed on the system running the third-party application.
Use the following techniques to copy the codecs to other systems:
•
Copy the Avid Codec for QuickTime to other Windows or
Macintosh workstations where you are using QuickTime
compatible applications. Once the Avid Codecs for QuickTime are
installed on the workstation, you can export files from the
QuickTime compatible application for reimport into the
Media Composer or Film Composer system.
•
For the Avid Codec for AVI, use the Avid Media Composer or
Film Composer installation CD-ROM to install the codec on
another Windows system. Once the Avid Codec for AVI is
installed on the other workstation, you can export AVI files from
the AVI compatible application for reimport into the
Media Composer or Film Composer system.
•
Download the Windows or Macintosh versions of the Avid Codecs
for QuickTime from the Avid Web site.
Copying the Avid Codecs for QuickTime to Another Windows
System (Windows)
To copy the Avid Codecs for QuickTime to another Windows
workstation:
1. On your Avid system, open the following folder:
C:\Winnt\System32
2. Copy the codecs that you need to a floppy disk or network server.
445
The following table describes the codecs:
Codec
Description
AvidQTCodec.qtx
Avid ABVB NuVista Codec for QuickTime
AvidQTAVJICodec.qtx
Avid Meridien Compressed Codec for QuickTime
AvidQTAVUICodec.qtx
Avid Meridien Uncompressed Codec for
QuickTime
3. Install the codecs in the other workstation in the following folder:
C:\Winnt\System32
Copying the Avid Codecs for QuickTime to Another Macintosh
System (Macintosh)
To copy the Avid Codecs for QuickTime to another Macintosh
system:
1. On your Avid system, the Extensions folder within the System
folder contains the following codec extensions:
Codec Extension
Description
Avid Codec
Avid ABVB NuVista Codec for QuickTime
Avid Compressed G4
Avid Meridien Compressed Codec for QuickTime
Avid Uncompressed G4 Avid Meridien Uncompressed Codec for
QuickTime
446
2. Copy the codec extensions to a floppy disk or network server.
3. On the system where the QuickTime compatible application
resides, copy the codec extensions to the System folder.
A dialog box asks if you want to install the file in the Extensions
folder.
4. Click OK.
5. Restart your system.
The codecs are installed.
n
If you are having trouble opening or playing the export in a third-party
application, increase the memory allocated to the program.
Installing the Avid Codec for AVI on Another Windows System
To install the Avid Codec for AVI on a Windows system, you must
install the codec from the product CD-ROM.
To install the Avid Codec for AVI on another Windows system:
1. Insert the Avid product installation CD-ROM.
2. On the opening screen, click Browse CD Contents.
If the installer does not start automatically:
a.
Double-click My Computer.
b.
Double-click the CD-ROM drive icon.
3. Double-click the Installers folder.
4. Double-click the AvidAVICodec folder.
5. Double-click the Disk 1 folder.
6. Double-click Setup.exe.
The installer starts and the Welcome screen appears.
7. Click Next.
447
The installer installs AvidAVICodec.dll in the following folder:
C:\Winnt\System32
A message asks if you want to restart your computer.
8. Click Yes and then click Finish.
Downloading Avid Codecs for QuickTime
The Avid Codecs for QuickTime for your system (Windows or
Macintosh) are included on the installation CD-ROM as part of the
standard installation. If you need the codecs for a different platform
(Windows or Macintosh) or want to install updated codecs, you can
download them from the Avid Customer Support Knowledge Center.
To download the Avid Codecs for QuickTime:
1. Go to www.avid.com and access the Customer Support
Knowledge Center.
For more information, see the release notes supplied with your
Avid system.
2. Search for the term Codecs.
3. From the list, choose and download the latest version of the
codecs. The codecs are specified by product name and release
number. There is one set of codecs for Windows and one set for
Macintosh.
448
Exporting from a Third-Party QuickTime or AVI
Application
To export files from a QuickTime compatible application or from an
AVI compatible application on a Windows system for import (or
reimport) into your Avid system:
1. Make sure the applicable codec is installed on the workstation. See
“Installing the Avid Codecs for QuickTime or AVI on Other
Systems” on page 443.
2. Conduct the export procedure according to the procedures used
by the particular software.
3. When you get to the step where the standard Export Settings
dialog box appears, select the applicable Avid compressor.
For QuickTime exports, most applications will have format
options similar to those described in “Selecting QuickTime Movie
Format Options” on page 422. Make sure you choose settings that
will be compatible with your existing media on the Avid system.
n
If you select a nonstandard frame size, your Avid system will not import the
file quickly.
4. Complete the export.
To export the audio tracks in a clip or sequence as an audio file:
1. (Option) Mark IN or OUT points to identify a particular portion of
the audio in a sequence.
2. Select the clip or sequence in one of two ways:
t
Click the monitor that displays the clip or sequence you want
to export.
449
t
Click the clip or sequence in a bin.
in advance. See
5. Click Options.
6. Choose Audio from the Export As pop-up menu.
The Export Settings dialog box displays the Audio options.
7. Choose the options you require. Use the Table 9-11 on page 450 to
make your selections.
t
t
450
box, and click OK.
file.
11. Click Save.
c
process.
Table 9-11
Option
Suboption
Audio Settings Options
Description
Use Marks
When you select this option, the system uses current IN and OUT
Use Enabled
Tracks
When you select this option, the system uses tracks that are enabled
in the Timeline. To export the entire clip or sequence, deselect this
option.
Mono
Stereo
Select this option to export audio tracks in either mono or stereo.
Audio Format WAVE
Select this option to export audio tracks in the WAVE format (.WAV
file name extension). Nearly all Windows applications that support
sound use WAVE files. QuickTime also supports the WAVE format.
451
Table 9-11
Option
Suboption
Audio Settings Options (Continued)
Description
SD2 (Macintosh (Macintosh only) Select this option to export audio tracks in the
only)
Sound Designer II (SDII or SD2) format, which is compatible with
Pro Tools and other third-party applications.
Sample Rate
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.
Project Rate
32 kHz,
44.1 kHz
48 kHz
Select the desired audio sample rate. You can use this option if your
sequence has a mix of sample rates and you need to create a single
sample rate. (You set the project rate in the Audio Project Settings
dialog box. For more information see “Adjusting Audio Project
Settings” on page 173. 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
You can export a single frame as a graphic file or you can choose to
export multiple frames as sequentially numbered files.
To export as a graphic file:
t
If you plan to export a single frame, Mark an IN point to
export the marked frame from a bin or a monitor, or move the
position indicator to the frame you want to export.
t
If you plan to export multiple frames, use IN and OUT points
to identify the region to export.
452
in advance. See
4. Click Options.
5. Choose Graphic from the Export As pop-up menu.
The Export Settings dialog box displays the Graphic options.
6. Choose a format from the Graphic Format pop-up menu. Use
Table 9-12 on page 453 to make your selection.
7. Choose other options as appropriate. Use Table 9-13 on page 458
to make your selection.
t
453
t
box, and click OK.
file.
11. Click Save.
The files are exported and appear at the chosen destination.
When you are working with the Format Options settings, you can click
Defaults to return the settings to their default values.
Table 9-12
File Type
Parameters
Alias
BMP
Chyron
Graphic Format Settings Options
Description
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.
The Chyron format was developed by Chyron Corporation
for use with video frame buffers of Chyron® character
generator titles.
454
Table 9-12
Graphic Format Settings Options (Continued)
File Type
Parameters
Description
Cineon
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.
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 color
depth (raw).
Framestore
The Framestore format is a 16-bit video image format used
on the Amiga® platform in conjunction with Newtek's
Video Toaster™ hardware. HIIP supports both compressed
and uncompressed Framestore formats.
IFF
This format was 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.
455
Table 9-12
File Type
Parameters
Description
JPEG
Quality
This option controls the output file size and quality. Higher
values produce better images but larger file sizes.
Conversely, lower values reduce the image quality but
result in smaller file sizes.
Baseline
This option is selected by default. To see if this option is
required, see the documentation that came with your
JPEG-supported applications.
Progressive
This option allows you to save progressive JPEG files,
which divide the file into a series of scans of the image that
increase in quality. Each scan progressively improves the
recognizability of the image.
Progressive JPEG files can be recognized only by
applications with progressive JPEG support, such as some
Web browsers.
OMF
Compression
This option controls the compression ratio and, therefore,
the size of the file. You can choose from all the compression
ratio options used by the Avid system when digitizing. For
more information on Avid compression ratios, see
“Compression Specifications” on page 503.
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
PCX
Photoshop
This format was developed by Zsoft Corporation for use
with their PC PaintBrush™ paint software.
Compression
This option controls the size of the file on disk. Disabling
compression creates larger files on disk.
456
Table 9-12
File Type
Parameters
Description
PICT
Create
MacBinary
header
This option creates a file with a MacBinary header.
This option allows you to save the file in the Pixar® format.
Pixar
PNG
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.
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
This format was 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
This format was developed by Numerical Design, Ltd.
SGI
Color Depth
Softimage
This format was developed by Softimage, Inc. for use in
their Softimage® software.
Sun Raster
This format was developed by Sun Microsystems, Inc. and
supported mainly in Sun applications.
457
Table 9-12
File Type
Parameters
Description
Targa
Color Depth
This option controls how images are saved. The 5-bit
option saves data in Targa 16 format. The 8-bit option saves
data in Targa 24/32 format.
Compression
This option controls the size of the file on disk. Disabling
compression creates larger files on disk.
Color Depth
Compression
This option 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
Gamma
This option specifies an adjustment to correct for gamma
differences between Windows PC and Macintosh output
display. This option is intended for cross-platform
applications that require adjustment.
TIFF Parameters
Wavefront
n
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.
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Table 9-12
File Type
Parameters
XWindows
YUV
Description
This format was 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).
Table 9-13
Graphic Export Settings Options
Option
Description
Use Marks
When this option is selected, the system uses the current IN point, OUT point, or
both in the selected clip or sequence to determine starting and ending frames for
the export. To export more than one frame, select the Sequential Files option.To
export an entire clip or sequence, deselect this option and select the Use Enabled
Tracks and Sequential Files options.
Use Enabled Tracks When this option and the Sequential Files option are selected, the system exports
the currently enabled track for a selected sequence or clip.
Graphic Format
See Table 9-12 on page 453 for a description of the supported graphic formats.
Format Options
Click the Format Options button to open a dialog box for setting parameters for
the graphic format you have chosen. For details, see Table 9-12 on page 453.
459
Table 9-13
Graphic Export Settings Options (Continued)
Option
Description
Width x Height
This option sets the width and height of the clip.
Scale to Fit: This option sizes to fit the specified width and height.
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. Crop/pad never scales or resizes.
Color Levels
Select this option to set the color levels of the exported media to RGB or ITU-R
601. If you are planning to export the file to another application and then reimport
it, choose 601.
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) will
be resized to fit the frame as specified in the width and height selection.
For more information, see “Field Ordering in Graphic Imports and Exports” on
page 492.
Sequential Files
When this option is selected, the system creates a separate graphic file for each
frame in the specified portion of the clip or sequence. The system sequentially
numbers each file. When this option is deselected, the system exports a single
frame as identified by the IN point or by the position indicator.
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This section describes how to move projects and media folders
between Avid systems that are running the same release of the
application. If you plan to transfer the files to an Avid system running
a different release or to a third-party application, see the Avid Products
Collaboration Guide for recommended procedures.
n
The Avid Products Collaboration Guide is included on the Avid Media
Composer Products Online Publications CD-ROM. You can download
the latest version from the Avid Customer Support Knowledge Center. For
information on accessing the Knowledge Center, see the release notes for your
Avid system.
There are two basic methods for transferring projects between
Windows or Macintosh systems:
n
•
Moving project folders, settings, and media files between the
systems
•
Moving project folders and settings between the systems, and then
redigitizing the media (for information on redigitizing, see
“Redigitizing Your Material” on page 243)
If you are using your Avid editing system in an Avid Unity workgroup
environment, you can use Avid Unity MediaManager to share media files
between systems. You can also use Avid Unity TransferManager to share files
between workgroups. For more information, see the Avid Unity
MediaManager Setup and User’s Guide and the Avid Unity
TransferManager Setup and User’s Guide.
Methods for Transferring Files Between Avid Systems
The type of transfer device you use depends on which method of
transfer you choose.
•
Moving project folders, settings, and media files requires large
amounts of storage space because of the size of media files.
461
•
Transferring only the project folders and settings files requires
minimal storage space.
Table 9-14 lists the recommended devices for transferring files
between systems. For more information on transfer options and
instructions for transferring, see the Avid Products Collaboration Guide.
Table 9-14
Devices for Transferring Files
Transfer Device
Use for Transferring
Floppy drive or equivalent device
Project and settings files
Removable storage device, such as a hard drive
Media, project, and settings files
A network storage device, such as a file server
Media, projects, and settings
Compatibility Requirements for Transfer
When you transfer a project between Avid systems, make sure:
•
Both systems have the same release or a compatible release of the
application.
•
(Macintosh only) The memory allocation of the application is
similar in both systems.
•
The resolutions are compatible if you are transferring media files.
•
The fonts used in the project are installed on both systems.
For more information about compatibility between Avid editing
applications, see the Avid Products Collaboration Guide and the
Avid Media Composer and Film Composer Release Notes.
462
Transferring a Project and Associated Media Files
There are two basic methods for transferring projects with their media
files between Avid systems:
•
Back up the project files and transport the media files on a
removable storage device.
•
Send sequences, clips, or entire projects to a network storage
device.
To transfer a work in progress and associated media files to another
Avid system:
1. (Option) Consolidate the media for the project onto an appropriate
drive for transfer to the other system.
c
-
For more information on consolidating, see the editing guide
or Help for your Avid system.
-
For more information on transferring files by using removable
storage devices, see the Avid Products Collaboration Guide.
Do not rename the folders named OMFI MediaFiles located on the
media drive. The target system uses the folder names to locate the
media files.
2. Copy the project folder and any settings files you want to maintain
at the new location onto a floppy disk or a location on a server. For
more information, see “Transferring Projects, User Profiles, and
Site Settings” on page 463.
Alternatively, create a folder at the top level of the media drive
and copy the project folder and any settings files to that folder.
3. Close the Avid application and shut down your system.
4. Remove the drives containing the media files, and take them and
the floppy disk to the new location.
463
n
For more information on moving hard drives, removable drives, and striped
sets from one system to another, see the Avid Products Collaboration
Guide.
5. With the system at the new location turned off, insert or connect
the drives and start the system.
6. Copy the project folder and any settings files to the appropriate
folder. For more information, see “Transferring Projects, User
Profiles, and Site Settings” on page 463.
7. Start the Avid application, open the project, and resume work.
n
The Avid system reconstructs the MediaFiles database the first time you start
the application to incorporate the new media into the system’s internal
directory.
Transferring Projects, User Profiles, and Site Settings
these files and folders,
Help for your Avid
system.
To open projects, bins, and user profiles created with another
Avid system, you must transfer specific folders directly into the Avid
Projects or Avid Users folder before starting the application. You can
also transfer a Site Settings file between systems.
When moving a project with titles, make sure that both systems have
the same fonts that were used to create the titles. For information on
adding fonts, see the Windows Help or Macintosh OS Help. For more
information on compatibility requirements when working with title
effects, see the Avid Products Collaboration Guide.
n
Adding a project folder from another system does not transfer accompanying
media files.
464
To transfer project files, user profiles, and site settings to another
Avid system:
1. On the source system, select the project folder, user folder, or Site
Settings file you want to transfer. The default locations are listed in
Table 9-15 and Table 9-16.
Table 9-15
Default Folder and File
Locations (Windows)
Folder or File Location
Project folder
drive:\Program Files\Avid\Media Composer\Avid Projects
drive:\Program Files\Avid\Film Composer\Avid Projects
User folder
drive:\Program Files\Avid\Media Composer\Avid Users
drive:\Program Files\Avid\Film Composer\Avid Users
Site Settings file drive:\Program Files\Avid\Media Composer\Settings
drive:\Program Files\Avid\Film Composer\Settings
Table 9-16
Default Folder and File
Locations (Macintosh)
Folder or File
Location
Project folder
drive:Avid:Media Composer:Avid Projects
drive:Avid:Film Composer:Avid Projects
User folder
drive:Avid:Media Composer:Avid Users
drive:Avid:Film Composer:Avid Users
Site Settings file
drive:Avid:Media Composer:Settings
drive:Avid:Film Composer:Settings
465
n
The exact location depends on how the Avid application was installed on your
system.
