Avid Xpress®

User’s Guide

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

Copyright © 2000, 2002 Avid Technology, Inc. and its licensors. All rights reserved.

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

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc.

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

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

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

The following disclaimer is required by the Independent JPEG Group:Portions of this software are based on work of the Independent JPEG Group.

The following disclaimer is required by Paradigm Matrix:Portions of this software licensed from Paradigm Matrix.

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

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

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

The following notice is required by Altura Software, Inc. for the use of its Mac2Win 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.

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

TrademarksAirPlay, 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 888 I/O, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AutoSync, AVIDdrive, AVIDdrive Towers, AvidNet, Avid Production Network, AvidProNet, AvidProNet.com, AVIDstripe, Avid Unity, AVX, DAE, D-Fi, D-fx, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DINR, D-Verb, ExpertRender, FilmScribe, HyperSPACE, HyperSPACE HDCAM, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Matador, Maxim, MCXpress, MEDIArray, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, MediaShare, Meridien, NaturalMatch, NetReview, OMM, Open Media Management, ProEncode, QuietDrive, R&A, Recti-Fi, Review & Approval, rS9, rS18, Sci-Fi, Sound Designer II, SPACE, SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, and VideoSPACE are trademarks of Avid Technology, Inc.

iNEWS and Media Browse are trademarks of iNews, LLC.

Aaton is a registered trademark of Aaton S.A. Abekas is a registered trademark of Accom, Inc. Acrobat, Adobe, After Effects, Photoshop, and Reader are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Alias and Wavefront are trademarks of Alias|Wavefront, a division of Silicon Graphics Limited. Amiga is a registered trademark of Amiga, Inc. Arri is a registered trademark of Arri Group. Canopus is a trademark of Canopus Corporation. Chyron is a registered trademark of Chyron Corporation. Cineon and Photo CD are trademarks of Eastman Kodak Company. cleaner and media cleaner are either registered trademarks or trademarks of Autodesk, Inc., in the USA and/or other countries. DVDit! is a trademark of Sonic Solutions. Editcam is a trademark of Ikegami Tsushinki, Co., Ltd. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. FireWire, Macintosh, and QuickDraw are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Focusrite is a registered trademark of Focusrite Audio Engineering Ltd. GIF is a Service Mark property of CompuServe Incorporated. IBM and OS/2 are registered trademarks of International Business Machines Corporation. IEEE is a registered trademark of Institute of Electrical and Electronics Engineers, Inc. i.LINK and Sony are registered trademarks and DVCAM and Hi8 are trademarks of Sony Corporation. Jaz and Zip are either registered trademarks or trademarks of Iomega Corporation in the United States and/or other countries. Microsoft, Windows, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Paintbrush is a trademark of Zsoft Corporation. Philips is a registered trademark of Philips Electronics N.V. Pixar is a registered trademark of Pixar Animation Studios. Profile is either a registered trademark or trademark of the Grass Valley Group in the United States and/or other countries. QuickTime and the QuickTime logo are trademarks used under license by Apple Computer, Inc. RealMedia is a trademark of Progressive Networks, Inc. Silicon Graphics is a registered trademark of Silicon Graphics, Inc. Sound Forge is a registered trademark of Sonic Foundry, Inc. Sun Raster is either a registered trademark or a trademark of Sun Microsystems, Inc. in the United States and other countries. TARGA is a trademark of Pinnacle Systems, Inc., registered in the U.S. and other countries. Video Toaster is a trademark of NewTek. V-LAN and VLXi are registered trademarks of Videomedia, Inc. X Window System is a trademark of X Consortium, Inc. Yamaha is a registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners.

Footage

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

Avid Xpress User’s Guide • Part 0130-04908-01 Rev. A • April 2002

Contents

Using This GuideWho Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . 40How to Order Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 1 Desktop BasicsWorking with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Creating an Emergency Repair Disk (Windows Only). . . . . . . . . 42Using Shortcut Menus (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . 43Using Shortcut Menus (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . 43Using the Windows Taskbar (Windows Only) . . . . . . . . . . . . . . . 43Dragging Windows (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . 44Setting the Avid Color Scheme (Windows Only) . . . . . . . . . . . . . 45Setting Your Screen Resolution (Windows Only) . . . . . . . . . . . . . 45Understanding Your Screen Resolution (Macintosh Only) . . . . . 46

Using the Avid Xpress Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . . 48

Using the Avid Projects and Avid Users Folders . . . . . . . . . . . . . 48Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . . 48Deleting Projects and User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . 49

Starting the Avid Xpress Application (Windows) . . . . . . . . . . . . . . . . 50

6

Starting the Avid Xpress Application (Macintosh) . . . . . . . . . . . . . . . 51

Chapter 2 Starting a ProjectOpening and Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Identifying a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Creating a New User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Selecting an Existing User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Selecting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Nesting Projects in Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Opening a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Closing a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . 60Saving Your Project Information on a Drive or

Floppy Disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Ending an Edit Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Quitting the Avid Xpress Application . . . . . . . . . . . . . . . . . . . . . . 62Turning Off Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Mounting and Ejecting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Ejecting Drives (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Ejecting Drives (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Mounting All Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Chapter 3 Working with the Project WindowOpening and Closing the Project Window . . . . . . . . . . . . . . . . . . . . . . 68Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Displaying Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Changing Bin Display View Size. . . . . . . . . . . . . . . . . . . . . . . . . . . 75Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Creating a New Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

7

Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Opening and Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Opening Bins from Other Projects . . . . . . . . . . . . . . . . . . . . . . 79Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Deleting a Bin or Folder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Emptying the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Retrieving Bin Files from the Attic Folder (Windows) . . . . . . . . . 85Retrieving Bin Files from the Attic Folder (Macintosh) . . . . . . . . 87Modifying the Creation Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Using the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Understanding the Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . 90Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95Reviewing Basic Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Bin Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99General Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Displaying Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Changing the Settings Scroll List Display. . . . . . . . . . . . . . . . . . . 103Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . 106Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Naming Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . 108Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

8

Copying Settings Between Settings Files . . . . . . . . . . . . . . . 109Moving Settings Between Systems . . . . . . . . . . . . . . . . . . . . 110Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Displaying Project Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Viewing Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Understanding the Memory Window . . . . . . . . . . . . . . . . . . . . . 113Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Customizing the Appearance of theAvid User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Appearance Tab Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Changing Interface Component Colors . . . . . . . . . . . . . . . . . . . . 117Changing Shading Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Changing Shading Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122Changing Button Separation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Changing Button Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Using Interface Appearance Templates . . . . . . . . . . . . . . . . . . . . 125Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . 128Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . . 131Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . 133Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Opening Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Basic Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Source/Record Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . 135Effects Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Audio Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Digitizing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Customizing Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Linking Toolsets to Other Settings . . . . . . . . . . . . . . . . . . . . . . . . 137

9

Sharing Bins and Projects on Avid Unity MediaNet . . . . . . . . . . . . . 138Understanding Avid Unity MediaNet . . . . . . . . . . . . . . . . . . . . . 138Mapping Workspaces on the Avid Unity Network . . . . . . . . . . 139Sharing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Shared Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Shared Bins and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Working with Locks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . 143Overriding the Default Locking Mechanism . . . . . . . . . . . . 144Restrictions and Limitations for Locked Bins . . . . . . . . . . . . 145

Support for Avid Unity LANshare . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Setting Up the LANshare Client. . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter 4 Using Basic ToolsNavigating in Dialog Boxes and Menus. . . . . . . . . . . . . . . . . . . . . . . . 149Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Using the Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Understanding Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . 151Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 153Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Mapping the Modifier Key (Windows Only) . . . . . . . . . . . . . . . . 154Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Activating Commands from the Command Palette . . . . . . . . . . 156

Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Using the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Displaying System Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Reviewing a Log of Errors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Getting Information with the Console Window . . . . . . . . . . . . . 160

Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Checking the Hardware Configuration. . . . . . . . . . . . . . . . . . . . . 161Starting the Diagnostic Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Starting Avid System Test Pro (Windows) . . . . . . . . . . . . . . 163

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Starting Avid System Test Pro (Macintosh) . . . . . . . . . . . . . 163Using the Serial (Com) Ports Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Configuring a Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Chapter 5 LoggingLogging Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Logging Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Understanding Drop-Frame and Non-Drop-Frame

Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Logging Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Double-Checking the Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . 175

Converting a Log File to an ALE File (Windows). . . . . . . . . . . . 176Using Drag-and-Drop Conversion (Windows). . . . . . . . . . . . . . 179Converting a Log File to an ALE File (Macintosh) . . . . . . . . . . . 180Using Drag-and-Drop Conversion (Macintosh) . . . . . . . . . . . . . 182

Logging Directly to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Logging with an Avid-Controlled Camera or Deck . . . . . . . . . . 183Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . 187Logging with a Non-Avid-Controlled Camera or Deck . . . . . . 188Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . 192Modifying the Pulldown Phase Before Digitizing. . . . . . . . 193

Modifying Clip Information Before Digitizing. . . . . . . . . . . . . . . . . . 195The Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Chapter 6 Preparing to DigitizeUnderstanding Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

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What Is DV?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202What Is IEEE Standard 1394? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203What Is OHCI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203DV Workflows (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Preparing the Hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207Learning About Striped Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209Deleting Deck Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Setting Up the Digitize Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218Opening the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . 220Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222Choosing a Resolution in the Digitize Tool . . . . . . . . . . . . . . . . . 223Choosing a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Targeting a Single Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224Targeting Separate Drives for Video and Audio . . . . . . . . . 225

Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . 226Choosing Monochrome or Color in the Digitize Tool. . . . . . . . . 226Digitizing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . 227Selecting the Preroll Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229Digitizing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . . . 231Using Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

General Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232Batch Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234Edit Digitize Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

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Media Files Digitize Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 237Preparing for Audio Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . 239Checking for a Valid Digital Sync Signal . . . . . . . . . . . . . . . . . . . 239Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . 240Choosing the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . 244Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Adjusting the Reference Level . . . . . . . . . . . . . . . . . . . . . . . . 247Adjusting Analog Audio Input Levels . . . . . . . . . . . . . . . . . 248Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Using the Console Window to Check Audio Levels . . . . . . . . . 250Calibrating the Eight-Channel Audio I/O Device. . . . . . . . . . . . . . . 252

Changing the Audio Hardware Calibration Setting . . . . . . 253Calibrating Input Channels for the Audio I/O Device. . . . 254Calibrating Output Channels for the Audio

I/O Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255Calibrating for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257Manually Calibrating for Video Input . . . . . . . . . . . . . . . . . . . . . 257Saving Video Input Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261Saving a Custom Default Setting for the Video Input Tool. . . . 262Adjusting Video Levels Without Color Bars . . . . . . . . . . . . . . . . 263

Compression Resolutions and Storage Requirements . . . . . . . . . . . 264Screen Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265Digital Video Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265Understanding Compression and Resolutions . . . . . . . . . . . . . . 266

Compression Groups and Image Quality . . . . . . . . . . . . . . . 266Video Streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267Compression Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . 267Mixing Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Setting Media Creation Resolutions and Selecting Drives . . . . 270Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

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Chapter 7 DigitizingBefore You Begin Digitizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . . 281Digitizing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . 281

Digitizing from One Point to Another. . . . . . . . . . . . . . . . . . . . . . 282Digitizing from an IN Point to an OUT Point . . . . . . . . . . . . 283Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283Setting Only One Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Digitizing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285Autodigitizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288Digitizing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . 290Digitizing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . 291Digitizing with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . 292

Digitizing to the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294Patching When Digitizing to the Timeline . . . . . . . . . . . . . . . . . . 295

Batch Digitizing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . 296Preparing to Batch Digitize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Resizing the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297Preparing Settings for Unattended Batch Digitizing . . . . . . 297

Batch Digitizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297Redigitizing Your Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Redigitizing Master Clips and Subclips . . . . . . . . . . . . . . . . . . . . 300Redigitizing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Saving Two Versions of a Sequence When Redigitizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Redigitizing the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301Other Digitizing Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . 303Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . 304Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . 305Returning to Previous Place in the Select Tape Dialog Box . . . . 305Modifying the Pulldown Phase After Digitizing. . . . . . . . . . . . . 305

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Chapter 8 Importing FilesPreparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308Screen Resolution for Imported Graphics and Sequences . . . . . . . . 308Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . 309Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 310Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . . 312Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . 323Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . 324Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . 325

Understanding Multilayered Graphics Import . . . . . . . . . . 325Importing Multilayered Files . . . . . . . . . . . . . . . . . . . . . . . . . 330

Working with Avid Unity MediaManager . . . . . . . . . . . . . . . . . . . . . 331Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

The Batch Import Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333Selected Clips Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334Import Target Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334Import Options Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335Importing Editcam Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Chapter 9 Organizing with BinsBefore You Begin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340Using Bin Display Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342Displaying Custom Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . 343Saving a Custom Bin View . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Using the Bin Fast Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345Conserving Screen Real Estate with the SuperBin. . . . . . . . . . . . . . . 345

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Enabling the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345Opening Bins in the SuperBin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346Closing the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347Moving Bins into and out of the SuperBin . . . . . . . . . . . . . . . . . . 347Moving Clips and Sequences into and out of

the SuperBin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347Copying Clips and Sequences into and out of the SuperBin . . . 348Deleting a Bin with the SuperBin Enabled . . . . . . . . . . . . . . . . . . 349

Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349Lassoing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349Selecting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350Duplicating Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . 350Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351Copying Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351Deleting Clips, Sequences, or Media . . . . . . . . . . . . . . . . . . . . . . . 352Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Adding a Color Column to a Bin . . . . . . . . . . . . . . . . . . . . . . 353Assigning a Source Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354Assigning a Custom Source Color . . . . . . . . . . . . . . . . . . . . . 354Limiting Color Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354Sorting by Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355Sifting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Highlighting Offline Media Clips . . . . . . . . . . . . . . . . . . . . . . . . . 356Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356Locking and Unlocking Items in the Bin. . . . . . . . . . . . . . . . . . . . 358Selecting Offline Items in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . 359Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . 359Selecting Unreferenced Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Using Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361Using Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Arranging Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363Moving and Rearranging Columns . . . . . . . . . . . . . . . . . . . . 363Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

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Showing and Hiding Columns. . . . . . . . . . . . . . . . . . . . . . . . 364Deleting a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365Duplicating a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . 366Changing a Custom Column Heading . . . . . . . . . . . . . . . . . 367

Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . 367Moving Within Column Cells. . . . . . . . . . . . . . . . . . . . . . . . . 367Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . 368Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369Using the Modify Command to Modify Data . . . . . . . . . . . 371Copying Information Between Columns . . . . . . . . . . . . . . . 372Sorting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373Sorting Clips in Descending Order . . . . . . . . . . . . . . . . . . . . 374Performing Multilevel Sorting with Columns . . . . . . . . . . . 375

Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . . 376Enlarging or Reducing Frame Size . . . . . . . . . . . . . . . . . . . . . . . . 377Rearranging Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377Changing the Frame Identifying the Clip . . . . . . . . . . . . . . . . . . 378Arranging Frames in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379Entering Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380Adding Text in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . . 380

Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 382Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . 382Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Creating Video Leader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

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Chapter 10 Managing Media FilesUsing the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Basic Media Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391Deleting Media Files with the Media Tool . . . . . . . . . . . . . . . . . . 393

Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395Understanding the Consolidate Feature . . . . . . . . . . . . . . . . . . . . 395Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . 398Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Refeshing Media Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407Relinking Consolidated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407Relinking Moved Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Unlinking Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409Using Videotapes for Archiving and Restoring Media Files . . . . . . 409

Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413Restoring an Archive from Videotape. . . . . . . . . . . . . . . . . . . . . . 415

Workgroup Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417Understanding Avid Unity MediaManager . . . . . . . . . . . . . . . . . 417Understanding Avid Unity TransferManager . . . . . . . . . . . . . . . 417

Chapter 11 Using Script IntegrationLined Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Explanation of Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . 424

Script Window Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

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Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427Opening, Closing, and Saving the Script Window . . . . . . . . . . . 429Displaying Clip and Sequence Information in a

Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430Exploring the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430Adjusting the Script Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Manipulating Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431Changing the Font of the Script. . . . . . . . . . . . . . . . . . . . . . . . . . . 432Selecting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432Cutting, Copying, and Pasting Script . . . . . . . . . . . . . . . . . . . . . . 434Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435Using Scene and Page Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Adding a Scene or Page Number . . . . . . . . . . . . . . . . . . . . . . 436Changing a Scene or Page Number . . . . . . . . . . . . . . . . . . . . 437Deleting a Scene or Page Number . . . . . . . . . . . . . . . . . . . . . 438Searching for a Scene or Page Number . . . . . . . . . . . . . . . . . 438

Conducting a Text Search. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439Interpolating Position for Script Integration. . . . . . . . . . . . . . . . . . . . 441Manipulating Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442Resizing Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443Holding Slates On Screen in the Script Window . . . . . . . . . . . . 443Hiding Slate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444Showing One Take Per Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444Moving a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445Deleting a Slate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Manipulating Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

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Changing the Representative Frame for a Take. . . . . . . . . . . . . . 449Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449Playing Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450Indicating Off-Screen Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451Using Color Indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Using Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . 453Automating Screening and Marking . . . . . . . . . . . . . . . . . . . . . . . 454Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . . . 456Moving a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458Finding Clips and Bins from the Script Window. . . . . . . . . . . . . 458

Editing with the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459Assembling a Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461Interactive Screenings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Chapter 12 Viewing and Marking FootageCustomizing the Monitor Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Changing the Source Pop-up Monitor Size . . . . . . . . . . . . . . . . . 464Using Dual Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464Resizing Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Hiding the Video in the Composer Monitor . . . . . . . . . . . . . 467Resizing the Composer Monitor . . . . . . . . . . . . . . . . . . . . . . . 468

Using the 16:9 Display Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468Displaying Tracking Information. . . . . . . . . . . . . . . . . . . . . . . . . . 469Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470Displaying the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472Displaying the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . 474

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Setting the Font and Point Size for Monitor Displays . . . . . . . . 475Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Loading Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477Using the Clip Name Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Switching Between Loaded Sequences . . . . . . . . . . . . . . . . . 478Clearing Sequences from Monitors . . . . . . . . . . . . . . . . . . . . 479

Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480Using Position Bars and Position Indicators . . . . . . . . . . . . . . . . 480Using Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481Understanding the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Shuttling with J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485Navigating with Home, End, and Arrow Keys . . . . . . . . . . 486

Jogging with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486Shuttling with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487Play Length “In Use” Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . 489Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Clearing a Mark and Setting a New One . . . . . . . . . . . . . . . 491Dragging IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . 491

Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . . 492Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493Using the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494Using the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . 495Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Ways to Use Locators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . 500Moving to the Previous or Next Locator. . . . . . . . . . . . . . . . 502Copying Locators from Source Clips. . . . . . . . . . . . . . . . . . . 502Using Locators to Mark an Area . . . . . . . . . . . . . . . . . . . . . . 503Deleting a Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Using the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

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Viewing and Navigating in the Locators Window . . . . . . . 505Sorting Information in the Locators Window . . . . . . . . . . . . 505Displaying Frames in the Locators Window. . . . . . . . . . . . . 506Changing the Color of the Locator Icon. . . . . . . . . . . . . . . . . 506Accessing a Locator in a Sequence or Clip . . . . . . . . . . . . . . 507Printing the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . 507Using the Locators Window to Delete Locators . . . . . . . . . . 507Displaying Information in the Locators Window . . . . . . . . 508

Finding Frames and Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509Using Frame Offset Timecode to Cue a Frame . . . . . . . . . . . . . . 509Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . 509Searching a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511Matchframing Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Chapter 13 First EditsEditing in DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513Setting Up a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514Changing Sequence Information . . . . . . . . . . . . . . . . . . . . . . . . . . 516Changing the Start Timecode for Sequences . . . . . . . . . . . . . . . . 516Setting Up Tracks for the New Sequence . . . . . . . . . . . . . . . . . . . 516Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Making the First Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520Beginning to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521Creating an Instant Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . 522Undoing or Redoing Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523Monitoring Audio While Editing. . . . . . . . . . . . . . . . . . . . . . . . . . 524

Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . . 524Performing a Splice-in Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525Performing a Replace Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Lifting, Extracting, and Copying Material . . . . . . . . . . . . . . . . . . . . . . 527

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Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Placing a Sequence into the Clipboard . . . . . . . . . . . . . . . . . 530Recovering Material from the Clipboard . . . . . . . . . . . . . . . 530

Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532Starting a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532Improving Playback Performance. . . . . . . . . . . . . . . . . . . . . . . . . 533

Proceeding with Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Chapter 14 Using the TimelineCustomizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535

Accessing the Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 536Using the Timeline Fast Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . 538Additional Procedures for Customizing the Timeline . . . . . . . . 540

Enlarging and Reducing Tracks . . . . . . . . . . . . . . . . . . . . . . . 541Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . 541

Saving a Custom Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . 542Replacing a Timeline View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542Setting the Scroll Option for the Timeline . . . . . . . . . . . . . . . . . . 543Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . . 544

Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544Using the Position Indicator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545Using the Timeline Scroll Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545Displaying Detail in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . 545Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . 546Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 547Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548Monitoring Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Monitoring Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549Monitoring Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

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Monitoring a Solo Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551Cycling Through a Selection of Tracks . . . . . . . . . . . . . . . . . . . . . 551Locking and Unlocking Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . 552Patching Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553Sync Locking Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556Adding an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556Removing Add Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557Backtiming Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558Detecting Duplicate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . 560

Finding Black Holes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560Finding Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Editing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562Selecting and Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . 562

Selecting Segments with the Segment Mode Pointer. . . . . . 563Lassoing One or More Segments . . . . . . . . . . . . . . . . . . . . . . 563Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564

Performing Segment Mode Edits . . . . . . . . . . . . . . . . . . . . . . . . . . 565Maintaining Sync in Segment Mode. . . . . . . . . . . . . . . . . . . . 566Extracting/Splicing-in Segments . . . . . . . . . . . . . . . . . . . . . . 567Lifting/Overwriting Segments . . . . . . . . . . . . . . . . . . . . . . . . 568Deleting Segments with Segment Mode . . . . . . . . . . . . . . . . 569

Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570Bin Editing Directly into a Sequence . . . . . . . . . . . . . . . . . . . . . . . 571Using the Top and Tail Commands. . . . . . . . . . . . . . . . . . . . . . . . 572Setting the Duration for Filler at the Start of a Sequence . . . . . . 573Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . . . 574Editing and Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575

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Chapter 15 Working in Trim ModeCustomizing Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578Exiting Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580Trim Mode Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . 583Performing a Basic Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584Reviewing the Trim Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Reviewing an Edit with the Edit Review Button . . . . . . . . . 585Reviewing an Edit with the Play Loop Button. . . . . . . . . . . 586

Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586Trimming Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

Slipping or Sliding Clips or Segments . . . . . . . . . . . . . . . . . . . . . . . . . 588Selecting Clips or Segments for Slip or Slide Trimming . . . . . . 590Performing the Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . . . 592

Creating Overlap Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Adding Black While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . 595Trimming with Sync-Locked Tracks. . . . . . . . . . . . . . . . . . . . . . . 596

Chapter 16 Working with AudioAbout Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600Accessing Audio Effect Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601Audio Editing Aids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602

Soloing Audio Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . 602Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Smooth Scrub Versus Digital Scrub . . . . . . . . . . . . . . . . . . . . 603Selecting Tracks for Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . 604

Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . 605Using the J-K-L Keys to Perform Smooth Scrub . . . . . . . . . 605

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Using the Mouse to Perform Smooth Scrub . . . . . . . . . . . . . 606Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606

Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . . . 607Performing the Digital Scrub Procedure . . . . . . . . . . . . . . . . 608

Adjusting Pan Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610Identifying the Sample Rate by Color . . . . . . . . . . . . . . . . . . . . . . 612

Understanding the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 614Using the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Resizing the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . . 616

Changing an Audio Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618Adjusting Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618Applying Pan Value Adjustments . . . . . . . . . . . . . . . . . . . . . 619

Ganging and Adjusting Multiple Tracks . . . . . . . . . . . . . . . . . . . 620Rendering an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621Modifying Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

Creating or Modifying an Audio Pan/Vol Effect. . . . . . . . . 622Modifying How the System Interprets Pan. . . . . . . . . . . . . . 622

Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . 623Adjusting Volume While Playing an Audio Mix Effect . . . . . . . 623

Limitations on Adjusting Volume . . . . . . . . . . . . . . . . . . . . . 625Improving Response Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Understanding Audio Gain Automation . . . . . . . . . . . . . . . . . . . . . . . 625Automation Gain Values and System Clip Gain Values . . . . . . 626Adjusting Volume in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . 628

Deleting Audio Gain Keyframes in the Timeline . . . . . . . . . 630Moving Audio Gain Keyframes in the Timeline . . . . . . . . . 630

Using an External Fader or Mixer to Adjust Volume . . . . . . . . . 631Adjusting the Volume of Individual Keyframes . . . . . . . . . . . . . 632Understanding the Automation Gain Tool. . . . . . . . . . . . . . . . . . 632

Track Solo Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

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Applying Automation Gain Adjustments . . . . . . . . . . . . . . 638Automation Gain Tool Fast Menu . . . . . . . . . . . . . . . . . . . . . 638

Recording Automation Gain Information . . . . . . . . . . . . . . . . . . 640Using the Automation Gain Tool Sliders . . . . . . . . . . . . . . . 640Using a Keyboard Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . . 642Using an External Fader Controller or Mixer. . . . . . . . . . . . 642

Using the Audio EQ Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644Audio EQ Tool Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

Basic EQ Tool Components. . . . . . . . . . . . . . . . . . . . . . . . . . . 645EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653

Low Shelf Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . . 655

Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . 658Creating Your Own Templates. . . . . . . . . . . . . . . . . . . . . . . . 659Adding an EQ Template to the

Fast Menu (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659Adding an EQ Template to the

Fast Menu (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . 661

Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662Installing AudioSuite Plug-Ins (Windows) . . . . . . . . . . . . . . . . . 662Installing AudioSuite Plug-Ins (Macintosh) . . . . . . . . . . . . . . . . 663Starting and Quitting DAE (Macintosh Only). . . . . . . . . . . . . . . 664Setting Playback Buffer Size (Macintosh Only). . . . . . . . . . . . . . 664Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . 665Applying an AudioSuite Plug-In to a

Clip in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666Using a Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667

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AudioSuite Plug-In Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . 668Rendering Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669Creating New Master Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669

AudioSuite Controls for Creating New Master Clips . . . . . 670Mono, Stereo, and Multichannel Processing . . . . . . . . . . . . . 672Using Plug-Ins to Create New Master Clips . . . . . . . . . . . . . 674Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . 675

Plug-In Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677Troubleshooting AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . 678

Addressing Memory Allocation (Macintosh Only) . . . . . . . 678Canceling a Render Operation . . . . . . . . . . . . . . . . . . . . . . . . 679Addressing Errors When Rendering a Plug-in Effect . . . . . 679

Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680Connecting the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683Creating the Voice-Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684Scenarios for Using the Audio Punch-In Tool . . . . . . . . . . . . . . . 687Monitoring the Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687Monitoring Previously Recorded Tracks . . . . . . . . . . . . . . . . . . . 688Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . 689Understanding GPI Trigger Signals. . . . . . . . . . . . . . . . . . . . . . . . 690

GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll . . . . . . . . . . . . . . . . . . . . . 690

GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll . . . . . . . . . . . . . . . . . . . . . . . 691

Example of Linking GPI Actions to Trigger Signals . . . . . . 691Connecting a V-LAN VLXi Controller and GPI. . . . . . . . . . . . . . 692Configuring a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . 693

Creating a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694Editing an Existing GPI Setting. . . . . . . . . . . . . . . . . . . . . . . . 696Deleting a GPI Setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697Isolating Clip Portions for Adjustment . . . . . . . . . . . . . . . . . . . . . 697

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Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701Changing the Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703Displaying Audio File Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 704Reimporting Zaxcom Deva or Aaton InDaw Audio . . . . . . . . . . . . . 705

Chapter 17 Syncing MethodsAutosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Understanding Autosyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708Creating an Autosynced Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Managing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709Editing to Avoid Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710Fixing Sync Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Fixing Sync in Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . 711Fixing Sync in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . 711

Managing Sync with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . 712Using Sync Lock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713Syncing with Locators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . 716

Chapter 18 Output OptionsPreparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Choosing Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719Calibrating for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . 720Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . 720Using Test Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725Adjusting Phase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726Calibrating the System with Passthrough Signals. . . . . . . . 726

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Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728Audio Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 729Calibrating Global Output Levels. . . . . . . . . . . . . . . . . . . . . . 730Adjusting Output on Two-Channel Audio Systems . . . . . . 730Adjusting Output on Eight-Channel Audio Systems . . . . . 732

Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735Frame-Accurate Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 735Manual Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . 737Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738

Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . 740Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741Creating a Custom Countdown Display. . . . . . . . . . . . . . . . . . . . 742Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . 744Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . 747

Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750Using PowerPack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750

How Matchback Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753Setting Up a Matchback Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 753Choosing Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754

VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755Enabling VTR Emulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755Using VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757Using Direct Record Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . 758

Chapter 19 Exporting and Exchanging MaterialReasons to Export Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762Preparing to Export a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763Using cleaner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764Exporting as an MPEG-1 or an MPEG-2 File . . . . . . . . . . . . . . . . . . . . 765

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QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768Exporting as a QuickTime Reference Movie . . . . . . . . . . . . . . . . 769QuickTime Reference Export Options . . . . . . . . . . . . . . . . . . . . . 770

Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780

Creating Files for a DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . 790Sending Material Out for Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 792

Reviewing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 792Opening R&A Files in the Locators Window . . . . . . . . . . . . . . . 793Using Locator Colors with R&A Files . . . . . . . . . . . . . . . . . . . . . 794

Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 796

Using the Drag-and-Drop Method for Export. . . . . . . . . . . . . . . 800Using AvidLinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801Customizing Export Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804

Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 804Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806

Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . 806Exporting Through AAF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807Choosing an OMFI or an AAF Transfer Method . . . . . . . . . . . . 807Exporting OMFI or AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808

Exporting as an AVI File (Windows Only) . . . . . . . . . . . . . . . . . . . . . 814AVI Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815AVI Video Compression Dialog Box

Options (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818Using Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820

Using the Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . 820Exporting with an Avid Meridien Codec . . . . . . . . . . . . . . . 820Exporting with the Avid Codec for QuickTime. . . . . . . . . . 824

Using the Avid Codec for AVI (Windows Only) . . . . . . . . . . . . 826Installing an Avid Codec on Other Systems . . . . . . . . . . . . . . . . 828

Copying an Avid Codec for QuickTime to Another

31

Windows 2000 System (Windows Only) . . . . . . . . . . . . . . 828Copying an Avid Codec for AVI (Windows Only) . . . . . . . 829Copying a Codec to a Macintosh System

(Macintosh Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830Downloading Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . 831Exporting from a Third-Party Application. . . . . . . . . . . . . . . . . . 831

Exporting Tracks as Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832Exporting as a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834Exchanging Files with QuickTime Macintosh Applications . . . . . . . 841Transferring a Project Between Avid Systems . . . . . . . . . . . . . . . . . . 841

Methods for Transferring Files Between Avid Systems . . . . . . . 842Compatibility Requirements for Transfer. . . . . . . . . . . . . . . . . . . 843Transferring a Project and Associated Media Files . . . . . . . . . . . 844Transferring Projects, User Profiles, and Site Settings . . . . . . . . 845

Transferring Media to and from a Video Server . . . . . . . . . . . . . . . . . 847Setting Up a Video Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847

Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . . 847Configuring the Video Server as a Deck . . . . . . . . . . . . . . . . 848

Transferring from the Avid System to the Video Server . . . . . . 849Transferring from the Video Server to the Avid System . . . . . . 851

Index

32

TablesTable 3-1 Bin Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

Table 3-2 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Table 3-3 Bin Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Table 3-4 General Settings Options . . . . . . . . . . . . . . . . . . . . . . . . .98

Table 3-5 Interface Settings Options (General Tab) . . . . . . . . . . .101

Table 3-6 Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . .102

Table 3-7 Interface Settings Options(Appearance Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Table 3-8 Customizable Interface Components . . . . . . . . . . . . . .117

Table 4-1 Navigation Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Table 5-1 Options for Modifying Bin Information. . . . . . . . . . . .197

Table 6-1 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . .216

Table 6-2 Deck Preferences Options. . . . . . . . . . . . . . . . . . . . . . . .217

Table 6-3 Digitize Settings Options (General Tab). . . . . . . . . . . .233

Table 6-4 Digitize Settings Options (Batch Tab). . . . . . . . . . . . . .235

Table 6-5 Digitize Settings Options (Edit Tab) . . . . . . . . . . . . . . .236

Table 6-6 Digitize Settings (Media Files Tab) . . . . . . . . . . . . . . . .238

Table 6-7 Informational Audio Project Settings . . . . . . . . . . . . . .241

Table 6-8 Adjustable Audio Project Settings. . . . . . . . . . . . . . . . .242

Table 6-9 Luminance Settings for Video Input. . . . . . . . . . . . . . .259

Table 6-10 Compression Resolution Specifications . . . . . . . . . . . .268

Table 6-11 Estimated Storage Requirements . . . . . . . . . . . . . . . . .275

Table 8-1 Graphic Import Frame Sizes: Interlaced. . . . . . . . . . . .308

Table 8-2 Import Settings Options (Image Tab) . . . . . . . . . . . . . .313

Table 8-3 Import Setting Options (OMFI Tab) . . . . . . . . . . . . . . .317

33

Table 8-4 Import Setting Options (Shot Log Tab) . . . . . . . . . . . . 318

Table 8-5 Support for Photoshop Layer Options . . . . . . . . . . . . 328

Table 8-6 Support for Photoshop Special Layer Types . . . . . . . 329

Table 9-1 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . 341

Table 9-2 Shortcuts for Moving in Text View . . . . . . . . . . . . . . . 368

Table 9-3 Direct Modification Headings . . . . . . . . . . . . . . . . . . . 369

Table 9-4 Modify Command Options. . . . . . . . . . . . . . . . . . . . . . 371

Table 10-1 Consolidate Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Table 10-2 Archive to Videotape Options . . . . . . . . . . . . . . . . . . . 414

Table 11-1 Script Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . 426

Table 12-1 Tracking Format and Timecode Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Table 14-1 Timeline Settings Options (Display Tab) . . . . . . . . . . 536

Table 14-2 Timeline Settings Options (Edit Tab) . . . . . . . . . . . . . 537

Table 14-3 Timeline Fast Menu Options. . . . . . . . . . . . . . . . . . . . . 539

Table 16-1 Number of Tracks and Scrub Speeds. . . . . . . . . . . . . . 604

Table 16-2 Audio Mix Fast Menu Commands. . . . . . . . . . . . . . . . 619

Table 16-3 GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Table 16-4 GPI Node Settings Options . . . . . . . . . . . . . . . . . . . . . . 695

Table 16-5 Change Sample Rate Options . . . . . . . . . . . . . . . . . . . . 704

Table 16-6 Tape and Clip Name Information . . . . . . . . . . . . . . . . 705

Table 18-1 Video Format Output Parameters . . . . . . . . . . . . . . . . 722

Table 18-2 Luminance Settings for Video Output . . . . . . . . . . . . 724

Table 18-3 Film Setting Dialog Box Options . . . . . . . . . . . . . . . . . 754

Table 18-4 VTR Emulation Settings Options . . . . . . . . . . . . . . . . . 756

Table 19-1 Export Settings Dialog Box (QuickTime Reference Options) . . . . . . . . . . . . . . . . 771

34

Table 19-2 QuickTime Movie Export Options . . . . . . . . . . . . . . . .775

Table 19-3 QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . .778

Table 19-4 QuickTime Compression Settings. . . . . . . . . . . . . . . . .783

Table 19-5 Export Settings Dialog Box (DV Stream Options) . . . . . . . . . . . . . . . . . . . . . . . . . .791

Table 19-6 Applications for AvidLinks Export. . . . . . . . . . . . . . . .802

Table 19-7 Export Settings Dialog Box Options . . . . . . . . . . . . . . .805

Table 19-8 Export Settings Dialog Box (OMFI and AAF Settings Options) . . . . . . . . . . . . . .811

Table 19-9 Export Settings Dialog Box (AVI Settings Options) (Windows Only) . . . . . . . . .815

Table 19-10 AVI Video Compression Dialog BoxOptions (Windows Only) . . . . . . . . . . . . . . . . . . . . . .818

Table 19-11 Export Settings Dialog Box (Audio Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .833

Table 19-12 Export Settings Dialog Box (Graphic Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . .835

Table 19-13 Graphic Format Options Settings . . . . . . . . . . . . . . . . .836

Table 19-14 Devices for Transferring Files . . . . . . . . . . . . . . . . . . . .843

Using This Guide

Congratulations on your purchase of an Avid Xpress® system. You can use your system to create broadcast-quality output incorporating every possible production element from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling.