2. Copy the files to a floppy disk or a location on a server.
3. On the destination system, copy the project folder, user folder, or
Site Settings file to the appropriate location, as listed in step 1.
n
Do not rename the project folder. The project settings will not link to the
project if you rename the project folder.
The next time you view the Select User and Project dialog box, the new
project will appear in the Projects scroll list. New user settings will
appear in the Users scroll list. Site settings are active for all projects at
the new location.
c
Do not open a project directly from the transfer device. You must
copy the folder to the system drive first.
A video server is an optional component used with your Avid system
as part of a workgroup environment. The following sections describe
how to transfer media:
•
Setting Up a Video Server
•
Transferring from the Avid System to the Video Server
•
Transferring from the Video Server to the Avid System
Setting Up a Video Server
You can transfer media to and from a video server, such as the Grass
Valley Group Profile®, through audio, video, and serial RS-422
connections. The Avid system controls the video server in much the
same way as it controls a video deck.
466
For information on connecting a video server, see the setup guide for
your Avid system.
Configuring the Video Server
To configure the video server:
t
Select the following general settings from the video server’s user
interface:
-
Select BVW as the deck protocol.
-
Select the video server port used for the serial connection.
-
Select the video I/O settings to match your hardware
connections.
-
Select the audio I/O settings to match your hardware
connections.
For complete information, see the documentation for your video
server.
Configuring the Video Server as a Deck
Before transferring media from the video server to the Avid system,
you must configure the video server as a deck on the Avid system. For
complete information on configuring a deck, see “Configuring Decks”
on page 144.
To configure the video server as a deck:
The Settings Scroll list appears.
2. Double-click Deck Configuration.
3. Click Add Channel.
The Channel dialog box appears.
467
4. Choose Direct from the Channel Type pop-up menu.
5. Choose a port from the Ports pop-up menu.
Make sure that this port corresponds to the port selected for the
video server’s serial connection.
6. Click OK.
A message appears, asking if you want to Autoconfigure the
channel.
7. Click No.
n
Your Avid system does not currently support the Autoconfigure function for
the video server.
8. In the Deck Configuration dialog box, click Add Deck.
The Deck Settings dialog box appears.
9. Choose the appropriate video server from the Deck Type pop-up
menus, and then click OK.
The dialog box closes and returns you to the Deck Configuration
dialog box.
10. Click Apply.
Transferring from the Avid System to the Video Server
To transfer a sequence from the Avid system to the video server:
1. Add the TapeID heading to the bin that includes the sequence as
follows:
a.
Click the Fast Menu button in the lower left corner of the bin
window and choose Headings. The Bin Column Selection
dialog box appears.
b.
Select TapeID and click OK.
The Avid system adds the TapeID column to the bin columns.
468
n
You can set up a default bin view that displays the TapeID column. For
information on saving a column display as part of a default setting or as a site
setting, see the editing guide or Help for your Avid system.
2. In the TapeID column, type the name of the sequence on which
you want to perform a digital cut to the video server. The name on
the video server is restricted to 15 characters when using the BVW
controller setup. The video server will truncate any names longer
than 15 characters. For seamless integration, you should not use
special characters or spaces when naming the sequence.
3. Choose Digital Cut from the Clip menu.
The Digital Cut Tool window opens.
Play Digital
Cut button
Record to Tape
pop-up menu
Mark IN text box
4. Select Entire Sequence.
5. Select Remote
469
6. Choose Mark In Time from the Record to Tape pop-up menu.
7. Choose a tape name as follows:
a.
Click the Tape Name display. The Select Tape dialog box
opens.
b.
Click the New button. A New Tape name line appears in the
dialog box.
c.
Type a new name, press Enter, (Windows) or Return
(Macintosh) and click OK.
8. Establish time for the IN point in the Mark IN text box. The time
for the IN point must be equal to the preroll time. The default
preroll time for the video server is 1 second. For a preroll time of
1 second, type 01:00.
For complete information on creating a digital cut, see “Using the
Digital Cut Tool” on page 342.
Transferring from the Video Server to the Avid System
After you connect the video server and select the appropriate settings,
you can record media from the video server to the Avid system. Some
video servers allow you to drag clips from the video server’s user
interface into the Digitize tool in the Avid system.
n
Not all functionality is the same in each video server’s user interface. For
details on how to transfer media, see the documentation provided with the
video server.
When the video server is playing media, click the Digitize button in
the Digitize tool to record from the video server to the Avid system.
For complete information on digitizing, see Chapter 4 and Chapter 5.
470
Your Avid system and Avid NetReview™ provide an easy method for
obtaining the required reviews and approvals for your material during
the production process. Your selected reviewers can access the review
material through the NetReview server and can add their comments to
the material. You can use the Locators window in your Avid system to
view the reviewer comments.
For more information about using NetReview, see the Avid NetReview
User’s Guide.
c
Before using NetReview, you and your reviewers must have e-mail
accounts and install the NetReview client software.
Reviewing Material
To obtain review comments and approval of material:
1. Export the sequence that you want to have reviewed as a
QuickTime movie. For more information, see “Exporting as a
2. Log in to NetReview through your Web browser and click the
Send Media for Review button.
3. Follow the steps to upload media and enter or select reviewers for
distribution access.
The NetReview server sends an e-mail to your selected reviewers.
The e-mail provides a link to the NetReview server to allow the
reviewer access to the media files.
4. (Option) If you chose to encrypt the file, send the passcode to the
reviewers.
5. Reviewers do the following:
a.
Follow the instructions in the e-mail message to access the
page containing the media file.
471
b.
Add comments to the media using the review tool installed as
part of the client software.
The review tool stores the reviewer’s comments in the
NetReview database. When the reviewer finishes reviewing
the media, an e-mail is automatically sent to you that indicates
reviewer comments are available.
For more information about using the review tool, see the Avid
NetReview User’s Guide.
6. Save the review comments to an R&A file on a local drive
(Windows) or volume (Macintosh).
n
Files containing the comments should have the file name extension .rna.
Macintosh users need to add this extension manually.
7. Open the Locators window and display the reviewer comments.
For procedures on displaying the reviewer comments, see
“Opening R&A Files in the Locators Window” on page 471.
Locators appear at the specific frame within the sequence where
the reviewer commented on your material. For more information
about using the Locators window, see the editing guide or Help
Opening R&A Files in the Locators Window
You can view and edit reviewer comments in the Locators window.
There are two methods for opening R&A files in the Locators window:
•
Choose Import R&A File from the Locators Window Fast menu or
from the File menu.
•
Drag the R&A file into the Locators window.
To open an R&A file from the Locators window:
1. Choose Locators from the Tools menu.
The Locators window opens.
472
t
Click the Fast Menu button and choose Import R&A File from
the Fast menu.
t
Choose Import R&A File from the File menu.
3. Navigate to the R&A file and select it.
4. Click Open.
The comments in the R&A file appear in the Locators window.
To open an R&A file using the drag-and-drop method:
1. Choose Locators from the Tools menu.
The Locators window opens.
2. Open the folder that contains the R&A file that you want to view,
positioning the folder to make the Locators window visible.
3. Select the R&A file you want to view.
4. Drag the R&A file into the Locators window, and release the
mouse button.
The comments in the R&A file appear in the Locators window.
Displaying Information in the Locators Window
You can display creation information for each locator displayed in the
Locators window. Displaying the creation information is useful when
you want to identify when your reviewers made their comments.
To display information about a locator:
t
Click the Locators Window Fast Menu button, and then choose
Details from the Fast menu.
The Locators window shows the User, Date, and Time columns.
473
n
Comments in the R&A file appear as locators in your Avid system.
For more information about using the Locators window, see the
Using Locator Colors with R&A Files
You can select the color for the locators in the next R&A file you open.
You can also change the color of the selected locators in the Locators
window. By default, your Avid system cycles to the next color on the
list each time you open a new R&A file.
To select locator colors or to change the color of the selected locators
in the Locators window, do one of the following:
t
Click the Fast Menu button, and then choose Import R&A Color
from the Fast Menu.
t
Choose Import R&A Color from the File menu.
The Import R&A Color command displays a menu with the
available colors. By default, the system cycles to the next color in
the list each time you open a new R&A file.
n
When there is more than one comment on a frame, your Avid system colors
those comments black.
474
APPENDIX A
To be compatible with a variety of imaging standards, your Avid
system can accommodate many file types and formats. For import and
export procedures, see Chapter 7 and Chapter 9. This appendix
contains descriptions, specifications, and notes for importing and
exporting specific file formats.
To ensure usability and high quality, the files in some formats require
preparation before being imported to the Avid application.
Consequently, this appendix contains many more notes for import
than for export. When you export a file, you choose a file format from
the Export Settings dialog box and select options appropriate for the
format. For descriptions of the dialog box options, see “Export Settings
Dialog Box Options” on page 392.
Graphics (Image) Files
Media Composer and Film Composer use Image Independence® to
produce usable files from a large number of graphics formats. Once
you have imported a file in a particular format, you can export it in the
same or different format, with the exception of Photo CD™; you
cannot export a file to a Photo CD. (You can only import the Photo CD
format on a Macintosh).
476
This list briefly describes the supported graphics (image) file formats:
•
Alias: Alias PIX image format, developed by Alias Research, Inc.
(now Alias|Wavefront, a division of Silicon Graphics Limited) for
use with their animation and visualization software.
•
BMP: Developed by Microsoft Corporation as the standard image
file format used by Microsoft Windows.
•
Chyron: Developed by Chyron Corporation for use with video
frame buffers of Chyron character-generator titles.
•
Cineon: Developed by Eastman Kodak for use in the Cineon
Digital Film System. It is a subset of the SMPTE DPX (Digital
Picture Exchange) format.
•
Framestore: Developed by NewTek for use with their Video
Toaster system.
•
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: Developed by the Joint Photographic Experts Group
(JPEG). This format is highly suited for image storage and
transmission purposes because of its ability to dramatically reduce
the storage requirements for a file. JFIF files (JPEG File Interchange
Format, the standard for constructing JPEG files) can also be
imported and exported.
•
OMFI: (import only) Developed by Avid Technology, Inc. and
many industry and standards partners for the interchange of
digital media data between platforms and applications.
•
PCX: Developed by Zsoft Corporation for use with its
PC PaintBrush paint software.
•
(Macintosh only) Photo CD: (import only) Developed by Kodak
for use with the Kodak Photo CD storage medium. If you have
difficulty importing this format directly into your Avid system,
open the file in an application such as Photoshop and use the Save
477
As feature to save the file in a format that can be imported, such as
TARGA, PICT, or TIFF.
•
Photoshop: Developed by Adobe Systems Incorporated for use
with its Adobe Photoshop image-editing software.
•
PICT: Developed by Apple Computer, Inc. as the format for
Macintosh QuickDraw® images.
•
Pixar: Developed by Pixar for stored pictures.
•
PNG: Developed by the PNG Development Group originally as
an alternative to the GIF image format. PNG is an acronym for
Portable Network Graphics and is pronounced “ping.”
•
QRT: Developed on the Amiga personal computer to run on
several operating systems. Used by many ray tracing programs,
such as DKB Ray Trace and the QRT ray tracer.
•
Rendition: Developed by Numerical Design Ltd.
•
SGI: Developed by Silicon Graphics, Inc. for use as the standard
format on their line of workstations.
•
Softimage: Developed by Softimage, Inc. (now a division of Avid
Technology, Inc.) for use in their Softimage software.
•
Sun Raster™: Developed by Sun Microsystems, Inc. and
supported mainly in Sun® applications.
•
Targa: Developed by Truevision, Inc. (now Pinnacle Systems) and
originally intended for support of the Truevision image-capturing
hardware.
•
TIFF: Developed by Aldus Corporation (now Adobe Systems
Incorporated) and Microsoft Corporation. TIFF is an acronym for
Tag Image File Format.
•
Wavefront: Developed by Wavefront Technologies, Inc. (now
Alias|Wavefront, a division of Silicon Graphics Limited) for
storing pictures in a machine-independent manner.
•
XWindows: Developed by the MIT X Consortium and supported
by many X Window System applications on workstations and
some personal computers.
478
•
YUV: Defined by Abekas Video Systems (now Accom, Inc.), the
YUV format is the raw data sent to the Abekas® machines.
Preparing Graphics Files for Import
Before you import a graphics file to your Avid system, you can use
third-party image-editing software, such as Adobe Photoshop, to
make adjustments such as the following:
n
•
Convert the file to the appropriate size, resolution, and bit depth.
•
Crop or color-correct an image.
•
Eliminate jagged edges in an image by using the image-editing
application’s anti-aliasing or high-quality option.
•
Add transparency (to some formats) by setting the resolution to
32 bits per pixel to add an alpha channel.
•
In some cases, you can convert an image file that does not support
an alpha channel to a format that does, in order to add
transparency.
You can import and key the image over video by using key effects within the
Avid application. However, importing an image with an existing alpha
channel provides the best results.
For specific procedures and file formats, see the documentation that
accompanies the image-editing software.
Graphics File Import Specifications
Table A-1 contains graphics file import specifications. The table uses
the following terms:
•
Bit depth: These numbers refer to color-depth resolution of the
image based on the number of bits per pixel. For example, 2-bit
images are displayed in black and white; 8-bit images are
displayed in 256 colors; 16-bit images are displayed in thousands
479
of colors; 24-bit images are displayed in millions of colors; and
32-bit images are displayed in millions of colors with an alpha
channel.
•
Alpha channel: This column states whether or not alpha channel
import is supported. An alpha channel determines regions of
transparency in the picture when it is keyed over a background.
•
NA: This notation means Not Applicable
For recommended image sizes, see “Screen Resolution for Imported
Graphics and Sequences” on page 482.
.
Table A-1
Graphics File Import Specifications
Format
Default
File
Name
Exten- Bit Depth
Support
sion
Alpha
Channel
Support Notes
Alias
.als
24-bit color,
8-bit grayscale
No
BMP
.bmp
1-, 4-, 8-, and 24-bit
No
Dots-per-inch (dpi) information is preserved.
Four-bit BMP files saved with RLE (run-length
encoded) compression are not supported.
Photoshop does not support four-channel
BMP files.
Chyron
.chr
32-bit
Yes
Cineon
.cin
10-bit (logarithmic)
NA
24-bit
No
Pixel aspect information is saved with image
data.
Framestore .fs
When importing files generated from Video
Toaster, select the option Force to Fit Screen.
480
Table A-1
Format
Default
File
Name
Exten- Bit Depth
Support
sion
IFF
.iff
JPEG
.jpg
OMFI
.omf
PCX
.pcx
Graphics File Import Specifications (Continued)
Alpha
Channel
Support Notes
1-bit to 24-bit color;
1-bit
1-bit to 8-bit
alpha
grayscale;
only
64-color EHB;
4096-color HAM;
262,144-color HAM8;
SHAM;
A-HAM;
A-RES
24-bit color,
8-bit grayscale
Pixel aspect information is saved with image
data.
No
See “OMFI Files” on page 490.
Color-mapped and
24-bit color
Photo CD
(Macintosh
only)
NA
PCX files with 1-bit color depth or
odd-numbered pixel widths are not
supported.
NA
If you are importing
Photo CD files, you must install QuickTime
software and a compatible QuickTime driver
for Photo CD.
Most Photo CD files are high resolution. If the
photo has a portrait orientation, the image will
be automatically rotated upon import. Use a
paint or image processing program to crop or
resize the image before importing.
Photoshop .psd
Grayscale, indexed
color, RGB, and
duotone variations
Yes
Duotone files are loaded as grayscale.
Multichannel (greater than four channels) files
are not supported.
481
Table A-1
Format
Default
File
Name
Exten- Bit Depth
Support
sion
Alpha
Channel
Support Notes
PICT
.pic
2-, 4-, 8-, 16-, and
32-bit
Yes
If no dpi is specified, 72 dpi is used.
Pixar
.pxr
24-bit, 36-bit
Yes
PNG
.png
1-bit to 32-bit
Yes
QRT
.dbw
24-bit
No
Rendition
.6rn
32-bit
Yes
SGI
.rgb
8-bit or 16-bit
Yes
grayscale;
8-bit grayscale plus
8-bit alpha channel;
24- and 48-bit color;
24-bit color plus 8-bit
alpha channel;
64-bit (16 bits per
component)
Softimage
.pic
24-bit plus
8-bit alpha
Yes
Pixel aspect information is saved with the
image.
only) Double-clicking a
c (Windows
Softimage file will start the application
associated with PICT files because
they use the same extension. Avoid
double-clicking Softimage files to
view them.
Sun Raster .sun
1-, 8-, or 24-bit
No
Targa
8-, 15-, 16-, or 24-bit;
32-bit
Yes
.tga
482
Table A-1
Format
Default
File
Name
Exten- Bit Depth
Support
sion
TIFF
.tif
Wavefront
.rla
Alpha
Channel
Support Notes
8-bit color-mapped; Yes
8-bit or 16-bit
grayscale;
24- and 48-bit color;
24-bit color plus 8-bit
alpha;
36-bit color plus
12-bit alpha;
42-bit color plus
14-bit alpha;
48-bit color plus
16-bit alpha
32-bit and 64-bit
Yes
XWindows .xwd
1-, 2-, 4-, 8-, 16-, 24-,
and 32-bit
No
YUV
24-bit
No
.yuv
The following types of files are not supported:
Multichannel (greater than four channels) files;
Group 3-compressed (fax) files; CMYK files
with extra channels; and JPEG-compressed
files.
Four-channel files from Avid Matador™ are
imported as three-channel files.
Pixel aspect information (based on the video
format) is saved with image data.
When importing, select the option Force to Fit
Screen.
Screen Resolution for Imported Graphics and
Sequences
The tables in this section show the frame sizes to use when importing
graphics and sequences for different resolutions for NTSC and for
PAL.
483
These numbers describe the recommended width and height, in
pixels, to create a source image that will be displayed full-screen after
import. Using these dimensions helps minimize distortion after
conversion to the Avid application native resolution. An image with
smaller dimensions will take up less of the screen or will be distorted,
while an image that exceeds these dimensions might appear distorted.
Avid recommends an image resolution of 72 pixels per inch.
For example, when you are using an application such as Adobe
After Effects to process a sequence that you want to bring into Avid
Media Composer or Film Composer, use the values shown in the
following tables when you render the sequence.
Table A-2 provides information about the resolutions for interlaced
media (30i NTSC and 25i PAL projects).
Table A-2
Graphic Import Frame Sizes: Interlaced
Frame Size
Resolution (Pixels)
Resolution
Frame Size
(Pixels)
15:1s
352 x 243 (NTSC)
352 x 288 (PAL)
10:1
720 x 486 (NTSC)
720 x 576 (PAL)
4:1s
352 x 243 (NTSC)
352 x 288 (PAL)
3:1
720 x 486 (NTSC)
720 x 576 (PAL)
2:1s
352 x 243 (NTSC)
352 x 288 (PAL)
2:1
720 x 486 (NTSC)
720 x 576 (PAL)
20:1
720 x 486 (NTSC)
720 x 576(PAL)
1:1
720 x 486 (NTSC)
720 x 576 (PAL)
Screen Resolution for Imported Graphics and Sequences
484
Table A-3 provides information for progressive media (24p NTSC, 24p
PAL, and 25p projects).
Table A-3
Graphic Import Frame Sizes: Progressive
Frame Size
Resolution (Pixels)
Resolution
Frame Size
(Pixels)
35:1
720 x 486 (NTSC)
720 x 576 (PAL)
3:1
720 x 486 (NTSC)
720 x 576 (PAL)
28:1
720 x 486 (NTSC)
720 x 576 (PAL)
2:1
720 x 486 (NTSC)
720 x 576 (PAL)
14:1
720 x 486 (NTSC)
720 x 576 (PAL)
1:1
720 x 486 (NTSC)
720 x 576 (PAL)
Table A-4 provides information for interlaced and progressive
multicamera media.
Table A-4
Graphic Import Frame Sizes: MultiCamera
Interlaced
Resolution
Frame Size
(Pixels)
Progressive
Resolution
Frame Size
(Pixels)
4:1m
288 x 243 (NTSC)
288 x 288 (PAL)
3:1m
288 x 243 (NTSC)
288 x 288 (PAL)
10:1
288 x 243 (NTSC)
288 x 288(PAL)
8:1m
288 x 243 (NTSC)
288 x 288 (PAL)
485
Table A-5 provides information for DV media (30i and 25i projects).
Table A-5
Graphic Import Frame Sizes: DV
Resolution
Frame Size
(Pixels)
DV 25
720 x 480 (NTSC)
720 x 576 (PAL)
Resolution
DV 50
Frame Size
(Pixels)
720 x 480 (NTSC)
720 x 576 (PAL)
Animation Files
Your Avid system supports the following animation file formats:
•
ERIMovie: Developed by Elastic Reality, Inc. (now a division of
Avid Technology, Inc.) for quick playback of rendered movies on
Silicon Graphics, Inc. platforms.
•
(Macintosh only) PICS: Developed by Apple Computer, Inc. A
PICS file is a sequence of PICT images. Many applications that
handle multiple image formats on the Macintosh platform also
support PICS files.
•
QuickTime: Developed by Apple Computer, Inc. for multimedia
on multiple platforms.
•
(Windows only) AVI (Audio Video Interleave): Developed by
Microsoft for storing video and audio information as part of its
Video for Windows standard.
Table A-6 shows animation file import specifications. QuickTime
import and export information appears in Table A-7. AVI import and
export information appears in Table A-8.
n
Your Avid system imports the file at the frame rate that is set in the project
(29.97 fps, 25 fps, or 24 fps). Set the appropriate frame rate for the project
when you export from a third-party application.
Animation Files
486
Table A-6 shows animation file import specifications.
Table A-6
Format
ERIMovie
Animation File Import Specifications
Default
File
Alpha
Name
Exten- Bit Depth Channel
Support
Support Notes
sion
.mov or 24-bit
Yes
.eri
packed
and 32-bit
raw movie
files
(Macintosh only) .pcs
PICS Animation
Sequenced image Various
files
2-, 4-, 8-,
16-, and
32-bit
QuickTime for Windows also uses the .mov file
name extension. However, QuickTime does not
support ERIMovie, and double-clicking an
ERIMovie file will cause an error.
n
There is no player for ERIMovie on Windows or
Macintosh platforms; the mview program
supports ERIMovie on Silicon Graphics
systems.
Yes
Only uncompressed data can be stored in PICS
format. PICS export does not allow PICS
containers larger than 16 MB.
Yes
Name each file in the sequence NameN.ext, with
Name identifying the animation, N indicating the
file order, and .ext indicating the file type (for
example, Image1.jpg, Image2.jpg, Image3.jpg).
The numbering can start at any number except 0
or use any numbering format (for example,
Image010.jpg, Image012.jpg, or Imagef28.jpg,
Imagef29.jpg).
487
Table A-7 shows the QuickTime file import and export specifications.
Table A-7
QuickTime File
Import and Export
Specifications
QuickTime files
QuickTime File Import and
Export Specifications
Notes
QuickTime import and export requires QuickTime software. For supported
versions of QuickTime, see the release notes for your Avid system.
• (Windows only) QuickTime software is installed when you install your
Avid application.
• (Macintosh only) QuickTime software is automatically loaded as part of
the Mac OS.
Avid Codec for
QuickTime files
The Avid Codec for QuickTime enables you to import and export
QuickTime files at a rate of three to four times real time. To use the codec in
a third-party application, see “Exporting from a Third-Party QuickTime or
AVI Application” on page 448.
Resolution
Use Export settings to specify the compression ratio of a QuickTime file for
export. For more information, see “Export Settings Dialog Box Options” on
page 392.
The compression ratio of a QuickTime file is set at export time from a
third-party application equipped with the Avid Codec for QuickTime. The
Avid system imports the file at this compression ratio. For more information
on exporting from a third-party application, see “Exporting from a
Third-Party QuickTime or AVI Application” on page 448.
Image size
To take advantage of the Avid Codec for QuickTime speed, you must export
the files from the QuickTime application at the following frame sizes in
order to import to Release 6.0 and later of Media Composer and
Film Composer products:
720 x 486 pixels for NTSC images (non-square pixels)
720 x 576 pixels for PAL images (non-square pixels)
File name extension
After you import a QuickTime file, the file maintains the .mov file name
extension, which is visible in a bin. The .mov extension is the default for
export.
Animation Files
488
Table A-7
QuickTime File
Import and Export
Specifications
QuickTime alpha
QuickTime File Import and
Export Specifications (Continued)
Notes
To save a QuickTime movie with alpha channel in a third-party QuickTime
application, use the Avid Codec for QuickTime or a codec that supports a
color depth or “millions +.” The Avid application does not support matte
key or alpha channel for QuickTime export; it does import alpha channel
when one exists.
Table A-8 shows the AVI file import and export specifications.
Table A-8
AVI File Import and
Avid Codec for AVI
AVI File Import and Export
Specifications
Notes
You can import and export Avid AVI files by using standard AVI conversion
or by using the Avid Codec for AVI.
The Avid Codec for AVI enables you to import and export AVI files at a rate
of approximately four times real time or better (depending on resolution) —
far faster than the system’s standard AVI conversion. Files created by the
codec are readable within applications also equipped with the codec. For
more information on using the codec and making it available to
AVI-compatible applications, see “Using the Avid Codec for AVI (Windows
Only)” on page 441.
489
Table A-8
AVI File Import and
Resolution
AVI File Import and Export
Specifications (Continued)
Notes
Use Export settings to specify the compression ratio of an AVI file for
export. For quick export of files using the Avid Codec for AVI, select “Use
Source Compression” in the Export Settings dialog box. To control the
compression ratio when using the Avid Codec for AVI, deselect “Use Source
Compression,” click Compression Settings, and choose the ratio you want
from the Avid AVI Codec Configuration dialog box. For more information,
click the dialog box and then press the F1 key (Windows) or Help key
(Macintosh).
The resolution of an AVI file is set at export time from a third-party
application equipped with the Avid Codec for AVI. The Avid system
imports the file at this resolution. For more information on exporting from a
third-party application, see the “Exporting from a Third-Party QuickTime
or AVI Application” on page 448.
File size
Avid AVI files can be quite large, especially at high video resolutions. They
require adequate storage and transfer capabilities.
File name extension
After you import an AVI file, the file maintains the .avi file name extension,
which is visible in a bin. The .avi file name extension is the default for
export.
AVI alpha channel
Media Composer and Film Composer do not support alpha channel for AVI
import or export.
Animation Files
490
Audio File Formats
This list briefly describes the supported audio file formats:
n
•
Audio Interchange File Format (AIFF-C): Format for audio files
developed by Apple Computer, Inc.
•
(Macintosh only) Sound Designer II (SDII or SD2): Native
format of the Sound Designer II application developed by
Digidesign, Inc., a division of Avid Technology. Inc.
•
Wave Format (WAVE): Format for audio files developed jointly by
Microsoft and IBM. WAVE files are playable by nearly all
Windows applications that support sound.
You can digitize, render, and edit audio in AIFF-C, SDII (Macintosh only), or
WAVE file formats.
OMFI Files
OMFI was developed by Avid Technology, Inc. and many industry
and standards partners for the interchange of digital media data
between platforms and applications. For information about creating
an OMFI file on a non-Avid application, see the documentation for the
application.
The information in Table A-9 applies to importing OMFI files.
491
Table A-9
OMFI File Import Specifications
OMFI File
Import Specifications Notes
Resolution
For optimum import speed and quality, export or render the file from the
source application at the resolution you want, and then import the file into
the Avid application at that resolution. For more information, see
Table 7-2 on page 295.
Frame or Edit rate
You must import sequences and clips to projects that have the same edit rate
(29.97 fps for NTSC, 25 fps for PAL, 24 fps for film). If the edit rates do not
match, you will receive an error message.
n
OMFI version
Media Composer and Film Composer cannot import an OMFI audio file that
was produced with an edit rate equal to the audio sampling rate. Trying to
import such a file results in an “Unrecognized file type” error message.
Create the source file with an edit rate at the project edit rate (29.97 fps,
25 fps, or 24 fps).
Media Composer and Film Composer recognize and support OMFI 1.0
composition and media files and OMFI 2.0 composition files.
The following OMFI 2.0 effects are supported generally:
• Video effects: dissolves, wipes, freeze frame, film pulldown, slow
motion, fade to black
• Audio effects: pan and volume, audio dissolves
Other effects can be imported from other Avid applications.
Film pulldown
To import audio media, set the pulldown switch to 1.0.
Audio sample rate
Audio media is imported at the sample rate that is set on the Avid system.
n
Media Composer and Film Composer cannot import an OMFI audio file that
was produced with an edit rate equal to the audio sampling rate. Trying to
import such a file results in an “Unrecognized file type” error message. Set
the edit rate to the project edit rate (29.97 fps, 25 fps, or 24 fps).
OMFI Files
492
Table A-9
OMFI File Import Specifications (Continued)
OMFI File
Import Specifications Notes
Avid MCXpress™ for
Windows NT files
If you are importing OMFI compositions from Avid MCXpress for
Windows NT, you might receive an error if the sequence includes video or
audio effects. If this happens, create a cuts-only version of the sequence in
Avid MCXpress and export it again. You cannot import video media from
Avid MCXpress for Windows NT; if you import a composition, you must
redigitize the media.
File transfer
If you are transferring an OMFI file over a network, transfer it as a binary
file.
Reimporting Avid
media files
If you import OMFI files that contain media that you exported from the
same Media Composer of Film Composer system, you need to delete the
original media. Otherwise, the new media will not overwrite the original
media. To learn how to find related media files for a sequence, see the
Field Ordering in Graphic Imports and Exports
Graphic images are composed of one or more image files, each of
which contains a full frame. These frames contain fields (formed from
the odd-numbered and even-numbered lines of the image frame) that
have three basic arrangements:
493
•
Progressive or still frame: The upper and lower fields in the frame
originated at the same instant of time, or are coherent with each
other, as shown in the following illustration.
f1
Dashed lines = Field 1
Solid lines = Field 2
f2
Field 1
&
Field 2
Time
Frame Unit
•
Upper field is first: The upper field in the frame (odd-numbered
lines, when the frame lines are numbered starting from 1) occurs
temporally before the lower field, as shown in the following
illustration. This arrangement can be termed “upper field first” (or
“lower field second”).
f1
f2
Field 1
Field 2
Time
Frame Unit
494
•
Lower field is first: The lower field in the frame (even-numbered
lines) occurs temporally first, as shown in the following
illustration. This arrangement is termed “lower field first” (or
“upper field second”).
f2
f1
Field 1
Field 2
Time
Frame Unit
Preventing a Spatial Field Mismatch on Import
Table A-10 shows the proper spatial field position for each of the
common video formats in Avid systems.
Table A-10
Recommended Field Settings for Two-Field
Import and Export
Avid Video Format
Import/Export
Frame Size
Upper/Lower Field
Spatial Setting
Field Setting for
Import and Export a
AVR NTSC
720 x 243 x 2
Upper field is first.
Odd Field
AVR PAL
720 x 288 x 2
Odd Field
Meridien NTSC
720 x 243 x 2
Lower field is first.
Even Field
Meridien PAL
720 x 288 x 2
Odd Field
a. Odd Field or Even Field specifies whether the temporally first field in the frame has the
odd or even numbered lines, starting from 1.
Graphics utilities, such as Adobe After Effects, permit selection of
either spatial relation for the fields when rendering a sequence of
495
interlaced fields. If the rendering is performed as shown in Table A-10,
then the import will be correct.
If the spatial positions of the two fields are reversed (for example, the
upper field should be a lower field), the import cannot be done
without correcting the spatial relationship. In this spatial mismatch
situation, the Avid system will convert the upper field to a lower field
by deleting the top line of the upper field and replicating the bottom
line. The field will thus be converted to a lower field relative to the
other field. The import operation can now proceed.
Spatial Field Relationship on Export
The default export operation is automatically carried out as shown in
Table A-10. The fields will be properly interleaved in the export frames
(one frame per file).
If an import comes in mismatched and the dropping of the top line
and repeating of the bottom line is performed, you might choose to
have the export operation performed to prevent a shift up or down by
a line. The Export Settings dialog box permits you to select the spatial
arrangement that is the opposite of what is otherwise recommended.
This option should rarely be used.
24p and 25p Import and Export
The spatial field selection options do not apply for 24p and 25p
projects because the frames in these projects are already in progressive
or still-image form.