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 GuideThis guide is intended for all Avid Xpress users, from beginning to advanced. You should be familiar with the Macintosh® or the Windows® 2000 operating system.

About This GuideThis guide is designed to consolidate all the information you will need to take advantage of the many options that Avid Xpress offers. This

36

Using This Guide

guide will lead you through even the most complex procedures with task-oriented instructions.

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

• Chapter 1, “Desktop Basics,” describes the basic structure of files and folders used by the Avid Xpress system.

• Chapter 2 through Chapter 19 follow the natural flow of your work, with clear and comprehensive step-by-step procedures.

• Finally, a detailed Index helps you quickly locate specific topics.

• You can find the following supplemental information in the Help or on the Avid Xpress Online Publications CD-ROM:

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

- “File Format Specifications,” which describes the file format specifications.

- “Avid Log Specifications,” which describes the Avid log specifications.

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

- “Using the JL Cooper Media Control Station3,” which describes how to set up and use the JL Cooper controller.

- A comprehensive Glossary, providing cross-industry terms and definitions. The Glossary is also included in the Avid Xpress Getting Started Guide and on the Avid Xpress Online Publications CD-ROM.

37

Symbols and Conventions

Symbols and ConventionsUnless 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.

The Avid Xpress documentation uses the following special symbols and conventions:

1. Numbered lists, when the order of the items is important.

a. Alphabetical lists, when the order of secondary items is important.

• Bulleted lists, when the order of the items is unimportant.

- Indented dashed lists, when the order of secondary items is unimportant.

t 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 a keyboard shortcut.

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.

38

Using This Guide

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.

If You Need HelpIf you are having trouble using Avid Xpress, 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).

39

Related Information

Related InformationThe following documents provide more information about the Avid Xpress product:

• Avid Xpress Release Notes for the Windows 2000 Operating System

• Avid Xpress 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

• Avid Composer Products Setup Guide for the Macintosh Operating System

• Avid Xpress Getting Started Guide

• Avid Xpress Quick Reference for the Windows 2000 Operating System

• Avid Xpress Quick Reference for the Macintosh Operating System

• Avid Xpress 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.

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Using This Guide

• Avid Xpress 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 Xpress Help

The Help system provides all the information included in the Avid Xpress User’s Guide and the Avid Xpress Effects Guide supplied with your system. It also includes supplemental information not in the manuals. The Help operates in a Web browser. To open the Help, choose Avid Xpress Help from the Help menu in the Avid Xpress application. For information on using Help, click the Using Help button in the Help system.

If You Have Documentation CommentsAvid 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.

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 DocumentationTo 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.

CHAPTER 1Desktop Basics

Although most of your work is performed within the Avid Xpress application, you need to use a few basic desktop procedures.

The following sections describe basic procedures involving the Windows 2000 or the Macintosh operating system and the Avid folders:

• Working with the Desktop

• Using the Avid Xpress Folder

• Managing the Avid Projects and Avid Users Folders

• Starting the Avid Xpress Application (Windows)

• Starting the Avid Xpress Application (Macintosh)

n (Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you choose a different directory path during the installation, you must substitute that path when using this chapter.

42

Desktop Basics

Working with the DesktopFor information on the Windows 2000 operating system, such as the desktop and icons, see the Microsoft® Windows 2000 Help. For information on the System Folder and other Macintosh features, such as the desktop and icons, see the Macintosh documentation.

This section describes the following desktop features that you use when working with the Avid Xpress application.

• Creating an Emergency Repair Disk (Windows Only)

• Using Shortcut Menus (Windows)

• Using Shortcut Menus (Macintosh)

• Using the Windows Taskbar (Windows Only)

• Dragging Windows (Windows Only)

• Setting the Avid Color Scheme (Windows Only)

• Setting Your Screen Resolution (Windows Only)

• Understanding Your Screen Resolution (Macintosh Only)

Creating an Emergency Repair Disk (Windows Only)

You or your system administrator needs to create a Microsoft Windows emergency repair disk (ERD) to rebuild your system configuration if it becomes damaged. You need to update the ERD any time you make a system change, like installing new software.

To create an emergency repair disk:

1. Click the Start button and click Run.

2. In the text box, type:

rdisk /s

3. Click OK.

4. Follow the instructions to create the disk.

5. Store the disk in a safe, dry, static-free location.

If you have a problem, search for Emergency Repair Disk in the Windows 2000 Help.

43

Working with the Desktop

Using Shortcut Menus (Windows)

Instead of using the standard menus to find the command you need in a window, try using the shortcut menus.

To use a shortcut menu, do one of the following:

t Right-click on a window to access a shortcut menu that shows the most frequently used commands for that window. For a list of the available shortcuts, see the Avid Xpress Quick Reference for the Windows 2000 Operating System.

t Right-click a screen object to access What’s This Help for the object.

Using Shortcut Menus (Macintosh)

To use a shortcut menu, do one of the following:

t Ctrl+Shift+click in a window to access a shortcut menu that shows the most frequently used commands for that window. For a list of the available shortcuts, see the Avid Xpress Quick Reference for the Macintosh Operating Sytem.

t Ctrl+Shift+click a screen object to access What’s This? Help for the object.

Using the Windows Taskbar (Windows Only)

By default, the Microsoft Windows taskbar always appears on the bottom of your screen, on top of your application. You have two other choices:

• Keeping the taskbar hidden behind the application

• Setting the taskbar to appear only when you drag the mouse pointer to it

44

Desktop Basics

n If you keep the taskbar hidden while running Avid Xpress and you minimize an application such as Help, you do not see the minimized icon. To see the taskbar and minimized icons, minimize Avid Xpress.

To change the taskbar settings:

1. Right-click an unused part of the taskbar.

2. Choose Properties from the shortcut menu.

The Taskbar and Start Menu Properties dialog box appears.

3. Click the General tab.

4. Select the options you want:

t To keep the taskbar hidden, deselect Always on top and Auto hide.

t To set the taskbar to appear when you want, select Always on top and Auto hide.

5. Click OK.

n The taskbar can to be dragged to the top, bottom, or either side of the monitor.

For more information, see the Windows 2000 Help.

Dragging Windows (Windows Only)

By default, Windows 2000 systems show the contents of windows when you drag them. Deselect this option to improve screen display and to avoid problems repainting the screen.

To deselect the option “Show window contents while dragging”:

1. Right-click on an empty part of the desktop, and choose Properties from the shortcut menu.

The Display Properties dialog box appears.

2. Click the Effects tab.

45

Working with the Desktop

3. Deselect “Show window contents while dragging.”

4. Click OK.

Setting the Avid Color Scheme (Windows Only)

By default, Avid Xpress is set to the gray and purple Avid color scheme.

To change the color scheme:

1. Right-click on an empty part of the desktop, and choose Properties from the shortcut menu.

The Display Properties dialog box appears.

2. Click the Appearance tab.

3. Choose a different color scheme from the Scheme pop-up menu.

4. Click OK.

n For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and choose Properties from the pop-up menu.

Setting Your Screen Resolution (Windows Only)

Avid Xpress works best with the following screen resolutions:

One Monitor Two Monitors

1024 x 768 pixels 2048 x 768 pixels

1152 x 864 pixels 2304 x 864 pixels

1280 x 1024 pixels 2560 x 1024 pixels

46

Desktop Basics

A larger resolution displays more pixels and lets you view more objects in the monitors. The objects appear smaller.

To view or change the screen resolution:

1. Right-click on an empty part of the desktop, and choose Properties from the shortcut menu.

The Display Properties dialog box appears.

2. Click the Settings tab.

3. Under Screen Area, drag the slider to the resolution you want.

4. Click OK.

Also in the Settings tab, make sure you choose True Color (32 bit) from the Colors pop-up menu.

Understanding Your Screen Resolution (Macintosh Only)

The screen resolution for the Avid Xpress application is different for NTSC and for PAL:

• NTSC resolution is 720 x 486 non-square pixels covering all the active video. This also includes 10 lines of blanking or vertical internal timecode (VITC) per frame (5 lines per field).

• PAL resolution is 720 x 576 non-square pixels covering all the active video. This also includes 16 lines of blanking or VITC per frame (8 lines per field).

47

Using the Avid Xpress Folder

Using the Avid Xpress FolderThe Avid Xpress folder contains essential operational files and supporting files. You can find the Avid Xpress folder in the following location:

• (Windows) drive:\Program Files\Avid\

• (Macintosh) Avid drive:

You should not touch any of these files, except where noted in the following descriptions:

• Help folder: This folder contains the Help files. You can find information about Help by clicking the Using Help button in the Help browser. See the Avid Xpress Getting Started Guide.

• Avid Xpress application: The application icon resides here. You can start the application by following the procedures described in “Starting the Avid Xpress Application (Windows)” on page 50 or “Starting the Avid Xpress Application (Macintosh)” on page 51.

• Settings folder: In addition to Project and User settings, the system maintains settings files in this folder that apply to all users and all projects on the system. You can copy or move the Site Settings file to other systems on the desktop, using the same procedure described in “Moving Settings Between Systems” on page 110.

• SupportingFiles folder: This folder contains a series of files that add functionality to the application. The system accesses most of these files from within the application. You can add third-party effects to the 3rd Party Plug-Ins folder and AVX_Plug-Ins folder from programs such as Avid Visual Extensions (AVX™) for use in effects editing, as described in the Avid Xpress Effects Guide or the Help.

48

Desktop Basics

Managing the Avid Projects and Avid Users FoldersManaging projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems. For information about moving a project from one system to another, see the Avid Products Collaboration Guide.

Using the Avid Projects and Avid Users Folders

When you create a new project or user profile, the system creates the following files and folders:

• When you create a new user, the system creates three items: a user profile file, a User Settings file, and a user folder containing both. Each item is given the user name you provide. The new folder is stored in the Avid Users folder on the internal hard drive (Windows) or on the Avid drive (Macintosh).

• When you create a new project, the system creates three items: a project file, a Project Settings file, and a project folder containing both. Each item is given the project name you provide. This new folder is stored in the Avid Projects folder on the internal hard drive (Windows) or on the Avid drive (Macintosh).

Avid Projects and Avid Users folders allow you to move entire projects or selected Project and User settings between systems by copying and moving files on your desktop.

Changing Project and User Names

You cannot change project or user names from within the Avid Xpress application. You must change the name from your desktop before starting the application.

49

Managing the Avid Projects and Avid Users Folders

To change a project or user name:

1. Double-click the internal hard drive (Windows) or the Avid drive (Macintosh) to open it.

2. Double-click the Avid Users or the Avid Projects folder to open it.

3. Click the name of the folder you want to change.

The name is highlighted for text entry, and the arrow changes to an I-beam.

4. Type the new name of the folder.

n When you change a user name or project name, make sure you change the name of the folder and all the files in the folder that have the old name. The system does not automatically change the names of corresponding files in the folder.

5. Close the windows and restart the Avid Xpress application.

Deleting Projects and User Profiles

You cannot delete projects and user profiles from within the Avid Xpress application. You must make the change from your desktop before starting the application. The Avid Users and Avid Projects folders are located in:

• (Windows) drive:\Program Files\Avid\Avid Xpress

• (Macintosh) Avid drive:

c Deleting a project also deletes any bins that are in that project.

To delete a project or user profile:

1. Double-click the internal hard drive (Windows) or the Avid drive (Macintosh) to open it.

2. Navigate to the Avid Users or Avid Projects folder, and then double-click the folder to open it.

50

Desktop Basics

3. Drag the project or user folder you want to delete to the Recycle Bin (Windows) or the Trash (Macintosh).

4. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system.

5. Close the windows and restart the Avid Xpress application.

n Digitized media related to a deleted project is not eliminated with the project folder. For more information on deleting media files, see “Deleting Clips, Sequences, or Media” on page 352 and “Deleting Media Files with the Media Tool” on page 393.

Starting the Avid Xpress Application (Windows)The Avid Xpress application is in the following location:

drive:\Program Files\Avid\Avid Xpress

For most users, the desktop is a more convenient location for starting the application. For information on creating a shortcut on the desktop, see the Microsoft Windows 2000 documentation.

To start Avid Xpress:

1. Click the Start button.

2. Point to Programs.

3. Point to the Avid folder.

4. Select Avid Xpress.

After a few moments, the Select User and Project dialog box appears.

n You might see a License Agreement. For more information, see the Avid Xpress Getting Started Guide.

51

Starting the Avid Xpress Application (Macintosh)

Starting the Avid Xpress Application (Macintosh)The Avid Xpress application is located in the Avid Xpress folder on the Avid drive. For most users, the P, Apple menu, is a more convenient location for starting the application.

The application does not start properly if the icon is moved out of the Avid Xpress folder.

To start the application from a convenient location:

t Create an alias and place it in a convenient location.

n For information on creating an alias, see the Macintosh documentation.

To start Avid Xpress, do one of the following:

t Double-click the application icon or alias.

t Choose the application from the Apple menu.

After a few moments, the Select User and Project dialog box appears.

n You might see a License Agreement. For more information, see the Avid Xpress Getting Started Guide.

n When you start the application, you might see a message box indicating there is no input or output signal. Check to ensure the Meridien™ I/O box is connected to the system with cables secured, and that it is turned on.

52

Desktop Basics

CHAPTER 2Starting a Project

Your work in Avid Xpress begins when you turn on the system, start the application, and open an existing project or create a new project. This chapter describes these and other procedures for starting a project. You can use several techniques to safeguard and restore your work if necessary. These topics are covered in the following sections:

• Opening and Closing a Project

• Backing Up Your Project Information

• Ending an Edit Session

• Mounting and Ejecting Drives

For information on the Microsoft Windows 2000 operating system and terminology, see the Microsoft Windows 2000 Help. For information on the Macintosh operating system, see your Macintosh documentation. For information on turning on your system, see the Avid Xpress Getting Started Guide.

n (Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter.

54

Starting a Project

Opening and Closing a ProjectEach time you start the Avid Xpress application, the Select User and Project dialog box appears.

To establish your identity as a user with the system, to select or create a project to open, and to close a project, use the procedures in the following sections:

• Identifying a User

• Selecting a Project

• Opening a Project

• Closing a Project

You can also create additional folders within which to store projects, or you can quit the application from the Select User and Project dialog box.

Users scroll list Projects scroll list

55

Opening and Closing a Project

Identifying a User

To identify a user for the project, do one of the following:

t Create and identify a new user.

t Select a user from a list of existing users.

This user name represents the user profile, which includes the settings associated with the user.

Creating a New User

To create a new user:

1. Click New User in the Select User and Project dialog box.

2. Type the name of the new user, and press Enter (Windows) or Return (Macintosh).

n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > |when naming projects, bins, and users.

3. Click OK.

The Select User and Project dialog box reappears with your user name highlighted in the list of users.

You are ready to select a project. See “Selecting a Project” on page 56.

Selecting an Existing User

To select from the list of existing users:

t Click the user name to highlight it in the Users scroll list on the left side of the Select User and Project dialog box.

Folders containing collections of users appear in the list with asterisks preceding them (Windows) or dots preceding them (Macintosh).

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Starting a Project

To select a user in a folder:

1. Double-click the folder to open it and display the user names.

2. Click a user name to select it.

Selecting a Project

To select a project, do one of the following:

t Open an existing project.

t Create and open a new project.

You can also place projects in folders and nest the folders within other folders.

Selecting an Existing Project

Existing projects appear in the Projects scroll list in the Select User and Project dialog box.

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Opening and Closing a Project

To select an existing project, do one of the following in the Select User and Project dialog box:

t Click an existing project name to highlight it.

t Press the first letter of the project name on the keyboard to highlight it.

To open a project nested in a folder:

1. Double-click the folder name to open it and display the contents in the Projects scroll list.

2. Click the project name to highlight it.

To locate a project in another folder:

1. Click the Projects pop-up menu, and choose a drive from the Volumes submenu (Windows) or a drive submenu (Macintosh).

2. Double-click a folder name to open it. Continue opening folders until the Projects scroll list displays the project folder you want.

Projects scroll list

Projects pop-up menu

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Starting a Project

3. Click the project name to highlight it.

Creating a New Project

To create a new project:

1. Click New Project in the Select User and Project dialog box.

The New Project dialog box appears.

n If you have PowerPack, which includes the Matchback option, your New Project dialog box has additional options. For more information, see “Setting Up a Matchback Project” on page 753 and “Choosing Film Settings” on page 754.

2. Type the name of your new project in the highlighted text box.

3. Choose either NTSC or PAL from the Format pop-up menu.

4. Click OK.

The system creates the new project files and folder, and returns you to the Select User and Project dialog box. The project name is highlighted in the Projects scroll list.

Nesting Projects in Folders

You can create folders in the Select User and Project dialog box for storing related products. Before you can nest a folder, you must first create a folder.

To create a folder:

1. Click New Folder in the Select User and Project dialog box.

The New Folder dialog box appears.

2. Type a name for the folder, and press Enter (Windows) or Return (Macintosh) or click OK.

The folder name appears in the Projects scroll list with an asterisk (Windows) or a dot (Macintosh) preceding it.

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Opening and Closing a Project

3. Double-click the folder name to open the folder.

Any new projects you create now are displayed and stored in this folder. Any existing projects you move into this folder from your desktop are displayed in this folder.

Opening a Project

To open a project, do one of the following:

t Click OK in the the Select User and Project dialog box.

t Double-click the highlighted project name in the Projects scroll list.

t Double-click the highlighted user name in the Users scroll list.

The Composer monitor and the bin open with the selected User settings loaded.

The title bar of the Project window contains the project name and user name you selected in the Select User and Project dialog box.

Close button

Project name User name

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Starting a Project

Closing a Project

When you close the current project, you return to the Select User and Project dialog box.

To close the current project, do one of the following:

t With the Project window active, choose Close from the File menu.

t Click the Close button (Windows) or the close box (Macintosh) in the Project window.

Backing Up Your Project InformationFor information on using the Auto-save feature, see “Saving Bins Automatically” on page 83.

Although Avid Xpress automatically saves your bins, projects, and settings, you should back up these items frequently to avoid losing any of your work in case your hard drive fails. Because the storage requirements are minimal, you can back up these files easily to a variety of storage devices, including:

• Floppy disk

• Network storage device (such as a file server)

• Mass-storage device

Saving Your Project Information on a Drive or Floppy Disk

To save your work on a drive or floppy disk:

1. Mount the drive or insert a floppy disk as appropriate.

2. (Windows only) From the Windows 2000 desktop, double-click My Computer.

3. Double-click the icon for the targeted storage drive or floppy disk to open it. Double-click any additional folders to target the appropriate storage location.

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Ending an Edit Session

4. Double-click the internal hard drive (Windows) or the Avid drive (Macintosh) to open it.

5. Drag a project folder, user folder, or settings file to the targeted storage location.

6. When the system finishes copying the files, unmount the drive or eject the floppy disk and store it where appropriate.

Restoring from a Backup

To restore a project, user profile, or settings from a backup storage device:

1. Mount the drive or insert a floppy disk as appropriate.

2. From the desktop, double-click the drive or floppy disk and the internal hard drive (Windows) or the Avid drive (Macintosh).

3. Drag the copies from the storage device to the appropriate folder on the internal hard drive (Windows) or the Avid drive (Macintosh):

- Avid Projects: Project folders and settings files

- Avid Users: User folders and settings files

- Avid Xpress: Site settings files

4. Start the Avid Xpress application. See “Starting the Avid Xpress Application (Windows)” on page 50 or “Starting the Avid Xpress Application (Macintosh)” on page 51.

Ending an Edit SessionTo end an edit session:

1. Quit the application.

2. Turn off your equipment in the order described in this section.

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Starting a Project

Quitting the Avid Xpress Application

There are three ways to quit Avid Xpress.

To quit the Avid Xpress application and leave the application immediately:

t Choose Exit (Windows) or Quit (Macintosh) from the File menu.

The project closes, and Avid Xpress returns to the desktop.

To quit the Avid Xpress application if you are between projects:

1. Click the Quit button in the Select User and Project dialog box.

A message box appears.

2. Do one of the following:

t Click Leave to quit the Avid Xpress application.

t Click Cancel to return to the Select User and Project dialog box and select another project.

Quit button

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Ending an Edit Session

n If you want to turn off your system, see “Turning Off Your Equipment” on page 63.

To quit the Avid Xpress application from an open project:

1. Click the Close button at the far right of the Project Window title bar (Windows) or the close box (Macintosh) at the far left of the Project Window title bar.

The Select User and Project dialog box appears.

2. Click the Quit button.

3. Click the Leave button.

Turning Off Your Equipment

To turn off your equipment without damaging your computer or media storage drives:

c Quit Avid Xpress before turning off your equipment. See “Quitting the Avid Xpress Application” on page 62.

1. Turn off the system:

t (Windows) Click the Start button and choose Shut Down.

t (Macintosh) Choose Shut Down from the Special menu.

2. Turn off the Meridien I/O box.

3. Turn off your speakers and monitors.

c Never remove drives from your Avid Xpress system when it is turned on.

4. Turn off each drive.

Move your drives only when the system is completely off.

5. Turn off all other hardware.

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Mounting and Ejecting DrivesThe Eject command makes selected media drives inaccessible to Avid Xpress. If the drive you eject supports the auto-eject feature (for example, Jaz® drives), the command ejects the disk from the drive.

By default, all media drives that are connected to your system are listed and can be seen by Avid Xpress. You can remove one or more drives from the list at any time by choosing Eject from the File menu. For example, if you want to use only some of your drives for a particular project, choose Eject to prevent other drives from appearing in Avid Xpress. The Eject command does not remove drives from the Windows 2000 system.

You can eject one or several drive volumes mounted on the desktop at any time from within the Avid Xpress application. You can also remount all the drives and return them to the desktop.

This is useful in several circumstances:

• If you work with optical drives for backup and retrieval of low-resolution material, you can eject drives and mount them as needed to avoid cluttering the desktop during normal use.

• If you work with an extensive array of fixed-storage drives, which might involve many partitions divided among several projects, you can selectively mount and eject drives according to use.

c Shut down the Windows 2000 system completely before you physically remove or add drives. For information on removing and adding drives, see the Avid MediaDrive Utilities User's Guide.

n On systems with multiple media drives, ejecting unused drives can improve the performance of the Media tool. You need to eject the drives before you can open the Media tool. See “Using the Media Tool” on page 390.

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Mounting and Ejecting Drives

Ejecting Drives (Windows)

To eject a disk or make a drive unavailable to Avid Xpress:

1. With the Avid Xpress application active, choose Eject from the File menu.

The Select a Drive dialog box appears. The scroll list displays all drives currently available.

2. Select a drive to eject. Ctrl+click to select additional drives.

3. Click the Eject button.

The drives are no longer available to Avid Xpress.

Ejecting Drives (Macintosh)

To eject one or several drive icons from the desktop:

1. With the Avid Xpress application active, choose Eject from the File menu.

2. Select a drive to eject. Shift+click additional drives.

3. Click Eject.

Mounting All Drives

Because the system cannot interface with ejected drives individually, you cannot mount selected drives. However, you can mount all drives connected to the system, including those previously ejected.

To mount all drives:

t Choose Mount All from the File menu.

All drives turned on and connected to the system become available to Avid Xpress.

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CHAPTER 3Working with the Project Window

The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.

These topics are described in the following sections:

• Opening and Closing the Project Window

• Using the Bins Display

• Using the Settings Scroll List

• Using the Info Display

• Customizing the Appearance of the Avid User Interface

• Customizing Your Workspace

• Using Toolsets

• Sharing Bins and Projects on Avid Unity MediaNet

• Support for Avid Unity LANshare

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Working with the Project Window

n (Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter.

Opening and Closing the Project WindowThe Project window provides four different displays (Bins, Settings, Effects, and Info) for structuring and viewing information about your current project.

Use the Project window to:

• Create and open bins.

• View and modify settings.

• Access effects.

• View information about the format of the project and the use of system memory and hardware.

You can also add folders to your projects that allow you to organize the projects.

Bins from other projects appear in the Project window in italics.

Bins tab Settings tab Info tabEffects tab

Fast Menu button

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Using the Bins Display

You can see bins and folders in a flat view, which lists only the folder contents and not the folder. Flat view is an option in the Project window’s Fast menu. You can also drag bins into folders or folders into folders.

The Project window opens automatically when you select a project in the Select User and Project dialog box.

To close the Project window, do one of the following:

t With the Project window active, choose Close from the File menu.

t Click the Close button (Windows) or the close box (Macintosh) in the Project window.

The Select User and Project dialog box appears.

The Project window remains open the entire time you are working in a project; however, it might be hidden from view by several open bins or tools.

To locate and redisplay the Project window, do one of the following:

t Choose Project from the Tools menu.

t Click in an unobstructed area of the Project window to bring it forward.

Using the Bins DisplayBins contain the master clips that are created when you digitize source material. (The master clips are linked to the media files.) Bins also contain the sequences, subclips, group clips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins created for another project.

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Viewing a List of Bins

To view a list of bins associated with the project:

t Click the Bins tab in the Project window.

The views for working with clips in a bin are Brief view, Text view, Frame view, and Script view.

Bins tab

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Using the Bins Display

• In Brief view, five standard columns of information about the clips and sequences in your bin are displayed.

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Working with the Project Window

• In Text view, clips are displayed in a database text format using columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views.

Text tab

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Using the Bins Display

• In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame and change the size of frames. You can also rearrange the frames in any order within the bin.

Frame tab

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Working with the Project Window

• In Script view, the features of Text view are combined with those of Frame view, with an added script box next to each frame. The frames are displayed vertically on the left side of your screen with the script box next to each. Use the script boxes for notes or a script. Clip data matching the column headings in Text view appears above each script box.

Displaying Bins

By default, your bins display all existing media objects except source clips and rendered effects. You can display only those media objects that you need to organize your project.

Script tab

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Using the Bins Display

To set the bin display:

1. Click in a bin, and then choose Set Bin Display from the Bin menu.

The Set Bin Display dialog box appears.

2. Select the object types that you want to see: master clips, subclips, sequences, sources, effects, motion effects, or rendered effects.

3. The option “Show clips created by user” is selected by default. Deselect this option only if you want to hide all objects except those created by the system.

4. Select the option “Show reference clips” to automatically display those objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not.

5. Click OK.

The bin displays objects according to your specifications.

Changing Bin Display View Size

To change the bin display view size:

t Click the lower right corner of a bin display view, and then drag the bin display view to resize.

The bin display view size is retained as a user setting for that bin. The bin display view retains its set size every time you open that view of that bin, even in separate editing sessions. Each bin display view can have a different size.

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Creating a Folder in a Project

To create a folder in a project:

1. Click the Bins tab in the Project window.

2. Click the Fast Menu button.

3. Choose New Folder from the Bin Fast menu.

A new, untitled folder appears.

4. Click the untitled folder and rename it.

Creating a New Bin

To create a new bin from the Project window:

1. Do one of the following:

t Choose New Bin from the File menu.

Fast Menu button

Bins tab

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Using the Bins Display

t Click the New Bin button in the Project window.

Either one of these procedures opens a new (empty) bin that is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list of the Project window. A corresponding file is placed in the project folder, and a backup copy is placed in the Attic folder. For more information about the Attic folder, see “Saving Bins Automatically” on page 83.

The new bin appears in the Project window with a default name highlighted.

2. Type the name of the new bin, and press Enter (Windows) or Return (Macintosh).

To place a bin in a folder:

t Drag the bin to the folder icon.

Renaming a Bin

Each new bin that you create takes the name of the project that appears in the Project window, numbered incrementally.

To change the name of a bin:

t Click the bin name in the Project window, and type a new name.

Opening and Closing a Bin

To open a bin directly:

1. Click the Bins tab in the Project window.

2. Double-click the icon next to the bin name.

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To open a bin from the File menu:

1. Choose Open Bin from the File menu.

The Open dialog box (Windows) or the Open a Bin dialog box (Macintosh) appears.

2. Select a bin. Navigate to the correct folder, if necessary.

c Never open a bin that is stored on a floppy disk; otherwise, the system cannot save your work. Always copy the bin to a project folder on the internal hard drive (Windows) or the Avid drive (Macintosh) before you open it.

3. Click the Open button.

Up One Level pop-up menu

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Using the Bins Display

Opening Selected Bins

To open several bins at once from the Project window:

1. Click the name of one of the bins in the Bins list.

2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional bin you want to open.

3. Choose Open Selected Bins from the File menu.

Opening Bins from Other Projects

To open a bin from another project:

1. Choose Open Bin from the File menu.

The Open dialog box appears.

2. Find and select the bin you want.

(Windows only) Bins have the file name extension .avb.

c Never open a bin that is stored on a floppy disk or equivalent device; otherwise, the system cannot save your work. Always copy the bin to a project folder on the system drive before you open it. For more information, see “Transferring Projects, User Profiles, and Site Settings” on page 845.

3. Click Open.

The bin appears in the Bins list of the Project window in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is especially useful when you want to open a bin not currently displayed in the Project window.

n The Other Bins folder disappears from the Bins list when you delete all the bins in the Other Bins folder. Deleting bins from the Other Bins folder does not remove the bins from the drive; only the pointers to the bins are removed

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Working with the Project Window

Closing a Bin

To close a bin, do one of the following:

t Click the Close button (Windows) or the close box (Macintosh).

t Choose Close Bin from the File menu.

Deleting a Bin or Folder

You can delete bins and folders along with their contents from the Bins list in the Project window. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash. For more information, see “Viewing Contents in the Trash” on page 81.

c Clips, subclips, and effects that are in a bin appear in the Trash after you delete the bin. However, if you select a clip, subclip, or effect directly and press the Delete key, the item does not appear in the Trash.

To delete a bin or folder within a project:

1. Select the bin or the folder you want to delete in the Bins list.

2. Press the Delete key.

A Trash icon appears in the Bins list in the Project window. It contains the deleted item. The deleted item is stored in the Trash until you empty it.

n The Trash is not visible in the Project window until you select your first item to delete.

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Using the Bins Display

Viewing Contents in the Trash

If you need to view the contents in the Trash or decide you do not want to delete those items in the Trash, you must first move the bins and folders out of the Trash.

To view items in the Trash:

1. Double-click the Trash icon in the Bins list to open it.

2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window.

3. Double-click the bin or folder to view it.

Emptying the Trash

You can empty the contents of the Trash that is located in the Bins list.

c Emptying the trash permanently removes the bins or folders from the drive.

n If you change the name of the Trash icon, you cannot empty the Trash.

To empty the Trash:

1. Click the Fast Menu button.

2. Choose Empty Trash from the Fast menu.

Trash icon

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Working with the Project Window

A message box appears.

3. Click Empty Trash to delete the bins or folders from the Trash and from your internal hard drive.

Managing Folders and Bins

You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure should provide both simplicity and backup security. Although the specifics vary depending on your production needs and habits, the following are a few basic principles:

• Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene.

• Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as shown in Table 3-1.

Table 3-1 Bin Organization

Set of Bins Purpose Specific Bins

First Digitizing stage

Second Organizing your project

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Using the Bins Display

• (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each digitizing bin and show cut bin, or a folder containing all shot logs to be imported.

• Save these files as a template for future productions of a similar nature.

Saving Bins Automatically

Avid Xpress automatically saves changes to your work on a regular basis during each session. Two things happen when an auto-save occurs:

• Any open bins are updated with changes made since the last auto-save.

• Copies of these bins are placed in the following location as backup:

- (Windows) drive:\Program Files\Avid\Avid Xpress\Attic folder

Third Editing stage A current cut bin for storing each work in progress (sequence)

An archive bin for keeping the original version of each cut (sequence)

A selects or storyboard bin for screening selected clips or cuts gathered from the source bins

A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown

Table 3-1 Bin Organization (Continued)

Set of Bins Purpose Specific Bins

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Working with the Project Window

- (Macintosh) Avid drive:Avid:Avid Xpress:Attic folder

To adjust the frequency of automatic saves:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Bin.

The Bin Settings dialog box appears.

3. Type a number in the minutes text box for the Auto-Save Interval option.

4. Click OK.

Saving Bins Manually

For added security, you can save a bin manually. You might want to do this immediately after performing an important edit. There are three ways to save bins manually.

To save a specific bin:

1. Click the bin to activate it.

2. Choose Save Bin from the File menu.

n The Save Bin command appears dimmed if there have been no changes since the last time the active bin was saved.

To save selected bins:

1. Activate the Project window by choosing Project from the Tools menu or by clicking anywhere in the window.

2. Click a Bin icon to select it. Ctrl+click (Windows) or Shift+click (Macintosh) any additional bins.

3. Choose Save All from the File menu.

The system saves all the selected bins.

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Using the Bins Display

To save all the bins:

1. Click in the Project window to activate it but do not select any individual bins listed in the Bins list.

2. Choose Save All from the File menu.

The system saves all the bins for the project.

Retrieving Bin Files from the Attic Folder (Windows)

You retrieve files from the Attic folder in the following circumstances:

• When you want to replace current changes to a sequence or clip with a previous version

• When the current bin file becomes corrupted

The Attic folder contains a folder for each project. When a bin is saved, a copy of the bin file is stored in the project folder in the Attic folder. The system adds the file name extension .bak plus a version number to the bin name. The bin file with the highest version number represents the latest copy of the bin file.

When you view a project folder in Details view, you can also identify the most recent backup file based on the name and timestamp of creation displayed in the Date Modified column.

To retrieve a file from the Attic folder:

1. Minimize the Avid Xpress application. For information on minimizing, see the Windows 2000 documentation.

2. From the desktop, double-click the Attic folder in the following location:

drive:\Program Files\Avid\Avid Xpress\

The Attic folder opens and displays project folders that contain the backup files.

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Working with the Project Window

3. Double-click the project folder that contains the files you want to retrieve.

4. Choose Details from the View menu, if the project folder is not already in the Details view.

The project folder displays the file names and their creation dates.

5. Ctrl+click the files you want to retrieve.

6. Drag the selected backup bin files to the desktop.

This makes a copy of the files, leaving the original files in the Attic folder.

7. Double-click the Avid Xpress button in the taskbar to activate it.

n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 43.

8. Click the Project window to activate it, and click Bins to display the Bins list.

9. Choose Open Bin from the File menu. Select one of the backup bin files you copied to the desktop and click Open.

When you open the backup bin, a link to the backup bin on the desktop is created in the Other Bins folder.

n The Avid Xpress system does not allow a bin and a copy of a bin to be opened at the same time. You must keep all other bins closed and open the backup bins one at a time. You might also need to change the creation date to avoid conflicts. For more information, see “Modifying the Creation Date” on page 88.

10. Create a new bin if you do not plan to overwrite existing files.

11. Open the new bin, and open the backup bin in the Other Bins folder.

12. Select the material you want to keep from the backup bin, and drag the files to the new bin.

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Using the Bins Display

Repeat steps 9 through 12 for any other backup bins you copied to your desktop.

13. Select and delete the backup bins in the Other Bins folder.

14. Drag the backup bin files to the Recycle Bin on the desktop.

Once you have moved the objects, modify their creation dates so they are considered newest by the system. The creation date is modified whenever you make a change to an object and then save the bin.

Retrieving Bin Files from the Attic Folder (Macintosh)

You retrieve files from the Attic folder in the following circumstances:

• When you want to replace current changes to a sequence or clip with a previous version

• When the current bin file becomes corrupted

The Attic folder contains a folder for each project. When a bin is saved, a copy of the bin file is stored in the project folder in the Attic folder. The system adds the file name extension .bak plus a version number to the bin name. The bin file with the highest version number represents the latest copy of the bin file.

When you view a project folder in Details view, you can also identify the most recent backup file based on the name and timestamp of creation displayed in the Date Modified column.