496
Field Dominance
Editing in Avid systems is frame based. All timecode is expressed in
frame numbers, and all cuts are at frame boundaries. A raw video
stream has no concept of frames (ignoring color framing) until the
frame unit is defined. Defining the dominant field for the system defines
the “frameness” of the video stream, as shown in the following figure.
f2 f1 f2 f1 f2
Field-1
Dominant
Frame
(Time)
f1
f2 f1 f2 f1
Field-2
Dominant
Frame
Avid editing systems all use Field 1 as the dominant field. This means
that the first field temporally in the edit frame will always be Field 1.
Field 2 will always be the second frame in the edit frame. Cuts will
always precede Field 1.
Fields in Video
In the video signal, fields have a temporal position that is
unambiguously and uniquely tied to the details of the video signal,
regardless of whether the signal is analog or digital (SDI). This means
that working around a field spatial mismatch should be done by
correcting the spatial relation between the two fields rather than the
temporal position. In some cases, it is possible to modify the field
dominance of the input image files, but this is cumbersome, results in
the loss of two fields, and is more difficult to carry out than either the
workaround provided in Avid systems or rerendering properly to the
other spatial relationship.
APPENDIX B
Resolutions and Storage
Requirements
This appendix describes the different resolutions and lists their
specifications. It also explains how to estimate the drive space you will
require to store your digitized media. This appendix includes the
following sections:
n
•
Compression and Avid Editing Systems
•
Screen Resolution
•
Compression and Resolutions
•
Storage Requirements
•
Maximizing Drive Space
•
Managing Storage to Improve Playback Performance
The resolutions available on your Avid system depend on its model and
options.
498
Compression and Avid Editing Systems
When an Avid editing system digitizes and stores video, it employs
compression techniques that affect the size of the resulting files and
the resolution of the images they contain. The less the data is
compressed, the higher the image resolution, and the more drive space
the file requires.
Large media files at high resolutions can use very large amounts of
drive space. When you are choosing an image resolution for your
project, you need to balance your requirements in terms of image
quality with your available drive resources.
You can use lower resolutions when your work does not require very
high image quality (for example, in offline work, or in CD-ROM or
Web authoring projects), and higher resolutions when you need
excellent image quality. You can also mix different resolutions within
the same project as long as those resolutions are compatible with one
another.
•
Your Avid application also supports the digitizing and storage of
video that is not processed by a data compression scheme.
Uncompressed video (1:1) conforms to ITU-R 601 standards. The
image quality of uncompressed video is very high, but
uncompressed files require very large amounts of drive space.
•
(WIndows only) DV (digital video) is a compressed media format.
The DV standard specifies how to take 601 video and convert it to
the compressed DV format. With the DV Option, Media Composer
or Film Composer records DV in its native format and does not
compress it further.
499
Screen Resolution
The screen resolution for the Avid application is different for NTSC
and for PAL:
•
NTSC ITU-R 601 resolution is 720 x 486 non-square pixels
covering all the active video. The stored media includes 10 lines of
blanking or VITC per frame (5 lines per field).
•
NTSC DV resolution is 720 x 480 non-square pixels covering all the
active video.
•
PAL ITU-R 601 resolution is 720 x 576 non-square pixels covering
all the active video. The stored media includes 16 lines of blanking
or vertical interval timecode (VITC) per frame (8 lines per field).
•
PAL DV resolution is 720 x 576 non-square pixels covering all the
active video.
Avid resolutions use a simple notation — x:1 — to identify the level of
compression. The value of x indicates the level of compression that is
applied to the image data. For example, a 3:1 compression ratio
compresses the original data to one-third of its uncompressed size.
A lower compression ratio (a lower number to the left of the colon)
results in better image quality but requires more drive space to store
the digitized media. A lower compression ratio might also require
drive striping to keep up with the high volume of data.
DV resolutions use a different designation, as described in “DV
Resolutions” on page 507.
n
For information on resolutions to use when importing graphics or sequences
from a third-party application, see “Screen Resolution for Imported Graphics
and Sequences” on page 482.
Screen Resolution
500
Mixing Resolutions
In a single sequence, you can mix resolutions within a group, but you
cannot mix resolutions from different groups.
Avid Resolutions
Table B-1 lists the five groups of Avid resolutions.
Table B-1
Avid Resolution Groups
NTSC 30i and PAL 25i Projects
Single-Field
Two-Field
15:1s
4:1s
2:1s
20:1
10:1
3:1
2:1
Uncompressed
(Interlaced)
1:1
24p and 25p Projects
Progressive
35:1
28:1
14:1
3:1
2:1
Uncompressed
(Progressive)
1:1
For example, in an NTSC 30i project, you can mix 10:1 and 2:1 because
both are two-field resolutions. However, you cannot mix 15:1s with
2:1.
You cannot mix uncompressed video (1:1) with any of the compressed
video formats, and you cannot mix interlaced resolutions with
progressive resolutions.
DV Resolutions
Table B-2 lists the two groups of DV resolutions:
501
Table B-2
DV Resolution Groups
NTSC 30i Projects
PAL 25i projects
DV 25 4:1:1
DV 25 4:1:1, DV 25 4:2:0
DV 50 4:2:2
DV 50 4:2:2
You can mix NTSC DV resolutions (DV 25 and DV 50), or you can mix
PAL DV resolutions (DV 25 and DV 50). However, you cannot record a
digital cut to a DV deck with mixed DV resolutions. You need to
perform a mixdown first. You can record mixed DV resolutions to an
SDI or to an analog deck.
You cannot mix NTSC and PAL resolutions, and you cannot mix DV
resolutions with other uncompressed or compressed resolutions.
Advantages to Mixing Resolutions
Mixing resolutions in a sequence saves time and effort in a variety of
circumstances:
•
You can do most of your work at a resolution that can play back
real-time effects, digitizing only the most complex shots and
graphics at a high-quality, single-stream resolution.
•
For storage and playback efficiency, you can digitize complex
footage at the draft-quality online resolution and edit it along with
other online resolutions.
•
You can avoid some redigitizing by importing complex graphics at
a high-quality resolution and by digitizing the remaining footage
at draft quality during the offline phase. However, you cannot mix
uncompressed graphics (1:1) with footage digitized at other
resolutions.
502
•
You can exchange material between projects with a minimum of
redigitizing.
•
You can develop material among workstations at different
resolutions and bring the material together for a final cut without
redigitizing.
For any limitations concerning playback with mixed resolutions, see
the release notes for your Avid system.
n
For information on resolutions to use when importing graphics or sequences
from a third-party application, see “Screen Resolution for Imported Graphics
and Sequences” on page 482.
Resolution Groups and Image Quality
Although it is generally true that a lower compression ratio means
higher image quality, the resolution group itself (single-field,
two-field, progressive, or uncompressed) is also a factor in the quality
of the final image.
Single-field resolutions work with smaller amounts of original image
data than two-field or progressive resolutions. They use only half the
image width of two-field resolutions, and they use only one of the two
fields in the standard video signal.
For example, there is a 2:1 resolution for both single-field and
two-field resolutions. In both cases, the image data is compressed to
one-half of its original size. However, the image quality of these two
resolutions is different. The single-field 2:1 resolution has lower image
quality because it processes only one-quarter of the original image
data used by the two-field 2:1 resolution.
503
Video Streams
Whenever you have more than one video track, or a transition effect
on a single track, you have two streams of data (“dual streams”). Some
effects create a second stream. When you render effects, you combine
two streams into one. Two streams demand a significantly higher
throughput than one stream. Sometimes, drive striping is required to
accommodate two streams, even though a single stream at the same
resolution would not require striping.
Compression Specifications
interlaced and
progressive media, see
Chapter 2.
n
Table B-3 provides information about the Avid resolutions for
interlaced media (30i NTSC and 25i PAL projects). Table B-4 provides
information for progressive media (24p NTSC, 24p PAL, and 25p
projects).
Progressive media is stored as a full frame. For more information, see “How
the Avid System Stores and Displays 24p and 25p Media” on page 73.
For information on drive striping requirements for different
resolutions, see “Getting Information About Striped Drives” on
page 127.
For detailed guidelines on estimating space requirements, see “Storage
Requirements” on page 508.
504
Table B-3
Field Size
Resolution (Pixels)
15:1s
4:1s
2:1s
20:1
10:1
3:1
2:1
1:1
Resolution Specifications: Interlaced
Fields
per
Frame
Quality
352 x 248 (NTSC) 1
352 x 296 (PAL)
Offline
352 x 248 (NTSC) 1
352 x 296 (PAL)
Offline
352 x 248 (NTSC) 1
352 x 296 (PAL)
Online
720 x 248 (NTSC) 2
720 x 296 (PAL)
Offline
720 x 248 (NTSC) 2
720 x 296 (PAL)
Offline/online
Maximum storage with enough image detail to make
basic editing decisions (you can check lip sync on a
medium shot)
A good storage resolution combined with a good offline
image quality
Provides enough detail for finishing multimedia jobs
such as CD-ROM and Web authoring
Useful for mixing storage-efficient offline footage with
online-quality resolutions
A good compromise for high-quality, two-field offline or
low-quality online that saves drive space
720 x 248 (NTSC) 2
720 x 296 (PAL)
Online
720 x 248 (NTSC) 2
720 x 296 (PAL)
Online
720 x 248 (NTSC) 2
720 x 296 (PAL)
Online uncompressed
A medium-quality online resolution that can sustain
two-stream playback on 2-way striped drives
Provides the highest image quality of any compressed
resolution and sustains two-stream playback on 4-way
striped drives
Provides the highest image quality possible
505
Table B-4
Frame Size
Resolution (Pixels)
35:1
28:1
14:1
3:1
2:1
1:1
Resolution Specifications: Progressive
Quality
720 x 496 (NTSC)
720 x 592 (PAL)
Offline
720 x 496 (NTSC)
720 x 592 (PAL)
Offline
720 x 496 (NTSC)
720 x 592 (PAL)
Offline
720 x 496 (NTSC)
720 x 592 (PAL)
Online
720 x 496 (NTSC)
720 x 592 (PAL)
Online
720 x 496 (NTSC)
720 x 592 (PAL)
Online uncompressed
Maximum storage with enough image detail to make basic editing
decisions
Low storage requirements combined with a good offline image
quality
The best offline image quality
A medium-quality online resolution that can sustain two-stream
playback on 2-way striped drives
Provides the highest image quality of any compressed resolution
and sustains two-stream playback on 4-way striped drives
Provides the highest image quality possible
506
MultiCamera Resolutions
Both video (interlace) and progressive projects support multicamera
resolutions. The m resolutions cannot be mixed with resolutions in
other families. The capture of a multicamera resolution in a video
project results in single-field compressed media that has been resized
horizontally to 288 pixels wide. Playback decompresses and resizes to
720 pixels wide. The resulting single field is played back the same as
s resolution media, where one field per frame time is presented to the
video out device.
n
Starting with Media Composer and Film Composer Release 10.0, you do not
have to disable 3D effects while using the multicamera resolutions.
Table B-5 and Table B-6 provide the specifications for the Avid
MultiCamera resolutions.
Table B-5
MultiCamera Resolution Specifications: Video
(Interlaced) Project
Resolution Name
4:1m
4:1m
10:1m
10:1m
Video Format
NTSC
PAL
NTSC
PAL
Pixels/Line
288
288
288
288
Line
248
296
248
296
Minutes/Gig
16.72
16.79
41.80
41.99
The capture of MultiCamera resolutions in Progressive projects results
in a progressive, compressed frame that is resized down both
horizontally and vertically. Playback in non-MultiCamera mode
decompresses and resizes up both horizontally and vertically to a full
frame. The resulting progressive frame is played back the same as
regular progressive resolutions with perfect pulldown.
507
In MultiCamera mode, the progressive media is handled the same as
single-field material. The resulting single field is played back like
s resolution media, where one field per frame time is presented to the
video out device. Pulldown is not perfect during playback in
MultiCamera mode.
Table B-6
MultiCamera Resolution Specifications: Progressive
Project
Resolution Name
3:1m
3:1m
8:1m
8:1m
Video Format
NTSC
PAL
NTSC
PAL
Pixels/Line
288
288
288
288
Line
248
296
248
296
Minutes/Gig
15.66
13.12
41.76
34.99
DV Resolutions
(Windows only) DV, originally known as DVC (Digital Video
Cassette), uses a 1/4-inch (6.35-mm) tape to record very high quality
digital video. The video is sampled at the same rate as D1, D5, or
Digital Betacam video (720 pixels per scan line). The color information
in DV 25 is sampled at 4:1:1 in 525-line (NTSC) format and 4:1:1 or
4:2:0 in 625-line (PAL) format. Color information in DV 50 is sampled
at 4:2:2
Table B-7 provides resolution specifications for Media Composer and
Film Composer with the DV Option.
508
Table B-7
Resolution Specifications: DV
Resolution
Frame Size
Format
DV 25 4:1:1
720 x 480 (NTSC)
DV, DVCAM™,
DVCPRO
DV 25 4:1:1
720 x 576 (PAL)
DVCPRO
DV 25 4:2:0
720 x 576 (PAL)
DV, DVCAM
DV 50 4:2:2
720 x 480(NTSC)
720 x 576 (PAL)
DVCPRO
Although the native NTSC DV frame size is 720 x 480, the Avid system
adds six black lines (three at the top and three at the bottom) to match
the standard ITU-R 601 NTSC frame size when outputting through the
Meridien I/O box.
You should plan the use of drive volumes in advance, especially when
you digitize numerous reels.
This section contains recommendations for achieving efficient storage
for your digital media. It explains how playback performance can be
affected by the way you set up the storage drives and target them
when you digitize.
n
For information on multicamera resolutions, see “MultiCamera Resolutions”
on page 506.
509
Estimating Drive Space Requirements
You need to choose a resolution that provides adequate picture quality
for your project. However, you might be limited by the amount of
media drive space available. Before you digitize, estimate your media
drive space requirements.
To estimate media drive space requirements:
1. Use Table B-3 or Table B-4 and the information in your media
drive documentation to select a resolution that is compatible with
the drive and striping capacity on your system.
2. Open the Digitize tool, choose a resolution and target drive or
drives, and note the time remaining on the chosen drives (see
“Interpreting the Time-Remaining Display” on page 169).
3. Get a total duration for all the clips to be digitized. Use the
Console and the Get Bin Info commands, as described in the
4. Use Table B-8 or Table B-9 to estimate your drive space
requirements based on the resolution and the number of audio
tracks. To get an estimate of the number of gigabytes needed, do
one of the following:
t
Calculate by dividing the duration of your material (number
of minutes) by the estimated minutes per gigabyte.
t
Calculate by combining storage figures from the “Drive space
Needed for x Minutes of Media” columns as necessary to
match the number of minutes of material you have.
5. Compare the gigabytes available on your drives with the result of
step 4. If your needs are greater than your drive space, choose a
lower resolution and recalculate.
Table B-8 and Table B-9 show estimated drive space requirements for
each resolution, including uncompressed. They show figures for
estimated minutes per gigabyte and also figures for the drive space
required for certain amounts of material.
510
n
The figures in the table represent drive space for video material that includes
typical variations in image complexity. Actual drive space requirements
might vary slightly from these estimates, depending on the overall complexity
of the video you digitize and store.
Consider the following when you interpret this information:
•
For 30-fps media (NTSC) and 25-fps media (PAL), the minutes per
gigabyte are approximately the same because PAL video contains
approximately 17 percent fewer frames per second, but each frame
contains approximately 16 percent more pixels.
For 24p media, which uses the same frame rate for both NTSC and
PAL, 24p footage from a PAL transfer requires more storage space.
n
n
•
Figures for audio storage in the table are based on the standard
rates for audio sampling (16 bits per sample, 44.1 kHz). To
calculate additional audio storage (for numbers of channels not
listed in the table), add 88.2 KB per second (approximately 5.3 MB
per minute) to your estimate for each additional audio channel.
•
Storage requirements are affected by the number of channels of
audio, not the frequency of the digitized audio signal. The
difference in storage requirements between 44.1-kHz and 48-kHz
audio is negligible, while the difference between two or three
channels is more significant, as reflected in the table.
Rolling titles add 1.4 MB (NTSC) or 1.6 MB (PAL) per second to storage
requirements. If you are on the upper edge of the requirements for drive
capacity or striping, adding a rolling title might prevent you from playing
real-time material.