To retrieve a file from the Attic folder:

1. Quit the Avid Xpress application. See “Quitting the Avid Xpress Application” on page 62.

2. On your desktop, double-click the Avid drive.

3. Double-click the Attic folder.

4. Choose “as List” from the View menu if the Attic folder is not already in List view.

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Working with the Project Window

5. In the Attic folder, open the project you want to retrieve, and then Shift+click the bin files you want.

6. Press and hold the Option key, and drag the backup files to the desktop. This makes a copy of the files, leaving the original files in the Attic folder.

7. Click the Avid Xpress application to activate it.

8. Click the Project window to reactivate it.

n The Avid Xpress system does not allow a bin and copy of a bin to be opened at the same time, so you must keep all other bins closed and open the backup bins one at a time.

9. Choose Open Bin from the File menu or press k+O; select one of the backup bins on the desktop and click Open.

When you open the backup bin, a link to that backup bin is created in the Other Bins folder.

10. Create a new bin from the Project window.

11. Select the material you want to keep from the backup bin, press and hold the Option key, and drag duplicates to the new bin.

Repeat steps 8 through 10 for any other backup bins you copied to your desktop.

12. Select and delete the backup bins in the Other Bins folder.

13. Click on the desktop, and drag the backup copies of the bins to the Trash.

Modifying the Creation Date

After you have moved backup bins from the Attic folder, you must modify the creation date for these backup items so they are considered the newest items by the system. This prevents them from being overwritten by a newer item.

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Using the Settings Scroll List

To modify the creation date:

1. Click the Frame tab in the Bin window to put the bin in Frame view.

2. Choose Select All from the Edit menu.

3. Click the Step Forward button or press the Step Forward key to advance the pictures displayed by one frame; click the Step Backward button or press the Step Backward key to move back again. This modifies the timestamp on these clips to the present time and date.

4. Close the backup copies of the bins.

5. Quit the Avid Xpress application.

6. Drag the backup copies of the bins to the Recycle Bin (Windows) or the Trash (Macintosh).

Using the Settings Scroll ListFrom the Settings scroll list of the Project window, you can view, select, open, and alter various User, Project, and Site settings, as described in this section.

To view the Settings scroll list:

t Click the Settings tab in the Project window.

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Understanding the Settings Scroll List

Table 3-2 briefly describes each item in the Settings scroll list. The table also lists where you can find additional information on a particular item and indicates whether the item has an associated dialog box (or window) that you can access from the Settings scroll list.

Settings tab

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Using the Settings Scroll List

Table 3-2 Settings Scroll List

Setting Name Description For More Information

Access to Dialog Box?

Audio Sets the default audio pan; containsaudio scrub options and audio setup parameters.

See “Adjusting Pan Defaults” on page 609 and “Adjusting Digital Scrub Parameters” on page 607.

Yes

Audio Project Sets parameters for audio project setup.

See “Adjusting Audio Project Settings” on page 240.

Yes

Bin Sets the Auto-save preferences for bins.

See “Bin Settings” on page 96.

Yes

Bin View Selects and formats the information displayed in bins.

See “Displaying Custom Bin Views” on page 342.

Yes

Controller Settings

Sets the controller type and port. See “Configuring a Controller” on page 165.

Yes

DMS Configures the editing client to work with the Avid ProEncode™ system. Select this item if your workgroup includes an Avid ProEncode system.

See the Avid ProEncode Setup and User’s Guide.

Yes

Deck Configuration

Configures channels and decks into the system.

See “Configuring Decks” on page 209.

Yes

Deck Preferences Sets preferences that affect all decks configured into the system.

See “Setting Deck Preferences” on page 217.

Yes

Digitize Defines how the Avid Xpress system digitizes and batch digitizes in specific situations.

See “Digitize Settings” on page 209.

Yes

Export Sets parameters for file export. See Table 19-7 on page 805. Yes

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Film Sets essential parameters for accurately capturing, tracking, and editing source material for matchback projects.

See “Choosing Film Settings” on page 754.

n Film settings are available only with PowerPack. See “Using PowerPack” on page 750.

Yes

General Defines default values such as the default starting timecode and the audio file format for your project.

See “General Settings” on page 98.

Yes

Import Sets parameters for file import. See Table 8-2 on page 313. Yes

Interface Defines the appearance and function of certain interface elements.

See “Interface Settings” on page 99.

Yes

Keyboard Displays the default keys on the keyboard palette.

See “Understanding the Keyboard” on page 484.

Yes

MM Host Lets you specify your MediaManager host location.

See “Working with Avid Unity MediaManager” on page 331.

Yes

MM User Lets you specify your MediaManager user settings.

See “Working with Avid Unity MediaManager” on page 331.

Yes

Media Creation Sets video resolution and selects drives for digitizing, creating titles, importing, and performing audio and video mixdown.

See “Setting Media Creation Resolutions and Selecting Drives” on page 270.

Yes

PortServer Sets up the LANshare client so its workspaces are recognized.

See “Setting Up the LANshare Client” on page 146.

Yes

Table 3-2 Settings Scroll List (Continued)

Setting Name Description For More Information

Access to Dialog Box?

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Render Sets the Render Completion sound, and controls how motion effects render.

See the Avid Xpress Effects Guide or the Help.

Yes

Script Sets the default display options for scripts imported using script integration.

See Chapter 11.

n Script integration is available only with PowerPack. See “Using PowerPack” on page 750.

Yes

Timeline Contains general Timeline preferences. See “Accessing the Timeline Settings” on page 536.

Yes

Timeline View Contains the Timeline display options (color, sizing, and other items in the Timeline fast menu).

See “Customizing Timeline Views” on page 535.

No; select saved settings files from within the Timeline.

Title Style If you save a title style while you are using the Title Tool, Title Style appears in the Settings scroll list.

See the Avid Xpress Effects Guide or the Help.

Yes

Transfer Settings Sets the preferences for using the Avid Unity™ TransferManager for sending files to another workgroup.

See the Avid Unity TransferManager Setup and User’s Guide.

Yes

Trim Customizes the Trim mode environment.

See “Customizing Trim Mode” on page 577.

Yes

VTR Emulation Sets parameters when you use the Avid system to emulate a VTR.

See “VTR Play Emulation” on page 755.

Yes

Table 3-2 Settings Scroll List (Continued)

Setting Name Description For More Information

Access to Dialog Box?

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Understanding Settings

Three types of settings appear in the Settings scroll list, as indicated in the third column of information: User, Project, and Site settings.

• User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in the Avid application. Individual User settings are stored in each user folder, which is stored in the following location:

- (Windows) drive:\Program Files\Avid\Avid Xpress\Avid Users

- (Macintosh) Avid drive:Avid Users:

Video Input The Video Input tool enables you to calibrate composite or component video when digitizing. Appears in the Settings scroll list to facilitate copying settings.

See “Calibrating for Video Input” on page 256.

No; choose Video Input Tool from the Tools menu.

Video Output The Video Output tool enables you to calibrate output for composite or component video in a digital cut. Appears in the Settings scroll list to facilitate copying settings.

See “Calibrating for Video Output” on page 719.

No; choose Video Output Tool from the Tools menu.

Workspace Enables you to associate settings and windows with a workspace.

See “Linking User Settings and Workspaces” on page 131.

Yes

Table 3-2 Settings Scroll List (Continued)

Setting Name Description For More Information

Access to Dialog Box?

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• Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder, which is stored in the following location:

- (Windows) drive:\Program Files\Avid\Avid Xpress\Avid Projects

- (Macintosh) Avid drive:Avid Projects:

• Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site; for example, specification and node settings for an external switcher. They can also include other User or Project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder, in the following location:

- (Windows) drive:\Program Files\Avid\Avid Xpress\

- (Macintosh) Avid drive:Avid Xpress:

Defining Settings

You can use the Settings scroll list to establish a hierarchy of settings that address the specific needs of each production phase. For example, you can establish:

• User settings that facilitate logging, digitizing, organizing projects, and editing interface preferences

• Project settings that reflect the specific needs of the project

• Bin View settings that display useful columns of information for each bin

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By establishing these settings once, and by selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template for use on similar projects, as described in “Managing Folders and Bins” on page 82.

Reviewing Basic Settings

The following list describes basic system settings to review at the start of your project:

• Bin Settings

• General Settings

• Interface Settings

To view the settings:

t Double-click each setting in the Settings scroll list of the Project window.

Bin Settings

Bin settings define general system functions related to bins. Select these functions in the Bin Settings dialog box.

Table 3-3 describes the options listed in the Bin Settings dialog box.

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Table 3-3 Bin Settings Options

Option Description

Auto-Save interval n minutes Specifies the length of time between attempts to auto-save project files. The default is 15 minutes.

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

Inactivity period n seconds Specifies the length of time the Avid Xpress system waits when the system is inactive before automatically saving the project files. The default is 0 seconds.

Force Auto-Save at n minutes Specifies the maximum length of time between auto-saves. When the system reaches this time, it auto-saves the project files even if it must interrupt an edit to do so. The default is 30 minutes.

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

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

When there are multiple editors working on one system, store bin settings as Site or Project settings. This ensures that another user does not override your settings and delete your backups.

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

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

New Pop-up Monitor

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

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General Settings

General settings define fundamental system defaults.

Table 3-4 describes the General Settings options.

Source or Record Monitor

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

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

Enable edit from bin (Splice, Overwrite)

Allows you to edit clips directly from a bin by selecting a clip and clicking the Splice-in or the Overwrite button.

Table 3-3 Bin Settings Options (Continued)

Option Description

Table 3-4 General Settings Options

Option Description

Project Format This option displays the format currently selected for the project (NTSC or PAL). It cannot be changed.

Temporary File Directory When you use the Drag and Drop Export or an export that creates an intermediate movie file, Avid Xpress must store the intermediate file, which can be as large as the final export. By default, the Temporary File Directory is located in the same directory as the Avid Xpress product.

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

Default Starting TC This option specifies the timecode value you want the system to use as the default starting timecode for each new sequence.

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Interface Settings

You can set general options and appearance options in the Interface dialog box. General Interface settings determine the level of basic information displayed in the interface. Appearance Interface Settings give you controls for customizing the colors and button style of the Avid Xpress user interface. For information about customizing the interface with Appearance settings, see “Customizing the Appearance of the Avid User Interface” on page 114.

NTSC Has Setup This option allows systems using NTSC-EIAJ to use the correct color mapping. NTSC-EIAJ users should not select this option. All other users should select this option.

Use Windows compatible file names (Macintosh only)

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

Allow file names to exceed 27 characters (Macintosh only)

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

Preserve Specific Vertical Blanking Lines

This option allows you to choose whether or not to preserve the vertical blanking information in 5 lines above each field in NTSC and 8 lines above each field in PAL.

This option is deselected by default. You should leave it deselected unless you have a specific need for the information. For more information, see “Preserving Information in the Vertical Blanking Interval” in the Help.

Table 3-4 General Settings Options (Continued)

Option Description

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General Interface Settings

The following illustration shows the General tab of the Interface dialog box.

Table 3-5 describes the options in the General tab of the Interface dialog box.

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Table 3-5 Interface Settings Options (General Tab)

Option Description

Show Labels in Tool Palette When you select this option, the system displays text labels with the icons on the Tool palette. This is the default option.

To tear off the Tool palette, click anywhere on the palette, press and hold the mouse button, and drag the palette to the location you want.

Show ToolTips When you select this option, the system displays labels for buttons and icons when you position the mouse pointer over them. This is the default option.

You can also turn ToolTips on and off from the Help menu.

Delay n seconds before showing If you select Show ToolTips, you can delay the label display by entering a value in this text box. A delay allows you to move the mouse pointer across the interface without displaying the labels on items between the starting point and the destination of the mouse pointer.

Show Graphics on Client Display When this option is selected, the system displays graphics in the Client display monitor as well as in the Composer monitor.

Windows® Standard Alt Key Behavior (Windows Only)

This option switches between standard Windows Alt key behavior and Avid system Alt key behavior. When you select this option, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus).

When you deselect this option, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut, while pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Avid functions. This is the default option.

For more information on Windows shortcuts, see the Windows documentation.

For more information on Avid shortcuts, see the Avid Xpress Quick Reference for the Windows 2000 Operating System, or choose Shortcuts from the Help menu.

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Displaying Project Settings

You can display the Settings scroll list of the Project window in different groups, depending on what you need to view. Table 3-6 describes the different Settings menu options.

Automatic Num Lock Activation (Windows Only)

When you select this option, Avid Xpress automatically sets the numeric keypad in numeric mode the next time you start the application. If you deselect this option, the Num Lock key on the keyboard controls the mode of the numeric keypad.

With either selection, you can use the Num Lock key to change the mode of the numeric keypad.

Table 3-5 Interface Settings Options (General Tab) (Continued)

Option Description

Table 3-6 Settings Menu Options

Option Description

Active Settings Displays currently active settings in your Avid system

All Settings Displays all settings available in your Avid system

Base Settings Displays Project, User, and Site settings only; no views are displayed

Bin Views Displays bin views

Export Settings Displays all the Export settings

Import Settings Displays all the Import settings

Timeline Views Displays Timeline views

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Changing the Settings Scroll List Display

To change the Settings scroll list display of the Project window:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

Title Styles Displays all the templates you created for the Title tool

Video Tool Settings Displays Video Input Tool and Video Output Tool settings

Workspaces Displays all workspaces

Workspace Linked Displays only linked workspaces

Table 3-6 Settings Menu Options (Continued)

Option Description

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2. Click the Fast Menu button and choose a settings display group from the Settings Fast menu.

Fast Menu button

Settings Display

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The Settings Fast menu displays the settings group selected and the Settings scroll list displays only the settings in that group.

Working with Settings

You can view and modify most of your current settings by double-clicking them in the Settings scroll list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems.

Selecting Another User

Because User settings are not project or site specific, you can choose to display another set of User settings within the Project window.

To select another user:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click and hold the user name to display the User pop-up menu.

3. Select another name from the list.

Modifying Settings

You can alter the default options for various settings to reflect the specific needs of a project or to customize the system based on personal preferences.

You cannot modify the following two types of settings:

• Settings that require the presence of standalone peripherals

• Settings that can be modified only from within the tools in which they are used, such as Bin and Timeline views

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To modify available settings:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click the name of a setting.

The applicable Settings dialog box or window appears.

n Not all Settings have associated dialog boxes. See Table 3-2.

3. Type new values or select new options for the settings.

4. Click OK, Save, Cancel, or Apply, or click the Close button (Windows) or the close box (Macintosh).

The system saves changes in the appropriate User, Project, or Site settings file.

Working with Multiple Settings

You can have multiple versions of settings in your Settings scroll list in the Project window that apply to several users at various stages of production.

For example, you can have:

• Two Bin settings: one that automatically saves more often when you are editing intensively, and one that automatically saves less often when you are doing organizational work in the bins

• Multiple Digitize settings for digitizing various types of source material

• Multiple Deck Preferences settings for various types of digitizing or for output

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Duplicating Settings

To create a new version of a setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click the setting you want to copy. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings you want to copy.

3. Choose Duplicate from the Edit menu.

A copy of each setting appears in the window. Duplicate settings with custom settings names followed by a period and a version number in the second column appear with each custom setting name.

4. Name your settings to indicate their functions.

Naming Settings

You can give settings custom names to differentiate among copies or to indicate a specific use.

To rename settings:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click the Custom setting name column in the Settings scroll list (the column to the right of the setting’s name).

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3. Type a new name and press Enter (Windows) or Return (Macintosh).

Selecting Among Multiple Settings

With multiple settings, only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name.

To change the active setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click in the space to the left of the setting you want to select as the active setting.

A check mark indicates that the setting is active.

Custom setting name column

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Deleting Settings

You can delete settings from the Settings scroll list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings to transfer to another Settings window.

To delete a setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click a setting to highlight it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional setting you want to delete.

c You cannot undo a deletion. You can, however, restore default settings or transfer settings from other files.

3. Press the Delete key, or choose Delete from the Edit menu.

The selected settings are removed.

Copying Settings Between Settings Files

To copy settings between files:

1. With the Settings scroll list active, open the target settings file:

t Create and open a new settings file by choosing New Setting File from the File menu.

t Open an existing settings file by choosing Open Setting File from the File menu, locate and select the settings file you want in the Avid Projects or Avid Users folder, and then click Open.

2. Click the setting you want to copy in the Settings scroll list of the Project window. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings that you want to copy.

3. Drag the highlighted settings to the open Settings window.

4. Click the Close button (Windows) or the close box (Macintosh).

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A message box appears.

5. Click Save.

The copied settings are also saved when you close or save the file or project.

Moving Settings Between Systems

You can move selected settings between existing settings files or into a new settings file:

• To use in other projects

• To transfer to other Avid Xpress systems

• To change one type of setting to another

You can also move selected settings into the Settings folder to establish standard system settings for all new projects and users.

Using Site Settings

When the system opens a new project, it first searches the Site Settings file and loads site settings and any settings placed here. The system then proceeds to load any Project and User settings not included in the Site Settings file.

The Site Settings file is located in the following folder:

• (Windows) drive:\Avid\Avid Xpress\Settings

• (Macintosh) Avid drive:Avid Xpress:Settings

Adding settings to the site settings files is useful if you need to establish global settings for all new users and projects, such as switcher settings, a specific start timecode for all sequences, or various customized features of the interface.

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Using the Info Display

To load settings into the Site Settings file:

1. Open a project with the settings you would like to establish as site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed.

2. Click the Settings tab in the Project window.

The Settings scroll list appears.

3. Choose Open Setting File from the File menu.

4. The Open dialog box appears.

5. Navigate to the Settings folder, and then click Open.

6. Select the Site Settings file, and then click Open.

7. The Site Settings window opens.

8. Click a project or user setting in the Settings scroll list of the Project window. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple settings.

9. Drag the setting or settings into the Site Settings window.

Copies appear in the Site Settings window.

10. Close the Site Settings window.

All new users and projects opened from the Select User and Project dialog box use these settings as the default settings.

Using the Info DisplayThe Info display in the Project window allows you to view basic project information, such as the video format, in a view called Profile (the default view). It also allows you to see information about system memory and hardware.

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Working with the Project Window

Displaying Project Info

To open the Info display:

t Click the Info tab in the Project window.

Basic project information is displayed.

n The items listed in this view are for information only and cannot be changed.

Viewing Memory

To view system memory for an open project:

1. Click the Info tab in the Project window, and then click the Memory button.

The Memory window opens.

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Understanding the Memory Window

The Memory window displays the following information:

• Objects: The total number of memory handles currently used by Avid Xpress. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project.

• Total Physical Memory (Windows) or Total Mem (Macintosh): The total number of bytes of RAM (random-access memory).

• Available Physical Memory (Windows) or Free Mem (Macintosh): The amount of RAM available for allocation by Windows 2000 or the Macintosh system.

• (Windows only) Total Page File: The total number of bytes that can be stored in the paging file. The paging file is used as virtual memory by Windows 2000.

• (Windows only) Available Page File: The total number of bytes available in the paging files.

• (Windows only) Working Set (min and max): The set of memory pages currently available to the application in RAM.

(Windows only) You can view additional memory information through the Windows Task Manager and the Performance monitor. You can view information about system activities, such as driver messages, through the Event Viewer. For information on these tools, see the Windows 2000 Help.

n You can improve performance on large projects by reducing the number of objects. Close unused bins, unmount unneeded media drives, consolidate finished elements, and eliminate old material from the project. Then quit and restart the Avid Xpress application. If performance is still slow, restart your system.

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Accessing the Hardware Tool

For additional information on the Hardware tool, see “Using the Hardware Tool” on page 161.

The Hardware tool gives a visual representation of usage for each drive and provides operating system information.

To view hardware for an open project, do one of the following:

t Click the Info tab in the Project window, and then click the Hardware button.

t Choose Hardware from the Tools menu.

The Hardware tool opens.

Customizing the Appearance of theAvid User Interface

The Appearance tab of the Interface Settings dialog box provides you with controls for customizing the colors and button style of the Avid user interface. You can also change the font and point size of the type in the various windows.

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Customizing the Appearance of the Avid User Interface

Appearance Tab Options

The following illustration shows the Appearance tab of the Interface dialog box.

Table 3-7 describes the options in the Appearance tab of the Interface dialog box.

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Working with the Project Window

Table 3-7 Interface Settings Options(Appearance Tab)

Option Selection Description

Color Background

Button

Button Contents

Button Highlight

Button Spotlight

Text

Timeline Background

Timeline V Tracks

Timeline A Tracks

Timeline TC Tracks

Project Background

Bin Default Background

Controls the color of the given interface component. See “Changing Interface Component Colors” on page 117.

Shading Style Convex

Dim Radial

Convex Radial

Bright Radial

Controls the shading of buttons and toolbars. See “Changing Shading Style” on page 121.

Shading Depth 5% – 50%, in 5% increments

Controls the three-dimensional “rounding” of buttons and toolbars. See “Changing Shading Depth” on page 122.

Monitor Button Separation Maximum

Moderate

None

Controls the spacing of the Monitor buttons. See “Changing Button Separation” on page 123.

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Customizing the Appearance of the Avid User Interface

Changing Interface Component Colors

You can use a color selection grid to change the color of interface components. Table 3-8 describes the interface components that you can customize.

Timeline Button Separation Maximum

Moderate

None

Controls the spacing of the Timeline buttons. See “Changing Button Separation” on page 123.

Button Style Oval

Octagonal

Rounded

Square

Swoosh

Antique

Controls the shape of the buttons. See “Changing Button Style” on page 124.

Table 3-7 Interface Settings Options(Appearance Tab) (Continued)

Option Selection Description

Table 3-8 Customizable Interface Components

Component Description

Background The color of toolbars and dialog boxes behind the text. The default is gray.

n If you select a Background color but no Button color, buttons take on the Background color.

Button The color of a button behind the button contents, when the button is not selected. The default is gray.

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Working with the Project Window

To set the color of an interface component:

1. Double-click Interface in the Settings scroll list.

The Interface dialog box appears.

2. Click the Appearance tab.

Button Contents The color of text or symbols, such as icons or check marks, in the buttons. The default is black.

Button Highlight The color of selected buttons, which is different from that of deselected buttons.

Button Spotlight The background color of a button when you pass the mouse pointer over it.

Text The color of text in dialog boxes, toolbars, and ToolTips. The default is black.

Timeline Background The color of the Timeline top toolbar and the Timeline bottom toolbar. The default is gray.

Timeline V Tracks

Timeline A Tracks

Timeline TC Tracks

The background color for the V (video), A (audio), or TC (timecode) tracks in the Timeline. The default is gray.

n This setting takes precedence over the Fast Menu track color.

Project Background The background color for the Project window.

Bin Default Background The color of a bin behind the bin contents. New bins first appear with the selected color as the background color. You can override the default background color by choosing Set Bin Background from the Edit menu.

Table 3-8 Customizable Interface Components (Continued)

Component Description

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Customizing the Appearance of the Avid User Interface

3. Click in the color box next to the interface component you want to customize.

A color selection grid appears.

Color boxes

Enable/Disable check box

Interface component list

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Working with the Project Window

4. Press the mouse button and move the pointer over the color selection grid, and then release the mouse button over the color to which you want to set your interface component.

The color selection grid disappears. The color you selected appears in the color box. A check appears in the Enable/Disable check box to show that you want your new color attribute for this selection to take effect.

Color selection grid

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Customizing the Appearance of the Avid User Interface

n If you deselect an interface component by clicking the Enable/Disable check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value.

5. Do one of the following:

t Click Apply to apply the changes you selected.

n If you click Cancel after you click Apply, interface components retain the selection you applied.

t Click OK to close the dialog box and put the new setting into effect.

t Click Cancel to close the dialog box.

The changes you selected but did not apply do not take effect.

Changing Shading Style

Shading style controls the shading of the buttons and toolbars.

To set the shading style:

1. Choose a style from the Shading Style pop-up menu in the Appearance tab of the Interface dialog box.

2. Do one of the following:

t Click Apply to apply the change you selected.

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Working with the Project Window

n If you click Cancel after you click Apply, Shading Style retains the selection you applied.

t Click OK to close the dialog box and put the new setting into effect.

t Click Cancel to close the dialog box.

The change you selected but did not apply does not take effect.

The following illustration shows Shading styles.

Changing Shading Depth

Shading depth controls the three-dimensional “rounding” of the buttons and toolbars.

To set the shading depth:

1. Choose a depth from the Shading Depth pop-up menu in the Appearance tab of the Interface dialog box.

2. Do one of the following:

t Click Apply to apply the change you selected.

n If you click Cancel after you click Apply, Shading Depth retains the selection you applied.

Convex

Dim Radial

Convex Radial

Bright Radial

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Customizing the Appearance of the Avid User Interface

t Click OK to close the dialog box and put the new setting into effect.

t Click Cancel to close the dialog box.

The change you selected but did not apply does not take effect.

The following example shows Shading Depth selections of 5% and 50%.

Changing Button Separation

To change the separation of Monitor or Timeline buttons:

1. Choose a separation from the Monitor Button Separation pop-up menu or the Timeline Button Separation pop-up menu in the Appearance tab of the Interface Settings dialog box.

2. Do one of the following:

t Click Apply to apply the change you selected.

n If you click Cancel after you click Apply, Button Separation retains the selection you applied.

Shadow Depth 5% Shadow Depth 50%

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Working with the Project Window

t Click OK to close the dialog box and put the new setting into effect.

t Click Cancel to close the dialog box.

The change you selected but did not apply does not take effect.

The following example shows part of the Timeline buttons with each button separation selection applied.

Changing Button Style

Button style controls the shape of buttons in the interface.

To change the style of buttons:

1. Choose a button style from the Button Style pop-up menu in the Appearance tab of the Interface Settings dialog box.

2. Do one of the following:

t Click Apply to apply the change you selected.

n If you click Cancel after you click Apply, Button Style retains the selection you applied.

t Click OK to close the dialog box and put the new setting into effect.

Maximum button separation

Moderate button separation

No button separation

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t Click Cancel to close the dialog box.

The change you selected but did not apply does not take effect.

The following examples show several buttons with each button style applied.

Using Interface Appearance Templates

There are several interface appearance templates available for the Avid user interface that have preset background and button colors.

To use an interface appearance template:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click to the left of one of the named Interface settings.

The look of your Avid user interface changes.

To return to the default interface:

t Click the unnamed Interface setting.

Oval Square

Octagonal

Rounded Antique

Swoosh

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Working with the Project Window

n For information on how to change the appearance of particular components of your Avid user interface, see “Customizing the Appearance of the Avid User Interface” on page 114.

Changing Font and Point Size

You can change the default font and point size of the Project, Bin, Composer, Script, or Timeline window. You can have multiple variations of fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt., set one Bin window to Times Roman, 11 pt., and set another Bin window to Arial, 12 pt.

The following table describes the windows you can change, and what is changed.

Window What You Can Change

Project The font and point size of the text in the Bin and Settings tabs.

Bin The font and point size of the text in a Bin window.

Composer The font and point size of the sequence or source clip name text.

Script The font and point size of the text in the Script window.

Timeline The font and point size of clip text.

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Customizing Your Workspace

To set the font displayed in the Project window, the Timeline, the Composer monitor, and the bins:

1. Choose Set Font from the Edit menu.

The Set Font dialog box appears.

2. Choose one of the available fonts from the Font pop-up menu.

n Any font loaded in the Fonts folder appears in the list. For information on adding fonts to your system, see the Windows 2000 documentation or the Macintosh documentation.

3. Type another point size for the font in the Size text box.

4. Click OK.

The new font appears in all bin display views.

When you close the window, the last font and point size applied is saved with the window.

Customizing Your WorkspaceA workspace is the arrangement and size of tool windows displayed on your Avid Xpress system. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during digitizing you might want to display the Digitize tool in specific locations. During effects

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Working with the Project Window

editing, you might want to display the Effect Palette and the Effect Editor in a particular location and size. For information on switching between workspaces, see “Switching Between Workspaces” on page 133.

While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either:

• The arrangement from the last time you left the workspace

• The arrangement you set for the workspace, regardless of any changes you made

n You cannot assign certain tool windows to a workspace, for example, the Hardware tool, the Serial (COM) Ports tool, and the Media tool.

You can select your preference in the Workspace Settings dialog box. For more information, see “Creating a New Workspace Setting” on page 128.

Creating a New Workspace Setting

To create a new workspace setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Scroll to the bottom of the Settings scroll list and click Workspace.

Workspace is highlighted.

3. Choose Duplicate from the Edit menu.

A new Workspace setting appears in the Settings scroll list.

n If you are duplicating a previously named workspace setting, a .1 appears at the end of the new name.

4. Click the left of the new workspace you want to set.

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Customizing Your Workspace

A check mark appears next to the workspace.

5. Assign a custom name to the new workspace:

a. In the column between Workspace and User, click until you see a text cursor and box. Make sure you click the Custom setting name column and not the Setting name.

b. Type a name for the new custom workspace, for example, digitizing.

c. Press Enter (Windows) or Return (Macintosh).

Custom setting name column

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6. Open the windows and tools with which you want to associate the workspace. Resize and move the windows to the location where you want them to appear on the monitors.

7. Double-click the custom workspace setting.

The Workspace Settings dialog box appears.

8. Select or deselect the following options:

- Activate Settings Linked By Name: This option allows you to link other settings to the workspace. See “Linking User Settings and Workspaces” on page 131.

- Continually Update This Workspace: This option automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.

- Manually Update This Workspace: This option saves the workspace in its current arrangement when you click Save Workspace Now (which appears only after you select Manually Update This Workspace). Future changes to the arrangement of the tool windows are disregarded.

9. Click OK.

Assigning a Workspace Button

On the keyboard, F9–F12 are assigned to the first four workspaces you create. You can also assign other buttons to workspaces.

To assign a workspace button:

1. Choose Command Palette from the Tools menu.

2. Click the More tab.

3. Select Button to Button Reassignment.

4. Click a workspace button (W1–W8) and drag it to a location on another palette (for example, to the Tool palette.)

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The buttons are assigned to the workspaces in the Settings scroll list of the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings scroll list, W2 is assigned to the second workspace that appears in the Settings scroll list, and so forth.

Avid Xpress sorts the workspaces alphabetically. The workspace button assignments might change if you add workspaces. To keep a designated order, name the workspaces with a number preceding the first letter (for example, 2editing).

5. Click the W1 button to show the first workspace that appears in the Settings scroll list.

When you open the windows associated with the first workspace, they open in the assigned locations.

Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized workspace and set up specific options in any Settings dialog box, and link them together by name.

For example, you can create an Audio workspace that opens the Audio Mix tool and the Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and Automation Gain displays). Then, you can link this workspace to a Settings dialog box with customized options selected. You do this by creating a setting and giving it the same name in the Project window as the name of the workspace.

To link user settings and a workspace:

1. Create a new workspace setting. See “Creating a New Workspace Setting” on page 128.

2. Give the workspace a custom name.

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3. Double-click a setting from the Settings scroll list that you want to link to the new workspace. For example, double-click Digitize. Adjust the Digitize setting to what you want.

4. Give this Digitize setting the same name you gave the workspace in step 2.

5. Double-click another setting, for example, Interface. Select the new options, for example, Show ToolTips, and click OK.

6. Give this setting the same name you gave the workspace in step 2.

7. Double-click the workspace you just created.

The Workspace Settings dialog box appears.

8. Click Activate Settings By Name.

9. Click OK.

Linked settings

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Customizing Your Workspace

All the settings and the new workspace you created are activated when you activate this workspace.

Switching Between Workspaces

To switch from one workspace to another:

1. Click the Settings tab in the Project Window.

The Settings Scroll list appears.

2. Click to the left of the workspace setting you want to use.

A check mark appears next to the workspace.

Deleting a Workspace

To delete a workspace:

1. Select the workspace you want to delete from the Settings scroll list in the Project Window.

The workspace is highlighted.

n Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace.

2. Press the Delete key.

The selected workspace is removed from the Settings scroll list.

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Using ToolsetsYou can use predesigned work environments that are suited to your most common Avid Xpress tasks:

• Basic editing

• Source/Record editing

• Effects editing

• Audio editing

• Digitizing

The Toolset menu provides you with five environments, or special-purpose workspaces, that include the following:

• Tools appropriate for the task

• A screen optimized for the task, screen resolution, and number of monitors

• A neatly organized workspace with non-overlapping windows

You can change the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme.

Opening Toolsets

To open a toolset:

t Choose a toolset from the Toolset menu.

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Using Toolsets

Any open tools close and the screen changes to display windows appropriate to the toolset task.

Basic Toolset

The Basic toolset opens with the basic set of Avid Xpress windows.

You can customize the Basic toolset in any way you want. See “Customizing Toolsets” on page 136.

Source/Record Editing Toolset

The Source/Record Editing toolset displays the Composer monitor as dual monitors. You edit source clips in the left monitor and sequences in the right monitor.

For more information about using dual monitors, see “Using Dual Monitors” on page 464.

Effects Editing Toolset

The Effects Editing toolset displays the Effect Editor, the Effect Palette in the Project window (Effect tab), the bin, the Composer monitor, and the Timeline.

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Working with the Project Window

Audio Editing Toolset

The Audio Editing toolset displays the Automation Gain tool, the Project window, the bin, and the Timeline.

n With screen resolutions set higher than 1024 x 768 or on two monitor-systems, additional audio tools display.

Digitizing Toolset

The Digitizing toolset displays the Digitize tool, the Project window, the bin, and the Timeline.

Customizing Toolsets

To customize the toolset workspace:

1. Choose the toolset you want to customize from the Toolset menu.

2. Open other tools with which you want to work and position them where you want them.

3. Choose Save Current from the Toolset menu.

The next time you choose the customized toolset, it appears with your changes.

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To remove the default settings:

t Choose Restore Current to Default from the Toolset menu.

Linking Toolsets to Other Settings

You can link the current toolset to custom User settings.

To link a toolset to another setting:

1. Choose the toolset you want to link from the Toolset menu.

2. Choose Link Current to from the Toolset menu.

The Link Toolset dialog box appears.

3. Choose Link to Named Settings from the Links to Current Toolset pop-up menu.

4. Type the name of the other setting to which you want to link the toolset. For more information about creating and naming custom settings, see “Working with Settings” on page 105.

n You can link toolsets only to User settings.

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5. Click OK.

The active toolset is linked to the custom setting you specified.

You might want to link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting.

To link a toolset to an unnamed setting:

1. Choose the toolset you want to link from the Toolset menu.

2. Choose Link Current to from the Toolset menu.

The Link Toolset dialog box appears.

3. Choose Link to Unnamed Settings from the Links to Current Toolset pop-up menu.

The active toolset is linked to all the unnamed settings in the Settings scroll list.

Sharing Bins and Projects on Avid Unity MediaNetRead this section if you are working in an Avid Unity environment that does not use Avid Unity MediaManager. If you are using Avid Unity MediaManager, see the Avid Unity MediaManager Setup and User’s Guide.

Understanding Avid Unity MediaNet

Avid Unity MediaNet allows you to share bins and projects across the network. When you place your bins and projects on Avid Unity MediaNet workspaces (drive volumes), several users can work on the same project at the same time.

For example, an editor can create sequences in one bin while an assistant redigitizes media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.

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Sharing Bins and Projects on Avid Unity MediaNet

Each user can perform tasks from his or her own computer. The system provides a simple locking mechanism to help you keep track of who is currently working in a bin. The method allows one writer and multiple readers of a bin.

c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Mapping Workspaces on the Avid Unity Network

For information on mapping workspaces, see the Avid Unity MediaNet for Windows Clients Quick Start Card. These instructions assume that Avid Unity MediaNet is up and running. For details on Avid Unity MediaNet, see the Avid Unity MediaNet Management Guide.

Sharing Methods

Before you begin copying or creating bins and projects on an Avid Unity MediaNet workspace, you need to determine the sharing method you will use for the project.

Shared Bins

When you use this method, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system uses the following methods to identify the shared bins:

• Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.

• Displays a second column of information for the bin that identifies the computer that currently has the bin locked.

• Uses bold text to identify bins that are locked by another user.

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Shared Bins and Projects

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The system uses the following methods to identify information from each computer using the shared workspace:

• Creates a project folder for each computer that accesses the project. The system adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data for other users.