Avid recommends that you designate separate drive space for video and audio
when working in uncompressed format. When estimating storage
requirements, you need to be aware of the amount of space you have available
for video as distinct from that available for audio. For more information, see
your drive documentation.
511
Table B-8
Estimated Storage Requirements: Interlaced
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
Resolution
Audio
Tracks
Minutes
per
Gigabyte
15:1s
0
48.5
20.6 MB
206 MB
618 MB
1
38.6
25.9 MB
259 MB
777 MB
2
32.1
31.2 MB
312 MB
936 MB
3
28.2
35.5 MB
355 MB
1.07 GB
4
24.5
40.8 MB
408 MB
1.22 GB
8
16.1
62.0 MB
620 MB
1.86 GB
0
11.6
85.8 MB
858 MB
2.57 GB
1
11.0
91.1 MB
911 MB
2.73 GB
2
10.5
95.4 MB
954 MB
2.86 GB
3
9.9
101 MB
1.01 GB
3.03 GB
4
9.4
106 MB
1.06 GB
3.18 GB
8
7.9
127 MB
1.27 GB
3.81 GB
0
5.8
172 MB
1.72 GB
5.16 GB
1
5.7
177 MB
1.77 GB
5.28 GB
2
5.5
182 MB
1.82 GB
5.46 GB
3
5.4
187 MB
1.87 GB
5.61 GB
4
5.2
193 MB
1.93 GB
5.79 GB
4:1s
2:1s
512
Table B-8
Resolution
20:1
10:1
3:1
(Continued)
Audio
Tracks
Minutes
per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
8
4.7
214 MB
2.14 GB
6.42 GB
0
16.6
60.1 MB
601 MB
1.80 GB
1
15.3
65.4 MB
654 MB
1.96 GB
2
14.1
70.7 MB
707 MB
2.12 GB
3
13.2
76.0 MB
760 MB
2.28 GB
4
12.3
81.3 MB
813 MB
2.44 GB
8
9.8
103 MB
1.03 GB
3.09 GB
0
8.3
120 MB
1.20 GB
3.60 GB
1
7.9
126 MB
1.26 GB
3.78 GB
2
7.6
131 MB
1.31 GB
3.93 GB
3
7.3
136 MB
1.36 GB
4.08 GB
4
7.2
140 MB
1.40 GB
4.20 GB
8
6.2
161 MB
1.61 GB
4.83 GB
0
2.9
344 MB
3.44 GB
10.32 GB
1
2.9
349 MB
3.49 GB
10.47 GB
2
2.8
354 MB
3.54 GB
10.62 GB
3
2.8
360 MB
3.60 GB
10.80 GB
513
Table B-8
(Continued)
Audio
Tracks
Minutes
per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
4
2.7
365 MB
3.65 GB
10.95 GB
8
2.6
386 MB
3.86 GB
11.58 GB
0
1.9
516 MB
5.16 GB
15.48 GB
1
1.9
521 MB
5.21 GB
15.63 GB
2
1.9
526 MB
5.26 GB
15.78 GB
3
1.9
531 MB
5.31 GB
15.94 GB
4
1.9
537 MB
5.37 GB
16.11 GB
8
1.8
558 MB
5.58 GB
16.74 GB
1:1
0
(Uncompressed)
0.8
1.22 GB
12.2 GB
36.6 GB
1
0.8
1.23 GB
12.3 GB
36.9 GB
2
0.8
1.23 GB
12.3 GB
36.9 GB
3
0.8
1.24 GB
12.4 GB
37.2 GB
4
0.8
1.24 GB
12.4 GB
37.2 GB
8
0.8
1.26 GB
12.6 GB
37.8 GB
Resolution
2:1
514
Table B-9
Estimated Storage Requirements: Progressive
Drive Space
Needed for
Minutes per 1 Minute of
Gigabyte
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
Resolution
Audio
Tracks
35:1
0
36.4 (NTSC)
30.3 (PAL)
27.5 MB
33.0 MB
275 MB
330 MB
824 MB
990 MB
1
30.5 (NTSC)
26.1 (PAL)
32.8 MB
38.3 MB
328 MB
383 MB
983 MB
1.14 GB
2
26.3 (NTSC)
22.9 (PAL)
38.1 MB
43.6 MB
381 MB
436 MB
1.14 GB
1.30 GB
3
23.1 (NTSC)
20.4 (PAL)
43.4 MB
48.9 MB
434 MB
489 MB
1.30 GB
1.47 GB
4
20.5 (NTSC)
18.4 (PAL)
48.7 MB
54.2 MB
487 MB
542 MB
1.46 GB
1.63 MB
8
14.3 (NTSC)
13.3 (PAL)
69.9 MB
75.4 MB
699 MB
754 MB
2.10 GB
2.26 GB
0
29.1 (NTSC)
24.3 (PAL)
34.4 MB
41.2 MB
344 MB
412 MB
1.03 GB
1.23 GB
1
25.2 (NTSC)
21.5 (PAL)
39.7 MB
46.5 MB
397 MB
465 MB
1.19 GB
1.39 GB
2
22.2 (NTSC)
19.3 (PAL)
45.0 MB
51.8 MB
450 MB
518 MB
1.35 GB
1.55 GB
3
19.9 (NTSC)
17.5 (PAL)
50.3 MB
57.1 MB
503 MB
571 MB
1.51 GB
1.71 GB
4
18.0 (NTSC)
16.0 (PAL)
55.6 MB
62.4 MB
557 MB
624 MB
1.67 GB
1.87 GB
28:1
515
Table B-9
Resolution
14:1
3:1
(Continued)
Drive Space
Needed for
Gigabyte
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
8
13.0 (NTSC)
12.0 (PAL)
76.8 MB
83.6 MB
768 MB
836 MB
2.30 GB
2.51 GB
0
14.6 (NTSC)
12.1 (PAL)
68.5 MB
82.6 MB
685 MB
826 MB
2.05 GB
2.48 GB
1
13.6 (NTSC)
11.4 (PAL)
73.8 MB
87.9 MB
738 MB
879 MB
2.21 GB
2.64 GB
2
12.6 (NTSC)
10.7 (PAL)
79.1 MB
93.2 MB
791 MB
932 MB
2.37 GB
2.80 GB
3
11.8 (NTSC)
10.1 (PAL)
84.4 MB
98.5 MB
844 MB
985 MB
2.53 GB
2.96 GB
4
11.1 (NTSC)
9.6 (PAL)
89.7 MB
103 MB
897 MB
1.04 GB
2.69 GB
3.12 GB
8
9.0 (NTSC)
8.0 (PAL)
111 MB
125 MB
1.11 GB
1.25 GB
3.33 GB
3.75 GB
0
3.6 (NTSC)
3.0 (PAL)
278 MB
333 MB
2.78 GB
3.33 GB
8.33 GB
10.0 GB
1
3.5 (NTSC)
3.0 (PAL)
283 MB
339 MB
2.83 GB
3.39 GB
8.49 GB
10.2 GB
2
3.5 (NTSC)
2.9 (PAL)
288 MB
344 MB
2.88 GB
3.44 GB
8.65 GB
10.3 GB
3
3.4 (NTSC)
2.9 (PAL)
294 MB
349 MB
2.94 GB
3.49 GB
8.81 GB
10.5 GB
4
3.3 (NTSC)
2.8 (PAL)
299 MB
355 MB
2.99 GB
3.55 GB
8.97 GB
10.6 GB
Audio
Tracks
516
Table B-9
(Continued)
Drive Space
Needed for
Gigabyte
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
8
3.1 (NTSC)
2.7 (PAL)
320 MB
376 MB
3.20 GB
3.76 GB
9.61 GB
11.3 GB
0
2.4 (NTSC)
2.0 (PAL)
417 MB
500 MB
4.17 GB
5.00 GB
12.5 GB
15.0 GB
1
2.4 (NTSC)
2.0 (PAL)
422 MB
505 MB
4.22 GB
5.05 GB
12.7 GB
15.2 GB
2
2.3 (NTSC)
2.0 (PAL)
427 MB
510 MB
4.27 GB
5.11 GB
12.8 GB
15.3 GB
3
2.3 (NTSC)
1.9 (PAL)
433 MB
516 MB
4.33 GB
5.16 GB
13.0 GB
15.5 GB
4
2.3 (NTSC)
1.9 (PAL)
438 MB
521 MB
4.38 GB
5.21 GB
13.1 GB
15.6 GB
8
2.2 (NTSC)
1.8 (PAL)
459 GB
542 GB
4.59 GB
5.42 GB
13.8 GB
16.3 GB
1:1
0
(Uncompressed)
1.0 (NTSC)
0.9 (PAL)
1.00 GB
1.15 GB
10.0 GB
11.5 GB
30.0 GB
34.5 GB
1
1.0 (NTSC)
0.9 (PAL)
1.01 GB
1.15 GB
10.1 GB
11.5 GB
30.3 GB
34.6 GB
2
1.0 (NTSC)
0.9 (PAL)
1.01 GB
1.16 GB
10.1 GB
11.6 GB
30.3 GB
34.8 GB
3
1.0 (NTSC)
0.9 (PAL)
1.02 GB
1.17 GB
10.2 GB
11.7 GB
30.6 GB
35.1 GB
4
1.0 (NTSC)
0.9 (PAL)
1.02 GB
11.7 GB
10.2 GB
11.7 GB
30.6 GB
35.1 GB
Resolution
2:1
Audio
Tracks
517
Table B-9
Resolution
Audio
Tracks
8
(Continued)
Drive Space
Needed for
Gigabyte
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
1.0 (NTSC)
0.8 (PAL)
10.4 GB
11.9 GB
31.3 GB
35.8 GB
1.04 GB
1.19 GB
Estimated Storage Requirements: DV
Table B-10 provides information to help you estimate the storage
requirements for DV media.
n
Calculations are approximate. They are based on dual-stream playback with
four channels of audio, and include a 10 percent system overhead factor.
Table B-10
Estimated Storage Requirements: DV
Resolution
Drive Space Needed
for 1 Minute of
Minutes per Gigabyte Media
DV 25 (NTSC)
2.1
480 MB
DV 25 (PAL)
2.7
384 MB
DV 50 (NTSC)
1.1
930 MB
DV 50 (PAL)
1.4
744 MB
518
Maximizing Drive Space
If your media drive space is limited or you are digitizing a large
amount of source material, follow these suggestions to maximize your
usage of the media drive space:
on batch digitizing and
redigitizing, see “Batch
Digitizing from Logged
Clips” on page 235.
•
Digitize only the audio channels required for the edit.
•
Log in advance. Batch digitize only the footage required for the
edit.
•
Digitize at a lower resolution for editing. Redigitize only the clips
included in the final cut at a higher resolution.
Managing Storage to Improve Playback
Performance
The way you set up the media drives and target them when you
digitize can affect playback performance. Here are some suggestions
for working with complex video images at high resolution, multiple
video layers, or multicamera material:
•
For more effective playback of multiple streams of video at higher
resolutions, stripe the media drives. Some resolutions require drive
striping; see “Getting Information About Striped Drives” on
page 127.
•
For more effective playback of multiple streams of video at higher
resolutions without drive striping, distribute the video tracks as
evenly as possible among available drives, and target separate
drives for audio and video.
•
Try to target one volume per reel.
APPENDIX C
This section explains the Avid log file format. The Avid application can
import logs that meet Avid log specifications. These logs must follow
the formatting requirements described in this appendix.
Table C-1 lists the log formats that can be imported directly into the
Avid application. Use Avid Log Exchange to adapt other log formats
so that they meet Avid log specifications.
Table C-1
Compatible Log Formats
Log
Requirements
File Name Extension
Avid Logs
Create with text editor
and import directly
.ALE
Log right
Import directly
.ALE
520
Understanding Avid Log Specifications
This section contains tables that show how to enter headings and data
to create an Avid log. The tables use the following conventions:
•
<A supported value> is surrounded by angle brackets.
<Alternative supported values> appear underneath, also in angle
brackets. You must enter exactly one of these values. For example,
<29.97> is one of the supported values for the FPS heading; to
specify that value, type 29.97.
•
<A variable data value> is also surrounded by angle brackets. For
example, <time code> is the data entry for the Start heading; type
the correct timecode, in the format 08:19:10:00 (or
08;19;10;00, for drop-frame timecode).
•
[Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are
surrounded by standard brackets.
•
The fifth column contains the word “Required” if the heading
must be included in the log.
•
The final column contains notes about the heading or values.
The following is a sample heading from the format table:
FPS
[Tab]
<25>
<29.97>
n
[Enter] or
[Return]
Required
Capture rate is 25 fps for PAL and
29.97 fps for NTSC video.
FPS is a required heading.
To make a log entry for the FPS heading:
1. Type FPS.
2. Press the Tab key.
3. Type one of the supported values (25 or 29.97).
521
4. Press the Enter key (Windows) or the Return key (Macintosh).
Describing an Avid Log File
An Avid log is composed of three or four sections, in this order:
•
Global headings
•
Standard column headings
•
Custom column headings (optional)
•
Data headings
The tables in this section adhere to this order. When you create an Avid
log, you must follow the order precisely.
You can choose not to display a defined heading (including a required
heading), except for Name. Name must always be displayed.
The maximum number of combined global, standard, and custom
headings in a log file is 64.
Global Headings
The global headings must come first in an Avid log file, and you must
enter one value for each heading.
Table C-2 shows the format for the global headings and the supported
values for each heading.
522
Table C-2
Avid Log Global Headings
GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown.
Include all required headings. Other headings are optional but might be necessary for your project.
The maximum number of combined global, standard, and custom headings in a log file is 64.
Heading
FIELD_DELIM
[Tab]
<TABS>
VIDEO_FORMAT
[Tab]
<NTSC>
<PAL>
AUDIO_FORMAT
[Tab]
[Enter] or
[Return]
Required
This marks the start of the
global headings.
[Enter] or
[Return]
Required
Enter TABS to show that the file
is Tab delimited.
[Enter] or
[Return]
Required
<22 kHz>
<24 kHz>
<44 kHz>
TAPE
[Tab]
<48 kHz>
[Enter] or
[Return]
<Tape
Name>
[Enter] or
[Return]
Audio sampling rate for
digitizing. You can override this
for individual clips.
Required
Name of the videotape reel you
are logging. If you omit this
heading, the file name becomes
the global tape name. You can
override this for individual
clips.
523
Table C-2
FPS
[Tab]
Avid Log Global Headings (Continued)
<25>
<29.97>
[Enter] or
[Return]
[Enter]
or
[Return]
Required
Capture rate is 25 fps for PAL
and 29.97 fps for NTSC video.
Press Enter (Windows) or
Return (Macintosh) a second
time after entering the FPS
value. This marks the end of the
global headings.
Column Headings
The standard column headings appear after the global headings in the
Avid log file.
You do not enter the data for a column heading along with the
heading. You enter the data later, in a separate data section.
You must include the five required standard column headings; they
are listed first in Table C-3.
You can create your own custom column headings. Enter them after
the standard headings (see the last heading in Table C-3). To create a
custom heading, substitute the custom heading name for
<Your_heading>. You can create several custom headings, as long as
the total of global, standard, and custom headings does not exceed 64.
524
Table C-3
Avid Log Column Headings
COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown.
Note that the first five headings are required. Other headings are optional but might be necessary for
your project. The maximum number of combined global, standard, and custom headings in a log file
is 64.
Column
[Enter]
or
[Return]
Required
Indicates the start of the column headings.
Name
[Tab]
Required
Heading for clip name.
Tracks
[Tab]
Required
Heading for tracks you select for digitizing.
Start
[Tab]
Required
Heading for video timecode of sync point — the
timecode IN for clip. From address track of video.
End
[Tab]
Required
Heading for timecode OUT for clip. From address
track of video.
AUDIO_FORMAT
[Tab]
Heading for audio sampling rate for digitizing the
individual clip. If omitted, the global entry for
AUDIO_FORMAT applies.
Auxiliary TC1
[Tab]
Heading for auxiliary timecode.
Auxiliary TC2
[Tab]
Auxiliary TC3
[Tab]
Auxiliary TC4
[Tab]
Auxiliary TC5
[Tab]
CFPS
[Tab]
Heading for video capture rate for digitizing the
individual clip. If omitted, the global entry applies.
Creation Date
[Tab]
Heading for date of clip creation.
Drive
[Tab]
Heading for target drive ID.