The folder is similar to the folder created when you choose New Folder from the Project Window Fast menu. For more information, see “Managing Folders and Bins” on page 82.

• Displays an extra column in the Project window that identifies the computer that has the bin locked.

• Uses bold text to identify bins that are locked by other users.

• Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.

n Depending on the number of users sharing a workspace, you might want to increase the number of files that the Avid system stores in the Attic folder (use the Bin Settings dialog box).

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The following illustration shows the Project window for a shared project.

The following illustration shows the contents of a shared workspace at the desktop level.

Opening a Shared Project

To open an existing project on the shared volume:

1. Start your Avid Xpress application.

2. In the Select User and Project dialog box, navigate to the project on Avid Unity MediaNet. The following illustration shows an example.

Computer that currently has the bin locked

Project folders for each user

Bold bins are locked for editing but can be viewed.

Unity Attic

Shared media files

Shared projects

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3. The Project window opens. For a description of the Avid Unity elements of the Project window, see “Sharing Methods” on page 139.

4. Open one of the bins by double-clicking the Bin icon.

The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications. The following illustration shows locked and unlocked bins.

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Sharing Bins and Projects on Avid Unity MediaNet

When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 145.

The Bin Lock Status button does not appear if the bin is not on Avid Unity MediaNet.

Working with Locks

The system uses a simple locking mechanism to help you keep track of who is currently working in a shared bin. This allows one writer and multiple readers of a bin.

Default Locking Mechanism

The user who opens the bin first gets the lock and obtains write access to the bin. The system uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock.

Unlockedbin

Locked bin

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If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.

You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.

To open a bin without taking the lock:

t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project window.

Overriding the Default Locking Mechanism

You can instruct the system to keep a bin locked even after you close it.

To permanently lock a bin:

1. Select one or more bins in the Project window, and then right-click (Windows) or Ctrl+Shift+click (Macintosh) the Bin icon.

2. Choose Lock Project Bin from the shortcut menu.

An asterisk appears next to the user name in the Project window. In this case, the bin remains locked even after you close it.

To unlock the bin

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the bin in the Project window, and then choose Unlock Project Bin from the shortcut menu.

n The Lock Project Bin and Unlock Project Bin commands are also available from the Clip menu.

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Sharing Bins and Projects on Avid Unity MediaNet

Restrictions and Limitations for Locked Bins

The following restrictions apply to bins that are locked by another user:

• You cannot select a locked bin for operations such as digitizing, title creation, and importing. This helps to minimize the problems of modifying a locked bin.

• You cannot drag to a locked bin.

• If you drag from a locked bin to a writable bin, the system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin.

• You cannot move a bin that is locked by another user.

• If you modify a locked bin, the system does not let you save the bin to the same name, but it allows you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The application recognizes the newest modifications, which might not be what you want.

You should avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin.

c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

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Support for Avid Unity LANshareYour Avid editing system now can be used as a client in an Avid Unity LANshare workgroup system. LANshare allows you to share media with other clients connected to a high-performance server through an Ethernet network.

To use LANshare, you need to set up the client in your Avid application. For more information, see “Setting Up the LANshare Client” on page 146.

For complete information on using LANshare, including system requirements and supported resolutions, see the LANshare release notes and documentation.

c Because LANshare and Avid Unity PortServer Pro do not support all Avid resolutions, you must make sure you specify a supported resolution in your Avid Xpress application. See the LANshare or Avid Unity PortServer Pro documentation.

Setting Up the LANshare Client

When you use your Avid application with the LANserver, you need to set up the client so LANshare workspaces are recognized when the application is started.

To recognize LANshare workspaces when you start the Avid application:

1. Open a bin.

2. Click the Settings tab in the Project window.

The Settings scroll list appears.

3. Double-click Port Server.

The Port Server Settings dialog box appears.

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Support for Avid Unity LANshare

4. Click Auto-connect at Launch.

5. Click Connect, and then click OK.

Auto-connect is set and LANshare workspaces will be recognized.

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CHAPTER 4Using Basic Tools

The Tools menu on the Avid Xpress menu bar provides quick access to a collection of essential tools for use in your projects. This chapter provides information about several basic tools that you can use at any time during your project.

• Navigating in Dialog Boxes and Menus

• Using the Tools Menu

• Using the Command Palette

• Using the Avid Calculator

• Using the Console Window

• Using the Hardware Tool

• Using the Serial (Com) Ports Tool

• Configuring a Controller

Navigating in Dialog Boxes and MenusYou can use the keys shown in Table 4-1 to navigate in many dialog boxes and menus and to select and deselect options.

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Using the Tools MenuYou can open any of the most frequently used system tools from the Tools menu.

To open a tool:

t Choose its name from the Tools menu.

Using the Command PaletteThe Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse.

The Command palette organizes buttons by editing function. Tabs are displayed for each editing function, and the buttons that perform

Table 4-1 Navigation Keys

Key Function

Page Up, Page Down Moves from tabbed page to tabbed page within a dialog box.

Tab Moves from check box to check box or option to option in a dialog box.

Right Arrow, Left Arrow, space bar

Selects or deselects a check box or an option in a dialog box.

Up Arrow, Down Arrow Moves up or down through a menu, or increments a numeric value.

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those functions are displayed within each tab. The functions are: Move, Play, Edit, Trim, FX, 3D, Other, and More.

You can use the Command palette to:

• Map buttons to the Tool palette or the keyboard. See “Mapping User-Selectable Buttons” on page 153.

• Map menu commands to various buttons and keys. See “Mapping Menu Commands” on page 154.

• Directly activate a command. See “Activating Commands from the Command Palette” on page 156.

n For information about each button on the Command palette, right-click a button (Windows) or Ctrl+Shift+click a button (Macintosh) and choose What’s This? from the shortcut menu.

Understanding Button Mapping

Mapping user-selectable buttons allows you to reconfigure Command palettes or the keyboard in various combinations to suit different editing needs.

n When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up or Page Down keys revert to the default functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.

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The following are a few examples:

• Subcataloging clips: You can map the Make Subclip button and other clip management buttons.

• Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, and Fade Effect.

For more information on multiple settings, see “Working with Multiple Settings” on page 106.

When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes.

The Avid application saves button configurations as follows:

• Changes to the Keyboard palette are saved in the Keyboard settings.

• Changes to the Tool palette are saved in the Interface settings.

Both of these settings are saved in the User settings.

Make Subclip Find Bin Add Locator

Motion Effect Remove Effect Fade Effect

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Mapping User-Selectable Buttons

To map buttons or keys on the keyboard to the Tool palette or the Keyboard palette, using the Command palette:

1. Open a window that has a user-selectable button palette by doing one of the following:

t Activate the Composer monitor or Source pop-up monitor, click the Fast Menu button, and drag to tear off the Tool palette.

t Double-click Keyboard in the Settings scroll list in the Project window to open the Keyboard palette.

2. Choose Command Palette from the Tools menu.

The Command Palette window opens.

3. Select Button to Button Reassignment.

4. Click the tab from which you want to choose a user-selectable button.

5. Drag the button from the Command palette to a button location on the Tool palette or the Keyboard palette (whichever one you opened previously).

Button to Button Reassignment

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Using the Blank Button

The Blank button allows you to replace a defined button with an undefined button. If you do not need or use a specific button on the Tool palette, you can replace the button with a blank button.

To access the Blank button:

1. Choose Command Palette from the Tools menu.

2. Click the Other tab.

For information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 153.

Mapping the Modifier Key (Windows Only)

You can add modifier keys to functions already associated with keys and buttons. The Other tab of the Command palette contains the Add Alt Key button.

For example, on a Windows 2000 system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing the Alt and I keys). For a list of other functions that use modifier keys, see the Avid Xpress Quick Reference for the Windows 2000 Operating System.

n After you modify a key or button with the modifier key button, you can use the default function of the key or button by pressing the appropriate modifier key and command key, or by pressing the modifier key and clicking the button.

Mapping Menu Commands

You can map menu commands displayed in the pull-down menus on the Avid application menu bar directly to buttons on the Tool palette

Blank button

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Using the Command Palette

or to the Keyboard palette. This is especially useful if you frequently use the keyboard or the Tool palette during editing. In some cases, you can avoid using the menus altogether.

n Before you can map some commands, you must first establish the condition that enables the command. For example, before you can map the Render In/Out command from the Clip menu, you must first place IN and OUT points in the Timeline so that the menu command appears.

To map menu commands:

1. Open a window that has user-selectable buttons by doing one of the following:

t Tear off the Tool palette by clicking the Fast Menu button on a Source pop-up or Composer monitor and dragging the palette.

t Double-click Keyboard in the Settings scroll list in the Project window to open the Keyboard palette.

2. Choose Command Palette from the Tools menu.

The Command Palette window opens.

3. Select Menu to Button Reassignment.

4. Click a target button on the Keyboard palette or the Tool palette.

The pointer changes to a small white menu.

5. Choose the menu command you want to map to the target button.

Menu to Button Reassignment

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For example, choose Title tool from the Tools menu.

The initials for the menu command appear on the target button.

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, in the Move tab, you can click the Go to Next Locator button to move the position indicator to the next locator.

To activate a command from the Command palette:

1. Choose Command Palette from the Tools menu.

The Command Palette window opens.

2. Select Active Palette.

Title Tool menu command mappedto a key

Active Palette

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Using the Avid Calculator

3. Click the tab from which you want to choose a command function.

4. Click the button in the tab for the function you want to perform.

Using the Avid CalculatorThe Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can:

• Convert drop-frame to non-drop-frame timecode values. See “Understanding Drop-Frame and Non-Drop-Frame Timecode” on page 168.

• Convert timecode durations between 30-frames-per-second (fps) and 25-fps projects.

• Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film.

• Convert durations to total frame count.

To use the Avid Calculator:

1. Choose Calculator from the Tools menu.

The Avid Calculator window opens.

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2. Choose a format from the Format pop-up menu.

3. Make calculations in the one of the following ways:

t Use the top row of numbers on the keyboard to enter numbers and functions in the Avid Calculator.

t Press the Caps Lock key, and then enter numbers and functions with the numeric keypad.

t Use the numbers on the Calculator.

n You do not need to enter leading zeros, colons, or semicolons for timecode.

To convert your totals at any time to another format:

t Choose a different frame code or key number format from the Format pop-up menu.

Format pop-up menu

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Using the Console Window

Using the Console WindowThe Console window provides a number of features, including:

• Current system information, including your system ID number

• A log of error messages

• Detailed information about sequences in the Timeline or about objects in a bin

• Information after you digitize or import

c Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.)

Displaying System Information

To display current system information:

1. Choose Console from the Tools menu.

The Console window opens.

2. Scroll to the top of the Console window to view your system information and ID.

This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support.

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Reviewing a Log of Errors

To review errors logged to the Console window:

1. When an error occurs and a message box appears, close the message box and choose Console from the Tools menu.

2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support.

Getting Information with the Console Window

The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin, including hidden items. You can also use the Console window to display information about a shot, segment, or sequence in the Timeline.

To get information with the Console window:

1. Choose Console from the Tools menu.

The Console window opens.

2. Select the item about which you want information:

t In the Timeline, place the position indicator in the chosen clip or segment.

t In the bin, select an object or Ctrl+click (Windows) or Shift+click (Macintosh) multiple objects.

3. Choose Get Bin Info or Get Position Info from the File menu.

Information about the clip appears in the Console window.

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Using the Hardware Tool

Using the Hardware ToolThe Hardware tool provides the following information about the system’s hardware configuration:

• The Drives tab lists each online drive. The shaded portion of the bar next to each drive shows the total size of the drive and the amount of storage space currently filled.

• The System tab lists the operating system, its version and build numbers, and the physical memory.

Checking the Hardware Configuration

To check the hardware configuration of your Avid Xpress system, do one of the following:

t Choose Hardware from the Tools menu.

t Click the Info tab in the Project window, and then click the Fast Menu button and choose Hardware from the Fast menu.

The Hardware tool opens.

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The Hardware tool contains the following information:

• Each online drive is listed on the left side of the Drives tab. The name of each drive and its total size are listed below each Drive icon. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.

• (Windows) The name of the operating system, version number, build number, and service pack version appear in the System tab. The total physical memory is also listed in the same location.

• (Macintosh) The name of the operating system appears in the System tab. The total physical memory is also listed in the same location.

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Using the Hardware Tool

Starting the Diagnostic Utility

For information on the boards included in your system, use the Avid System Test Pro diagnostic utility. Avid System Test Pro comes with a user’s guide and online Help.

Starting Avid System Test Pro (Windows)

To start Avid System Test Pro:

1. Click the Start button, and then point to Programs.

2. Point to Avid, point to Utilities, and then click Avid System Test Pro.

3. Click OK in the opening dialog box.

4. Choose Board Info from the Window menu.

The Board Information window opens.

5. Choose Exit from the File menu to close the utility.

Starting Avid System Test Pro (Macintosh)

To start the Avid System Test Pro:

1. Open the Avid folder, then the Utilities folder, and then click Avid System Test Pro.

2. Click OK in the opening dialog box.

3. Choose Board Info from the Window menu.

The Board Information window opens.

4. Choose Exit from the File menu to close the utility.

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Using Basic Tools

Using the Serial (Com) Ports ToolThe Serial (COM) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing the Avid Xpress application or shutting down the computer.

The Serial (COM) Ports tool allows you to view and assign serial ports for these peripheral devices:

• VTR Emulation: Choose a port for an edit controller that uses the Sony serial control protocol. For more information, see “Enabling VTR Emulation” on page 755.

• Controller: View the port for the Avid controller or the JL Cooper MCS3. Choose the controller type and port in the Controller Settings dialog box. You can change the port in the Serial (COM) Ports tool, but whenever the application starts it uses the port selected in the Controller Settings dialog box.

• Deck Control: View the port for one or more decks. Configure the deck and port in the Deck Configuration dialog box. You can change the port in the Serial Ports tool, but whenever the application starts it uses the port selected in the Deck Configuration dialog box.

n Although you can use the Serial (COM) Ports tool to reassign ports, you still need to reconnect the appropriate cables to the newly assigned ports.

To open the Serial (COM) Ports tool:

1. Choose Serial (COM) Ports from the Tools menu.

The Serial (COM) Ports tool opens.

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Configuring a Controller

2. Assign ports for VTR emulation, a controller, and a deck by choosing a port or no port from a pop-up menu.

n The options available in the Serial (COM) Ports tool vary depending on what peripheral equipment you have connected to your system.

3. Close the Serial (COM) Ports tool.

Configuring a ControllerAdding a controller to your Avid Xpress system provides an alternative to using the keyboard and mouse for editing footage. Avid supports two types of controllers:

• JL Cooper Media Control Station3 (MCS3)

• Avid Controller

For information on installing the controller hardware, see the setup guide for your Avid Xpress system.

To configure a controller:

1. Double-click Controller Settings in the Settings scroll list of the Project window.

The Controller Settings dialog box appears.

2. Choose the appropriate port from the Port pop-up menu:

- (Windows) COM1 or COM2

- (Macintosh) Port #1, #2, #3, or #4

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Using Basic Tools

3. Choose the appropriate controller from the Controller pop-up menu:

- Avid Controller

- JL Cooper MCS3 Controller

4. (Option) Click the Edit Settings button.

If you have selected a port and controller, the appropriate Controller Settings dialog box opens.

5. Customize the controller buttons:

t To map Command palette functions to JL Cooper MCS3 Controller buttons, see ”Using the JL Cooper Media Control Station3” in the Help.

t To map Command palette functions to the Avid Controller buttons, see the documentation for the Avid Controller.

6. Click OK.

The Controller Settings dialog box appears.

7. Click OK.

CHAPTER 5Logging

When you log with a deck or import shot log files, you provide the Avid Xpress 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:

• Logging Tips

• Importing Shot Log Files

• Converting Log Files with Avid Log Exchange

• Logging Directly to a Bin

• Modifying Clip Information Before Digitizing

• Exporting Shot Log Files

Logging TipsThe following sections provide important guidelines for preroll, timecode formats, and naming of tapes when logging before digitizing.

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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 or 3 seconds for Betacam playback, 5 seconds for 3/4-inch U-matic playback, and 6 seconds for DV playback.

n Use Deck Settings (click Add Deck in the Deck Configuration dialog box) to set the default preroll for tape playback.

Understanding Drop-Frame 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.

Preroll setting

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Logging Tips

NTSC video (the video format used mainly in the United States) uses one of two formats: drop-frame timecode and non-drop-frame timecode. 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.

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.

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

Non-drop-frametimecode

Drop-frametimecode

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You set the default timecode format for logging clips in the Deck Preferences dialog box (see “Setting Deck Preferences” on page 217). You set the default starting timecode in the General Settings dialog box (see “General Settings” on page 98). In both cases, you can choose drop-frame or non-drop-frame timecode.

You can change the starting timecode of a sequence or, for NTSC projects, the type of timecode. See “Changing the Start Timecode for Sequences” on page 516.

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.

n Drop-frame and non-drop-frame timecode exists only in NTSC projects.

To log drop-frame timecode:

t Use semicolons (;) between the hours, minutes, seconds, and frames.

To log non-drop-frame timecode:

t Use colons (:) between the hours, minutes, seconds, and frames.

Naming Tapes

When you type tape names in the Digitize tool, consider the following:

• 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 might be difficult to distinguish among tapes with similar names when you try to locate a specific tape quickly. Name tapes based upon the amount and complexity of your source material.

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Logging Tips

• Tape names must be alphanumeric characters (A–Z, 0–9), with no spaces before the name. They can include uppercase and lowercase letters. 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. This can cause significant problems in keeping track of clips. Choose a case convention and maintain it throughout a project.

• 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 truncate source tape names to as few as six characters, while others eliminate characters and truncate to three numbers.

Double-Checking the Logs

When importing shot logs for video, the Avid Xpress 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.

If the system detects a discrepancy, it reports the error and does not bring the clip into the bin.

To ensure that clips are not discarded on import:

t Double-check the logs for discrepancies in duration and marks.

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.

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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.

Importing Shot Log FilesYou can import any log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require digitizing.

The system imports any additional information logged with each clip.

To save this display after importing the log:

t Save the bin.

To import shot log files into a bin:

1. Open a bin, click anywhere in an open bin to select it, or create a new bin for the shot log import.

Mark Memory button Go to Memory buttonClear Memory button

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Importing Shot Log Files

2. Choose Import from the File menu.

The Select Files to Import dialog box appears.

Options button

Up One Level pop-up menu

Files of type pop-up menu

Windows

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3. Do one of the following:

t Choose Shot Log from the Files of Type pop-up menu.

The system displays file types that belong to the chosen category only.

t Choose All Files from the Files of Type pop-up menu.

The system displays all files in a chosen folder, regardless of file type. Use this option if you want to batch import multiple file types.

n When batch importing multiple files and file types, you should establish global Import settings in advance. See “Creating and Using Import Settings” on page 310.

4. Click the Options button to open the Import Settings dialog box if you want to select options for combining events on import from the Import settings.

5. Click the Shot Log tab. For more information about shot log options, see Table 8-4 on page 318.

File Type pop-up menu Options button

Directory pop-up menu

Import file list

Source file list

Macintosh

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Converting Log Files with Avid Log Exchange

6. After selecting the appropriate options, click OK to close the Import Settings dialog box and to return to the Select Files to Import dialog box.

7. Use the Up One Level pop-up menu (Windows) or the Directory pop-up menu (Macintosh) to locate the folder containing the source file.

8. Select the file.

9. Click Open.

When the system finishes importing the file, the clips appear in the selected bin.

Converting Log Files with Avid Log ExchangeYou 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 172.

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.

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.

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Converting a Log File to an ALE File (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 Ale.

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.

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.

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Converting Log Files with Avid Log Exchange

- If the file does not contain the Windows line-ending format, the Line Endings dialog box appears. Click one of the following:

Display & Save: Open the file in the Avid Log Exchange window and change the file to the Windows 2000 format.

Display Only: Open the file in the Avid Log Exchange window but not save the file.

Ignore: Display the file as is without changes.

The file appears in the Avid Log Exchange window.

For specific informa-tion on the various file types shown here, see “Avid Log Specifica-tions” in the Help.

- 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.

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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 hours.

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.

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.

The converted file is stored in the same folder as the original log file.

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Converting Log Files with Avid Log Exchange

Using Drag-and-Drop Conversion (Windows)

Use this shortcut to convert any type of file into an ALE file.

n Before you use the drag-and-drop conversion, check the options in the ALE utility. The current options are used when you perform the drag-and-drop conversion.

To convert a log file using drag-and-drop conversion:

1. Create a shortcut for the ALE utility.

2. Open the folder that contains the files you want to convert, positioning the folder so the shortcut icon for the ALE utility is visible.

3. Select the files you want to convert.

4. Drag the selected files to the shortcut icon for the ALE utility, and release the mouse button.

ALE shortcut icon

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5. 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.

6. 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 a Log File to an ALE File (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 172.

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Converting Log Files with Avid Log Exchange

To convert a file:

1. In the Finder, open the Utilities folder on the Avid drive 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.

For specific information on the various file types shown here, see “File Format Specifications” in the Help.

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.

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 File Selection dialog box.

7. Open the drive and folder that contain the files you want to convert.

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.

The original file name extension is replaced by the extension for the new format. The .ALE files can be imported only into Avid products.

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Using Drag-and-Drop Conversion (Macintosh)

To convert any type of file into an .ALE file:

1. Insert the floppy disk in the floppy drive, if the files you want to convert are stored on a floppy disk.

2. Open the folder that contains the Avid Log Exchange icon.

3. Open the folder that contains the files you want to convert, positioning the folder so the Avid Log Exchange icon is visible.

4. Select files for conversion.

5. 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.

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Logging Directly to a Bin

Logging Directly to a BinYou can log clips directly to a bin using the Digitize tool in one of three ways described in this section:

For complete information on working with bin columns and clip information, see “Using Text View” on page 362.

• Log directly to a bin with an Avid-controlled camera or deck for semiautomated data entry. See “Logging with an Avid-Controlled Camera or Deck” on page 183.

• Log directly to a bin with an Avid-controlled camera or deck and pause the deck while logging. See “Pausing the Deck While Logging” on page 187.

• Log manually during or after viewing of footage offline with a non-Avid-controlled deck or other source. See “Logging with a Non-Avid-Controlled Camera or Deck” on page 188.

Logging with an Avid-Controlled Camera or Deck

When you log with a camera or compatible video deck controlled from within Avid Xpress, you can automate part of the logging process using buttons to enter frame-accurate timecode information from the camera or deck. This method is more accurate than manual entry because timecodes are transferred directly from tape to the bin.

To log clips directly to a bin from an Avid-controlled camera or deck:

1. Make sure the camera or deck is properly connected and turned on.

2. Open the bin in which you want to store the clips.

3. Choose Digitize from the Tools menu.

The Digitize tool opens.

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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” on page 219.

6. Insert your tape into the deck.

The Select Tape dialog box appears.

Log button

Deck Selection pop-up menu

Digitize/Log Mode button

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Logging Directly to a Bin

7. (Option) Select “Show other projects” 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.

n 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.

For guidelines when naming tapes, see “Naming Tapes” on page 170.

8. 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.

New tape name

Show other projects

List of tapes

Scan for tapes button

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Logging

9. Set either an IN point or an OUT point for the clip you want to log, using one of the following methods:

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 (in the upper left corner of the Digitize tool or the Mark IN button in the lower right) or press F4. The deck continues to play.

n If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 187.

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, and click the Mark IN or the Mark OUT button in the lower right.

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).

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 you set.

c For NTSC film-to-tape transfer, you must log the correct pull phase. See “Entering Pulldown Information” on page 191.

10. (Option) Enter a clip name and comment in the corresponding text boxes.

11. To finish logging the clip, do one of the following:

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.

Mark IN

Mark IN

Mark OUT

Go to IN

Go to OUT

Mark OUTand Log

Mark IN and Log

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Logging Directly to a Bin

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.

t 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.

The clip name, which is automatically numbered by the system, is highlighted and ready to be changed.

12. (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.

13. 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 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.

Log Clip button

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To pause the deck while logging:

1. In the General tab of the Digitize Settings dialog box, select Pause Deck While Logging.

2. Set up your deck and the Digitize tool as described in “Logging with an Avid-Controlled Camera or Deck” on page 183.

3. When you reach the point where you want to start the clip, click the Mark IN button in the upper left corner 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.

4. When you reach the point where you want to end the clip, click the Mark OUT button in the upper left corner 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 fields in the Digitize tool.

6. Click the Log Clip button or press F4.

The system logs the clip in a bin, and the deck starts playing again.

Logging with a Non-Avid-Controlled Camera or Deck

You can use the Digitize tool to log clips directly to a bin from a non-Avid-controlled source. For example, you can log clips from a camera or 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.

Mark IN

Mark OUT

Log Clip

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Logging Directly to a Bin

To log with a non-Avid-controlled camera or deck:

1. If there is a camera or 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 determines drop-frame or non-drop-frame from that tape, whether or not it matches your tape’s timecode format. (Drop-frame and non-drop-frame timecode exists only in NTSC projects.)

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 the deck contains no tape Log As” pop-up menu.

4. Click OK to close the dialog box.

5. Open the bin where you want to store the clips.

6. Choose Digitize from the Tools menu.

The Digitize tool opens.

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7. Click the Digitize/Log Mode button until the LOG icon appears.

8. Click the Source Tape Display button.

A dialog box appears.

9. Click Yes.

The Select Tape dialog box appears.

10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. Click OK.

11. Select the tracks that you want to log, using the Channel Selection buttons.

12. Type the start and end timecodes in the Mark IN and Mark OUT text boxes.

13. Click the Log Clip button.

Log button

Channel selection buttons

Message bar

Timecode display

Deck controls

Deck Selection pop-up menu

Digitize/Log Mode button

Mark IN text box

Clear OUTbutton

Mark OUT text box

Source Tape Display button Mark OUT button Mark IN button

Clear IN button

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The clip is logged to the bin.

Entering Pulldown Information

For information about importing a log file, see “Importing Shot Log Files” on page 172.

Setting the correct pulldown phase 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.

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 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 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.

Start timecode Pullin column(information required for NTSC)

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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 Digitizing” on page 305.

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.

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Logging Directly to a Bin

- 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.

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.

A

B

C

D

A1

Five NTSC video frames (10 fields)Four film frames

A2

B1

B2

B3

C1

C2

D1

D2

D3

Timecode change

Timecode change

Timecode change

Timecode change

odd

even

odd

even

odd

even

odd

even

odd

even

A1 A

B

C

D

X

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Logging

To modify the pulldown phase directly in the Pullin column:

1. Enter Text view. For more information, see “Using Text View” on page 362.

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.

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Modifying Clip Information Before Digitizing

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.

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 305.

n 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.

Modifying Clip Information Before DigitizingThe following conditions apply to modifying clip information:

• When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip.

• Some data cannot be modified after digitizing because changes would prevent you from playing back and editing the material successfully.

• Sequence data cannot be changed even though it appears in your bin. The only way to modify sequence data is to edit the sequence itself. You can, however, change the name and start time for the master timecode track.

You can modify some data directly for master clips, subclips, and other objects stored in a bin.

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Logging

The Modify Command

The Modify command gives you specialized control over groups of clip information. For example, you can use the Modify command to change the name of source tapes for some or all of your clips, to change the timecode format from drop-frame to non-drop-frame, or to increment or decrement the start and end timecodes by a specified length of time for one or several clips at once.

You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way. In addition, you can perform only modifications that alter the end timecodes or the tracks before digitizing.

Using the Modify Command

To modify selected clips:

1. Open the bin.

2. Click a clip icon to select it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional clip you want to modify.

3. Choose Modify from the Bin menu.

The Modify dialog box appears.

Selected clip is highlighted.

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Modifying Clip Information Before Digitizing

4. Choose an option, such as Set Timecode By Field, from the pop-up menu.

Depending on the modification you select, different options appear in the dialog box that allow you to establish the specific modification, as shown in Table 5-1.

5. After choosing the type of modification, select an option or type information in the text boxes (for example, timecode values) when they appear.

6. Click OK.

The modification takes effect.

Table 5-1 lists options available from the pop-up menu in the Modify dialog box.

Table 5-1 Options for Modifying Bin Information

Type of Modification Options Description

Set Timecode Drop/Nondrop

Drop, Nondrop Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape. For more information about drop-frame and non-drop-frame timecode, see “Understanding Drop-Frame and Non-Drop-Frame Timecode” on page 168.

Set Timecode By Field Start or End Changes either the start or end timecode. Only start timecode can be altered after digitizing.

Hour, Minutes, Seconds, Frames

Allows you to enter custom timecode.

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Logging

Increment Timecode Start or End Changes either the start or end timecode. Incrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be incremented after digitizing.

Timecode entry field Allows you to enter custom incremental timecode.

Decrement Timecode Start or End Changes either the start or end timecode. Decrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be decremented after digitizing.

Timecode entry field Allows you to enter new decremental timecode.

Set Key Number Generic (Prefix)

Key Number field Allows you to enter a custom generic key number (film projects only).

Set Pullin A, B, C, or D Selects the pulldown frame to match the timecode entry (film and matchback projects only). For more information, see “Entering Pulldown Information” on page 191.

After digitizing, the clip must be unlinked. For more information, see “Modifying the Pulldown Phase After Digitizing” on page 305.

Set Tracks V, A1, A2, A3, A4, A5, A6, A7, A8 track selector

Changes the clip’s configuration of tracks (film projects only).

Set Source None Opens the Select Tape dialog box. Selects another source tape name for the clips. Should match the original source tape name.

Table 5-1 Options for Modifying Bin Information (Continued)

Type of Modification Options Description

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Exporting Shot Log Files

Exporting Shot Log FilesYou can export a shot log file from the Avid Xpress system in either Tab Delimited or Avid Log Exchange formats for making adjustments in a text editor or for importing to 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 and switch to Text view. For more information on Text view, see “Using Text View” on page 362.

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 a destination dialog box (Macintosh) appears.

4. Do one of the following:

t If you have previously created an Export setting for exporting shot log files, choose the setting from the Export Setting pop-up menu. Then go to step 11.

For information on creating Export settings, see “Customizing Export Settings” on page 804.

t If you want to create a new Export setting, go to step 5.

5. Click the Options button.

The Export Settings dialog box appears.

6. Choose either Avid Log Exchange or Tab Delimited from the Export As pop-up menu.

7. Click the Save As button.

The Save Export Setting dialog box appears.

8. Type a name in the Setting Name text box.

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Logging

The export setting name is added to the list of formats available from the Export dialog box.

9. Click OK.

10. (Option) Change the file name in the Export As dialog box (Windows) or the destination dialog box (Macintosh), but 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.

CHAPTER 6Preparing to Digitize

Digitizing is the process of creating digitial media from videotape or audio input. Before you begin the digitizing process in Chapter 7, you need to prepare for it as described in the following sections:

• Understanding Digital Video (DV)

• Preparing the Hardware

• Selecting Settings

• Configuring Decks

• Setting Up the Digitize Tool

• Preparing for Audio Input

• Calibrating the Eight-Channel Audio I/O Device

• Calibrating for Video Input

• Compression Resolutions and Storage Requirements

Before digitizing, see the setup guide for your system to ensure you have properly connected your recording equipment such as a camera, deck, or DV device.

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Understanding Digital Video (DV)If you have Avid Xpress with DV Option, you should read this section. DV stands for digital video. More specifically, it refers to digital video that is transferred through equipment conforming to IEEE Standard 1394. This equipment (cameras, decks, cables, connectors, and processing boards) is sometimes referred to as FireWire® or i.LINK®.

DV connections let you transfer digital data (both video and audio) directly from a DV camera to a digital nonlinear editing system with no conversion losses. DV technology simplifies the process of bringing footage from your camera into your Avid Xpress system, and gives you high-quality video at low cost.

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 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 or the Avid Composer Products Setup Guide for the Macintosh Operating System.

What Is DV?

Digital Video (DV) is an international standard created by a consortium of 10 companies to serve as a consumer digital video format.

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Understanding Digital Video (DV)

Avid Xpress with the DV option supports the following DV 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 a PAL project.

What Is IEEE Standard 1394?

IEEE 1394 is an internationally standardized, low-cost digital interface that integrates entertainment, communication, and computing electronics into consumer multimedia. IEEE 1394 is a hardware and software standard for transporting data at 100, 200, or 300 megabits per second (Mb/s). Because it’s a digital interface, there is no need to convert digital data into analog, resulting in a loss of data integrity.

What Is OHCI?

The Open Host Controller Interface (OHCI) specification is a standardized way of interacting with the 1394 bus. The IEEE 1394 interface that conforms to this specification can provide a connection between a computer and a DV camcorder that operates in a standard way.

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DV Workflows (Windows Only)

There are several workflows for Avid Xpress with DV Option:

• You can work in native DV.

- Use a FireWire connection to record DV footage directly from a camera or deck.

- Use any Avid Xpress features to edit in native 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.

- Avid Xpress with DV Option converts the video to a supported DV resolution (DV 25 or DV 50).

- Edit in native 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.

• You can work in a DV project that will be cut as film.

- Create a matchback project.

- Edit in native DV format.

- Use the FilmScribe application to output a cut list.

DV resolutions and OHCI input/output are not available in progressive projects.

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Understanding Digital Video (DV)

• If you work in an Avid Unity MediaNet environment, you can work in DV while sharing DV footage with other DV systems. For example, in a broadcast facility, you can use an Avid Xpress with DV Option system 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.

n Avid Xpress with DV Option supports 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”

• “Configuring Decks” on page 209

• “Setting Up the Digitize Tool” on page 218

• “Using the Digital Cut Tool” on page 738

n Avid Xpress with DV Option supports recording and digital cuts of 44.1-kHz and 48-kHz audio only. It does not support recording and digital cuts of 32-kHz (12-bit) audio. If you are recording DV audio, set your camera or deck to record 16-bit audio (48 kHz).

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The following illustration shows a possible workflow for a DV project. This workflow uses both DV media and Betacam media as source footage.

1. (Option) Import a log file to create a bin.

2. Connect your equipment. For SDI or analog video, use the Meridien I/O box. For DV video, use the 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.

4. Complete edits and create a final sequence.

5. Output a master tape: DV, analog, digital, or all three. Output NTSC or PAL, depending on your source footage.

(Step 1)

(Step 2)

(Step 3)

(Step 4)

Betacam or Digital BetacamVTR

25-fps or30-fps master

Source footage:NTSC 30 fps or PAL 25 fps

Beta-cam

Beta-cam

Meridien I/O box

Avid Xpress with DV Option

Betacam or Digital BetacamVTR

Meridien I/O box

Log

DV

1394 connection

DV cameraor deck

(Step 5)

DV

Avid

Avid

DV deck

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Preparing the Hardware

Preparing the HardwareBefore you begin digitizing, check the following:

• 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.

n The deck should be turned on and the control switch set to Remote before you start Avid Xpress.

n (DV Option only) 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.

• Striped drives. If your footage contains complex images that you digitize at high resolution, you must use striped drives. See “Learning About Striped Drives” on page 207.

• Digital Audiotape (DAT). If you want to digitize music or audio from a DAT deck, check the setup guide for your Avid Xpress system to determine whether your model requires VLXi® for video deck control.

Learning About Striped Drives

Avid maintains a set of tables on the Web containing information about striping drives. For information on accessing the drive striping tables, see the release notes for your Avid system.

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Selecting SettingsA number of settings have a direct effect on the digitizing process. Before you digitize, review the following options:

• General Settings

• Digitize Settings

General Settings

General settings include options for tape formats, drive filtering, and audio information.

To access General settings:

1. Click the Settings tab in the Project window.

2. Double-click General.

The General Settings dialog box appears.

Table 3-4 on page 98 describes the General Settings options.

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Configuring Decks

Digitize Settings

Digitize settings include essential options for digitizing, batch digitizing, autodigitizing, and digitizing to multiple media files.

Digitize Settings options are described in the following tables:

• Table 6-3

• Table 6-4

• Table 6-5

• Table 6-6

For a complete description of the Digitize settings, see “Using Digitize Settings” on page 232.

Configuring DecksDeck 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 in the Project window.