525
Table C-3
Avid Log Column Headings (Continued)
Duration
[Tab]
Heading for timecode Start to timecode End, the
length of the video clip.
FPS
[Tab]
Heading for video frames per second rate for
digitizing the individual clip (NTSC = 29.97,
PAL = 25). If omitted, the global entry applies.
IN-OUT
[Tab]
Heading for duration between clip’s mark IN and
mark OUT (if present).
Mark IN
[Tab]
Heading for timecode of clip’s mark IN (if present).
Mark OUT
[Tab]
Heading for timecode of clip’s mark OUT (if present).
Offline
[Tab]
Heading for tracks currently without digitized media
files online.
Modified date
[Tab]
Heading for date of modified clip.
Project
[Tab]
Heading for project associated with clip.
Tape
[Tab]
Heading for source tape ID for the individual clip. If
omitted, the global entry applies.
Video
[Tab]
Heading for video resolution.
Labroll
[Tab]
Heading for lab roll ID for clip. Lab rolls are a
combination of several camera rolls.
Camroll
[Tab]
Heading for camera roll ID for clip.
Sound TC
[Tab]
Heading for Nagra time code, Aaton code, Arri code,
and so on, at the sync point. Syncs with the Start
timecode. Required if tracking the sync sound.
Capture rate can be 25 or 30 fps.
Soundroll
[Tab]
Heading for sound roll ID for clip.
Scene
[Tab]
Heading for scene ID for clip.
Take
[Tab]
Heading for take ID for clip.
526
Table C-3
Avid Log Column Headings (Continued)
TC 24
[Tab]
Heading for 24-fps timecode.
TC 25P
[Tab]
Heading for 25-fps timecode with pulldown.
TC 25
[Tab]
TC 30
[Tab]
DESCRIPT
[Tab]
Heading for description of clip.
COMMENTS
[Tab]
Heading for comments about clip.
<Your_heading>
[Tab]
Press the Tab key between each heading. Do not press
the Tab key after the last heading. Add any category
of information you want. Add as many headings as
you want, but do not use more than a total of 64 global
and column headings in the file.
[Enter]
or
[Return]
[Enter]
or
[Return]
Press [Enter] (Windows) or [Return] (Macintosh)
twice (do not press Tab) after the last heading.
Data Headings
Some data, such as
Creation Date, is
gathered by the system.
Table C-4 does not
include entries for such
data.
The data headings come after the Custom column headings. Table C-4
shows the format for entering data. Enter a line of data in this format
for every clip. Be sure to start the data section for each clip with the
word Data [Enter] (Windows) or Data [Return] (Macintosh).
You must enter data so that it aligns with its column heading. For
example, the data that goes with the ninth column heading must be
the ninth data entry.
Be sure to enter data for all the required values. To leave a data
position unfilled, press the Tab key instead of typing data. Press Enter
(Windows) or Return (Macintosh) at the end of each line.
527
Table C-4
Avid Log Data Headings
DATA HEADINGS: The word Data marks the start of the data for each clip.
Data
[Enter] Required
or
[Return]
Enter the word Data to mark the start of the logged clip
entries.
DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column
heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to
enter data for all the required values. To leave a data position unfilled, press the Tab key instead of
typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line. Note that your Avid
system supports up to four audio tracks in imported and exported logs.
<clip name>
[Tab]
Required
Under Name heading. Enter a clip identifier
(32 characters maximum).
[Tab]
Required
Under Tracks heading. Enter the tracks you want
digitized for the clip. Enter V for MOS takes. Enter A1,
A2, or A1A2 for wild sound.
<V>
<VA1>
<VA2>
<VA1A2>
<A1A2>
<A1>
<A2>
<22 kHz>
<24 kHz>
<44 kHz>
<48 kHz>
[Tab]
Under AUDIO_FORMAT heading. Enter the audio
sampling rate for this clip only. If omitted, global entry
applies.
528
Table C-4
<Source tape ID>
Avid Log Data Headings (Continued)
[Tab]
Under Tape heading. Enter the source videotape ID for
this clip only.
<29.97>
[Tab]
Under FPS heading. Enter the video capture rate for this
clip only. If omitted, global entry applies. Use 25 fps for
PAL video or 29.97 fps for NTSC video.
<time code>
[Tab]
Required
Under Start heading. Enter the video timecode for sync
point, the first frame in clip. Use colons for
non-drop-frame (for example, 01:00:12:20). Use one or
more semicolons for drop-frame (for example,
01;18;00;02).
<time code>
[Tab]
Required
Under End heading. Enter the video timecode for the last
frame of clip.
<time code>
[Tab]
Under Duration heading. Enter the length of the video
clip, Start to End.
<lab roll ID>
[Tab]
Under Labroll heading. Identify the lab roll, using letters
and numbers.
<camera roll ID>
[Tab]
Under Camroll heading. Identify the camera roll, using
letters and numbers.
<time code>
[Tab]
Under Auxiliary TC heading. Enter a Nagra timecode,
Aaton code, Arri code, and so on, for the sync point.
Syncs with the Start timecode.
<Sound roll ID>
[Tab]
Under Soundroll heading. Identify the sound roll, using
letters and numbers.
<scene ID>
[Tab]
Under Scene heading. Identify the scene, using letters
and numbers.
<take ID>
[Tab]
Under Take heading. Identify the take, using letters and
numbers.
<clip description>
[Tab]
Under DESCRIPT heading. Describe the clip.
<25>
529
Table C-4
Avid Log Data Headings (Continued)
<clip comments>
[Tab]
Under COMMENTS heading. Comment on the clip.
<information>
[Tab]
Press the Tab key between each heading. Do not press the
Tab key after last heading. Under the headings you
created yourself, type the appropriate information.
[Enter] or [Return]
Press Enter (Windows) or Return (Macintosh) after the
last entry for the clip.
Do not press Tab after the last entry for the clip.
Enter an additional line of data for each remaining clip.
Sample Avid Log
This section contains a sample Avid log for an NTSC video project, in
Windows and Macintosh formats.
Formatting keys (such as [Tab] and [Enter] (Windows) or [Return]
(Macintosh)) are shown in brackets.
Sample Avid Log
530
Windows
Heading [Enter]
FIELD_DELIM [Tab] TABS [Enter]
VIDEO_FORMAT [Tab] NTSC [Enter]
AUDIO_FORMAT [Tab] 44kHz [Enter]
TAPE [Tab] 001 [Enter]
FPS [Tab] 29.97 [Enter]
[Enter]
Column [Enter]
Name [Tab] Tracks [Tab] Start [Tab] End [Enter]
[Enter]
Data [Enter]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter]
CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Enter]
Macintosh
Heading [Return]
FIELD_DELIM [Tab] TABS [Return]
VIDEO_FORMAT [Tab] NTSC [Return]
AUDIO_FORMAT [Tab] 44kHz [Return]
TAPE [Tab] 001 [Return]
FPS [Tab] 29.97 [Return]
[Return]
Column [Return]
Name [Tab] Tracks [Tab] Start [Tab] End [Return]
[Return]
Data [Return]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Return]
CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Return]
APPENDIX D
Preserving Information in
the Vertical Blanking
Interval
You can choose whether or not to preserve 5 lines above each field in
NTSC and 8 lines above each field for PAL. These lines can be used to
store additional encoded information such as closed captioning,
edgecodes or key numbers for film projects, or various interactive or
enhanced TV codes. This appendix describes when it is useful to
preserve the information and highlights some compromises that you
might have to make when preserving these lines.
n
In the majority of cases, you should not preserve these extra lines when you
digitize. Only do so if you have a special need for the information.
Line Ranges
Media Composer and Film Composer are capable of digitizing 248
lines per field in NTSC or 296 lines per field in PAL. For NTSC, only
243 of these lines are in RP-187’s production aperture. For PAL, the
number is 288. The additional lines in each field are located
immediately above the active part of each of the two fields. These lines
532
(5 per field in NTSC and 8 per field in PAL) can be used for carrying
additional data.
The following table lists the extra vertical blanking lines for both
NTSC and PAL:
Field
Video Raster Extra Line Number Ranges
NTSC (5 Lines/Field)
PAL (8 Lines/Field)
Field 1
16–20
15–22
Field 2
278–282
328–335
Preserving Vertical Blanking Information
By default, Avid systems blank these extra lines by overwriting the
area with black. This blanking is done because certain effects and color
correction operations can act on these black lines to produce color or
gray-tone levels that would be unacceptable for certain end uses. In
some applications, the ability to maintain data on these lines is so
important that you might be willing to either avoid using these effects,
or work around the result. For more information, see “Potential
Problems with Preserving Vertical Blanking Information” on page 535.
You can instruct the Avid system to preserve any information on these
lines that originated from an upstream source. You can later erase that
information if necessary.
You might want to preserve the following vertical blanking
information:
•
Edgecode or key number information for a film project
You might want to preserve edgecode information to easily
identify the source film reel for a clip. In this case, the edgecode
533
information would have been originally inserted during the
telecine process.
•
Closed-captioning information
If you are repurposing a finished sequence for another market,
you might want to retain closed-captioning codes that were added
after the tape was output from the Avid system. This would allow
you to perform some basic editing on the redigitized sequence and
not have to reapply the closed-captioning codes afterward.
n
c
The Avid system does not interpret the vertical blanking information (that is,
encoded data). It treats the coded values simply as pixels in the video frame. If
you want to read the vertical blanking information during editing, you must
connect an external vertical blanking information reader to the Avid system.
If you preserve vertical blanking information when you digitize,
compressed video (other than 1:1) will lose some quality. See
“Potential Problems with Preserving Vertical Blanking Information”
on page 535.
To preserve vertical blanking information when you digitize:
2. Double-click General.
The General Settings dialog box appears.
3. Select “Preserve Specific Vertical Blanking Lines.”
4. Click OK.
If you want to keep the vertical blanking information when you
digitize and remove it when you create a digital cut, select the
“Preserve Specific Vertical Blanking Lines” option before digitizing
and deselect it before you perform a digital cut.
Preserving Vertical Blanking Information
534
Using a Partial Wipe Operation to Insert or Delete
Vertical Blanking Information
A partial wipe can be used to overlay material containing vertical
blanking information on lines from one frame over the same lines of
another frame. The procedure described in this section is necessary
only under the following circumstances:
•
If you are working on projects developed from a film source. This
includes projects based on long-form, episodic, or entertainment
material.
•
If you need to keep edgecodes or key numbers from the original
film source as part of the finished master.
In these scenarios, the majority of the editing is performed offline at a
low resolution and then is handed to an editor to be finished at a
higher resolution.
To wipe in lines from a duplicated sequence:
1. Perform the offline edits at a low resolution as usual.
2. Redigitize the sequence at a higher resolution. Make sure you
instruct the Avid system to preserve vertical blanking information
as described in “Preserving Vertical Blanking Information” on
page 532.
3. Perform the online reformat editing, including operations such as
adjusting trim, performing scratch removal, and performing color
correction. This creates a revised master.
4. Duplicate the revised master and remove effects that might
modify or remove the vertical blanking information. This basically
reduces the sequence to a series of straight cuts without effects.
See“Effects Can Modify the Vertical Blanking Information” on
page 537.
5. Render all effects on the revised master.
6. Disable the 3D effects hardware using the following procedure:
535
a.
Quit the Avid editing application.
b.
Relaunch the application while holding down the F and X
keys on the keyboard.
The system displays a dialog box that allows you to enable or
disable 3D effects for that particular editing session.
c.
Click Disabled.
7. Edit the duplicated and modified sequence onto the highest track
or create a track that rides above all other tracks on the revised
master.
8. Apply a vertical wipe effect to the duplicated sequence.
9. Enter Effect mode and wipe everything except the top scan lines of
the highest track.
10. Output the sequence as a standard digital cut.
n
n
When vertical blanking information is present on a frame, it is visible along
the top of the frame in the Source and Record monitors.
Avid recommends that you disable 3D effects when creating a digital cut on a
system with 3D hardware. If you choose to keep 3D effects enabled, there is no
guarantee of consistent results.
Potential Problems with Preserving Vertical
Blanking Information
Several problems can occur if you preserve vertical blanking
information when you digitize footage:
•
Compressed video in the entire frame might be slightly degraded
due to the added entropy or complexity from the vertical blanking
lines. See “Preserving Vertical Blanking Information Can Affect
Compressed Video Quality” on page 536.
Potential Problems with Preserving Vertical Blanking Information
536
•
Effects can modify the color or brightness of the vertical blanking
information to make it unreadable by a vertical blanking
information reader, or make the signal on those lines unacceptable
for certain end uses. See “Effects Can Modify the Vertical Blanking
Information” on page 537.
•
If you use different formats for digitizing and output (for example,
SDI input and NTSC analog output), there can be conflicts with
respect to black levels and NTSC’s setup. See “Cross-Format
Conflicts with Respect to Black Levels” on page 537.
Preserving Vertical Blanking Information Can Affect Compressed
Video Quality
For resolutions other than 1:1, preserving vertical blanking
information when you digitize can affect the video quality in the rest
of the frame. For example, depending on the compression ratio, a
video frame might look more blocky with vertical blanking
information included.
The Avid system performs the following operations when digitizing a
frame:
1. It captures the entire frame (including the 5 or 8 extra lines per
field) as an uncompressed frame.
2. It blanks these extra lines if necessary:
-
If vertical blanking information should not be preserved
(default), the Avid system fills the vertical blanking interval
with video black (R=G=B=16).
-
If vertical blanking information should be preserved, the Avid
system does not modify the extra lines that were captured
during the digitize operation.
3. It compresses the frame if compression is selected.
If the frame contains vertical blanking information, the picture quality
of the entire frame might be slightly degraded due to the added
entropy or complexity from the vertical blanking lines. If you want to
537
preserve vertical blanking information, either use 1:1 resolution or
experiment by digitizing with vertical blanking on and off to make
sure that the picture quality is acceptable for your use.
Depending on the compression ratio, the vertical blanking information
itself may be distorted. Either use 1:1 compression or experiment with
different compression ratios to make sure the vertical blanking
information is not unacceptably distorted by the compression.
Effects Can Modify the Vertical Blanking Information
Since the vertical blanking information is part of the video frame, any
effect that modifies the top portion of a frame might affect the vertical
blanking information and make it unreadable by a vertical blanking
information reader. For example, the following effects can modify the
vertical blanking information on a frame:
•
Dissolves or Flips and Flops
•
Any segment effects that change the size or position of the frame
When 3D effects are enabled, the system automatically blanks the
vertical blanking information on a sequence regardless of whether 3D
effects are present. To work around this problem, you can render your
3D effects and wipe in the vertical blanking information from the
original clip as described in “Using a Partial Wipe Operation to Insert
or Delete Vertical Blanking Information” on page 534. In this case you
would need to disable the 3D effects hardware before creating your
final digital cut.
You can also use the wipe technique to replace vertical blanking
information that was modified by an effect such as a color correction
or dissolve.
Cross-Format Conflicts with Respect to Black Levels
When digitizing in SDI and playing back out in SDI, the blanking
levels on the vertical blanking lines will be proper. However, if
digitizing is done in an NTSC analog format with setup present, and
Potential Problems with Preserving Vertical Blanking Information
538
playing out is done in SDI, then the fact that SDI has no setup while
the analog format does can cause the vertical blanking information
black level to be below blanking.