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Preparing to Digitize

n You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the Avid Xpress Getting Started Guide.

To configure a deck or multiple decks:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Deck Configuration.

The Deck Configuration dialog box appears.

3. If you are configuring your system for the first time, click the Add Channel button to add a new channel box on the left side of the Deck Configuration dialog box and automatically open a Channel dialog box.

Deck control settings

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Configuring Decks

4. Choose one of the following items from the Channel Type pop-up menu:

For more information about V-LAN equipment, contact your Avid sales representative.

- 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.

- FireWire, if you are connecting a DV camera or deck by means of a FireWire connection (if you purchased Avid Xpress with DV Option).

n For more information about V-LAN equipment, contact your Avid sales representative.

5. Choose the port to which you are connecting the deck from the Port pop-up menu:

- OHCI if you chose FireWire for the channel.

- COM1 or COM2 if you chose Direct for the channel.

n 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.

6. 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.

7. Click Yes if you want to automatically configure the channel.

A new channel appears in the display area of the Deck Configuration dialog box.

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n You can reopen the Channel settings to change the options at any time by double-clicking the channel box.

8. To add a deck or transcoder, do the following:

a. Click Add Deck to open the Deck Settings dialog box.

n With a deck already connected to the system, you can click the Auto-configure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings.

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

b. (Option) When a digital camera or transcoder is attached to your system, choose the proper device from the Device pop-up menu in the Deck Settings dialog box. When a deck

Channel box

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Configuring Decks

with a transcoder is attached, choose the applicable deck from the Device pop-up menu.

If your transcoder does not appear on the list, choose Generic and then choose DVTranscoder.

c. Select settings based on your device. For information on deck settings, see “Deck Settings Options” on page 215.

d. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box, which now displays the deck.

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.

9. Repeat steps 2 through 8 for each additional channel or deck you want to configure.

Deck box

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Preparing to Digitize

10. (Option) Select the “Verify configuration against actual decks” option if you want the system to check the deck configuration against the devices physically connected to the system.

The system checks the deck configuration after you click Apply in the Deck Configuration dialog box and when you start Avid Xpress. A message warns you if the configuration does not match the deck.

11. Type a name in the Configuration Name text box to name the deck configuration.

n The new deck configuration will appear in the Settings scroll list of the Project window.

12. Click Apply to complete the configurations and close the Deck Configuration dialog box.

13. 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 217.

Deleting Deck Configurations

To delete a deck configuration:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Deck Configuration.

The Deck Configuration dialog box appears.

3. Click the names of the currently configured channel and deck in the display area.

The entire display area should have a red border.

4. Click Delete.

5. Click Apply to complete the changes and close the dialog box.

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Configuring Decks

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.

The Deck Settings dialog box appears.

.

Table 6-1 describes the Deck Settings options.

Manufacturer pop-up menu

Model pop-up menu

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Table 6-1 Deck Settings Options

Option Suboption Description

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

Description Enter notes about the deck.

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

Device Choose your device manufacturer from the Manufacturer pop-up menu and choose your device model from the Model pop-up menu. If your device does not appear in the list, choose Generic from the Manufacturer pop-up menu and choose the type of device from the Model pop-up menu.

Address For VLXi use only (see your VLXi documentation). If you are using direct serial port deck control, this option is unavailable.

Preroll Specifies how many seconds the tape rolls before digitizing or digital cut starts. The default is based on the type of videotape recorder (VTR).

Fast Cue Speeds up long searches if your decks can read timecode in fast forward or rewind mode.

Switch to ff/rew (seconds): n

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.

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Configuring Decks

Setting Deck Preferences

Deck preferences are global settings for basic deck control. These settings apply to all decks connected to your system, regardless of your deck configuration. You can open the Deck Preferences dialog box from the Settings scroll list of the Project window.

Table 6-2 explains the Deck Preferences options.

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 60 seconds from the target timecode.

Table 6-1 Deck Settings Options (Continued)

Option Suboption Description

Table 6-2 Deck Preferences Options

Option Description

When the deck contains no tape Log as

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

Allow assemble edit for digital cut

When this option is selected, you can use the assemble-edit features in the Digital Cut tool along with the assemble-editing capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance. For more information about digital cuts and assemble editing, see Chapter 18.

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Preparing to Digitize

Setting Up the Digitize ToolThe Digitize tool provides controls for cueing, marking, and logging footage, and specifies digitizing parameters such as source and target locations.

Opening the Digitize Tool

To open the Digitize tool:

t Choose Digitize from the Tools menu.

Stop key pauses deck This option defines the function of the Stop key (space bar) on the keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button.

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

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

Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a constant speed instead of stopping when you release it.

Stop any paused decks when quitting

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

Table 6-2 Deck Preferences Options (Continued)

Option Description

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Setting Up the Digitize Tool

The Digitize tool opens.

Selecting a Deck

The Deck Selection pop-up menu in the Digitize tool contains a list of decks or cameras that were connected to the system, powered up, and initialized when you opened the Digitize tool. The first deck or camera in the list is selected by default, unless all decks or cameras are offline.

Deck Selection pop-up menu

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Preparing to Digitize

To activate playback from an available deck or camera, do one of the following:

t Choose the name of a previously configured deck or camera from the pop-up menu.

t Choose Auto-configure to automatically establish the default deck settings for a VTR that is currently connected to the system.

n Not all devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only the generic devices. When a digital camera is attached to your system, choose the proper device from the Device pop-up menu in the Deck Settings dialog box. When a deck with a transcoder is attached, choose the applicable deck from the Device pop-up menu.

If you forgot to turn on or connect a deck or camera before entering Digitize mode:

1. Make sure that the deck is connected and the power is turned on.

2. Choose Check Decks from the Deck Selection pop-up menu in the Digitize tool to reestablish deck control.

Setting the Video and Audio Input

The Video Input and Audio Input pop-up menus show you the current input settings for video and audio input.

To change the Video Input settings:

t Choose one of the following:

- Composite

- Component

- S-Video

- OHCI

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Setting Up the Digitize Tool

To change the Audio Input settings:

t Choose one of the following:

- Analog

- AES/EBU

- S/PDIF

- Microphone

- Mic w/ Phantom Pwr

- OHCI

For more information see “Calibrating for Video Input” on page 256 and “Adjusting Audio Project Settings” on page 240.

n If you change the settings, the settings in the Video Input tool or in the Audio Project Settings window change automatically.

Selecting a Tape

To select a source tape:

1. Load a tape into your deck.

The Select Tape dialog box appears.

2. In an NTSC project, play the tape briefly so that the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape.

n Drop-frame timecode appears in the timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. (Drop-frame and non-drop-frame timecode exists only in

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Preparing to Digitize

NTSC projects.) For more information about drop-frame and non-drop-frame timecode, see “Understanding Drop-Frame and Non-Drop-Frame Timecode” on page 168.

For information on tape naming conventions, see “Naming Tapes” on page 170.

3. Provide the system with a tape name in one of the following ways:

t Select the name of the tape from the list displayed in the Select Tape dialog box, and click OK.

t Click New if the tape is not in the list. Type the new name in the dialog box, and click OK.

Selecting Source Tracks

You can select 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.

The TC (timecode) track is selected by default.

n If you are not seeing the source video or hearing source audio in Digitize mode, click the Channel Selection buttons to make sure the correct tracks have been selected.

To select or deselect all tracks at once:

t Press and hold the Alt key (Windows) or the Option key (Macintosh), and click any Channel Selection button.

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Setting Up the Digitize Tool

Choosing a Resolution in the Digitize Tool

To set the digitize resolution:

t Choose a video resolution from the Resolution (Res) pop-up menu in the Digitize tool. If you have Avid Xpress with DV Option, choose a DV resolution.

Different options appear depending on whether you are working in an NTSC project or a PAL project. The Video Input tool does not include settings for DV footage.

n For more information on compression ratios (resolutions), see “Compression Resolutions and Storage Requirements” on page 264.

n Avid Xpress with DV Option supports recording and digital cuts of 44.1-kHz and 48-kHz audio only. It does not support recording and digital cuts of 32-kHz (12-bit) audio. If you are recording DV audio, set your camera or deck to record 16-bit audio (48 kHz).

Choosing a Target Bin

You select a target bin as the destination for the master clips created when you digitize on-the-fly. You can also select a target bin containing the logged clips you will use to batch digitize your media.

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To choose a target bin, do one of the following:

t Choose an existing bin from the Bin pop-up menu in the Digitize tool.

t Activate a previously created bin by choosing Open Bin from the File menu; then locate and open the bin in the Open Bin dialog box.

t Create a new bin by choosing New Bin from the File menu and then naming and opening the new bin in the New Bin dialog box.

Selecting the Target Drives

To target drives for the digitized media:

1. Make sure you are in Digitize mode. If the Digitize tool is in Log mode, click the Digitize/Log Mode button to return to Digitize mode (that is, the DIG icon appears.)

2. Decide whether to digitize audio and video to a single drive or to separate drives.

3. Choose the specific target drives from the pop-up menus.

Targeting a Single Drive

By default, the Digitize tool targets a single media drive for digitizing the video and audio for each clip. Use this option when you are digitizing in a single-field resolution, for instance, and playback performance is not an issue.

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To target a single drive:

1. Choose Digitize from the Tools menu.

2. Click the Single/Dual Drives Mode button in the Digitize tool until it displays the Single-Drive icon.

3. Choose a drive from the Target Drive pop-up menu.

The name shown in bold in the menu has the most storage available. The time remaining is calculated based on your resolution selection.

Targeting Separate Drives for Video and Audio

Targeting separate drives for video and audio tracks can improve 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 stores material on two drives rather than one.

To target separate drives for video and audio:

1. Choose Digitize from the Tools menu.

2. Click the Single/Dual Drives Mode button in the Digitize tool until it displays the Dual-Drives icon.

3. Choose separate drives for video and audio 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 is calculated based on your resolution selection.

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Interpreting the Time-Remaining Display

You can interpret the numbers in the Time-Remaining display in the Digitize tool based on the following factors:

• Each digitized clip is limited by the Avid Xpress system to a maximum file size of 2 GB. Any clip whose size exceeds 2 GB will have more than one media file associated with it.

• When adequate space exists on the chosen drive, the time remaining displayed in the Digitize tool is based on 2 GB per clip at the chosen resolution. This number reappears for each clip digitized, as long as there is adequate drive space.

• When you choose another resolution, the Time-Remaining display adjusts accordingly.

• When the storage space on the chosen drive is less than 2 GB, the time remaining begins to decrease for each clip digitized until the drive is full.

n For more information about storage requirements, see “Storage Requirements” on page 273.

Choosing Monochrome or Color in the Digitize Tool

The Monochrome/Color Selection button in the Digitize tool allows you to filter out all of the color from each frame of video when digitizing.

To obtain more efficient storage and picture quality with original media that is black and white:

t Click the Monochrome/Color Selection button until it appears in monochrome.

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To digitize in full color:

t Click the Monochrome/Color Selection button until it appears in color.

The system displays the button in color or as a monochrome image depending on the current setting.

c If you choose the Monochrome option and you intend to create full-color digital cuts, you need to redigitize using the Color option before creating the digital cut.

Digitizing to Multiple Media Files

You can digitize video and audio to multiple media files across multiple drives, 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 drives with the multiple file options, enabling the system to record long clips continuously; for example, satellite feeds.

• The system makes more efficient use of drive space, particularly when digitizing long clips.

To digitize video or audio to multiple media files:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Digitize.

The Digitize Settings dialog box appears.

3. Click the Media Files tab.

4. Select the option “Digitize to multiple files.”

5. Accept the default or type a different time limit in the “Maximum (default) recording time” text box.

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c If you think that any of your digitized clips might exceed 30 minutes, make sure you enter a higher estimate in this text box; otherwise, the system stops digitizing at 30 minutes.

6. Click OK to close the dialog box and apply the options.

7. Choose Digitize from the Tools menu.

The Digitize tool opens.

8. To digitize to multiple files across drives, choose Change Group from the Target Drive pop-up menu in the Digitize tool.

The Drive Group dialog box appears.

9. Ctrl+click (Windows) or Shift+click (Macintosh) multiple drives to include in the digitizing session, or click the All button to select all drives.

n If you click Clear, all selections are removed. You must select at least one drive before you can click OK to exit the dialog box.

10. Click OK to close the dialog box and apply the changes.

11. Proceed with digitizing.

c For media file management purposes, any clip whose media exceeds the 2-GB limit has more than one media file associated with it. When you view the Timeline for the clip loaded in the Source pop-up monitor, you notice edit breaks based on the separate media files. The breaks do not appear in the Timeline for the sequence in the Composer monitor.

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Selecting the Preroll Method

The Preroll Method pop-up menu in 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.

- 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.

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- 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 sometimes be slower 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 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.

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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. Choose a method from the Preroll Method pop-up menu.

3. Click OK to close the dialog box and apply the options.

Digitizing Across Timecode Breaks

For a complete description of procedures for locating and changing settings, see “Using the Settings Scroll List” on page 89.

To digitize across timecode breaks:

t Select “Digitize across timecode breaks” in the General tab of the Digitize Settings dialog box. See “General Digitize Settings” on page 232.

To digitize all the footage following a timecode break:

t Choose a method from the Preroll Method pop-up menu in the General tab of the Digitize Settings dialog box.

By default, your Avid Xpress system uses the Best Available preroll method (see “Selecting the Preroll Method” on page 229). If you know that the timecode contains breaks, you can choose Best Available Control Track.

n If you don’t select the “Digitize across timecode breaks”option, the system uses approximately 1 to 6 seconds of unbroken timecode following the break to perform the preroll before digitizing begins.

The “Digitize across timecode breaks” option is especially useful when you are batch digitizing across timecode breaks, but you can also select this option when you are manually digitizing one clip at a time.

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Using Digitize Settings

The Digitize settings specify how to digitize clips.

To open the Digitize Settings dialog box:

1. Click the Settings tab in the Project window.

2. Double-click Digitize.

The Digitize Settings dialog box appears.

General Digitize Settings

The following illustration shows the General tab of the Digitize Settings dialog box.

Table 6-3 describes the options available in the General tab of the Digitize Settings dialog box.

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Table 6-3 Digitize Settings Options (General Tab)

Option Description

Stop deck after digitize Select this option if you want to stop the deck when the digitize operation is complete.

Pause deck after digitize Select this option if you want 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 229.

Force unique clip names Select this option if you want the Avid system to automatically assign a clip name based on the bin’s name and to make sure this name, or another name you 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 digitize material, and places the clip in the active bin.

Digitize across timecode breaks When this option is selected, the system digitizes sections of discontinuous timecode on a tape as separate clips.

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

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 292.

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.

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Batch Digitize Settings

The following illustration shows the Batch tab of the Digitize Settings dialog box.

Table 6-4 lists the options available in the Batch tab of the Digitize Settings dialog box.

Pause deck while logging When this option is selected, the deck pauses after you set an OUT point while you log clips; this allows you time to type the name of the clip. See “Logging Directly to a Bin” on page 183. Deselect this option to allow the camera or deck to continue playing after you set an OUT point.

Table 6-3 Digitize Settings Options (General Tab) (Continued)

Option Description

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Table 6-4 Digitize Settings Options (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 pauses and prerolls 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.

n If you select this option, the system might occasionally digitize more than is required.

Switch to emptiest drive if current drive is full

When this option is selected, the system switches to the target media storage drive with the most available space when the current target drive becomes full during batch digitizing. The system switches before starting to digitize the clip, based on the number of minutes in the clip. For complete instructions, see “Batch Digitizing Clips” on page 297.

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

Rewind tape when finished When this option is selected, the system automatically rewinds tapes after batch digitizing is finished.

Eject tape when finished When this option is selected, the tape ejects as soon as the last shot from that tape has been used. This adds to efficiency since you can do other tasks while the tape is being used and yet still be alerted at the moment the tape is no longer needed.

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Edit Digitize Settings

The following illustration shows the Edit tab of the Digitize Settings dialog box.

Table 6-5 lists the options available in the Edit tab of the Digitize Settings dialog box.

Table 6-5 Digitize Settings Options (Edit Tab)

Option Description

Enable edit to timeline (splice, overwrite)

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

Handles Indicate the amount of footage you want to digitize before and after the IN and OUT points of the clips (when digitizing to the Timeline only).

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Media Files Digitize Settings

The following illustration shows the Media Files tab of the Digitize Settings dialog box.

Table 6-6 describes the options available in the Media Files tab of the Digitize Settings dialog box.

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Preparing for Audio InputThe Avid Xpress 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

Table 6-6 Digitize Settings (Media Files Tab)

Option Description

Digitize to a single file, 2 GB limit When this option is selected, digitizing stops when the media recorded has taken up 2 gigabytes (GB) of storage space on the media drive.

Digitize to multiple files When this option is selected, the system writes digitized video or audio to multiple files across multiple drive partitions. Select this option for clips that might exceed the 2-GB file-size limit.

Maximum (default) digitizing time n minutes

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

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

During digitize, clip is updated in MediaManager

When this option, also known as “chunking,” is selected, the media is sent in segments so that workgroup 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 Do not select this option unless you are part of a workgroup environment.

Segment length n Choose a segment size in minutes or choose the maximum (2 GB).

Switch to emptiest drive when n minutes left

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

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with audio channels 1 to 5, the resulting master clip has matching audio tracks 1 to 5.

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 house sync source when it is connected to REF IN on the Meridien I/O box. If there is no reference connected, sync is generated from internal timing.

c If you need to synchronize audio with video clips recorded on separate devices in the field, Avid recommends that you connect video reference to REF IN on the Meridien I/O box 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 Xpress system.

• Digital audio input: If you are digitizing audio from a digital source, for example, a DAT recording, you should establish sync from the digital source. For more information, see “Checking for a Valid Digital Sync Signal” on page 239 and “Adjusting Audio Project Settings” on page 240.

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.

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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 either channel 1 or channel 2.

To check for a valid digital sync signal:

• If the yellow indicator light labeled DIGITAL on the audio converter shines steadily during input, the system is receiving a valid digital sync signal.

• If the yellow indicator 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 it is played back.

Adjusting Audio Project Settings

You can use the Audio Project Settings window to save the track-to-channel output mappings. Use the Audio tool to create the mapping between tracks in the Timeline and output channels.

To open the Audio Project Settings window:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Audio Projects.

The Audio Project Settings window opens.

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Some items in the dialog box are informational and cannot be changed from within the Audio tool. They are shown in Table 6-7.

You can make adjustments to any of the other options by clicking the option and choosing another item from the pop-up menu. Any changes made are saved as Project settings. These selections are shown in Table 6-8.

Table 6-7 Informational Audio Project Settings

Setting Description

Card The type of audio card installed.

Peripheral The type of peripheral audio device attached to the system (audio interface).

Slot # The slot number where the card or board is located.

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Table 6-8 Adjustable Audio Project Settings

Setting Options Description

HW Calibration Allows you to select a default audio calibration to match your audio I/O peripheral hardware calibration.

Sample Rate 44.1 kHz

48 kHz

Allows you to choose audio rate settings for the entire system for playing and digitizing.

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

For information on changing the sample rate for individual sequences and audio clips, see “Changing the Sample Rate” on page 703.

Sync Mode Video Sync

Digital

Allows you to set audio sync.

Use Video Sync for all analog audio input and output to ensure the audio sample clock is always in sync with the video clock. This prevents long-term drift between audio and video. Audio locks to the video output signal except for digitizing video, when it is locked to the video input signal.

Use Digital whenever you are working with digital audio input and output, such as DAT (digital audiotape), through either the AES/EBU or S/PDIF (Sony®/Philips® Digital Interface Format) connections.

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

n Changing the audio input selection automatically chooses the correct audio clock source for audio sync.

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Input Source Analog

AES/EBU

S/PDIF

Microphone

Mic w/Phantom Pwr, which draws power from the audio board for condenser microphones

Allows you to choose the type of input.

c 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.

Audio File Format

(OMF) WAVE, compatible with Windows applications

(OMF) AIFF-C, compatible with many third-party applications, including Pro Tools®

Allows you to choose the file format for the audio. For more information, see “Choosing the Audio File Format” on page 244.

(Windows only) Choose the AIFF-C format for all audio media when you need to transfer audio media files directly to a Pro Tools or an AudioVision® system for audio sweetening.

Render Sample Rate Conversion Quality

High and Slow

Balanced

Low and Fast

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

Table 6-8 Adjustable Audio Project Settings (Continued)

Setting Options Description

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Choosing the Audio File Format

AIFF-C and WAVE audio media files can be mixed within a project. Macintosh systems also support SDII. The system default is OMF® (WAVE) audio.

n Choose the AIFF-C format or the SDII format (Macintosh only) for all audio media when you need to transfer media files directly to a Pro Tools system for audio sweetening.

Audio is written in the chosen file format when you:

• Digitize audio tracks in Digitize mode.

Convert Sample Rates When Playing

Always

Never

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

If you choose the option Never, the segments not set at the sample rate chosen in the Audio Project Settings window play as silence.

If you choose the option Always, the system attempts to perform a sample rate conversion on-the-fly. Although the resulting audio quality might not be useful for a finished project, it can be useful during an editing session since it prevents audio from playing back with silence.

For information on changing the sample rate for individual sequences and audio clips, see “Changing the Sample Rate” on page 703.

Show Mismatched Sample Rates as Different Color

Yes

No

Allows you to display different sample rates in the Timeline as different colors. For more information, see “Identifying the Sample Rate by Color” on page 612.

Setting Allows you to name this audio project setting.

Table 6-8 Adjustable Audio Project Settings (Continued)

Setting Options Description

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• Create tone media using the Audio tool.

• Mix down audio tracks using the Audio Mix tool.

• Import files using the Import dialog box.

• Apply an AudioSuite™ plug-in that creates new source audio.

If you switch the audio format in the middle of a project, all new audio media files are written in the new format with the following exceptions:

• Media files written when rendering audio effects: The system uses the file type of the A-side (outgoing audio) media for a transition. For example, if the A-side of an audio dissolve is in OMF (AIFF-C) format and the B-side (incoming) is in OMF (WAVE) format, the rendered file is 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. See “Consolidating Media” on page 395.

Using the Audio Tool

For information on output procedures involving the Audio tool, see “Preparing for Audio Output” on page 728.

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, do 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 appears, and displays meters for two or eight channels, depending on the configuration of your system.

Audio Toolbutton

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The Audio tool has the following components:

• The Show/Hide Input Control button displays a microphone and a single slider control for raising or lowering global analog audio input.

• The Show/Hide Output Control button displays a panel that contains a single slider control for raising or lowering global audio output.

• The Show/Hide Setup Control button displays a panel of audio output options for mixing tracks and ignoring audio effects and volume settings. See “Adjusting Output on Two-Channel Audio Systems” on page 730.

• The Reset Peak button resets the current maximum peak measurements. It also stops the playback of the internal calibration tone.

• The In/Out toggle buttons switch the meter displays for each channel between input levels from a source device and output

Reset Peak button

Show/Hide Output Control button Show/Hide Setup Control button

In/Out toggle buttons

Peak Hold Menu button

Volume unit scale(adjustable)

Digital scale (fixed)

Show/Hide Input Control button

Meters

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levels to the speakers and record devices. I indicates Input, and O indicates Output.

• The 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.

• 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.

• 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.

• The meters dynamically track audio levels 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.

Adjusting the Reference Level

The Volume Unit (VU) scale 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.

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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.

n 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 252.

n If the reference level doesn’t match the hardware calibration setting, the 0 VU entry appears red in the Audio tool.

Adjusting Analog Audio Input Levels

You can use the Audio tool to check the analog audio input levels. If the input levels are too high or too low, you need to adjust the output level of your source signal or the input level in the Audio tool.

n You cannot adjust input levels when using digital input sources.

Volume Unit scale slides up to display less headroom.

Digital scale displays corresponding reference value.

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To check and adjust analog audio input levels:

1. Click the In/Out toggle buttons in the Audio tool for the channels you are using for input.

The Audio tool displays an I for Input.

2. Play back the source audio. If the recording includes a reference tone, cue to the tone and play it back.

3. Click the Show/Hide Input Control button (the microphone icon) in the Audio tool to display the Input Level scale.

4. (Option) If you are using a transcoder for analog input, do one of the following:

t With reference tone playing, adjust the output on the playback device audio meters to read 0 VU, and then adjust the Input Level scale so that it also displays 0 VU.

t If the playback device does not allow adjustments, play your material and adjust the Input Level scale so that it displays 0 VU.

Show/Hide Input Control button

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Creating Tone Media

You can create your own tone media master clips for editing directly into sequences.

To create tone media and tone master clips:

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.

3. Set the appropriate calibration tone parameters for the project. You can also use the default output tone media level 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.

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.

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To check peak levels in the Console window:

1. Choose Audio Tool from the Tools menu.

The Audio tool opens.

2. Click the 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.

Reset Peak button

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Calibrating the Eight-Channel Audio I/O DeviceFor information about connecting the eight-channel audio I/O device, see the setup guide for your Avid Xpress system.

Previously, 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 and –20 dB 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 window 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 displays incorrect values.

To help you maintain the correct values, the Avid system displays the 0 VU display in the Audio tool in red if the hardware and software calibration values do not match.

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 “Cali-brating Input Channels for the Audio I/O Device” on page 254.

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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 set-ting 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)

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.

To change the audio hardware calibration setting:

1. Double-click Audio Project in the Settings scroll list of the Project window.

The Audio Project Settings window opens.

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.

3. Do one of the following:

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 254 and “Calibrating Output Channels for the Audio I/O Device” on page 255.

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. To establish a global setting, see “Using Site Settings” on page 110.

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Calibrating Input Channels for the Audio I/O Device

To calibrate input channels for the audio I/O device:

1. Double-click Audio Project in the Settings scroll list of the Project window.

The Audio Project Settings window opens.

2. Select a new default hardware calibration value from the HW Calibration pop-up menu: –14 dBFS, –18 dBFS, or –20 dBFS.

A message box appears.

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.

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Calibrating the Eight-Channel Audio I/O Device

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.

The VU scale varies, dis-playing a custom reference level setting, +1 dB above and –1 dB below.

Indicates the hardware calibration value you selected in step 2: –14 dBFS, –18 dBFS, or –20 dBFS.

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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 254).

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.

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.

Calibrating for Video InputYou should calibrate the input levels for each videotape when you digitize to ensure continuity of picture quality between tapes. The following sections provide essential information for input calibration:

• Before You Begin

• Manually Calibrating for Video Input

• Saving Video Input Settings

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• Saving a Custom Default Setting for the Video Input Tool

• Adjusting Video Levels Without Color Bars

n If you are capturing digital video from a D1, D5, or digital Betacam VTR, you cannot adjust levels using the video input controls in Avid Xpress. If you plan to make adjustments at the source deck, information in this section regarding the Waveform and Vectorscope monitors might be useful. Otherwise, you can proceed to Chapter 7.

c When redigitizing media from an offline project, check video settings for each tape. Do not rely on saved settings.

Before You Begin

Before you calibrate for video input, check that your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation.

Manually Calibrating for Video Input

To manually calibrate for videotape input:

1. Choose Video Input Tool from the Tools menu.

The Video Input tool opens.

2. Choose the appropriate input channel from the Input pop-up menu: Composite, Component, S-Video, or Serial Digital.

The Video Input tool displays the appropriate parameters for the chosen video format.

n Sync for video input comes from the source you select in the Video Input tool, whether Composite, Component, S-Video, or Serial Digital. The proper source device must be connected to the Meridien I/O box, as described in the setup guide for your Avid Xpress system.

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n 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 239.

3. 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.

4. Click the Consumer Source (Consumer Src) button located below the sliders in the Video Input tool only if you are digitizing from a consumer-grade videotape 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.

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 Xpress system. Make sure the deck and TBC support the advanced sync feature. This feature eliminates the one-frame delay that many TBCs introduce.

5. Click the 100% Bars button if the source displays 100% bars for calibration.

n You can distinguish between the two types of bars by checking the following: in 100% bars, the waveform plot displays fairly even steps in level from the first bar (white) to the last (black). In 75% bars, there is a larger drop in level from the first bar to the remaining color bars.

6. Open the Waveform monitor by clicking the Waveform Monitor button in the Video Input tool.

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7. Adjust the Line Selector slider located below the Waveform monitor to display the appropriate line of the test pattern; then adjust the luminance values based on Table 6-9.

Line Selector slider

Waveform Monitor button

Table 6-9 Luminance Settings for Video Input

Parameter/Video Standard SMPTE Bars

Full-Field Bars at 75% or 100% Signal Level

Black level (setup) Adjust Line Selector slider to approximately 190.

Adjust Line Selector slider to approximately 150.

Adjust Black slider to place black level at:

Adjust Black slider to place black level at:

Video Standard:NTSCNTSC-EIAJPAL

7.5 IRE0.0 IRENA

7.5 IRE0.0 IRE0.3 V

White level (gain) Adjust Line Selector slider to approximately 220.

Adjust Line Selector slider to approximately 150.

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8. Close the Waveform monitor, and open the Vectorscope monitor by clicking the Vectorscope Monitor button.

9. Adjust the Line Selector slider to display the signal for color bars at approximately line 150 (this applies to all formats and all types of bars).

10. Use the Vectorscope monitor to set chrominance by adjusting the Sat and Hue sliders (Composite or S-Video), or the RY Gain and

Adjust Gain/Y Gain slider to place white level at:

Adjust Gain/Y Gain slider to place white level at:

Video Standard:NTSCNTSC-EIAJPAL

100 IRE100 IRENA

100 IRE100 IRE1.0 V

Table 6-9 Luminance Settings for Video Input (Continued)

Parameter/Video Standard SMPTE Bars

Full-Field Bars at 75% or 100% Signal Level

Line Selector slider

VectorscopeMonitor button

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BY Gain sliders (Component), until the angle and amplitude of the six color vectors fall within the target boxes on the vectorscope.

n There is no hue adjustment for PAL video.

c If you incorrectly selected or deselected the 100% Bars button, the factory settings for Saturation or RY Gain and BY Gain are 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. For example, you might have one or a series of shots that require color correction (the shots are dark, too bright, or were not shot with the proper color balance or filtering). You can make corrections using the Video Input tool now or at any time during or after editing in order to match shots in the sequence.

To save the calibration settings for an entire tape:

1. After calibrating the videotape input, choose Save As from the Settings pop-up menu.

The View Name dialog box appears.

2. Accept the default name, or type a new name for the settings.

n If you give the settings the same name as the tape name, Avid Xpress applies the settings automatically when that tape is loaded into the deck in the future (for example, when you are redigitizing).

3. Click OK.

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Whenever you batch digitize or redigitize, the system recalls the saved settings as follows:

• The system looks for a tape setting. 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 262.

• If no matching tape setting or “Default” setting exists, the Video Input tool remains in its prior state (with the most recent settings applied during the session).

n Tape settings and the Default setting are Project settings and are available to the current project only.

Saving a Custom Default Setting for the Video Input Tool

To create a customized default Video Input tool setting:

1. Choose Video Input Tool from the Tools menu.

The Video Input tool opens.

Settings pop-up menu

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2. Adjust the calibration settings as described in “Manually Calibrating for Video Input” on page 257.

3. Choose Save As from the Settings pop-up menu in the Video Input tool.

A dialog box appears.

4. Type Default in the dialog box and click OK. (You must use this spelling and initial capitalization.)

Whenever you mount a new tape that has no setting, the system recalls these default settings.

n Tape settings and the Default setting are Project settings and are available to the current project only.

Adjusting Video Levels 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 use the Waveform and Vectorscope monitors to adjust video levels.

n Calibrate your monitor before adjusting video levels by eye.

To adjust video levels by eye, without color bars:

t Use the following criteria:

- Blacks should not seem flat and lacking detail. Find a series of frames in the footage that include black areas. Shadows work better than black objects. Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL in the Waveform monitor.

- Whites should not be washed out or lacking detail. Find a series of frames in the footage that include white areas. Bright, well-lit regions work better than white objects. Whites should

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peak at around 100 IRE for NTSC-EIAJ or 1.0 V for PAL in the Waveform monitor.

- Skin colors should be realistic. Find a series of frames in the footage that include skin colors. Skin colors should fall generally between the target boxes for the red and yellow vectors in the Vectorscope monitor.

- Pure yellows should be a rich gold and not reddish or greenish in tone. Find a pure yellow, and adjust both hue and saturation as necessary.

- Chroma should not exceed 110 or fall below –120 on the Vectorscope monitor.

Compression Resolutions and Storage Requirements

When the Avid Xpress 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 compression, the higher the image resolution, and the more drive space the file takes up.

Large media files at high resolutions can take up very large amounts of disk 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 disk 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.

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This section describes the different resolutions and lists their specifications. It also explains how to estimate the disk space you require to store your digitized media.

Screen Resolution

The screen resolution for the Avid Xpress application is different for NTSC and for PAL:

• NTSC resolution is 720 x 486 (480 for DV Option) non-square pixels covering all the active video. This also includes 10 lines of blanking or vertical internal timecode (VITC) per frame (5 lines per field).

• PAL resolution is 720 x 576 non-square pixels covering all the active video. This also includes 16 lines of blanking or VITC per frame (8 lines per field).

Digital Video Resolutions

The Avid Xpress application with DV Option uses the following digital formats:

• DV 25 4:1:1 for NTSC

• DV 25 4:2:0 for PAL

• DV 50 4:2:2 (NTSC and PAL)

n You cannot record (either for input or output) DV 50 in its native format. See “DV Workflows (Windows Only)” on page 204.

These resolutions appear, along with other Avid resolutions, wherever a list of resolutions appears. The exact list depends on whether you are working in an NTSC or a PAL project.

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Understanding Compression and Resolutions

The Avid Xpress application uses a simple notation — x:1 — to identify the compression resolutions it supports. The value of x indicates the level of compression that is applied to the image data. For example, a 3:1 ratio compresses the original data to one-third of its uncompressed size.

There are two groups of compression resolutions:

• Single-field (identified by an -s suffix to the ratio notation):

15:1s, 4:1s, 2:1s

• Two-field:

20:1, 10:1, 3:1, 2:1

Using a lower compression ratio (a lower number to the left of the colon) when you digitize results in better image quality but requires more disk space to store the digitized media. A lower compression ratio might also require drive striping to keep up with the high volume of data.

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 308.

Compression Groups and Image Quality

Although it is generally true that a lower resolution means higher image quality, the compression group itself (single-field or two-field) 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 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.

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For example, there is a 2:1 resolution for both single-field and two-field groups. 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 a lower image quality because it processes only one-quarter of the original image data used by the two-field 2:1 resolution.

Video Streams

Whenever you have more than one video 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

Table 6-10 provides information about the resolutions you can choose.

The table includes basic information about which resolutions require drive striping. For more detailed information on drive configuration requirements for different resolutions, see the documentation for your drives.

For detailed guidelines on estimating space requirements, see “Storage Requirements” on page 273.

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Table 6-10 Compression Resolution Specifications

ResolutionField Size (Pixels)

Fields per Frame

Drive Striping Requirements Quality

15:1s 352 x 248 (NTSC)352 x 296 (PAL)

1 None Offline

Maximum storage with enough image detail to make basic editing decisions (You can check lip-sync on a medium shot.)

4:1s 352 x 248 (NTSC)352 x 296 (PAL)

1 None Offline

A good storage resolution combined with a good offline image quality

2:1s 352 x 248 (NTSC) 352 x 296 (PAL)

1 2-way striping Online

Provides enough detail for finishing multimedia jobs such as CD-ROM and Web authoring

20:1 720 x 248 (NTSC) 720 x 296 (PAL)

2 None Offline

Useful for mixing storage- efficient offline footage with online-quality resolutions

10:1 720 x 248 (NTSC) 720 x 296 (PAL)

2 None Offline/Online

A good compromise for high-quality, two-field offline or low-quality online that saves disk space

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Mixing Resolutions

In a single sequence, you can mix resolutions from the single-field group or from the two-field group. You cannot mix resolutions from different groups in one sequence.

You cannot mix uncompressed video (1:1) with any of the compressed video formats.

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.