Index
Numerics
1:1 video
defined 498
16:9 format 78, 126
2:3 pulldown
transferring film to video with 65
24-fps film
transferring to NTSC video 64
transferring to PAL video 70
24p and 25p projects
displaying media while editing 74
indicating the destination timecode rate 362
output formats 356
planning 36
starting 32
timecode for output 360
24p media
described 30
digitizing without pulldown 235
stored and displayed 73
25i projects
starting 32
25p media
described 31
stored and displayed 73
30i projects
starting 32
3-perf support 368
4-perf support 368
601 video levels
import options 292
8-channel audio I/O device
adjusting output on 333
calibrating 190
A
AAF (Advanced Authoring Format) files
described 394
exporting 395
methods for exporting 394
ABVB (Avid Broadcast Video Board)
Avid Codec for QuickTime 429
Add Channel button (Deck Configuration
dialog box) 145
Add Deck button (Deck Configuration dialog
box) 148
Adding a memory mark 108
Adding clip names
during digitizing 217
Adding comments
540
Adding locators
Adjust Deck command (Deck Selection pop-up
menu) 158, 345
Adjusting audio input levels 186
Adjusting chrominance settings
for video output 326
Adjusting luminance settings
Adjusting output
on eight-channel audio systems 333
Adjusting phase control
Adjusting reference level
in the Audio tool 182
Adjusting video levels 197
for tapes without color bars 208
AIFF-C file format
brief description of 490
ALE (Avid Log Exchange)
converting shot log files with (Macintosh) 86
converting shot log files with (Windows) 81
described 80
Alias file format
import specifications for 479
Alpha channel
adding to a graphics image 478
defined 479
import options 293
in imported animation 486
support in graphics formats 479
Annotate feature 217
Anti-aliased images 478
Approval, obtaining 470
ASCII file format
importing Avid logs 91
Aspect ratio
import options 290
Assemble-edit recording 338
enabling in Deck Preferences 341
Assembling takes 60
Audio
and digital cuts 366
checking quality for multicamera 284
eight-channel input 171
format heading in Avid logs 524
input levels, adjusting 186
managing for multicamera productions 274
media for shoots 58
requirements for film transfers 162
setup, in the Audio tool 180
storage requirements 510
timecode for shoots 59
transfer options 52
workflows 47
Audio file format
selecting for project 178
Audio files
supported formats 490
Audio I/O device
adjusting output on 333
calibrating 190
Audio input
establishing sync for 171
preparing for 171
setting in Digitize tool 161
Audio input levels
adjusting 186
calibrating for audio I/O device 193
Audio output
calibrating 331
preparing for 331
Audio peak levels
checking 196
Audio Project Settings dialog box 173
Audio Setup display
See Audio tool
Audio Source Tape TC Rate (Film Settings
dialog box) 144
541
Audio sync
on input 171
on output 320
with work print 60
Audio tone media
creating 188
Audio tool
Calibrate mode 194
checking input levels with 186
digital scale, defined 181
features, described 180
Peak Hold option, choosing 184
reference level, adjusting 182
resizing 182
Setup options 180
volume meters, defined 181
volume unit scale, defined 181
Audio Tool command (Tools menu) 180
Audio transfer
Info tab 52
Audio Transfer Rate (Film Settings dialog box)
143
Audio-only input
Audio-only output 366
Auto-configure command (Deck Selection
pop-up menu) 158, 345
Autodigitizing 226
multicamera material 279
Automatic logging 77
Auxiliary timecode headings
in Avid logs 524
AVI file format
brief description 485
import and export specifications for 488
AVI files
exporting with Avid codec 441
Avid Codec for AVI
described 441
installing on another system 446
Avid Codecs for QuickTime
copying
to a Windows system 444
copying to a Macintosh system 445
described 429
downloading 447
Avid Log Exchange
See ALE
Avid logs
See also Shot log files
audio format heading in 524
clip data in 526
creating 90, 521
custom headings in 523
data headings in 526
formatting guidelines 520
fps (frames per second) heading in 525
global headings in 521
importing 519
importing ASCII file format 91
log right format 519
sample created with text editor 529
specifications 520
standard headings in 523
timecode headings in 524
Avid MCXpress for Windows NT
importing files from 492
Avid Meridien Codec 429
Avid Unity 460
Avid Unity MediaManager 460
chunking 139
Avid Unity TransferManager 460
Avid-controlled deck
logging with an 103
AvidLinks 388
B
Bars and tone
recording to tape 339
542
Batch Digitize command (Clip menu) 240, 247
Batch Digitize options (Digitize Settings dialog
box) 238
Batch Digitize settings 237
Batch digitizing
See also Autodigitizing, Digitizing,
Redigitizing
from logged clips 235
options 241
preparing for 235
procedure 240
Batch Import dialog box 313
Batch importing procedure 316
Best-light transfers
defined 76
Bins
checking for multicamera 283
displaying film columns in 112
logging directly into 99
preparing for digitizing 212
targeting for digitizing 166
transferring
with MediaLog 92
Bit depth
defined 478
Black level
adjusting for input 204
adjusting for output 325
Blue-only feature 326
BMP file format
additional export options 453
Burn-in code 77
Buttons
Add Channel (Deck Configuration dialog
box) 145
Add Deck (Deck Configuration dialog box)
148
In/Out (Audio tool) 181
Output Control (Audio tool) 181
Preset (Video tools) 198, 322
Reset Peak (Audio tool) 181
BY Gain slider
adjusting for video input 206
adjusting for video output 326
C
Calibrate command (Peak Hold pop-up menu)
194
Calibrating
audio I/O device 190
audio output 333
global levels 331
of digital cut 332
video input 200
table of luminance settings 205
with vectorscope 205
with Waveform monitor 204
video output 321
advanced procedures 327
basic procedures 322
using passthrough signals 329
using test patterns 327
Calibration tone
creating media for 188
setting 332
CamCutter files
importing 310
Camroll data 121
Capture mode
entering 155
Capturing footage
See Digitizing
CCIR
See ITU-R 601
CCIR video levels
import options 292
Change lists
using FilmScribe to create 371
543
Changing clip information
before digitizing 121
Changing default pulldown frame 367
Channel dialog box 145
Channel selection buttons (Digitize tool) 161
Check Decks command (Deck Selection pop-up
menu) 158
Check list
for preparing hardware before digitizing
126
for preparing to digitize 209
Chrominance settings
Chunking while digitizing 139
Chyron file format
Cineon file format
additional Export options 454
cleaner software
exporting with 403
Clip data
in Avid logs 526
Clips
See also Master clips, Subclips
batch digitizing 240
deleting extra multicamera 283
exporting 383
modifying information in 121
relinking by key number 249
replacing missing multicamera 283
Closed captioning, preserving on digitize 531
Codecs
Avid
downloading 447
for AVI 441
for QuickTime 429
using with other applications 448
QuickTime 422
Color bars
See also Bars and tone
adjusting video levels for tapes without 208
types of 202
Color digitizing 165
Color level
import options 292
Column headings
in Avid log file 523
Comments
adding during digitizing 217
Comments, review 470
Compression
defined 498
in relation to drive space 498
in relation to image quality 498
Compression ratios
See also Video resolutions
defined 499
mixing 500
Compression tool
See Media Creation dialog box
Configuring a video server 466
Configuring decks 144
Console
checking peak audio levels with 196
logging digitizing errors to 214
Console command (Tools menu) 196
Consumer-grade video deck
digitizing from 202
Control track
using for preroll 134
Control track breaks, digitizing across 237
Converting shot log files
using Avid Log Exchange (Macintosh) 86
using Avid Log Exchange (Windows) 81
using drag-and-drop conversion
(Macintosh) 89
using drag-and-drop conversion (Windows)
85
544
Countdown display
customizing 346
Crash recording
See Manual recording
Creating
Avid log files 90
subclips during digitizing 215, 215
tone media 188
Custom headings
in Avid logs 523
Custom preroll
selecting 170
Cut lists
using FilmScribe to create 371
D
D1 VTR
calibrating input from 197
recording to 323
Dailies
viewing 59
DAT
See Digital audiotape
Data headings
Deck
pausing while logging 107
Deck Configuration settings
Add Channel options 145
adjusting 144
deleting elements in 151
Deck controller
in Digital Cut tool 345
Deck Preferences settings
description 151
for assemble-edit recording 341
Deck Selection pop-up menu 158
Digital Cut tool 345
Digitize tool 158
Deck settings
Fast Cue option 150
for configuring decks 148, 158, 345
Preroll option 150
Decks
configuring 144
digitizing from consumer-grade 202
digitizing from non-Avid-controlled 228
for digital cut 344
logging with Avid-controlled 103
logging with non-Avid-controlled 109
poll deck option 153
selecting 158
using the keyboard to control decks 218
Decompose feature 245
using when redigitizing 245
Default pulldown frame
changing the 367
Deinterlacing 73
Deleting
deck configurations 151
short clips (Telecine) 262
Destination bins
choosing 166
Destination drives
selecting 166
Destination timecode rate 362
Device Code option
VTR Emulation settings 374
Device Code settings
Telecine record emulation 260
Dialog boxes
AvidLink Export 389
Batch Import 313
Deck Configuration 144
Deck Settings 148
Digitize Settings
Telecine options 262, 263
Export As 384
Export Settings 391
Film Settings (transfer settings) 141
545
General Settings (for digitizing) 140
Modify Pulldown Phase 117
QuickTime Reference Settings 414
Select Tape 159
Set Tape Timecode 268
VTR Emulation Settings 373
VTR Emulation settings (Telecine record
emulation) 261
Digidesign hardware
See Audio I/O device
Digital audiotape (DAT)
digitizing from 126, 162
Digital Betacam VTR
calibrating input from 197
recording to 323
Digital Cut command (Output menu) 342
Digital Cut tool
24p and 25p output formats 356
deck controller in 345
selecting decks from 344
using 342
Digital cuts
audio-only 366
previewing 345
record options 351
recording 342
Digital scale (Audio tool)
defined 181
Digital sync signal
checking for 172
Digitize command (Tools menu) 103
Digitize monitor
Digitize tool (Telecine) 267
Digitize settings
Batch Digitize options 238
General Digitize options 132
Telecine Digitize options 262, 263
Digitize tool
Digitize monitor (Telecine) 267
logging with 103
mapping the Record button 219
resizing 236
resolution, choosing 165
setting audio and video input in 161, 165
setting the Pulldown switch in 162
setting up 156
setting up for Telecine Slave mode 263
subclip status in 215
Digitizing 211
See also Autodigitizing, Batch digitizing,
Redigitizing
across control track breaks 237
across timecode breaks 136
adding clip names during 217
adding comments (annotating) during 217
adding locators during 216
and logging at the same time 219
audio 162
check list for 209
Color/Monochrome button 165
creating subclips during 215
defined 211
film transfers, minimum information for 111
from a mark IN to a mark OUT 221
from a non-Avid-controlled deck 228
LTC timecode 230
mapping the Record button 219
modifying clip information before 121
on-the-fly 223, 223
preparing for 125
Audio Tool setup 180
deck selection 158
Digitize Tool setup 156
hardware considerations 126
resolution selection 165
selecting VTR Emulation serial port
(Telecine) 257
selecting VTR Emulation settings
(Telecine) 259
settings selection 127
source track selection 161
546
tape selection 159
targeting bins 166
targeting drives 167
video input 197
preparing hardware before 126
preserving vertical blanking information
Drive filtering options (Media Creation tool)
128
Drive space
estimating for audio 510
for rolling titles 510
managing to improve playback performance
535
preserving VITC information 531
setting custom preroll 170
setting only one mark 222
sources for 127
storage guidelines 508
Telecine Slave mode 266
to multiple media files 139
to the Timeline 232
using time-of-day timecode 230
video transferred without pulldown 235
VTR record emulation (Telecine) 256
with external timecode 230
workflow for multicamera projects 277
Direct record emulation (VTR emulation)
described 372
using 376
Displaying 24p and 25p media
during a digital cut 75
while editing 74
Displaying film columns 112
Dominance
described 492
Downconversion
24p to SDTV 41
25p to SDTV 44
HDTV to SDTV 33
Drag-and-drop method
exporting files with 387
for converting files to ALE format
(Macintosh) 89
for converting files to ALE format
(Windows) 85
importing files with 302
518
maximizing use of 518
NTSC/PAL equivalency for estimating 510
planning 508
Drive striping 127
in relation to resolutions 503
Drives
filtering 128
selecting for digitizing 166
striped for digitizing 126
Drop-frame timecode
described 153
output 360
simultaneous output with non-drop-frame
361
DV media
described 53
editing 57
resolutions and storage requirements 507
DV Option
starting a project 57
workflows 54
DV resolutions
graphic import frame sizes 485
DV Stream files
exporting 407
options 408
DVD
creating files for a 404
E
Edit controller
with VTR play emulation 372
547
Edit decision list
See EDL
Edit record emulation 373
Editcam files
importing 310
EDL (edit decision list)
creating 368
described 368
Eight-channel audio I/O device
calibrating 190
Eight-channel audio systems
adjusting input on 171
adjusting output on 333, 333
Emulation type option (VTR Emulation
settings) 373
Enable Track buttons (Digital Cut tool) 343
Entering
additional film data 121
frames-per-second rates
for PAL transfers 118
ink numbers 121
key numbers 119
optional timecodes 120
pulldown of the sync point 113
ERIMovie file format
additional export options 454
brief description 485
Errors
logged during digitizing 214
viewing digitizing errors in the Console
window 214
Estimating drive space requirements 509
Events in an EDL
defined 368
Export settings
creating new 391
options 392
Exporting
AAF files 395
audio tracks 448
AVI files 441
clips 383
DV Stream files 407
files for a DVD 404
frames 383
from a third-party QuickTime or AVI
application 448
graphic files 451
MPEG-1 or MPEG-2 files 400
OMFI files 395
preparing sequences for 381
procedure for 383
QuickTime movies
methods 411
procedure 416
QuickTime reference movie 412
reasons for 380
sequences 383
shot log files 122
using AvidLinks 388
using cleaner 403
using drag-and-drop method 387
with Avid Codec for AVI
described 441
installing 443
procedure for 441
with Avid Codecs for QuickTime
described 429
installing 443
procedure for 416
External drive
See Media drive
External timecode 230
digitizing with 230
F
Factory preset buttons
in Video Input tool 198
in Video Output tool 322
548
Fast Cue option (Deck settings) 150
Fast Frame Display (Special menu) 74
Field dominance
described 492
Field ordering 492
FieldPak
importing files from 310
Fields versus frames
described 65
Files
exporting
procedure for 383
reasons for 380
importing
guidelines for 286
procedure for 298
importing mixed resolutions 286
reimporting 312
specifications for importing graphics 478,
482
specifications for importing OMFI 491
Film
columns, displaying 112
data, entering 121
information, logging 111
minimum information for digitizing 111
project workflow 37
shoot specifications 58
timecodes, entering 120
transferring to NTSC 64
transferring to PAL 70
Film cut lists
generating 371
Film dailies method
defined 59
illustrated 60
Film settings
for transfer 141
pulldown phase 97
Film speed
slowing to 23.976 fps 67
Film Type for shoots 58
Film Wind for shoots 58
FilmScribe application
accessing 371
Film-to-tape transfer
audio requirements for NTSC 162
digitizing during 256
guidelines for 75
methods 63
options for 76
VTR Record Emulation (Telecine) 256
Filtering drives 128
fps (frames per second)
and storage requirements 510
heading in Avid logs 525
Frame-accurate recording 338
Frames
exporting 383
Frames versus fields
described 65
Frames-per-second rates for PAL transfers 118
Framestore file format
FTFT (film-tape-film-tape) feature
described 249
Full chroma digitizing 165
Full-screen image size
defined 483
Function keys
available when digitizing 213
locators mapped to 216
G
General Digitize options (Digitize Settings
dialog box) 131
549
General settings (General Settings dialog box)
140
Global headings
Global settings
Import 287
Go To Capture Mode command (Bin menu) 155
Graphics (image) files
exporting 451
field ordering in 492
import specifications 478, 482
preparing for import of 478
recommended field settings 494
supported formats 476
Grass Valley Group Profile video server 465
Guidelines
for film-to-tape transfers 75
for logging 100
for naming tapes 100
H
Hard recording
See Manual recording
Hard subclips 215
Hardware check list
HDTV
using 16:9 format for 126
workflow with 24p source 41
workflow with 25p source 44
workflow with downconversion 33
Hue slider
I
IFF file format
Image independence 475
Image quality
for interlaced compression ratios 504
for progressive compression ratios 505
Image sizes
NTSC and PAL compared 37
Import Options section (Batch Import dialog
box) 315
Import settings
options 290
overview 287
Import Target section (Batch Import dialog box)
315
Importing files
batch import 313
before you begin 286
EditCam 310
guidelines for 286
in mixed-resolution projects 286
Photoshop files 302
preparing for 286, 478
procedure for 298
settings 287
shot log files 95
specifications for audio files 490
specifications for graphics files 478, 482
specifications for OMFI files 490
using drag-and-drop method for 302
In/Out buttons (Audio tool)
defined 181
Infinite Hold option (Audio tool) 184
Inhibit Preloading option (VTR Emulation
settings) 374
Ink numbers
entering 121
550
Insert-edit recording 339
with pulldown 364
Installing
Avid Codec for AVI 446
Avid Codecs for QuickTime 443
Interlaced resolutions
specifications for 504
storage requirements for 511
Interlacing 65
ITU-R 601
video standards 498
ITU-R 601 video levels
import options 292
J
JPEG file format
additional Export options for 455
K
Key numbers
entering 119
formats for 119
relinking clips by 249
Keyboard
controlling decks from 218
Keykode format 119
Linear timecode
See LTC (longitudinal timecode)
Locators
adding during digitizing 216
mapped to function keys 216
Review & Approval process 470
Log files
See Shot log files
Log right log format 519
Logging 79
and digitizing at the same time 219
automatic 77
bypassing by autodigitizing 226
directly into a bin
with a non-Avid-controlled deck 109
with an Avid-controlled deck 103
errors during digitizing 214
film information 111
guidelines for 100
pausing deck while 107
preroll 100, 100
timecode 100
tips for multicamera material 280
Logs
See Shot log files
LTC (longitudinal timecode) 230
digitizing with 230
establishing sync for output 321
output for 24p and 25p projects 360
output for downstream encoding 361
Luminance settings
table of 325
L
Labroll data 121
Line ranges in vertical blanking information
532
Line slider (Waveform monitor) 204
M
Maintaining synchronized sound 68
Manual recording 339
551
Mark In Time option (Digital Cut tool) 351
Marking tape location
using Mark Memory button 108
Master clips
redigitizing 244
Matchback option
described 368
limitations 370
Maximizing drive space 518
Media Cleaner
exporting with 403
Media Composer DV Option
workflows 54
Media Creation dialog box 128
Media drive
targeting 166
Media files
moving between systems 462
multiple, digitizing to 139
Media Illusion, importing materials finished
with 312
Media Station XL
digitizing with 33, 36
MediaLog
transferring bins with 92
MediaManager 460
chunking 139
Memory marks
adding 108
Menu commands
Adjust Deck (Deck Selection pop-up menu)
158, 345
Audio Tool (Tools menu) 180
Auto-configure (Deck Selection pop-up
menu) 158, 345
Batch Digitize (Clip menu) 240, 247
Calibrate (Peak Hold pop-up menu) 194
Check Decks (Deck Selection pop-up menu)
158
Console (Tools menu) 196
Digital Cut (Output menu) 342
Digitize Tools (Tools menu) 103
Go To Capture Mode (Bin menu) 155
Play Calibration Tone (Peak Hold pop-up
menu) 332
Serial (COM) Ports (Tools menu - Windows)
375, 377
Serial (COM) Ports (Tools menu) 377
Serial Ports (Tools menu - Macintosh) 375,
377
Set Calibration Tone (Peak Hold pop-up
menu) 332
Set Reference Level (Peak Hold pop-up
menu) 182
Video Input Tool (Tools menu) 197
Video Output Tool (Tools menu) 197, 322
Meridien
Avid Codecs for QuickTime 429
Meters
See Volume meters
Microphone
setting input for 176
MII component video standard
unsupported 198
Mixed-resolution projects 286
Mixing compression ratios 500
Modify Pulldown Phase dialog box 117
Modifying
clip information before digitizing 121
the pulldown phase after digitizing 253
Monochrome digitizing 165
Moving
projects between systems 462
settings between systems 463
MPEG-1 file, exporting 400
MPEG-2 file, exporting 400
Multicamera productions
developing a postproduction model for 270
digitizing workflow for 277
logging tips for 280
managing audio in 274
paths for film productions 273
552
paths for video productions 272
storage tips for 281
tape classification for 270
Multicamera resolutions
storage estimates 506
Multiple formats
working with 30
Multiple media files
digitizing to 139
N
Nagra
digitizing from 162
Naming tapes 100
NetReview
described 470
displaying locator creation information 472
using locator colors with 473
workflow 470
NetReview files
described 470
Non-Avid-controlled deck
digitizing from 228
logging with a 109
Non-drop-frame timecode
described 153
output 360
simultaneous output with drop-frame 361
NTSC (National Television Systems
Committee) video
digitizing audio from 162
image size compared to PAL 37
logging and digitizing 220
luminance values 325
PICT resolution 348
transferring 24-fps film to 64
transfers
creating Avid log files for 91
waveform values 205
NTSC Has Setup option 140, 321
NTSC-EIAJ format 321
setting 140
waveform values 205
NuVista
Avid Codec for QuickTime 429
O
OHCI (Open Host Controller Interface)
described 53
OMF Interchange files
described 393
exporting 395
import specifications 480, 491
preparing to export 381
OMFI file format
One-light transfers 76
Opening
R&A files 471
Optional equipment
video server 465
Output
audio 366
calibrating for video 322
change list 371
cut list 371
generating 319
longitudinal timecode (LTC) 321
multiformat 356
options 319
preparing for 319
Output Control button (Audio tool)
defined 181
553
Output formats
described 30
for 24p and 25p projects 356
P
PAL (Phase Alternating Line) video
frames-per-second rates for transfers 118
image size compared to NTSC 37
logging and digitizing 220
luminance values 325
PICT resolution 348
transferring film to 70
waveform values 205
PAL Method 1
described 71
workflow 50
PAL Method 2
described 72
workflow 51
Passthrough signals
calibrating video output using 329
Patching
when digitizing to the Timeline 233
PCX file format
Peak Hold option (Audio tool) 184
Peak Hold pop-up menu (Audio tool)
defined 181
Phantom power
for microphone 176
Phase control
Photo CD file format
Photoshop file format
additional export options for 455
Photoshop files
importing multilayered 303
procedure 308
understanding 304
importing single-layer 303
PICT file format
PICT files
importing for custom countdown 347
importing for test pattern 328
PICT sequence import specifications 486
Picture quality
calibrating input levels to ensure 197
Picture Transfer Rate (Film Settings dialog box)
142
Pixar file format
Planning
24p and 25p projects 36
video projects 33
Play Calibration Tone command (Peak Hold
pop-up menu) 332
Play emulation (VTR emulation)
described 372
using 374
Playback
improving performance of (storage
management) 518
PNG file format
Poll deck option 153
Preallocation of space on drive 140
Preparing
for audio input 171
for output 319
554
for video input 197
hardware before digitizing 126
record tapes 338
sequences for export 381
shot log files
with MediaLog 91
with text editors 90
to digitize 125
Preroll
custom for digital cut 351
custom for digitizing 170
logging 100
method for setting 134
using control track for 134
Preroll option (Deck Settings dialog box) 150
Preset buttons 322
Prestriped tape 338
Previewing a digital cut 345
Production paths for multicamera editing 271
Profile video server 465
Progressive media
described 30
Progressive resolutions
specifications for 505
Project settings
audio transfer 52
Project window
Info tab, using 52
Projects
24p and 25p 36
planning 29
types of 32
video 33
Pulldown
described 65
digitizing without 235
finding at the sync point 113
output for downstream encoding 361
Pulldown frame
changing the default 367
Pulldown phase
modifying after digitizing 253
modifying before digitizing 117
option in Film Settings dialog box 97
Pulldown switch (Digitize tool)
setting 162
Pullin
changing 367
Pullin frame
modifying 253
Pullout column 367
Q
QRT file format
Quality of film-to-tape transfer 76
QuickTime
Avid codecs for 429
downloading Avid codecs for 447
QuickTime file format
import and export specifications for 487
QuickTime movies
exporting 416
QuickTime reference movies
exporting 412
R
R&A files
described 470
displaying locator creation information 472
opening 471
using locator colors with 473
555
Record button (Digitize tool), mapping 219
Record Deck Time option (Digital Cut tool) 351
Record tapes
preparing 338
Recording
assemble-edit 340
digital cuts 342
using Local mode 352
using Remote mode 348
manually 339
Redigitizing
See also Autodigitizing, Batch digitizing,
Digitizing
master clips and subclips 244
sequences
procedure 244
using Decompose 245
using Decompose during 245
Reference level (Audio tool)
adjusting 182
Reimporting files
overview 312
procedure 316
Relinking clips by key number 249
Removing deck configuration elements 151
Rendition file format
Replacing deck configuration elements 151
Res (Resolution) pop-up menu (Digitize tool)
165
Reset Peak button (Audio tool)
defined 181
Resizing
the Audio tool 182
the Digitize tool 236
Resolutions
See Screen resolutions, Video resolutions
Review and approval
workflow 470
Review comments, obtaining 470
RGB video levels
import options 292
RS-422 output 360
Runup option (VTR Emulation Settings dialog
box) 374
RY Gain slider
S
Sat slider
Saving settings
SC phase
adjusting for output 326
Scanning for tapes 104, 229
Scene data 121
Screen resolutions
NTSC and PAL differences 499
Select Tape dialog box 104, 229
Selected Clips section (Batch Import dialog box)
314
Selecting a custom preroll 170
Selecting decks for digitizing 158
Selecting drives for digitizing 166
Selecting settings
for deck configuration 144
Selecting tapes for digitizing 159
Selecting tracks for digitizing 161
Sequence Time option (Digital Cut tool) 351
Sequence Track buttons (Digital Cut tool) 342
Sequenced PICT files
Sequences
exporting 383
output options for 319
556
redigitizing
procedure 244, 247
saving two versions for 244
using Decompose 245
Serial (COM) Ports command (Tools menu Windows) 375, 377
Serial (COM) Ports command (Tools menu) 377
Serial (COM) Ports tool
Serial digital input
calibrating 197
Serial digital output
calibrating 323
Serial port output 360
Serial Ports command (Tools menu - Macintosh)
375, 377
Serial Ports tool
Set Calibration Tone command (Peak Hold
pop-up menu) 332
Set Reference Level command (Peak Hold
pop-up menu) 182
Set Tape Timecode 268
Settings
AAF export 397
audio 173
Audio export 450
audio transfer 52
deck configuration 144
DV Stream export 408
export 392
graphic export 453
import 287, 290, 290
MPEG export 401
OMFI export 397
QuickTime export 419
QuickTime format 422
QuickTime Reference export 414
selecting before digitizing 127
video server 466
Setup Control button (Audio tool)
defined 181
SGI file format
Shot log files
Avid log file specifications 90
converting with Avid Log Exchange
(Macintosh) 86
converting with Avid Log Exchange
(Windows) 81
exporting 122
importing 95
preparing
text editors for 90
with MediaLog 91
Shot logs
See Shot log files
Single/Dual Drives button (Digitize tool) 167
Site settings
Sixteen by nine (16:9) format 78
Slate information for shoots 59
Slowing film speed 67
SMPTE bars 325
SMPTE/EBU component standard
support 198
Softimage file format
Sound roll
cues for shoots 59
entering data for 121
Source tapes
naming in Telecine Slave mode 266
Source tracks
557
Specifications
animation file import 486
AVI import and export 488
Avid log 520
for film shoots 58
graphics file import 478, 482
OMF file import 491
QuickTime import and export 487
Standard headings
in Avid log files 523
Storage
estimating drive space requirements for 509
estimating for audio 510
for rolling titles 510
guidelines for multicamera 281
managing to improve playback performance
518
maximizing 518
NTSC/PAL equivalency for estimating 510
planning 508
Storage estimates
in minutes per gigabyte 506, 509
Storing 24p and 25p media 73
Striped drives 127
for digitizing 126
Striping record tapes 338
Subclip status (Digitize tool) 215
Subclips
creating during digitizing 215, 215
redigitizing 244, 244
SunRaster file format
S-Video deck
digitizing from 202
Sync
establishing for output 320
for audio-only input 171
for video input 201
methods for shoots 59
of work print with audio mag 60
Sync point
finding the pulldown at 113
Synchronized sound
maintaining 68
T
Tape deck
See Decks
Tape name
finding 104, 229
Tape numbering schemes
for multicamera film productions 271
for multicamera video productions 270
Tapes
See Videotape
Targa file format
Target bin
choosing 166
Target Drive pop-up menu (Digitize tool) 167
TBC (time-base corrector)
with consumer-grade video deck 203
Telecine
transfer quality 76
Digitize Tool settings 263
naming source tapes 266
selecting 265
VTR record emulation 256
Test patterns
for calibrating video output 327
importing new 328
Text editors
creating Avid logs with 521
for Avid logs 90
TIFF file format
558
Time-base corrector (TBC)
with consumer-grade video deck 203
Timecode
breaks, digitizing across 136
choosing format for output 360
drop-frame and non-drop-frame described
153
entering 120
external, digitizing with 230
headings in Avid logs 524
indicating the destination rate 362
logging drop-frame and non-drop-frame
100
setting
default tape timecode format 263
virtual tape timecode 267
time-of-day, digitizing with 230
Timed (scene-by-scene) transfers 76
Timeline
digitizing to 232
Time-of-day timecode
digitizing with 230
external source 230
Time-remaining display (Digitize tool) 169
Tips
logging 100
storage 281
Tone media
creating 188
recording to tape 339
Tools
Audio 180
Digitize 156
Video Input 197
Video Output 322
Total Conform 30
Tracks
selecting
for digitizing 161
Transfer methods
for film to tape 63
TransferManager 460
Transferring
projects between systems 462, 463
settings between systems 463
Transferring bins
with MediaLog 92
Transferring film to tape 63
aids to 77
in NTSC format 64
in PAL format 70
quality options 76
without sound (PAL) 72
Transferring video
to a video server 467
to an Avid system 469
Transparency
adding to a graphics image 478
Trim pots
adjusting 195
Troubleshooting
vertical blanking information problems 535,
536, 537, 537
Two-field media
and field dominance 492
U
U-matic deck
digitizing from 202
Unattended batch digitizing 237
See also Batch digitizing, Digitizing,
Redigitizing
Uncompressed video
defined 498
Unity 460
559
V
Vectorscope monitor
using 205
Vertical blanking information
line ranges in 531
preserving 532
problems with preserving 535
Vertical blanking interval
preserving information in 531
VHS decks
digitizing from 202
recording to 339
Video compression
defined 498
Video dailies method
defined 59
Video decks
See Decks
Video input
adjusting chrominance settings for 206
adjusting luminance settings for 204
calibrating 200
preparing for 197
setting in Digitize tool 161
setting in Video Input tool 198
sync for 201
Video Input pop-up menu (Video Input tool)
200
Video Input tool
Line slider 204
saving settings in 206
Vectorscope monitor 205
Waveform monitor 204
Video Input Tool command (Tools menu) 197
Video levels
adjusting without color bars 208
Video output
advanced calibration 327, 327
basic calibration 322
calibrating for 321
calibrating for NTSC-EIAJ 321
Video Output tool
advanced calibration controls 327
options display 322
using preset buttons in 322
Video Output Tool command (Tools menu) 322
Video project
planning 33
Video resolutions
choosing in Media Creation settings 130
choosing in the Digitize tool 165
drive striping requirements 503
graphic import frame sizes
DV 485
interlaced 483
multicamera 484
progressive 484
guidelines for use 498
mixed 286
mixing 500
specifications for interlaced 504
specifications for MultiCamera 506
specifications for progressive 505
specifications for progressive MultiCamera
507
storage in minutes per gigabyte 509
Video servers
configuring 466
described 465
transferring media from 469
transferring media to 467
Video streams
defined 503
Video test patterns 327
Video transfers with video server 465
Videotape
classification schemes for multicamera
editing 270
guidelines for naming 100
preparing for output 338
560
recording digital cut to 342
recording to 338
striping requirements for 338
Videotape decks
See Decks
Viewing dailies 59
Virtual tape timecode 267
VITC (Vertical Interval Timecode)
for downstream encoding 361
NTSC 499
PAL 499
VITC information, preserving 531
V-LAN/VLXi 146
Volume meters
in the Audio tool, defined 181
Volume unit scale (Audio tool)
defined 181
VTR
See Decks
VTR emulation
direct record emulation, described 372
direct record emulation, using 376
enabling 372
play emulation, described 372
play emulation, using 374
settings 373
settings (telecine record emulation) 261
telecine record emulation 256
VTR Emulation Settings dialog box 373
VTR Emulation Settings dialog box (Telecine)
259
W
WAVE file format
Waveform monitor
calibrating input with 204
Wavefront file format
Wide-screen format (16:9) 126
Word processor
creating Avid logs with 521
Work print
syncing with audio mag 60
Workflows
audio 47
film or 24p source 41
film or 25p source 44
film source 37
for Media Composer DV 54
for multicamera projects 271
for video projects 33
PAL Method 1 50
PAL Method 2 51
Working with multiple formats 30
X
XWindows file format
Y
YUV file format
additional Export options for 458

Avid Media Composer and Film Composer Input and Output Guide

Transcription

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