3:1 720 x 248 (NTSC) 720 x 296 (PAL)

2 2-way striping Online

A medium-quality online resolution that can sustain two-stream playback on 2-way striped drives

2:1 720 x 248 (NTSC) 720 x 296 (PAL)

2 4-way striping Online

Provides the highest image quality of any compressed resolution and sustains two-stream playback on 4-way striped drives

1:1

(Uncompressed)

720 x 248 (NTSC) 720 x 296 (PAL)

2 Online

Provides the highest image quality

Table 6-10 Compression Resolution Specifications (Continued)

ResolutionField Size (Pixels)

Fields per Frame

Drive Striping Requirements Quality

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• For storage and playback efficiency, you can digitize complex footage at the draft-quality online ratio and edit it along with other online resolutions.

• You can avoid some redigitizing by importing complex graphics at a high resolution and by digitizing the remaining footage at draft quality during the offline phase.

• 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 that came with your system.

Setting Media Creation Resolutions and Selecting Drives

The Media Creation dialog box allows you to set the video resolution and to select drives for digitizing, creating titles, importing, performing audio and video mixdowns, and creating motion effects. Because media is very large, you can also remove your system and application drives from the list of storage locations so you store your media on other drives with ample space.

n You can also choose a video resolution and select drives on which to save media in other tools and dialog boxes in Avid Xpress.

To choose a video resolution and drives in the Media Creation dialog box:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Media Creation.

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n You can also choose Media Creation from the Tools menu.

The Media Creation dialog box appears.

3. Click the Drive Filtering tab.

You can remove from the list of available drives the drive where your operating system is located and the drive where the Avid Xpress application is located. This allows you to choose to store media only on drives with sufficient space.

4. Select one of the following:

- Filter Based on Resolution: Prevents 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.

- Filter Out Launch Volume: Removes as a storage choice the drive on which Avid Xpress resides.

The drive or drives you select do not appear in the other Media Creation dialog box tabs as possible locations where you can store media. They also do not appear in other drive selection menus in the application except for the Import, Export, and Relink dialog boxes.

5. Click the tab for the area in which you want to work.

6. 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. The default resolution

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is the highest compressed two-field or progressive resolution available.

n Clicking Apply to All sets your chosen video resolution for all the tabs. Your settings are not saved until you click OK.

c 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.

7. Choose a video drive and an audio drive. To choose the same drive for both audio and video, click the Single/Dual Drives Mode button until only a single drive pop-up menu appears.

n The drive that appears in boldface type has the most available space.

8. (Option) If you are working with the Digitize tab, you can select a drive group. Choose Change Group from the bottom of the Video Drive or the Audio Drive pop-up menu. For more information on selecting a drive group, see “Digitizing to Multiple Media Files” on page 227.

n Because no audio is associated with titles or motion effects, you can choose only a video drive in the Titles and Motion Effects tabs.

9. To apply your drive selection to all the Media Creation dialog box tabs and the rest of the application, click Apply to All.

This sets your chosen video and audio drives for all the Media Creation dialog box tabs. It also sets them for any place in the application where you choose drives.

n Your settings are not saved until you click OK.

10. Click OK to save your settings.

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Storage Requirements

Plan the use of drive volumes in advance, especially when you digitize numerous reels. You need to choose a resolution that provides adequate picture quality for your project. However, you might be limited by the amount of available disk space. Before you digitize, estimate your disk space requirements.

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 disks and target them when you digitize.

To estimate storage requirements:

1. Using Table 6-10, and the information in your drive documentation, select a resolution that is compatible with the drive and striping capacity on your system.

2. Use the Hardware tool to determine the available space on your drives. For information about the Hardware tool, see “Using the Hardware Tool” on page 161.

n Be sure the Digitize tool is not open when you are using the Hardware tool. The Digitize tool takes control of the drives, and the display shows no available space.

3. Determine a total duration for all the clips to be digitized. Use the Get Bin Info procedure described in “Getting Information with the Console Window” on page 160.

4. Use Table 6-11 on page 275 to estimate your disk 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.

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t Calculate by combining storage figures from the “Disk space needed for n 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 disk space, choose a lower resolution and recalculate.

Table 6-11 shows estimated disk space requirements for each resolution. It shows figures for estimated minutes per gigabyte and also figures for the disk space required for certain amounts of material.

n The figures in the table represent disk space for video material that includes typical variations in image complexity. Actual disk 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:

• Minutes per gigabyte are approximately the same for NTSC (29.97 fps) and PAL (25 fps) because PAL video contains approximately 17 percent fewer frames per second, but each frame contains approximately 16 percent more pixels.

• 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 kilobytes (KB) per second (approximately 5.3 megabytes [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. For example, 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 Table 6-11.

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c 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.

Table 6-11 Estimated Storage Requirements

ResolutionAudio Tracks

Minutes per Gigabyte

Disk Space Needed for 1 Minute of Media

Disk Space Needed for 10 Minutes of Media

Disk Space Needed for 30 Minutes of Media

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

4:1s 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

2:1s 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

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4 5.2 193 MB 1.93 GB 5.79 GB

20:1 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

10:1 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

3:1 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

4 2.7 365 MB 3.65 GB 10.95 GB

2:1 0 1.9 516 MB 5.16 GB 15.48 GB

1 1.9 521 MB 5.21 GB 15.63 GB

Table 6-11 Estimated Storage Requirements (Continued)

ResolutionAudio Tracks

Minutes per Gigabyte

Disk Space Needed for 1 Minute of Media

Disk Space Needed for 10 Minutes of Media

Disk Space Needed for 30 Minutes of Media

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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

1:1

(Uncompressed)

0 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 1.26 GB 12.6 GB 37.8 GB

Table 6-11 Estimated Storage Requirements (Continued)

ResolutionAudio Tracks

Minutes per Gigabyte

Disk Space Needed for 1 Minute of Media

Disk Space Needed for 10 Minutes of Media

Disk Space Needed for 30 Minutes of Media

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CHAPTER 7Digitizing

When you digitize, you convert source material from videotape or from digital or audio input to master clips that contain reference information. You also create associated media files that contain the digital audio and video. Once you prepare the digitize tools, as described in Chapter 6, you can digitize the source material in one of several ways, as described in the following sections:

• Before You Begin Digitizing

• Adding Clip Names and Comments On-the-Fly

• Digitizing and Logging at the Same Time

• Digitizing to the Timeline

• Batch Digitizing from Logged Clips

• Redigitizing Your Material

• Other Digitizing Functions

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Before You Begin DigitizingDepending on your immediate needs and chosen digitizing method, use the following guidelines for working through this chapter:

• If you want to add clip names and comments on-the-fly while you digitize, see “Adding Clip Names and Comments On-the-Fly” on page 281.

• If you have no logs and want to begin digitizing right away, see “Digitizing and Logging at the Same Time” on page 281.

• If you want to digitize video to multiple media files across multiple drives, see “Digitizing to Multiple Media Files” on page 227.

• If you have logs already entered in a bin and want to automate the digitizing process with playback from an Avid-controlled deck, see “Batch Digitizing from Logged Clips” on page 296.

• If you are redigitizing deleted media or have imported a sequence that lacks the associated media files, see “Redigitizing Your Material” on page 299.

• If you have not already prepared a structure of bins for your project, as described in “Managing Folders and Bins” on page 82, consider the following tips before digitizing:

- You can create one bin for each source tape. This method avoids slowing the system with large bins, associates each bin with a source tape for better organization, and simplifies 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 automatically names each clip after the bin (tape) and numbers them sequentially for easy reference.

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Adding Clip Names and Comments On-the-FlyThe Annotate feature allows you to type clip names and comments during the digitizing of a clip. The information is saved in the clip Name and Comments columns in the bin. You can add comments about the clip such as editing directions.

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, 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.

Digitizing and Logging at the Same TimeWhen 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 an IN point to an OUT point. This method lets you specify the exact timecode location to begin and end digitizing. You can also specify only an IN point or an OUT point and enter the other mark on-the-fly. These procedures are described in “Digitizing from One Point to Another” on page 282.

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• Digitizing on-the-fly. This method is easier than setting marks, but it is less precise. It involves using the deck controls in 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 285.

• 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 clip into the bin. These procedures are described in “Autodigitizing” on page 288.

Additional techniques you can use when digitizing and logging at the same time are described in the following topics:

• “Digitizing from a Non-Avid-Controlled Deck” on page 290

• “Digitizing with Time-of-Day Timecode” on page 291

• “Digitizing with External Timecode” on page 292

Digitizing from One Point to Another

Digitizing from an IN point to an OUT point allows you to specify exactly where to begin and end digitizing. You can specify only an IN point or an OUT point, 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

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• If you are familiar enough with the source material to estimate the timecode for the IN point, the OUT point, or both, quickly and accurately

Digitizing from an IN Point to an OUT Point

To digitize from an IN point and an OUT point:

1. Cue the tape to the start of the clip you want to digitize and mark an IN point.

2. Cue the tape and mark the OUT point, or set the OUT point on-the-fly when you stop digitizing.

3. Click the Record button in the Digitize tool.

4. 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 box to the right of the Record button flashes bright red, and the message bar displays the message that the system is digitizing.

5. While the system is digitizing, you can type a clip name or enter comments about the clip.

When the tape reaches the clip’s OUT point or you click the Record button again, digitizing stops, and the system creates a new clip in the bin.

Setting Both Marks

To digitize by specifying an IN point and an OUT point:

1. Make sure you have selected the proper Digitize settings as described in “Selecting Settings” on page 208 and have set up the Digitize, Audio, and Video Input tools, as described in Chapter 6.

2. Set either an IN point or an OUT point for the clip you want to digitize, using one 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 the Mark OUT button.

Mark IN

Mark OUT

Record

Mark IN

Mark OUT

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t If the material starts at a known IN point or ends at a known OUT point, you can type the timecode in the display area next to the mark. Press Enter (Windows) or Return (Macintosh) to enter the mark.

To double-check the accuracy of the IN or OUT point, click the Go to IN button. The system cues the tape and pauses the deck at the mark. You can play the tape and reset the mark, if necessary.

3. To finish logging the clip, use either of the following methods:

t Set the corresponding IN or OUT point.

t Type a timecode for the clip’s duration in the display area next to the Duration mark (below the OUT point) in the format HH:MM:SS:FF.

The system automatically calculates the appropriate timecode for the corresponding IN point, OUT point, or duration.

4. Click the Record button in the Digitize tool.

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 box to the right of the Record button flashes bright red, and the message bar displays the message that the 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 or you click the Record button again, digitizing stops, and the system creates a new clip in the bin.

Go to IN

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Setting Only One Mark

To set only one mark and enter the other mark on-the-fly, do one of the following:

t Mark an IN point, and click the Record button to begin digitizing. Then, click the Record button again to stop digitizing on-the-fly and mark an OUT point.

This method is useful if you do not need a precise OUT point. You save time because you do not have to shuttle to locate the OUT point before digitizing.

t Set an OUT point only, and then move to a position on the tape that is a few seconds before where you want to start 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.

This method is useful if you do not need a precise IN point but do need to stop at a precise OUT point, for example, just before a timecode break.

Digitizing On-the-Fly

Use the digitizing on-the-fly method in any of the following circumstances:

• If you are eager to begin editing immediately and no adequate logs exist for importing to the system or setting marks

• If you are digitizing from a source deck that cannot be controlled by the Digitize tool or a VLXi unit

• If your source tape does not have timecode

• If you are digitizing from a live source, such as a studio feed or an in-house router

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n There is a slight delay of several frames after you manually select a spot to start and to stop digitizing. Therefore, use this method when you don't need precise beginning and end points in your clip.

In some circumstances, the digitized material might exceed the logical file size of the Avid Xpress application. For example, the maximum size of a media file cannot exceed the size of a 2-GB partition. A 2-GB file at a high resolution consists of approximately 10 to 18 minutes of footage. In this case, consider digitizing the clip in shorter overlapping pieces, breaking it at points that are likely to be removed during editing.

To digitize on-the-fly:

1. Click the Digitize/Log Mode button in the Digitize tool until the DIG icon appears. The Digitize tool is ready to digitize.

Digitize/Log Mode button

Deck controls

Trash button

Triangular opener(to display comments)

Record button

Name text box

Comment textbox

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2. (Option) Click the triangular opener in the Digitize tool to display the Name and Cmnt (Comment) text boxes, if you plan to enter clip names or comments during digitizing.

3. Use the deck controls in the Digitize tool to locate the position on the tape where you want to start digitizing.

4. Click the Play button and when the deck gets up to speed, click the Record button.

n Make sure you have cleared any previous marks so that the deck does not begin cueing to the previous location.

5. While the system is digitizing, you can type a clip name in the Name text box. Press the Tab key after typing a clip name to enter comments about the clip.

6. Click the Pause button at any time to pause play. You can also stop the digitize procedure by clicking the Trash button in the Digitize tool. The clip is discarded.

7. To stop digitizing and enter the OUT point of the clip, click the Record button, or press the Esc key.

The system creates a new clip in the bin.

n There is a slight delay of several frames after you manually select a spot to start and to stop digitizing. Therefore, use this procedure when you don’t need precise beginning and end points in your clip.

Fast Forward button

Rewind button

Stop button

Pause button Play button

Eject button

Step Backward button

Step Forward button

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Autodigitizing

Autodigitizing can save you time by allowing you to bypass both the logging process and the time it takes to cue each clip. However, this process requires the most storage space, and more time is spent while the system is actually digitizing entire tapes.

When you autodigitize, you mount and cue your tape to a starting point and start the digitizing process through the Digitize tool.

When you have long, continuous clips (for example, footage from a live event), the digitized material for a single clip might exceed the 2-GB limit for file sizes in Avid Xpress. In this case, you must select the option “Digitize to multiple files” in the Digitize Settings dialog box.

Follow the tips and techniques described in the Autodigitize procedure to allow the system to complete the digitizing process unattended for an entire tape.

To autodigitize:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Digitize.

The Digitize Settings dialog box appears.

3. Click the Media Files tab.

4. Select one of the following autodigitize options:

- Digitize across timecode breaks: Begins a new master clip at each timecode break.

- Digitize to multiple files: Digitizes the entire tape as one master clip. Deselect “Digitize across timecode breaks” if you select this option.

5. Click OK.

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6. In the Digitize tool, click the name of the camera or deck and choose Adjust Deck from the pop-up menu.

The Deck Configuration dialog box appears.

7. Double-click the deck box for the video deck from which you are digitizing.

The Deck Settings dialog box appears.

8. Set the preroll to approximately 4 seconds, and then deselect Fast Cue.

9. Click OK to close the Deck Settings dialog box.

10. Click Apply to close the Deck Configuration dialog box.

11. Create one bin for each source tape.

This keeps bins to a manageable size and automatically names all clips from each tape after the names of their respective bins.

12. Name each bin after the source tape. By default, all clips are named after the tape and are numbered incrementally beginning with .01.

13. Choose Digitize from the Tools menu, and open the bin for the first tape.

14. Load the source tape and cue past any false starts.

15. (Option) If you want the system to stop digitizing at a chosen point on the tape, cue the tape to a chosen OUT point and click the Mark OUT button in the Digitize tool.

16. Play the tape, and wait 4 seconds before clicking the Record button.

The system automatically digitizes the entire tape.

Mark OUT

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Digitizing from a Non-Avid-Controlled Deck

To digitize with manual deck control on a deck that cannot be controlled directly by the system:

1. Open the Digitize tool and prepare to digitize, as described in Chapter 6.

2. Click the Toggle Source button in the Digitize tool to disable the deck controls.

The Deck Offline icon appears, and the Tape Name display remains. The Select Tape dialog box appears.

n The TC button also disappears. The footage will be digitized with time-of-day timecode generated by the system.

3. Select “Show other projects” to display the tape names and associated project names for all bins that have been opened in the current session.

Toggle Source button

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n Because the media files database does not open when you start your Avid Xpress system, tape names of all online media files do not appear automatically.

If the tape name for which you are searching does not appear in the Select Tape dialog box, click the Scan for Tapes button. Tape and project names are listed.

4. Identify the source tape name in one of the following ways:

t Select a tape name from the list.

Tape names and associated projects are listed in two columns.

t Click New if the tape is not in the list, and type a new tape name in the text box that appears at the bottom of the Tape Name list.

You can stop the process any time by clicking Cancel.

n For guidelines on naming tapes, see “Logging Tips” on page 167.

5. Click OK.

The tape name is displayed in the Digitize tool.

6. Play the tape manually, and click the Record button to stop and start the digitizing of each clip.

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. Open the Digitize tool and prepare to digitize, as described in Chapter 6.

2. When selecting tracks, deselect the TC button.

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3. Digitize using any of the techniques described in “Digitizing On-the-Fly” on page 285.

Digitizing with External Timecode

LTC (longitudinal 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.

To prepare for digitizing with external timecode:

1. Choose Digitize from the Tools menu.

The Digitize tool opens.

2. Click the Toggle Source button until the External Timecode icon appears.

The Select Tape dialog box appears.

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3. Identify a source tape name. See “Digitizing from a Non-Avid-Controlled Deck” on page 290.

4. Click OK.

5. 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.

6. Digitize using any of the techniques described in “Digitizing On-the-Fly” on page 285.

Toggle Source button

TC Sourcepop-up menu

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n If you notice that your digitized material is consistently one or more frames off, use the Latency for External Timecode Mode option in the Digitize Settings dialog box (General tab) to fix the problem. See “General Digitize Settings” on page 232.

Digitizing to the TimelineYou 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 as explained in Chapter 6.

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 Edit 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 Composer 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 295.

5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place.

6. Mark the source material that you want to digitize using the Digitize tool logging controls.

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7. (Option) Mark an OUT point based on the following:

t If you are digitizing to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy.

t If you are digitizing 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.

9. Click the Record button to begin digitizing.

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, digitizing stops 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 into the corresponding tracks in the Timeline. You can now patch the digitized footage to any track in the Timeline.

To patch tracks when digitizing to the Timeline:

1. In the Digitize tool, click and hold the Channel Selection 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.

Splice-In button

Overwrite button

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n You can also patch tracks in the Timeline in the same way that you patch tracks when editing from a Source pop-up monitor. See “Patching Tracks” on page 553.

Batch Digitizing from Logged ClipsOnce you have imported a log or manually logged a group of clips to a bin, you can automate the digitize process using the batch digitizing capabilities of Avid Xpress. If you want to batch digitize, source tapes must have timecode that matches the timecode for the selected clips.

You can also use the batch digitize process to redigitize existing clips. The redigitizing process is described in “Redigitizing Your Material” on page 299.

n To batch import media without timecode, see “Reimporting Files” on page 332.

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 system supervision.

Choose the trackto patch.

The result isdisplayed inthe Timeline.

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Resizing the Digitize Tool

Because your clips are already logged in the 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 Click the triangular opener to the left of the deck controller.

Preparing Settings for Unattended Batch Digitizing

Unattended batch digitizing allows you to digitize a large number of clips with a minimum of system supervision by selecting Digitize settings that avoid pauses in the digitize process.

To prepare for unattended batch digitizing:

t Select the following options in the Batch tab of the Digitize Settings dialog box:

- Switch to emptiest drive when current drive is full

- Digitize across timecode breaks

Batch Digitizing Clips

To batch digitize clips:

1. Make sure you selected the correct Digitize settings and set up the Digitize tool, as described in Chapter 6.

2. Open the bin that stores the clips you want to digitize.

3. If you are redigitizing a project created on an offline system, readjust the video levels for each tape. You cannot reuse video settings from an Avid offline session. For information, see “Calibrating for Video Input” on page 256.

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4. Select the clips to batch digitize:

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.

5. Choose Batch Digitize from the Bin menu.

The Batch Digitize dialog box appears.

n If the clips that you want to batch digitize are not highlighted in the active bin, Batch Digitize appears dimmed in the Bin menu.

6. Select options in the dialog box:

t 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.

For more information on handle lengths when redigitizing, see “Redig-itizing Sequences” on page 300.

t If your selections include a sequence for batch digitizing, the dialog box prompts you for handle-length information. The system creates new master clips based on the length of edited clips in the sequence.

n If you are batch digitizing the original source master clips used in the sequence, the sequence is updated automatically. Therefore, you might want to deselect the sequence during this procedure.

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 video deck, and click Mounted.

The digitizing process begins. The system digitizes each clip from the tape, in start timecode order.

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9. If the system needs another source tape, the system prompts you for the tape. At this point, you have several options:

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.

n To bypass specific clips in the process of batch digitizing a particular tape, you must abort each clip manually by clicking the Trash button and then clicking the next clip in the Abort window to continue.

When the system has finished batch digitizing, a message box notifies you that the process is complete.

Redigitizing Your MaterialRedigitizing is the process of capturing previously digitized source footage based on existing clips and sequences. Redigitizing uses the batch digitize process and does not require extra logging time because the clip information for items such as source tracks, timecodes, and Compression settings already exists in the bin.

There are several situations in which you might want to redigitize:

• You can redigitize a sequence after you transfer it to another system.

• You can redigitize low-resolution clips at a higher resolution setting after they have been edited into a sequence.

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• 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.

c 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.

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 296.

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 digitizing process.

Also, redigitizing breaks the link from the subclip to the original master clip. If you edit the subclip into a sequence, however, 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 clip edited into the sequence. It breaks

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any links to the original source clips, and only the sequence and its new master clips are linked to the newly digitized media files.

When you redigitize the sequence, the digitizing process creates media files for each clip in the sequence. You cannot make changes after the media files are created without repeating the entire procedure.

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.

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 to the bin.

This second step is optional, but it saves you from the confusion of mingling new sequences and master clips with existing ones.

Redigitizing the Sequence

When you redigitize the sequence, the digitizing process creates media files for each clip in the sequence.

To redigitize a sequence:

1. Open or activate the bin containing the sequence or clips.

2. Select the sequences or the clips you want to redigitize:

t Choose Select All from the Edit menu to select all the clips in the bin.

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t Ctrl+click (Windows) or Shift+click (Macintosh) to select specific clips.

3. Choose Batch Digitize from the Bin menu. See “Batch Digitizing Clips” on page 297.

The Batch Digitize dialog box appears.

4. To preserve clips that already have existing media, select “Digitize only those items for which media is currently available.”

5. Click the Handle Length text box and type the number of additional frames you want to digitize at the head frames and tail frames of the new master clips.

n The Handle Length text box appears only if a sequence is selected for batch digitizing.

6. Click OK.

If you have not loaded a tape, the system prompts you to insert the first tape.

7. Insert the tape into the video deck, and click Mounted.

The digitizing process begins. The system digitizes each clip from the tape, in start timecode order.

If another source tape is needed, the system prompts for the tape. At this point, you have several options:

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.

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Other Digitizing FunctionsThe following are also available when digitizing:

• Controlling Decks from the Keyboard

• Naming a New Tape from the Keyboard

• Ejecting Tapes with a Button or Key

• Returning to Previous Place in the Select Tape Dialog Box

• Modifying the Pulldown Phase After Digitizing

Controlling Decks from the Keyboard

You can use 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 pop-up and Composer 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.

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The following restrictions apply:

• 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 are no longer able to control decks with those keys.

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 using a keystroke in Digitize mode:

1. Choose Digitize from the Tools menu.

The Digitize tool opens.

2. Do one of the following:

t Put a tape in the deck.

t Click the Source Tape Display button.

The Select Tape dialog box appears.

3. Press Ctrl+N (Windows) or k+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. Close the Select Tape dialog box:

t Press Enter (Windows) or Return (Macintosh).

t Click OK.

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Ejecting Tapes with a Button or Key

By pressing an eject button and ejecting a tape, the fact that the tape must be changed can be brought to the attention of any tape operator in a remote machine room.

To eject tapes using a button:

1. Choose Command Palette from the Tools menu.

2. Click the Play tab.

3. Select Active palette.

4. Click the Eject button.

n You can map the Eject button to any button on the Tool palette or any key on the Keyboard palette. See “Mapping User-Selectable Buttons” on page 153.

Returning to Previous Place in the Select Tape Dialog Box

When working with many tapes, you need to be able to return quickly to your location when you last selected a tape. If you leave the Select Tape dialog box and reenter it, you now return to where you were in the list of tape names the last time; this should help you find the next tape you need.

Modifying the Pulldown Phase After Digitizing

If you need to change the pulldown phase after digitizing, you need to unlink the master clip from its media file, modify the clip information, and then redigitize.

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.

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To modify the clip information:

1. 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 193.

With the new clip information in the bin, batch digitize the clip. See “Batch Digitizing Clips” on page 297. If the pulldown phase is accurate, the clip should play smoothly, with no repeated frames.

CHAPTER 8Importing Files

When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify. You can import files using the procedures in the following sections:

• Preparing to Import Files

• Screen Resolution for Imported Graphics and Sequences

• Working with Mixed-Resolution Projects

• Creating and Using Import Settings

• Importing Files

• Using the Drag-and-Drop Method to Import Files

• Importing Photoshop Graphics

• Working with Avid Unity MediaManager

• Reimporting Files

• Importing Editcam Files

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Preparing to Import FilesBefore you begin the import process, make sure the system and the files are ready for import as follows:

• Read about issues and tips for mixed-resolution projects in “Working with Mixed-Resolution Projects” on page 309.

• For graphics file and OMFI (Open Media Framework® Interchange) file import, prepare the files in advance according to specifications described in ”File Format Specifications” in the Help.

• For a complete description of all options in the Import Settings dialog box, see Table 8-2.

Screen Resolution for Imported Graphics and Sequences

Table 8-1 shows the frame size to use when importing graphics and sequences for interlaced resolutions for NTSC (30i) and PAL (25i) projects. For example, when you are using an application such as After Effects® to process a sequence that you want to bring into Avid Xpress, use these values when you render the sequence.

Table 8-1 Graphic Import Frame Sizes: Interlaced

ResolutionFrame Size (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)

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Working with Mixed-Resolution ProjectsFor more information on resolutions, see “Compression Resolutions and Storage Requirements” on page 264.

You can work with mixed resolutions in the same sequence. This feature allows you to import graphics that match the resolution of the final sequence.

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 do 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 15:1s.

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 332.

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)

Table 8-1 Graphic Import Frame Sizes: Interlaced (Continued)

ResolutionFrame Size (Pixels) Resolution

Frame Size (Pixels)

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Creating and Using Import SettingsYou 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 323).

The default Import setting and any additional Import settings you create appear in the Settings scroll list (see “Working with Settings” on page 105). 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:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click Import.

3. Choose Duplicate from the Edit menu.

4. Name the setting:

a. Click the Custom setting name column.

b. Type a name.

c. Press Enter (Windows) or Return (Macintosh).

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5. Double-click the new Import setting.

The Import Settings dialog box appears.

6. Select the appropriate options. See “Import Settings Options” on page 312.

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 319 and “Using the Drag-and-Drop Method to Import Files” on page 323.

Custom setting name column

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Modifying an Existing Import Setting

To modify an existing Import setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click an Import setting.

The Import Settings dialog box appears.

3. Select the appropriate options. See “Import Settings Options” on page 312.

4. Click OK.

Import Settings Options

The Import Settings dialog box allows you to specify import information.

Table 8-2 describes the options available in the Image tab of the Import Settings dialog box.

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Table 8-2 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 Xpress 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 the4:3 aspect ratio used by the Avid Xpress 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 This option is selected by default.

Maintain, non-square

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 preserves up to 486 (NTSC) or 576 (PAL) lines, and either removes additional lines or pads with video black if there are fewer lines.

Maintain, non-square never scales or resizes.

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Maintain, square Select this option for an image that was created in a square-pixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen.

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

Do not use this option if you are importing:

• Images in the 720 x 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 is keyed out in the alpha channel.

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

For best full-screen resolution of files created in a square-pixel environment, use 648 x 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

Table 8-2 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

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File Field Order

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

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

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

Non-interlaced This option allows you to import still images to all formats without concern for the temporal ordering of the fields.

n This is the default value.

Odd (Upper Field First)

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

Even (Lower Field First)

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

Color Levels RGB Select this option if the imported graphics file uses RGB graphics levels. Most computer-generated graphics use RGB graphics levels. The RGB color values are remapped to ITU-R 601 (formerly CCIR 601) video color values appropriate for the Avid Xpress 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.

Table 8-2 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

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

Single Frame Import

Duration n seconds

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

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

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

Table 8-2 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

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Table 8-3 describes the options available in the OMFI tab of the Import Settings dialog box.

AutodetectSequential Files

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

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

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

Table 8-2 Import Settings Options (Image Tab) (Continued)

Option Suboption Description

Table 8-3 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.

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Table 8-4 describes the options available in the Shot Log tab of the Import Settings dialog box.

Table 8-4 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 create subclips.

Select this option to combine all the events for a scene into a single master clip and then link the master clip to subclips that represent the original events for that scene. To use this option, you must have scene numbers logged in a scene column in the bin.

Combine events based on camera roll and automatically create subclips.

Select this option to combine all the events from a camera roll into a single master clip and then link the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged in a camera roll column in the bin for a film project.

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 You must select the clips that you want to merge before choosing this option.

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Importing FilesYou 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 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 323.

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 a New Import Setting” on page 310).

2. Open the bin in which you want to store the imported files.

Merge events with known master clips. Select this option to merge information in the shot log onto selected master clips based on the matching tape name. Use this option if you have already logged (or digitized) master clips in a bin for each take.

n You must select the clips that you want to merge before selecting this option.

Table 8-4 Import Setting Options (Shot Log Tab) (Continued)

Option Description

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3. Choose Import from the File menu.

The Select Files to Import dialog box appears.

n For more information about the files displayed in the Select Files to Import dialog box, click the Details button.

Video and Audio Drive pop-up menu

File browser

File to import

Files of Type pop-up menu

Look In pop-up menu Details button

Options button

Windows

Single/Dual Drives button Video Resolution pop-up menu

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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 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 “File Format Specifications” in the Help.

t Choose AAF to import files that have been saved in the AAF file format.

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.

Directory pop-up menu

Resolution pop-up menu

Show pop-up menu

Source file list

Macintosh

Single/Dual Drives button -

Video and Audio Drive pop-up menu

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t (Windows only) Choose MetaSync Files to import XML files that have been created by MetaSync Manager. These files must use the .aeo file name extension. For more information, see the Avid MetaSync Setup and User’s Guide for the Windows 2000 Operating System.

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 ”Avid Log Specifications” in the Help.

t Choose CamCutter to import clips recorded with Editcam™ or Editcam-station products. See “Importing Editcam Files” on page 337.

n 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.

t To import a series of sequentially numbered files, select the first file in the sequence. To automatically select the entire sequence of files, you must select Autodetect Sequential Files in the Import Settings dialog box.

n For sequentially numbered files (for example, myfile_001.jpg, myfile_002.jpg, and so on), the system combines all of the files into one clip.

5. (Option) Click Options to adjust the Import settings.

The Import Settings dialog box appears, in which you can edit various parameters. The contents of the Import Settings dialog box depend on the file type you selected.

n For a complete description of all options in the Import Settings dialog box, see Table 8-2.

6. Select the options you want, and then click OK to save the settings.

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7. Close the Import Settings dialog box and return to the Select Files to Import dialog box.

8. Use the Look In pop-up menu (Windows) or the Directory pop-up menu (Macintosh) to locate the folder containing the source files.

9. 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 309.

10. Click the Single/Dual Drives button and select a destination drive for the imported file from the pop-up menu.

11. Select files or deselect files from the source file list by using the standard selection methods for your operating system (Windows or Macintosh).

n If you are importing a sequential series of image files, you must select Autodetect Sequential Files in the Import Settings dialog box. Then select only the first file in the series in the source file list.

12. Click Open (Windows) or Done (Macintosh).

When the system finishes importing the files, the clips appear in the selected bin.

Using the Drag-and-Drop Method to Import FilesTo import one or more files using the drag-and-drop method:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Select the setting you want to use for import. Select either the default Import setting or one you have created.

To view or modify the parameters, double-click the setting. For more information, see “Creating a New Import Setting” on page 310.

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3. Open the bin in which you want to store the imported files.

4. From the desktop, open the folder that contains the files you want to import. You might have to resize the Avid Xpress 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.

Importing Photoshop GraphicsYou 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 Single-Layer Photoshop Graphics

• Importing Multilayered Photoshop Graphics

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.

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To import a single-layer graphic, or a multilayered graphic that was flattened in Photoshop:

t Follow the standard instructions for importing a graphic, as described in “Importing Files” on page 319.

n 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 330. 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

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,

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building it up one image at a time, and then add the text. The following illustration shows the graphics and layers in Photoshop.

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.

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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.

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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 8-5 and Table 8-6). 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.

Table 8-5 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 the opacity level with the Foreground Level control in the Effect Editor.

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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 mask, 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 8-5 Support for Photoshop Layer Options (Continued)

Layer Option Supported Notes

Table 8-6 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.

Pattern Layer Yes

Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize.

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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 325.

2. Follow the standard instructions for importing a graphic, as described in “Importing Files” on page 319. To create the matte correctly, you need to click the Options button and select Alpha: Invert Existing.

3. Select one or more files and click Open.

A message box appears.

4. In the message box, do one of the following:

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.

n 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 324.

t Click Select Layers if you want to select which layers to preserve. The Select Layers dialog box appears. 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.

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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 ”Rendering Effects” in the Avid Xpress Effects Guide or the Help.

Working with Avid Unity MediaManagerAvid Unity MediaManager is a media database that allows you to search the large number of media objects (master clips, sequences, effects, and any other type of object that references digital media) in the Avid Unity MediaNet shared storage environment.

You can also use MediaManager to manage sequences and other media objects whose media is no longer online. You can then search for these objects, view information about them such as the source tape name, obtain the source footage, and rerecord or redigitize it.

MediaManager is easy to access and use. Its user interface (UI) opens in a standard Web browser and allows you to quickly search or browse its contents for objects of interest. Drag-and-drop support allows you to add media objects to and obtain media objects from its database by dragging them from and to Avid system bins.

You need to configure your Avid system before you can interact with MediaManager. After you specify these settings, you can check in clips to and check out clips from MediaManager. For more information, see the Avid Unity MediaManager Setup and User’s Guide.

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Reimporting FilesIf 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:

• 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 Marquee® and Avid Media Illusion™.

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

c 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.

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 imports both the video and audio from the source file.

n OMFI files can contain only one master clip when you reimport them.

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Reimporting Files

The 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 Xpress system finds the source file automatically if the source file is located in the same folder as the last time you imported the file. The Batch Import dialog box appears when you select a master clip or sequence and choose Batch Import from the Bin menu.

Video Resolution pop-up menu

Selected Clips section

Import Options section

Status line

Import Target section

Video Drive pop-up menu

Audio Drive pop-up menu

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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 that 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. Clicking the Set File Location button finds the source files for clips that were 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.

Import Options Section

The Import Options section of the Batch Import dialog box contains global settings that affect all the files you are importing.

• 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 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 for the last time it was imported.

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n If you change the Import settings using the Import Options section, the new settings apply to all the files you are importing.

Starting the Reimport Process

n Before beginning the reimport process, consider mounting any removable media drives that held the original graphics.

To reimport imported files:

1. Open the bin, and select the imported master clips and sequences that you want to reimport.

2. Choose Batch Import from the Bin menu.

A message box appears.

3. Select one of the following options:

- Offline only: Reimports only the selected imported master clips that are missing their media files.

- All clips: Reimports all the selected imported master clips; for example, if you need to change the video resolution of the imported master clips.

The Batch Import dialog box appears.

4. Click Skip This Clip to remove a clip from the list. It will not be imported.

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5. 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.

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 first 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.

6. Choose a video resolution for all the reimported files from the Video Resolution pop-up menu.

7. 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.

8. (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.

9. Click Import.

The file is imported.

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Importing Editcam FilesYou 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 Xpress application.

2. Open a bin.

3. Choose Import from the File Menu.

A dialog box appears.

4. Choose EditCam from the Files of Type pop-up menu.

5. Select the CamCutter bin as follows:

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.

n The Outakes bin contains clips that were discarded by the Editcam operator. These clips are generally not imported, but can be.

6. Ignore the field specifying video resolution to be imported.

7. Ignore the field regarding video and audio drive selection.

8. Proceed with the import operation.

The Avid system displays a dialog box asking you to identify the drives that contain the media files.

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9. 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 repeat the procedure.

10. Complete the import process. For more information, see “Importing Files” on page 319.

The Avid system creates entries in the selected bin that reference the clips on the FieldPak.

Note the following restrictions:

• The CamCutter clips are not copied onto a media drive. The Avid Xpress bin references the clips physically located on the FieldPak. If you remove the FieldPak, the referenced clips appear as Media Offline.

• 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.

t Consolidate the sequence to a valid media drive.

t Import the CamCutter clips as OMFI files. This effectively copies the clips to a media drive.

For additional information regarding Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the following Web site:

www.nltek.com

CHAPTER 9Organizing with Bins

The Avid Xpress system provides powerful database tools for organizing and managing your digitized material. You can work with bins using three different views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins. These topics are covered in the following sections:

• Before You Begin

• Conserving Screen Real Estate with the SuperBin

• Basic Bin Procedures

• Using Brief View

• Using Text View

• Using Frame View

• Using Script View

• Printing Bins

• Gathering Format Elements

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Before You BeginThere are several procedures you might want to perform before organizing your project because they affect the display of information in bins or the way the clips play back during screening:

• If you want to customize the types of objects (clips, subclips, and so on) displayed in a bin, see “Setting the Bin Display” on page 340.

• You can view bins in four display modes. See “Using Bin Display Views” on page 342.

• Four custom bin views allow you to change the information displayed in the bin. See “Displaying Custom Bin Views” on page 342.

• The Bin Fast menu lets you choose commands. See “Using the Bin Fast Menu” on page 345.

• If you want to center the pan between left and right speakers for some or all of the clips in a bin, see “Adjusting Pan Defaults” on page 609.

Setting the Bin Display

You can use the Set Bin Display dialog box to display clips referenced by a sequence, even if the clips were not previously in the bin. Place a sequence in a new bin and follow this procedure.

To set the bin display:

1. Click in a bin.

2. Choose Set Bin Display from the Bin menu.

The Set Bin Display dialog box appears.

Table 9-1 briefly describes the icons listed in the Set Bin Display dialog box.

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3. Select the object types that you want to see: master clips, subclips, sequences, and so on.

Table 9-1 Object Icon Descriptions

Object Icon Object Description

Master Clips A clip that references audio and video media files formed from digitized footage or imported files.

Subclips A clip that references a selected portion of a master clip.

Sequences A clip that represents an edited program, partial or complete, that you create from other clips.

Sources A clip that references the original videotape source footage for master clips.

Effects A clip that references an unrendered effect that you create.

Motion Effects A file in the bin that references effect media files generated when you create motion effects.

Rendered Effects A clip that references an effect media file generated when you render an effect.

ITV Enhancement Clips that represent Interactive Television (ITV) enhancements that conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide for the Windows 2000 Operating System or the Help.

Opaque Enhancement Clips that represent ITV enhancements that do not conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide for the Windows 2000 Operating System or the Help.

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4. The option “Show clips created by user” is selected by default. Deselect this option only if you want to hide all objects except those created by the system.

5. Select the option “Show reference clips” to automatically display objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not.

6. Click OK.

The bin displays objects according to your specifications.

Using Bin Display Views

There are four different display views for working with clips in a bin: Brief view, Text view, Frame view, and Script view. For more information about bin display views, see “Using Brief View” on page 361, “Using Text View” on page 362, “Using Frame View” on page 375, and “Using Script View” on page 379.

Displaying Custom Bin Views

To the right of the Fast Menu button is the Bin View pop-up menu (Text view only) for selecting different Bin views. Bins have three default views that are automatically loaded: Custom, Film, and Statistics. These views also appear in the Settings scroll list.

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Customizing Bin Views in Text View

You can create and save customized bin views that you can easily access from the Bin View pop-up menu. You can customize the bin view by adding, hiding, or rearranging Bin columns. The only required column heading is the clip name, which is displayed by default.

There are several ways to customize views of the bin:

• Alter the arrangement of existing columns in the standard Statistics view or Film view to suit your needs, without adding or hiding columns. These arrangements are recalled each time you choose Statistics view or Film view.

• Add or hide columns of information to create customized Statistics or Film views. These are saved as additional view settings in numerical order, for example Statistics.1, Statistics.2, unless you choose another name.

To customize views of the bin, you can add, hide, copy, or rearrange standard or customized columns in any combination to create your own custom views. You can name and save them to suit your needs. See “Saving a Custom Bin View” on page 344.

Bin View pop-up menu

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n You can view bin columns that you have imported from other Avid products even if the bin columns are not available in Avid Xpress.

When you create a new Bin view, the system saves the settings for this view so that you can later access and alter, copy, or delete these settings. New Bin View settings appear in the Settings scroll list of the Project window.

Saving a Custom Bin View

Any time you add, hide, or delete a column, the bin view name changes to italic with the file name extension .n to indicate that it no longer matches the original view. If you select a new Bin View setting while the current setting is untitled or italic, the system discards the current setting.

n If you do not save the view after adding or deleting headings, it is discarded.

To save a custom bin view from the Text tab:

1. Open a bin and click the Text tab.

2. Add or hide columns according to preference.

The bin view name changes to italic.

3. Choose Save As from the Bin View pop-up menu.

The View Name dialog box appears.

4. Type a name for the custom view and click OK.

To change a custom bin view with the Bin View dialog box:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click the custom bin view you want to change.

The Bin View dialog box appears.

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3. Select and deselect the columns you want to see.

4. Click OK.

Using the Bin Fast Menu

All Bin menu commands are also available in the Bin Fast menu. The Fast menu is convenient when you are working with several open bins and need to access Bin menu commands quickly.

To open the Bin Fast menu:

t Click the Fast Menu button.

Conserving Screen Real Estate with the SuperBinYou can use the SuperBin to conserve screen real estate. The SuperBin lets you open different bins in a single bin window and switch between the bins, keeping them open with only one visible at a time. You can also switch a bin between being open in its own window and being open in the SuperBin, and you can move or copy clips and sequences into or out of the SuperBin.

Enabling the SuperBin

To enable the SuperBin:

1. Click the Settings tab in the Project window.

2. Double-click Bin in the Settings scroll list.

The Bin Settings dialog box appears.

3. Select Enable SuperBin, and then click OK.

The next time you click a bin in the Project window, it opens in the SuperBin.

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Opening Bins in the SuperBin

To open bins in the SuperBin:

1. Enable the SuperBin. See “Enabling the SuperBin” on page 345.

2. Click the Bins tab in the Project window.

3. Click a bin name.

n Double-clicking a bin opens it in its own window, not in the SuperBin.

The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: bin name.

To view a bin previously opened in the SuperBin:

1. Click the Bins tab in the Project window.

2. Click the bin name.

The bin reappears in the SuperBin.

SuperBin icon

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Closing the SuperBin

To close the SuperBin:

t Click the Close button (Windows) or the close box (Macintosh).

All bins opened in the SuperBin close.

Moving Bins into and out of the SuperBin

You can move bins currently displayed in their own windows into the SuperBin. You can also move a bin displayed in the SuperBin into its own window.

To move an opened bin into the SuperBin:

1. Click the Bins tab in the Project window.

2. Double-click the open bin’s icon in the Project window.

The individual bin window closes and the bin appears in the SuperBin.

To move a bin out of the SuperBin and into its own window:

1. Click the Bins tab in the Project window.

2. Double-click the open bin’s icon in the Project window.

The bin disappears from the SuperBin and appears in its own window.

Moving Clips and Sequences into and out of the SuperBin

To move a clip or sequence into the SuperBin:

t Drag the clip or sequence from another open bin window into the bin displayed in the SuperBin.

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The clip or sequence moves into the SuperBin.

You can copy a clip or sequence from the SuperBin directly to a bin in the Project window.

To move a clip or sequence out of the SuperBin:

1. Click the Bins tab in the Project window.

2. Drag the clip or sequence from the SuperBin onto a bin icon in the Project window.

The clip or sequence moves into the bin in the Project window and the bin opens in its own window.

Copying Clips and Sequences into and out of the SuperBin

To copy a clip or sequence into the SuperBin:

t Press and hold the Alt key (Windows) or the Option key (Macintosh), and then drag a clip or sequence from another open bin window into the bin displayed in the SuperBin.

The clip or sequence is copied into the SuperBin.

You can copy a clip or sequence from the SuperBin directly to a bin in the Project window.

To copy a clip or sequence out of the SuperBin:

1. Click the Bins tab in the Project window.

2. Press and hold Alt key (Windows) or the Option key (Macintosh), and then drag the clip or sequence from the SuperBin onto a bin icon in the Project window.

The clip or sequence is copied into the bin in the Project window and the bin opens in its own window.

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Deleting a Bin with the SuperBin Enabled

To delete a bin while the SuperBin is enabled:

1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) on the bin name in the Project window.

2. Choose Delete from the shortcut menu.

The bin is deleted.

Basic Bin ProceduresThere are some basic procedures that you can use in any of the bin display views for manipulating clips in the bin. They include selecting, deleting, duplicating, moving, copying, and sifting clips and sequences.

When you are working with bins, an asterisk (*) appears before the bin name in the bin’s title bar. This asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed.

n To view a complete list of the bins in your project, see “Using the Bins Display” on page 69.

Lassoing Objects

You can select objects in your Avid Xpress system by lassoing.

To lasso an object or objects:

t Click the mouse pointer outside of the object and drag it to surround the object or objects with a white dotted line.

The object or objects are selected.

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Selecting Clips and Sequences

To select clips or sequences in a bin, do one of the following:

t Lasso several items. See “Lassoing Objects” on page 349.

t Click the clip or sequence icon (Text view).

t Click the picture area of the clip or sequence (Frame view).

t (Windows) Ctrl+click to select multiple clips or sequences.

t (Macintosh) Shift+click to select multiple clips or sequences.

To reverse your selection:

t Choose Reverse Selection from the Bin menu.

The items that you previously selected are deselected, and those that were previously deselected are selected.

Duplicating Clips and Sequences

When you duplicate a clip or sequence, the system creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip.

To duplicate a clip or sequence:

1. Click the clip or sequence that you want to duplicate. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips.

2. Choose Duplicate from the Edit menu.

A copy of the clip or sequence appears in the bin, with the original clip or sequence name followed by the file name extension .Copy.n, where n is the number of duplicates created from the original clip or sequence.

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Moving Clips and Sequences

You can move clips and sequences to other bins in order to group and organize various types of material based on project needs.

To move clips or sequences from one bin to another:

1. Create or open another bin. Give the bin a name that represents its purpose or contents.

2. Position or resize the original bin and the new bin so that you can see both of them at the same time.

3. Click the clip or sequence that you want to move. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips or sequences.

4. Drag the clips or sequences to the new bin.

n If the destination bin’s display has been set to show reference clips, the referenced object types do not appear until you save the bin.

Copying Clips and Sequences

When you copy clips, you essentially clone the same clip in another bin. Any change you make to the copy affects the original as well. You cannot copy clips to the same bin, and you cannot return a clip copy to the same bin where the original resides.

When you press and hold the Alt key (Windows) or the Option key (Macintosh) and drag a clip to make a copy, the system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating.

When you copy clips from one bin to another, the custom columns that you created in the first bin are also copied to the second bin. The custom columns appear in the order in which you created them.

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To copy clips from one bin to another bin:

1. Position the bins so that you can see both of them at the same time. You might need to resize the bins to do this.

2. In the original bin, click the clip or sequence that you want to copy. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips or sequences.

3. Press and hold the Alt key (Windows) or the Option key (Macintosh), drag the clips or sequences to the destination bin, and release the mouse button.

Deleting Clips, Sequences, or Media

You can delete subclips and sequences from a bin. For information on deleting media files associated with subclips and sequences, see “Finding a Related Media File” on page 403.

You can delete effect clips and their media files, motion effect clips and their media files, rendered effects clips and their media files, and master clips and their media files from a bin. To delete video and audio tracks, you must use the Media tool. For more information, see “Deleting Media Files with the Media Tool” on page 393.

c If you delete media files, you no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a black screen appears with the words “Media Offline.” If you need to use those clips again, you must redigitize or reimport the material.

To delete clips or sequences from a bin:

1. Click the clips or sequences that you want to delete. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips or sequences.

2. Do one of the following:

t Choose Delete from the Edit menu.

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t Press the Delete key.

The Delete dialog box appears, showing information about the selected items.

3. Click the check boxes for items you want to delete.

- Select both clips and media files for deletion.

- Select only the media files for deletion if you want to retain the clips for redigitizing later.

- Select only the clips for deletion if the media file is referenced by another clip.

4. Click OK.

If you choose to delete media files, a dialog box appears.

5. Click Delete.

Assigning Colors to Bin Objects

You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors.

Adding a Color Column to a Bin

To add a Color column to a bin:

1. With a bin in Text view, choose Headings from the Bin menu.

The Bin Column Selection dialog box appears.

2. Ctrl+click (Windows) or click (Macintosh) Color in the scroll list.

3. Click OK.

The Color column appears in the bin.

n By default, a new column appears as the last column in the bin. To move the Color column, click the Color column heading and drag it to the left.

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Assigning a Source Color

To assign a color to a clip, subclip, sequence, or effect clip in a bin:

1. With a bin in Text view, click the bin objects to which you want to assign a color.

2. Choose Set Clip Color from the Edit menu, and choose a color from the submenu.

The color appears in the Color column and on the clip icon.

n You can also assign a color by clicking in the Color column and choosing a color from the pop-up menu.

Assigning a Custom Source Color

To assign a custom color to a clip, subclip, sequence, or effect clip in a bin:

1. With a bin in Text view, click the bin objects to which you want to assign a color.

2. Choose Set Clip Color from the Edit menu, and choose Pick from the submenu.

The Windows 2000 Color dialog box or the Macintosh Color Picker appears.

3. Select a color and click OK.

The custom color appears in the Color column and on the clip icon.

n After you assign a custom color, the color appears as Other in the Set Clip Color submenu.

Limiting Color Choices

When assigning colors to bin objects, you can limit the color choices to only the colors currently used in the bin.

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To limit the colors available when assigning colors to bin objects:

1. With a bin in Text view, select the bin objects to which you want to assign a color.

2. Alt+click (Windows) or Option+click (Macintosh) in the Color column in the bin.

A menu of all the colors you are using in the bin appears. Any custom colors you assigned are labeled Other.

3. Choose one of the colors.

The color appears in the Color column and on the clip icon.

Sorting by Color

To sort bin objects by color:

1. Click the Color column heading in the bin.

2. Click the Bin Fast Menu button, and then choose Sort.

The objects in the bin are sorted by color.

n Colors are sorted by hue, saturation, and value.

Sifting by Color

To sift bin objects by color:

1. Click the Bin Fast Menu button, and then choose Custom Sift.

2. Type the name of the color in the text box.

3. Choose Color as your sift parameter.

4. Click OK.

The objects in the bin are sifted by the color you specified.

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Highlighting Offline Media Clips

You can choose to highlight the clips in the Timeline that have offline media. The clips appear red, indicating their media is offline. Choosing Offline overrides any previous source or local color selections.

To highlight the clips that have offline media:

1. Click in the Timeline to activate it.

2. Click the Timeline Fast Menu button, choose Clip Color, and then choose Offline from the submenu.

Any offline media is displayed in red in the Timeline.

n When you are working with nested layers, a clip that contains offline media appears red even if the missing media is nested many layers deep.

Sifting Clips and Sequences

When you sift clips, the bin displays only those clips that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word “close-up” in the heading column. The dialog box provides you with six different levels of criteria.

To sift clips and sequences:

1. Choose Custom Sift from the Bin menu.

The Custom Sift dialog box appears.

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2. Click the first Criterion pop-up menu and choose one of the sifting options.

3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. When sifting by color, type the name of the color exactly using uppercase and lowercase letters in the text box.

4. Click the Column or Range to Search pop-up menu, and choose a column heading to which you want to apply the criterion.

5. Type additional sift criteria, and make additional column selections, as necessary.

6. Click OK.

Only the clips that meet your criteria remain in the bin, with the word “sifted” added in parentheses to the bin name.

After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state.

Text to Find text box Column or Range to Search pop-up menu

Criterion pop-up menu

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To view the entire bin:

t Choose Show Unsifted from the Bin menu.

To view the sifted bin:

t Choose Show Sifted from the Bin menu.

The word “sifted” appears in parentheses after the bin name when you are viewing a sifted state.

Locking and Unlocking Items in the Bin

You can lock any item in the bin — including source clips, master clips, subclips, and sequences — to prevent deletion. When you lock clips in the bin, you lock their associated media files on your desktop as well.

To lock items:

1. Click a clip, subclip, or sequence to select it. Ctrl+click (Windows) or Shift+click (Macintosh) to select additional clips if necessary.

2. Choose Lock Bin Selection from the Clip menu.

A Lock icon appears for each locked clip in the Lock column of the bin in Text view.

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n If the Lock column is not displayed, see “Showing and Hiding Columns” on page 364.

To unlock previously locked items:

1. Select the items in the bin.

2. Choose Unlock Bin Selection from the Clip menu.

n You can use the clip-locking feature along with archiving software to automatically archive all locked media files. For more information on archiving locked files, see your archiving software’s documentation.

Selecting Offline Items in a Bin

Offline items are clips, subclips, or sequences that are missing some or all of their original media files or that have never been digitized.

To identify offline items, do one of the following:

t Choose Select Offline Items from the Bin menu.

t Click the Bin Fast Menu button, and then choose Choose Select Offline Items.

The bin highlights all items that are missing media files.

Selecting Media Relatives for an Object

When you identify the media relatives of a selected clip or sequence, the system highlights all other clips linked to the selected clip, such as subclips or other sequences.

To identify media relatives:

1. Open the bin that contains the chosen clip or sequence.

2. Open any other bins that might contain the media relatives that you want to find.

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3. Resize and position the bins so that you can see their contents.

Text view is best for viewing as many objects as possible.

4. Click the chosen clip or sequence, and choose Select Media Relatives from the Bin menu or the Bin Fast menu.

The system highlights all related objects in all open bins.

n You can also use the Media tool to look at the digitized video and audio data files stored on your media drives. See “Using the Media Tool” on page 390.

Selecting Unreferenced Clips

When you select unreferenced clips, the system highlights all clips that are not currently referenced by clips or sequences present in the open bins. Any master clips, subclips, or effect clips you have edited into a sequence in the bin are not highlighted.

Highlighted item

Highlightedmedia relatives

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To select unreferenced clips:

1. Open the bin containing the sequence or clip that is referenced.

2. Open all other bins containing clips that were used during editing.

3. Choose Select Unreferenced Clips from the Bin menu.

A message box warns you that unreferenced clips will be highlighted in open bins only (items in closed bins are not shown).

4. Click OK.

All unreferenced clips are highlighted in the open bins.

n The Select Unreferenced Clips command is effectively the reverse of the Select Media Relatives command.

Using Brief ViewBrief view can help you manage your screen real estate. It displays only five standard columns of information about the clips and sequences in your bins.

To see Text view with only five standard bin columns showing:

t Click the Brief tab.

n You cannot customize the column headings in Brief view.

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n A different set of column headings appears for film projects.

Using Text ViewText view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs.

To enter Text view:

t Click the Text tab in the Bin window.

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Arranging Bin Columns

This section provides procedures for adding, hiding, moving, duplicating, and deleting columns from a bin.

Moving and Rearranging Columns

To move a text column in a bin:

1. Click the heading of the column that you want to move.

The entire column is highlighted.

2. Drag the column to the position you want, and release the mouse button.

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The column appears in the new position, and columns to the right are moved to make room.

Aligning Bin Columns

When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is especially useful for removing spaces left after you move or rearrange columns.

To align bin columns, do one of the following:

t Choose Align to Grid from the Bin menu.

t Press Ctrl+T (Windows) or k+T (Macintosh).

Showing and Hiding Columns

You can select individual or multiple headings to be displayed or hidden in the bin.

To choose column headings:

1. With a bin in Text view, choose Headings from the Bin menu.

The Bin Column Selection dialog box appears.

2. Select the headings you want to add to the bin:

t Click the name of a heading to select it.

t Click a highlighted heading to deselect it.

t Click All/None to select or deselect all of the headings in the bin.

3. Click OK.

Only the headings highlighted in the dialog box appear in the bin.

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Deleting a Column

Deleting a statistical column is the same as hiding the column; you can restore the column at any time using the Bin Column Selection dialog box. When you delete a Custom column, however, you must re-create the column.

To delete a column:

1. Click the column heading.

2. Do one of the following:

t Choose Delete from the Edit menu.

t Press the Delete key.

The column disappears from the view, and surrounding columns close to fill the space.

Duplicating a Column

You can duplicate existing columns containing timecode information in other compatible columns that you target in a dialog box.

To duplicate a timecode column:

1. Select the column you want to duplicate by clicking its heading.

2. Choose Duplicate from the Edit menu.

The Select dialog box appears.

The dialog box contains column names compatible with the column you selected in step 1. The column must contain the same type of data for the copy to occur. For example, you can copy start timecodes to the Aux TC1 column, but you cannot copy start timecodes to the Pullin column.

3. Select a column name from the list and click OK.

The column of information appears in the column you designated.

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Adding Customized Columns to a Bin

You can add your own column headings to describe information about clips and sequences. For example, you might want to add a column heading to describe what kind of shot (close-up, wide shot, master shot, extreme close-up, and so on) is used in a clip.

To add a new custom column:

1. Click an empty area to the right of the current headings in the headings box.

2. Move any existing column to the right or left to create an empty area.

3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh). Column headings must contain fewer than 30 characters, including spaces.

Custom heading

Headings box

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This places the pointer in the data box, beside the first clip in the bin.

4. Choose Align to Grid from the Bin menu after you have entered the new column heading.

5. Type the information, and press Enter (Windows) or Return (Macintosh) to move to the next line.

Changing a Custom Column Heading

You can change the heading name of custom columns only. You cannot change any of the standard statistical or film column headings.

To change the name of a custom column:

1. Alt+click (Windows) or Option+click (Macintosh) the heading to highlight it.

2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).

Managing Clip Information in Text View

There are several ways to manage clip information in Bin columns. These methods include moving information with columns, modifying clip data, moving information between whole columns, copying information between cells, and sorting clip information, as described in this section.

Moving Within Column Cells

To move within column cells:

1. Click in one of the columns.

The line is highlighted in yellow.

2. Use the keyboard shortcuts to move from cell to cell in bin columns, as shown in Table 9-2.

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Modifying Clip Information

You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin. This is especially useful if some of the data is incorrect or if you need to conform information for organizational purposes.

The following conditions apply to modifying clip information:

• When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip.

Table 9-2 Shortcuts for Moving in Text View

Press To

Tab Move the pointer to the parallel cell in the next column. You can continue to press the Tab key to scroll through the cells to the right until the cell in the last column is highlighted. The next time you press the Tab key, the cell in the first column is highlighted.

Shift+Tab Move the pointer to the cell in the previous column. You can continue to press Shift+Tab to scroll through cells to the left until the cell in the first column is highlighted. The next time you press Shift+Tab, the cell in the last column is highlighted.

Enter (on the main keyboard) (Windows) or Return (Macintosh)

Enter any new information typed in the cell and move the pointer down to the cell in the next row. You can continue to press the Enter key (Windows) or the Return key (Macintosh) to scroll down the column until the last cell in the column is highlighted. The next time you press the Enter key (Windows) or the Return key (Macintosh), the first cell in the column is highlighted.

Shift+Enter (on the main keyboard) (Windows) or Shift+Return (Macintosh)

Move the pointer up to the cell in the previous row. You can continue to press Shift+Enter (Windows) or Shift+Return (Macintosh) until the cell in the top row is highlighted. The next time you press Shift+Enter (Windows) or Shift+Return (Macintosh), the cell in the last row is highlighted.

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• Some data cannot be modified after digitizing because changes would prevent you from playing back and editing the material successfully.

• Sequence data cannot be changed, even though it appears in your bin. The only way to modify sequence data is to edit the sequence itself. You can, however, change the name and start time for the master timecode track, as described in “Changing Sequence Information” on page 516.

There are two ways to modify data:

• You can modify some data directly for master clips, subclips, and other objects stored in a bin.

• You can select Modify from the Clip menu to change specific information for master clips only.

Modifying Data Directly

When you modify information in a bin directly, you click a cell and type the new information. For example, you can type a new name for a clip or correct the start and end timecodes.

You can directly modify any data in the bin prior to digitizing. After the footage is digitized, however, you can directly modify only selected headings, with restrictions, as shown in Table 9-3.

Table 9-3 Direct Modification Headings

Heading Restrictions

(Clip) Name No restrictions.

Mark IN Altering the mark IN also alters the IN-to-OUT duration. This replaces any previous mark.

Mark OUT Altering the mark OUT also alters the IN-to-OUT duration. This replaces any previous mark.

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To modify the clip data directly:

1. Click the Text tab in the Bin window.

2. Click the cell that you want to modify. Select only one item at a time.

3. Click the cell again to enter text.

If the pointer does not change to an I-beam, you might be attempting to modify a column that cannot be directly modified.

4. Type the new information, and press Enter (Windows) or Return (Macintosh).

Auxiliary timecodes, 1–5 No restrictions.

KN (Key Number) Start Only for film projects. Altering the KN Start also alters the KN End to maintain the duration. This can also cause discrepancies with any auxiliary timecode information that you entered manually.

KN (Key Number) End Only for film projects. Altering the KN end also alters the KN Start to maintain the duration. This can also cause discrepancies with any auxiliary timecode information that you entered manually.

Pullin Pullin data imported from a telecine-generated list can be altered only using the Modify command. See “Using the Modify Command to Modify Data” on page 371. (NTSC only)

Pullout Pullout data imported from a telecine-generated list can be altered only using the Modify command. See “Using the Modify Command to Modify Data” on page 371. (NTSC only)

Table 9-3 Direct Modification Headings (Continued)

Heading Restrictions

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Using the Modify Command to Modify Data

The Modify command gives you specialized control over information in specific headings. For example, you can use the Modify command to change the name of source tapes or to increment or decrement the start and end timecodes by a specified length of time for one or several master clips at once.

You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way. In addition, you can perform only modifications that alter the end timecodes or the tracks before digitizing, as described in Table 9-4.

Table 9-4 Modify Command Options

Option Restrictions

Set Timecode Drop/Nondrop

Setting must match the timecode format of the tape.

Set Timecode By Field Only start timecode can be altered after digitizing.

Increment Timecode Only start timecode can be incremented after digitizing.

Decrement Timecode Only start timecode can be decremented after digitizing.

Set Key Number Generic (Prefix)

Only for film projects.

Set Pullin Only for film projects.

Set Tracks For clips that haven’t yet been recorded.

Set Source Should match the original source tape name.

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To modify selected data using the Modify command:

1. Open the bin.

2. Click the icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click (Windows) or Shift+click (Macintosh) each additional object you want to modify.

3. Choose Modify from the Clip menu.

The Modify dialog box appears.

4. Choose an option, such as Set Timecode By Field, from the Modify Options pop-up menu.

5. Select an option or type information in the text boxes (timecode values, for example) when they appear.

6. Click OK.

The modification takes effect.

Copying Information Between Columns

To copy information between columns:

1. Select the column that you want to copy.

2. Do one of the following:

t Choose Duplicate from the Edit menu.

Modify Options pop-up menu

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t Press Ctrl+D (Windows) or k+D (Macintosh).

A dialog box prompts you to target a column for the data.

3. Select the target column for the data, and click OK.

Sorting Clips

Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. You can sort clips in several different ways, including an ascending sort, a descending sort, and a multilevel sort.

n You can sort clips and sequences in Text view only. If you need to view sorted clips in Frame view or Script view, sort them in Text view first and then return to Frame view or Script view.

To sort clips in ascending order:

1. Click the Text tab in the Bin window.

2. Click the heading of the column that you want to use as the criterion.

The column is highlighted.

3. Do one of the following:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the column heading, and choose Sort Ascending from the shortcut menu.

t Choose Sort from the Bin menu.

t Press Ctrl+E (Windows) or k+E (Macintosh).

The objects in the bin are sorted in ascending order. For information on sorting order, see “Sorting Clips in Descending Order” on page 374.

n If the Sort command appears dimmed in the menu, you have not selected a column.

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To reapply the last sort:

t Choose Sort Again from the Bin menu with no column selected.

This step is especially useful after you have added new clips to a sorted bin.

Sorting Clips in Descending Order

Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. You can sort clips in several different ways, including an ascending sort, a descending sort, and a multilevel sort.

n You can sort clips and sequences in Text view only. If you need to view sorted clips in Frame view or Script view, sort them in Text view first and then return to Frame view or Script view.

To sort clips in descending order:

1. Click the Text tab in the Bin window.

2. Click the heading of the column that you want to use as the criterion.

The column is highlighted.

3. Do one of the following:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the column heading, and choose Sort Descending from the shortcut menu.

t Press and hold the Alt key (Windows) or the Option key (Macintosh) while you choose Sort Reversed from the Bin menu.

t Press and hold the Alt key (Windows) or the Option key (Macintosh) while you press Ctrl+E (Windows) or k+E (Macintosh).

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The Sort Descending or Sort Reversed command displays the objects in descending order. For information on sorting order, see “Sorting Clips” on page 373.

Performing Multilevel Sorting with Columns

Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. You can sort clips in several different ways, including an ascending sort, a descending sort, and a multilevel sort.

You can select multiple columns in a bin and perform a multilevel sort using the information in the columns.

n You can sort clips and sequences in Text view only. If you need to view sorted clips in Frame view or Script view, sort them in Text view first and then return to Frame view or Script view.

To perform a multilevel sort:

t Rearrange the columns in the bin to establish the primary column. The column that appears farthest to the left in Text view becomes the primary criterion for the sorting operation.

Using Frame ViewIn Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default, but you can play back the footage within any clip and select any frame to represent the footage. You can make the pictures larger to see more detail or smaller to see more clips in the window. You can also rearrange the frames in any order.

Each frame appears on your screen with its assigned name directly beneath it.

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n Long clip names might not appear in their entirety.

Changing the Bin Background Color

Bin color changes affect one bin at a time. Bin color changes can be applied to Frame view or Script view only. Text view remains black and white.

To change the bin background color:

1. Activate the bin you want to change, and make sure you are in Frame view or Script view.

Clip frame

Clip name

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2. Choose Set Bin Background from the Edit menu, and select a color from the pop-up palette.

The bin color changes, based on your selection.

Enlarging or Reducing Frame Size

You must enlarge or reduce all frames in the bin together. You cannot change the size of an individual frame.

To enlarge the frame size:

t Choose Enlarge Frame from the Edit menu.

The display size increases each time you choose this option, up to five times.

To reduce the frame size:

t Choose Reduce Frame from the Edit menu.

The display size decreases each time you choose this option, up to five times.

Rearranging Frames

Frame view allows you to rearrange the display of the frames in the bin by moving them.

To rearrange frames:

1. Click a single frame, and drag it to its new position.

To rearrange more than one frame at a time, Ctrl+click (Windows) or Shift+click (Macintosh) or lasso multiple frames and drag them to a new position in the bin. See “Lassoing Objects” on page 349.

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2. Click the background area of the bin to deselect the clips.

n When you return to Text view, the order of the clips is changed there as well.

Changing the Frame Identifying the Clip

By default, Frame view displays the first frame of each clip in the bin. You can, however, change the displayed frame.

To change the frame identifying the clip:

1. Select the clip that you want to change.

2. Press and hold the K key on the keyboard (Pause), and press the L key (Play) to roll the footage within the frame forward at slow speed. To move backward through the footage, press and hold the K key and press the J key (Reverse Play).

3. When you see the frame that you want use, release the keys.

Avid Xpress saves the displayed frame as part of the bin configuration.

Arranging Frames in a Bin

You can tidy up the frames in a bin after you have changed their display.

To align all frames to an invisible grid:

t Choose Align to Grid from the Bin menu.

To spread out the frames evenly to fill available space in the bin window:

t Choose Fill Window from the Bin menu.

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To make frames appear in Frame view in the order in which they are sorted in Text view:

t Choose Fill Sorted from the Bin menu.

Using Script ViewIn Script view, the system combines the features of Text view with Frame view, and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a script text box to the right of each clip. Clip information is displayed above the text box. You cannot change the size of the frames displayed in Script view.

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Entering Script View

To enter Script view:

t Click the Script tab in the Bin window.

Adding Text in Script View

To type text in the script box:

t Click the Script text box and begin typing.

This text does not appear in sequences edited from the clips; text appears only in printouts of the bin in Script view.

You can use basic word-processing procedures to highlight, delete, cut, copy, and paste text between script text boxes.

If the notes or text you type extends beyond the size of the text box, you can use the Page Up or the Page Down key on the keyboard to scroll through the text.

Rearranging Clips in Script View

To rearrange the order of clips in Script view, do one of the following:

t Drag each clip up or down to a new location in the bin.

t Sort and sift clips in Text view, and then return to Script view to display selected clips in the sort order you want.

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Printing Bins

Printing BinsAvid Xpress allows you to print entire bins or individual frames in hardcopy form.

To print entire bins:

1. Make sure your printer is correctly configured. See your printer or Windows 2000 or Macintosh documentation, or your system administrator.

n To print a frame in Script or Frame view, you must use a printer capable of printing graphics.

2. Select a view.

3. Choose Page Setup from the File menu.

The Page Setup dialog box appears, reflecting specific options for your printer.

4. Select the appropriate options from the Page Setup dialog box, and then click OK.

5. Choose Print Bin from the File menu.

The Print dialog box appears, reflecting specific options for your printer.

6. Select the print options in the Print dialog box, and then click OK.

The system prints the active bin.

Gathering Format ElementsWhile organizing your project, you can gather various format elements into a single bin that you can open and use later during editing.

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Some useful format elements might be:

• Digital bars and tone

• Head and tail leader

• Repeated titles

• Countdowns

• Graphic elements (repeated animations, and so forth)

For information on importing graphic elements and titles, see Chapter 8.

Preparing Digital Bars and Tone

Your Avid Xpress system includes a set of test pattern PICT files. You can choose the type of test pattern you want to use and import it to the system at any time.

When you are ready to output a digital cut, you can use the calibration tone features of the Audio tool to generate tone to go along with bars. For more information, see “Preparing for Output” on page 717.

Importing Color Bars and Other Test Patterns

To import a test pattern from a PICT file:

1. Open an existing bin, or create a new one for the test pattern.

2. Select the destination bin.

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3. Choose Import from the File menu.

The Select Files to Import dialog box appears.

Windows

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4. Navigate to the Test_Patterns folder in the following location:

- (Windows) drive:\Program Files\Avid\Avid Xpress\SupportingFiles\

- (Macintosh) Avid drive:Avid Xpress:SupportingFiles:

5. Import any test pattern file to the Test_Patterns folder by following the procedures in Chapter 8.

Macintosh

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When you import SMPTE_Bars.pct, it does not exactly match the SMPTE bars generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern cannot be exactly represented in the RGB color space used when importing files. If you must have I and Q blocks correct in a sequence, do one of the following:

t Digitize SMPTE bars from a signal generator.

t Use the Video Output tool to generate SMPTE bars and record them to tape using the controls on the deck. Then digitize them back into the system from the tape.

6. Create a clip of tone media using the Audio tool. See “Using the Audio Tool” on page 245.

Consider recording tone at both 44.1 kHz and 48 kHz for use in various projects. Match the resolution of the tone to the audio resolution of the sequence.

7. Create a new sequence with the SMPTE bars, and edit the tone media clip onto audio tracks 1 and 2.

8. Edit the end of this sequence to an appropriate length (1 minute is a standard length for sequences).

9. Rename the sequence to indicate its purpose.

Creating Leader

Film editors traditionally use standard head and tail leaders for cueing and syncing material. You can use digital leader in Avid Xpress to mark the beginning and ending of tracks, and to help you maintain sync. You can create your own leader for video or film, as described in this section. Whatever your choice for specification, be sure to make all your leader clips the same length, with common sync points.

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Creating Video Leader

To create leader for picture tracks:

1. Create a black screen in the Title tool for tail leader or a white screen for head leader.

For information on using the Title tool, see the Avid Xpress Effects Guide or the Help.

Optionally, you can type a title on the screen that says “Tail Leader” or “Head Leader.”

2. Name this clip Head Leader or Tail Leader when you save the title.

3. Create a subclip from an appropriate length of the clip, according to your chosen specifications.

4. (Option) Mark a sync frame in the subclip as follows:

a. Load the clip into the Source pop-up monitor.

b. Find an appropriate sync point and add a locator. For more information about locators, see “Using Locators” on page 498.

c. (Option) Double-click the locator in the Source pop-up monitor to add a sync point notation that appears on the monitor.

For information on adding an edit, see “Adding an Edit” on page 556.

Once the leader is prepared, you can splice the leader during editing onto the tracks that you want to keep in sync. You can use the sync points for visually aligning tracks.

Creating Audio Leader

To create tail leader for audio tracks:

1. Load a clip that includes a section of digitized tone into the Source pop-up monitor.

2. Create a subclip from an appropriate section of the clip, according to your chosen specifications.

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3. Name this new subclip Head Leader or Tail Leader.

4. Load this subclip into the Source pop-up monitor.

5. Prepare the sound levels for leader without a sync point (no audio pop) by opening the Audio Mix tool and bringing the audio level all the way down for the entire clip.

6. For leader that includes a sync point (audio pop), do the following:

a. Find the appropriate sync point.

b. Step one frame backward and place an add edit before the sync frame; then step two frames forward and place an add edit after the sync frame.

c. Move the position indicator before the first add edit, and open the Audio Mix tool.

d. Bring the audio level all the way down.

e. Move the position indicator after the second add edit, and use the Audio Mix tool to bring the level all the way down.

For information on adding an edit, see “Adding an Edit” on page 556.

Once the leader is prepared, you can splice the leader during editing onto the audio tracks that you want to keep in sync. You can use the sync points for visually aligning tracks.

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CHAPTER 10Managing Media Files

When you digitize footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. In addition to the bin tools that allow you to organize the clips that reference these media files, your Avid Xpress system provides useful tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.

The following sections describe these procedures:

• Using the Media Tool

• Consolidating Media

• Refeshing Media Databases

• Backing Up Media Files

• Finding a Related Media File

• Relinking Media Files

• Unlinking Media Files

• Using Videotapes for Archiving and Restoring Media Files

• Workgroup Support

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Using the Media ToolThe Media tool is your window to the digitized video and audio data files stored on your media drives. As an important counterpart to the bins, the Media tool provides similar database tools for manipulating digital media files in tandem with your organization of clips and sequences.

Basic Media Tool Features

The Media tool provides many of the same controls for viewing and managing information that you use with bins:

• The four display views in the Media tool function like those in bins: Brief view, Text view, Frame view, and Script view.

• You can use the same Brief view information described in “Using Brief View” on page 361.

• You can use Text view headings and options for columns of clip and media file data. You can also use procedures such as customizing the display of columns, moving within columns, and sorting information, as described in “Using Text View” on page 362.

• You can use the same Frame view options described in “Using Frame View” on page 375.

• You can use the same Script view options described in “Using Script View” on page 379.

• The Media Tool Fast menu gives you quick access to the same commands available in the Bin Fast menu.

• You can highlight, move, copy, duplicate, delete, sort, and sift clips in the Media tool. You can also select media relatives, sources, and unreferenced clips, as described in “Basic Bin Procedures” on page 349.

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• Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Text, Frame, or Script) is saved and any customizations of columns are saved.

• You can print Media Tool data using the same procedures for printing bins, as described in “Printing Bins” on page 381.

The Media tool also has a number of unique features:

• Unlike a bin, the Media tool can display all the tracks digitized for each clip as separate media files. Therefore, when you view, delete, and manipulate files, you have the added option of specifying individual video and audio tracks.

• Unlike a bin, the Media tool does not display sequences and subclips. Only master clips, precompute (rendered effect) clips, and associated media files are available for display.

• The following Bin menu commands do not apply to the Media tool: Batch Digitize, Batch Import, Relink, Modify, AutoSync™, and AutoSequence. You must perform these functions from a bin.

Opening the Media Tool

To open the Media tool:

1. Choose Media Tool from the Tools menu.

The Media Tool Display dialog box appears.

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2. Select the display options as follows:

- Select individual media drives or all drives.

n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open.

- Display files for the current project, for selected projects, or for all projects.

n Only projects with associated online media and the current project appear in the Project(s) list in the Media Tool Display dialog box.

- Display digitized master clips, precompute (rendered effect) clips, or media files, or any combination of the three.

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3. Click OK.

The Media tool opens.

Deleting Media Files with the Media Tool

You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences.

n If you use the Media tool to delete selected media files, you no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a blank screen appears with the message “Media Offline.” If you need to use those clips again, you must redigitize from tape.

Depending on your needs, you can do one of the following:

t Delete selected audio or video tracks and retain other tracks from a clip.

t Delete entire sets of media files and related clips from within the Media tool.

t Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating Media” on page 395.

Precompute clip

Master clip

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To delete selected media files:

1. Choose Media tool from the Tools menu.

2. In the Media Tool Display dialog box, select the types of files (master clips, precompute clips, or media files) that you want to delete.

3. Click OK.

The Media tool opens.

4. Select one or more media files (audio, video, or both) or master clips whose media files you want to delete.

5. Do one of the following:

t Choose Delete from the Edit menu.

t Press the Delete key.

The Delete Media dialog box appears.

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6. Select the media files that you want to delete:

- Video media file (V). The master clip linked to that file is black, and the message “Media Offline” is displayed in the Source pop-up or the Composer monitor. Related subclips and sequences are affected in the same way.

- Audio media file (A1, A2, A3, A4, A5, A6, A7, A8). The master clip linked to that file is silent. Subclips and sequences created from the master clip are affected in the same way.

- Precompute media file (V, A). The section of the sequence with the effect is black, and the message “Media Offline” is displayed.

7. Click OK.

A dialog box appears.

8. Click Delete.

The selected media files are deleted.

Consolidating MediaWhen you consolidate media files, the system finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them and saves the copies on a target drive that you specify. Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in the bin.

Understanding the Consolidate Feature

The Consolidate feature allows you to create and save copies of the sequence’s media files to a selected drive. This makes it relatively simple to move source files with you when you work on a different

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system. Using the Consolidate feature has the advantage of copying only the amount of media necessary; you save only the sequences and clips used in the project. For example, it does not copy an entire 1-hour audio file to consolidate a single 10-second clip.

The Consolidate feature operates differently depending on whether you are consolidating master clips, subclips, or sequences. There are also different advantages in each case, as follows:

• Master clips: When you consolidate a master clip, the system creates exact copies of the media files. If you link the original master clip to the new files, the system creates a master clip with the file name extension .old that remains linked to the old files. If you maintain the link between the original master clip and the old media files, the system creates a new master clip with the file name extension .new that is linked to the new files. The new clips are also numbered incrementally beginning with .01. Consolidating master clips does not save storage space because the system copies the same amount of media for each clip.

• Subclips: When you consolidate a subclip or group of subclips, the system copies only the portion of the media files represented in the subclip, and creates a new master clip that is the duration of

Consolidating a Master Clip

Master Clip.old.01

Original media files

Master Clip Master Clip.new.01

Copy of media files

Link the master clip to new or old files.

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the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01.

• Sequences: When you consolidate a sequence, the system copies only the portions of media files edited into the sequence, and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files.

Consolidating a Subclip

Master Clip

Original media files

Subclip Master Clip.new.01

Subclipped copy of media files

Subclip.new.01

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n Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in the bin.

n Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files.

Using the Consolidate Command

c Do not make copies of media files from the Windows 2000 or Macintosh desktop while Avid Xpress is running. Also, do not keep duplicate copies of media files online; either delete the originals, take the backups offline, or store the backups in a folder with a different name.

Consolidating a Sequence

Original links are broken.

Original media files

Sequence

New links are established.

Edited copy of media files

Clip A Clip B Clip C Clip A.new.01 Clip B.new.01 Clip C.new.01

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Consolidating Media

To consolidate master clips, subclips, or sequences:

1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects.

n For more information on rendering effects, see the Avid Xpress Effects Guide or the Help.

2. With the bin open, select the clips or sequence to consolidate.

3. Choose Consolidate from the Bin menu.

The Consolidate dialog box appears.

4. (Option) Select one or more of the options in Table 10-1.

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5. Select a target drive from the Target Drive(s) list. To select additional target drives, Ctrl+click (Windows) or Shift+click (Macintosh) the drive name.

Make sure that you choose a target drive with enough storage space for all the consolidated media files and the ability to play back media. Drive filtering does not apply to the consolidate process.

6. If you are consolidating subclips or sequences, type a handle length for the new clips, or leave it at 60 fields (NTSC) or 50 fields (PAL) to accept the default. The handle length is the number of safety frames before and after the chosen media.

Table 10-1 Consolidate Options

Option Description

Video and Audio on same Volume(s) Select to store the consolidated media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files.

Delete original media files when done Select to delete original media files automatically.

Skip media files already on the target disk

Select to bypass files if some related media files are already located on the target drive.

Relink selected clips to target disk before skipping

Select to ensure that all selected clips are linked to media on the target drive. This option appears when you select “Skip media files already on the target disk.”

Consolidate all clips in a group edit Select to copy media for all clips in a group, for consolidating a group clip or a sequence that contains group clips.

Do Audio Sample Rate Conversion Select to convert multiple audio sample rates in a sequence or master clip to a single audio sample rate when performing a digital cut. If your sequence or master clip has multiple audio sample rates, you need to convert it to a single audio sample rate.

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Consolidating Media

7. If you are consolidating a group clip or a sequence that contains group clips, select the option “Consolidate all clips in a group edit” to copy media for all the clips in the group.

8. Select “Do Audio Sample Rate Conversion” to convert any sample rates not set at the rate set in the Audio Project Settings window. For information on setting the sample rate, see “Adjusting Audio Project Settings” on page 240.

9. Click OK.

If you are consolidating master clips and did not choose to delete the original media files, a second dialog box appears and offers you a choice.

10. Link the original master clips to the new or old media files, according to preference.

11. Click OK.

Another way to back up media files is to copy them directly onto another hard drive using the Windows 2000 or the Macintosh desktop. You cannot, however, take advantage of the storage-saving features of the Consolidate command, and it is more difficult to identify particular media files when searching directly through folders.

Loading the Media Database

The media database is a catalog of master clips and precomputes stored on the external media drives. One use of the media database is to display master clips and precomputes in the Media tool.

Bins also contain references to some of the media files based on the contents of the bin. Avid Xpress does not maintain the entire database in memory at all times. Instead, it builds up a partial database for the bins that have been opened in the current session to preserve as much memory as possible for editing.

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If you store the master clips and the edited sequences for a project in separate bins, there are two scenarios in which sequences might appear to be offline. In this case, you need to load the entire database to relink clips to their media files. The scenarios are:

• Redigitizing: When you redigitize the master clips while the sequences bin is closed, quit Avid Xpress, restart the application, and open the sequences bin only.

• Consolidating: When you consolidate the master clips and relink them to the consolidated media while the sequences bin is closed, quit Avid Xpress, restart the application, and open the sequences bin only.

To update offline sequences with the new media files:

t Choose Load Media Database from the File menu.

The system loads all online master clips and precomputes.

n You need not load the media database more than once during a single editing session because the database remains in memory until you quit the application or restart the Avid Xpress system.

c If a bin continues to display the message “Media Offline” after loading the media database, either the media files are missing or the links have been broken. For more information, see “Relinking Media Files” on page 404.

Refeshing Media DatabasesRefresh the media directories after you remove media from the media drives (for example, after you have physically moved drives). The Refresh Media Directories command reexamines all the media databases on the system. This command can take a long time to execute on systems that have large amounts of media online.

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Backing Up Media Files

To refresh media databases:

t Choose Refresh Media Directories from the File menu.

Backing Up Media FilesThe OMFI MediaFiles folders on your external media drives contain the individual media files created when you digitized source material. Unlike the smaller Avid Projects and Avid User folders, these folders are too large to back up to floppy disks.

The options for backing up media files include:

• Consolidating or making copies of media files for transfer to another system

• Archiving larger media files and folders to a dedicated mass-storage system

Finding a Related Media FileThe Reveal File command allows you to select a clip in a bin and automatically open its related media file. This is useful if you want to delete, move, or label the media file.

To find a related media file:

1. Select the clip in a bin for which you want to find the media file.

The clip is highlighted.

2. Choose Reveal File from the File menu.

- (Windows) The system searches all available drives, opens the Windows Explorer, and highlights a related media file.

- (Macintosh) The system searches all available drives and highlights a related media file.

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If more than one file is related to the clip, the Reveal Next dialog box asks if you want to see the next file. Click OK to reveal the next file.

Relinking Media FilesSometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message “Media Offline.” If appropriate media exists online, you can use the Relink command to reestablish the link.

Related media fileClip

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Relinking Media Files

When you select subclips or sequences and choose the Relink command, the system searches for master clips that contain the same material included in the selection.

You can also relink master clips to appropriate media files. The system compares information such as source tape name, timecode information, and channels digitized. If the search is successful, the system establishes new links to the available media files. You can instruct the system to search specific drives or all available drives.

To relink clips, subclips, or sequences:

1. Select the unlinked object or objects in the bin.

2. Choose Relink from the Bin menu.

The Relink dialog box appears.

Central area

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3. Select an option from the central area, depending on the type of object you are relinking, either non-master clips or master clips:

- Relink offline non-master clips to any online items: Relinks clips and sequences to the master clips that contain the same material.

- Relink all non-master clips to selected online items: Relinks related subclips or sequences to the highlighted clip in the bin. When you select this option, the option “Allow relinking to offline items” is available.

n When you select “Allow relinking to offline items, all available drives are searched regardless of the setting for “Relink to media on volume.”

- Relink offline master clips to online media files: Relinks master clips to media files that share similar database information.

4. Choose an option from the Relink to Media on Volume pop-up menu:

- All Available Drives: Searches across all media drives that are online

- A specific drive volume: Relinks to media on a specific media drive

5. (Option) Select “Relink only to media from the current project.”

6. (Option) Select “Match case when comparing tape names.”

7. Click OK.

The system searches the selected media drives, and relinks clips and sequences if possible.

The system disregards capture rate, video resolution, and audio resolution when matching media files.

n To maintain the original digitize settings for a subclip or sequence, use the Batch Digitize command; do not use the Relink command.

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Relinking Media Files

Relinking to Selected Clips

You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips.

To relink to selected master clips and subclips:

1. Move the subclips or sequences that you want to relink into the bin containing the clips.

2. Select the clips targeted for relinking.

3. Choose Relink from the Bin menu.

The Relink dialog box appears.

4. Select “Relink all non-master clips to selected online items” to relink related subclips or sequences to the highlighted clip in the bin.

5. Choose an option from the Relink to Media on Volume pop-up menu:

- All Available Drives: Searches across all media drives that are online

- A specific drive volume: Relinks to media on a specific media drive

6. (Option) Select “Relink only to media from the current project.”

7. (Option) Select “Match case when comparing tape names.”

8. Click OK.

The subclips or sequences are linked to the selected clips or subclips.

Relinking Consolidated Clips

If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files.

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For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to use the original media files instead of the consolidated media files, you can break the new link and reestablish the old link to the original files.

n Because subclips and sequences do not point directly to the media files, you can perform this procedure only using the source master clips.

To relink consolidated subclips or sequences:

1. Select the new master clips for a consolidated subclip or sequence (the clips have the file name extension .new), and unlink them.

For information on unlinking, see “Unlinking Media Files” on page 409.

2. Choose Relink from the Bin menu.

The Relink dialog box appears.

3. Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information.

4. Choose a specific drive volume that contains the original media files from the Relink to Media on Volume pop-up menu.

5. (Option) Select “Relink only to media from the current project.”

6. (Option) Select “Match case when comparing tape names.”

7. Click OK.

The clips are relinked to the original media files.

Relinking Moved Projects

If you move projects between systems with similar media existing at each site but that were digitized separately, your clips and sequences display the message “Media Offline.” You can use the Unlink and Relink commands to reconnect the files at either site.

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Unlinking Media Files

For example, if you have a project that requires sharing work between two different sites, you can digitize the source material once at each site and exchange only the project folder at each stage, rather than move large media drives back and forth. The project folder can be exchanged on floppy disks or instantly across a network. Because the media files maintain slightly different parameters at each site, you must relink the material each time.

Unlinking Media FilesYou can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files.

To unlink master clips from their current links:

1. Select the master clips to unlink.

2. Press Ctrl+Shift, and choose Unlink from the Bin menu.

The clips are unlinked and display the message “Media Offline.”

n Because subclips and sequences do not point directly to the media files, you can perform this procedure only using the source master clips.

If you have similar material from different sources, you can duplicate a set of clips, unlink the duplicates, and then modify the sources of the duplicates before digitizing the new source material.

Using Videotapes for Archiving and Restoring Media Files

You can archive to videotape the source media associated with sequences, master clips, subclips, and group clips. Archiving the source media to videotape is similar to recording a digital cut, except you can reedit the sequence after you restore it.

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Managing Media Files

You can use the archiving process to:

• Archive completed projects that you can restore at a later date, if you need to reedit the project.

• Provide more space on the media drives for a new project.

• Create backups of your project files.

• Move a project to another workstation.

When you archive a project, the source media files are archived to videotape and you save the project files. For information about saving the project files, see “Backing Up Your Project Information” on page 60. You can reconstruct everything in your project with the archived files and your source tapes.

n You will experience generation loss when the media is archived and restored one or more times. The target videotape format might include some compression.

The archiving process divides the archive into multiple archive sequences based on the length of the videotapes that are available. The archiving to videotape process adds handles to the new clips that allow you to reedit the sequence after you restore the media files from the videotape.

During the archiving process, the original media is archived to videotape. Media with effects is not recorded to tape because you can easily re-create the effects after the project is redigitized. However, the handles for transition effects are included in the archive file. The final sequence can be linked to the redigitized media to re-create the project.

Each archived master clip is stamped with the archive tape name and archive timecodes during the restoration process. The original source information on the master clips remains unchanged.

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Using Videotapes for Archiving and Restoring Media Files

Archiving Media Files

Before you can archive your media files to videotape, you must stripe the record tapes (record black and timecode for the entire duration of the tape). For information about preparing record tapes, see “Preparing Record Tapes” on page 735.

To archive a video project’s media files:

1. Set up the Digital Cut Tool as follows:

a. Choose Digital Cut from the Clip menu.

The Digital Cut tool opens.

b. Choose a deck from the Deck Selection pop-up menu.

The Select Tape dialog box appears.

c. Click Cancel to leave Tape Name unspecified.

Deck Selection pop-up menu

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d. (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 archiving process starts. This option overrides the Preroll setting in the Deck Settings dialog box.

2. Create a new bin for the archive and name the bin. For example, you can name the bin Archive.

3. Duplicate the sequences and clips you want to archive.

4. Drag the new duplicate sequences and clips to the new Archive bin.

5. Select the clips and sequences to archive from the Archive bin by doing one of the following:

t Choose Select All from the Edit menu to select all the clips and sequences in the bin.

t Ctrl+click (Windows) or k+click (Macintosh) to select specific clips or sequences.

6. Choose Archive to Videotape from the Clip menu.

The Archive to Videotape dialog box appears.

7. Select the appropriate options in the Archive to Videotape dialog box.

Table 10-2 describes the options listed in the Archive to Videotape dialog box.

n If the clips or sequences that you want to archive are not highlighted in the active bin, Archive to Videotape appears dimmed in the Clip menu.

8. Click OK.

The Tape Lengths dialog box appears.

Archive Length displays the calculated length of time required for archiving the media files. The archive might require more time than indicated because individual clips are not divided between tapes.

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Using Videotapes for Archiving and Restoring Media Files

9. In the “Enter the quantity of tapes available for the archive” area, do one of the following:

t Type the number of blank videotapes needed for the archive, next to the length of time of your blank tapes.

For example, if the archive length is 2 hours and 15 minutes, and you have 30-minute videotapes, you would type 5 in the 30 Minutes text box.

t Type a custom tape length in the Custom text box and type the number of available blank videotapes.

10. Click OK.

The Digital Cut tool opens and becomes the active window.

11. Follow the instructions displayed in the message boxes to complete the archiving process.

A set of archive sequences are created in the Archive bin and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape.

When the system finishes creating the archive, a message box notifies you that the process is complete.

12. Copy the project files (bins, project, and settings) to a Zip® disk or equivalent storage device. For more information, see “Backing Up Your Project Information” on page 60.

After you archive your project, you can delete the media files from your Avid system to provide more space on your media drives.

Archive to Videotape Options

The Archive to Videotape dialog box allows you to optimize the archive of the media files for the selected sequences and clips.

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To access the Archive to Videotape dialog box:

t Choose Archive to Videotape from the Clip menu.

Table 10-2 describes the Archive to Videotape options.

Table 10-2 Archive to Videotape Options

Option Description

Archive Name Type a name for the archive. ProjectArchive is the default name. The archive name is numbered incrementally beginning with 001 to indicate the order of the tapes.

Start Timecode Enter a value in the Start Timecode text box to set the starting timecode of the archive on the videotape. By default, the start Timecode is set to 01:00:00:00.

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Restoring an Archive from Videotape

Restoring an archive from videotape is similar to batch digitizing. The archiving process creates new master clips for sequences. During the restoration, each archived master clip is stamped with the archive tape name and archive timecodes. The original source information on the master clips remains unchanged.

After you restore an archive, any links to the original source clips are broken, and only the sequence and its new master clips are linked to the newly digitized media files.

For Subclips and Sequences:

Use handles Select this option and type the number of additional frames you want to archive at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects.

Handle Length: n frames Enter the number of frames you want for handles.

Archive entire master clips Select this option is you want to archive the entire master clip.

For Sequences:

Archive all clips in a group edit Select this option if you selected a sequence that contains group clips, and you want to archive the media for all the clips in the group.

Table 10-2 Archive to Videotape Options (Continued)

Option Description

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To restore an archive from videotape:

1. Copy the project files to the Avid Project folder. See “Understanding Settings” on page 94.

2. Open the project in Avid Xpress.

3. Open the archived bin.

4. Choose Digitize from the Tools menu and set the following options:

a. Choose a deck from the Deck Selection pop-up menu. If the Select Tape dialog box appears, click Cancel to leave Tape Name unspecified.

b. Choose a resolution from the Res (Resolution) pop-up menu.

c. Choose a drive volume from the Target Drive pop-up menu.

d. Make sure the audio sample rate is set correctly. See “Adjusting Audio Project Settings” on page 240.

n For more information about setting up the Digitize tool, see Chapter 6.

5. Select the archived sequences, original sequences, and original clips.

n If you select only the archived sequences, the media is restored; any new media is not relinked to your original clips. To relink the new media to the original clips, select the original clips and repeat the restoration. Repeating the restoration only relinks the selected items to the new media files.

6. Choose “Restore from Videotape” from the Clip menu.

The Restore from Videotape dialog box appears.

7. (Option) Select “Restore only those items for which media is currently unavailable,” if you are repeating the restoration. Otherwise, deselect this option.

8. Click OK.

The Digitize tool opens and becomes the active window.

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9. Follow the instructions in the message boxes to complete the restoration.

The Avid system redigitizes the archived sequences and clips.

10. Batch import any graphics and render all non-real-time effects. For information about batch import, see “Reimporting Files” on page 332.

Workgroup SupportAvid Xpress includes support for Avid’s workgroup products, including Avid Unity MediaManager and Avid Unity TransferManager.

Understanding Avid Unity MediaManager

If you are using your Avid editing system in an Avid Unity workgroup environment, you can use the Avid Unity MediaManager to manage your media. Avid Unity MediaManager allows you to search the large number of media objects (master clips, sequences, effects, and any other type of object that references digital media) in the Avid Unity MediaNet shared storage environment. For information on using the Avid Unity MediaManager application, see the Avid Unity MediaManager Setup and User’s Guide.

Understanding Avid Unity TransferManager

When editing in a workgroup environment, you can share media using the Avid Unity MediaManager application. If you want to transfer media from one workgroup to another, you can use the Avid Unity TransferManager application.

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Managing Media Files

Avid Unity TransferManager receives and queues transfer requests from one or more clients. Transfers are then initiated by the Avid Unity TransferManager server to offload the client. For information on transferring files between workgroups, see the Avid Unity TransferManager Setup and User’s Guide.

CHAPTER 11Using Script Integration

The lined script is traditionally used as a tool for managing scene and take information during postproduction on a dramatic feature film or television production. With the Avid system, script integration allows you to adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising. The following sections describe these methods:

• Lined Script Basics

• Script Window Basics

• Manipulating Script Text

• Searching Through Script

• Linking Clips to the Script

• Interpolating Position for Script Integration

• Manipulating Slates

• Manipulating Takes

• Using Script Marks

• Finding Clips and Script

• Editing with the Script Window

n To use script integration, you need to have PowerPack. To purchase PowerPack, contact your Avid sales representative.

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Using Script Integration

Lined Script BasicsThe conventional lined script — which evolved during decades of trial and error in Hollywood — provides assistant editors and chief editors with a road map that helps them find the coverage they need to edit scenes in a film or television show.

Traditionally, the continuity person creates the lined script on the set at the time of shooting. All notes are handwritten. The following is an example of a scene from a lined script:

33/1

33A/1 33A/2

33B/133B/233B/3

33C/1 33C/2

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Lined Script Basics

Explanation of Symbols

Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically.

The following is a brief summary of the lining techniques and numbering system shown in the previous example:

• Master shot: The line labeled 33/1 is the master shot that usually covers all the action in a wide shot. The first number in the label indicates the scene number as written on the script (scene 33). The number following the slash indicates that this is the first take captured on film for the master shot. A second take of the master shot, for example, would be labeled 33/2.

• Additional setups: The lines for each subsequent camera setup within the scene are labeled with the scene number (33 in our example) followed by a letter for each setup (A, B, C, and so forth), followed by a slash and the number of the take within that setup. These lines can be any length, depending upon what portion of the script is covered by the particular shot.

• Off-screen dialog: The jagged lines in the script represent the parts of dialog where the actor is off screen. For example, the character Mary Sue is off camera during the action described in the second paragraph (when the waitress character enters), so a jagged line is drawn through the shots that cover Mary Sue (33A/1 and 2).

When the scene is recorded on videotape — in a sitcom shoot, for example — the lined script can also include timecode notes written next to specific lines of dialog that represent a sync point between the dialog on the page and the recorded dialog on tape. These sync points provide assistant editors or chief editors with a quick path to specific points in the source material.

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Lining in the Digital Realm

Script integration in the Avid application provides a number of enhancements to this traditional system. These enhancements allow you to shorten dramatically the distance between the concepts captured on the page and the source materials used to assemble a finished program.

Unlike the traditional lining of a script, digital script integration is usually performed after the shoot — by the assistant editor, for example — using the notes of the continuity person. The following is an example of the script shown in the previous section, prepared and lined using script integration.

Color indicator

Script mark

Takes tabs

Takes

Toolbar

Slates

Off-screen indicator

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Lined Script Basics

In addition to the standard lining conventions, script integration includes the following enhancements:

• Slates: Takes are organized into slates that display a representative frame and clip name for the take that is currently selected.

• Takes: The Takes tabs and lines extending from the bottom of each slate indicate the number of takes for that scene. Click a Takes tab to select the take.

• Indicators: You can apply off-screen dialog indicators or colors to indicate such things as preferred takes, takes used in the current active sequence, or line changes in dialog.

• Script marks: The double arrows marking the takes at various points represent marked lines of dialog in the script that have been synchronized to matching dialog in the source clip. Script marks are especially effective during editing, allowing the editor to quickly locate dialog and piece together parts of a scene.

The Script window provides additional controls for matching back to clips in the source bins, loading and playing back takes, and searching for takes and script text.

Script Integration Workflow

The basic workflow for script integration is as follows:

1. The continuity person or an assistant creates the lined script in hardcopy form on the set during shooting.

2. Source footage from the shoot is prepared and digitized by using methods described in Chapter 7.

3. The assistant editor uses the lined script from the shoot, a text file of the script itself, and methods described throughout this chapter to import and line the script, link clips to the script, place script marks, and customize the display of takes prior to editing.

4. The editor uses the fully prepared Script window to edit the program.

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Using Script Integration in Video Projects

Script integration can be an effective tool for editing any type of production, not just feature films and television drama. For example:

• You can adapt many of the procedures described in this chapter for use in audiovisual scripts for documentaries, corporate spots, news magazine segments, and spot advertisements.

• You can turn script integration into a quick storyboarding tool by positioning selected slates in the Script window and printing storyboard bins that include your script.

The following is an example of an audiovisual script for a news magazine piece imported into the Script window, with the basic features of script integration applied.

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Script Window Basics

Script Window BasicsThis section describes basic procedures for creating and manipulating Script windows, including importing script text; navigating through the script; displaying clip information; opening, closing, and saving windows; and adjusting margins.

Before you begin creating Script windows, make sure you have established the proper defaults in the Script Settings dialog box for font, margin, and display of frames and takes. For information on Script settings, see “Script Settings Options” on page 426. These parameters can also be changed manually, as described throughout this chapter.

Narration track is synced to the script.All possible B-roll shots are ready to be loaded and cued. Color indicates preferred shots.

Music cuts are linked to appropriate sections of the script.

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Using Script Integration

Script Settings Options

Before you open a script in the Script window, you can select default preferences using the Script Settings dialog box. After the Script window is open, any changes you make in the Script Settings dialog box are ignored by the Script window. You must close the Script window and then reopen it for the new settings to take effect. However, the Script menu provides several commands that allow you to override the Script settings.

You can modify Script settings in the Script Settings dialog box.

To open the Script Settings dialog box:

t Double-click Script in the Settings scroll list of the Project window.

Table 11-1 describes the Script Settings options.

Table 11-1 Script Settings Options

Option Description

Font This option selects the font for imported scripts.

Size This option selects the font size. The default is 12 points.

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

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

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

Show All Takes When this option is selected, the system shows all takes in each slate. If you deselect this option, the Avid system displays only one take per slate.

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Script Window Basics

Importing a Script

The first step in script integration is to import a script in the correct format.

c The imported script must be in ASCII text format. To maintain the original formatting, however, export the script from your word processor by using the “Text Only with Line Breaks” option. If you export the script as “text” only, the formatting will be lost.

To import a new script:

1. Place the file in a directory that is available to your Avid system in one of the following ways:

t Transport the file on a floppy disk and copy it to your hard drive.

t Place the file in a network location that you can access from your Avid system.

2. Click the Bins tab in the Project window of the Avid application.

Interpolate Position When this option is selected, you can click in a take line within a script, and the image in the Source pop-up monitor updates to the approximate position in the take where you have clicked. If you deselect this option, the Source pop-up monitor does not respond when you click in a take line.

Hold Slates Onscreen Set this option to keep the slates on the screen when you scroll through a script in the Script window. Each slate remains on the screen as long as the take lines to which it is linked remain on the screen.

Table 11-1 Script Settings Options (Continued)

Option Description

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The Bins list appears.

3. Choose New Script from the File menu.

A dialog box appears.

4. Locate the file and double-click it, or select the file and click Open.

A script bin appears in the Bins list of the Project window. The script, with its original layout, appears in the Script window.

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5. Change the name of the script bin:

a. Click the title in the Bins list of the Project window.

b. Type a new name.

Opening, Closing, and Saving the Script Window

The Script window behaves in many respects like a bin:

• When you make changes in the Script window, an asterisk (Windows) or a diamond (Macintosh) appears in the title bar to indicate that the changes have not yet been saved.

• You save changes by choosing Save Script from the File menu.

• Auto-save functionality also applies to the Script window, based on parameters established in the Bin settings.

• You can save a copy of the Script window by choosing Save a Script Copy As from the File menu.

• Script window files are saved in the project folder along with bins, and backup copies are automatically stored in the Attic folder.

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n When you save a Script window, the saved file is given an .avc file name extension.

• You can choose Open Bin from the File menu to open existing Script window (.avc) files and add them to the Other Bins folder in the Bins list of the Project window.

• You can choose New Script from the File menu to open a new script (.txt) file and add it to the Bins list of the Project window.

• You can choose Close from the File menu to close Script windows.

Displaying Clip and Sequence Information in a Script Window

The Info window displays statistical information about a clip or sequence. The window updates the information automatically.

To open the Info window from a Script window:

1. Press the Alt key (Windows) or the Option key (Macintosh) and click the Takes tab.

2. Drag the window to a new location to leave the Info window open.

Exploring the Script Window

After importing a script, you can navigate to any point in the text by using basic techniques available in most word processors:

• Use the scroll bar on the right to scroll up or down.

• Resize the window by dragging the size box in the lower right corner.

• Press the Page Down or the Page Up key to move one screen at a time.

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• Press the Home or the End key to move to the beginning or end of the script.

• Press the Up Arrow or the Down Arrow key to move your line selection up or down by one line.

n You can also use several search features, as described in “Searching Through Script” on page 435.

Adjusting the Script Margins

To resize a Script window at any time to show more script or to enlarge the right margin:

t Drag the size box in the lower right corner.

The default size of the left margin is established on import, based on the current Script settings. You can also override the margin setting and adjust the left margin after importing the script.

To adjust the left margin of an imported script:

1. Choose Left Margin from the Script menu.

The Left Margin dialog box appears.

2. Type a new margin size (in pixels) into the text box, and click OK.

The Script window reflects the new setting.

Manipulating Script TextAfter importing a script, you can customize its appearance by changing the font and font size. You can also cut, copy, paste, or remove lines of script to reflect changes that might occur during the course of a project.

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Changing the Font of the Script

The default font and font size used in the script are established on import, based on the current Script settings. You can override the settings and change the font and size after importing the script.

To change the font and size of imported script:

1. Choose Set Font from the Edit menu.

The Set Font dialog box appears.

2. Choose a new font from the Font pop-up menu. The menu includes all fonts currently installed in the system.

3. Type a new font size into the text box, and click OK.

The Script window reflects the new settings.

n As you enlarge font size, the available sizes for the slate frames also increase. This can be useful for presentation or screening purposes, when you need to display extra-large text and slate frames for a large audience or across a room. For information on enlarging slate frames, see “Resizing Slates” on page 443.

Selecting Text

Selecting text in the Script window is similar to making selections in a word processor, except that the smallest unit you can select is an entire line of text.

To select a single line of script:

t Click anywhere in the line to highlight it.

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To select several lines of script, use one of the following methods:

t Lasso the first line of the selection and drag through the text. As you drag, a box outlines your selection.

Selected lines are highlighted.

Lasso a portion of script to select it.

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Release the mouse button when you finish lassoing the chosen lines. The text is highlighted. See “Lassoing Objects” on page 349.

t Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted.

n You can also extend a selection by pressing the Shift key and clicking a line of text preceding or following the current selection.

Cutting, Copying, and Pasting Script

You can cut, copy, and paste text in the script just as you would in a normal word processor. However, because you cannot select individual words or characters, you can move only lines or paragraphs.

n To rearrange or rewrite individual words or characters in the script, you should make the changes in a word processor before importing them into a separate Script window. You can then use the procedures in this section to copy and paste the new lines into the existing Script window, overwriting the incorrect lines.

c You cannot undo cut, copy, or paste procedures in the Script window.

To cut or copy and paste lines of script:

1. Select the lines.

2. Choose Cut or Copy from the Edit menu.

3. Select the line below the location where you want to insert the text.

4. Choose Paste from the Edit menu.

If you selected only one line at the insertion point, a message box asks if you want to replace the selected line.

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n If you selected more than one line at the insertion point, no message box appears. When you choose Paste from the Edit menu, the selected lines are replaced with the text you cut or copied in step 2. You cannot use the Undo command after performing this step.

5. Make a choice based on your needs:

t Click Replace to overwrite the selected line.

t Click Insert Before to insert the text above the selected line.

t Click Insert After to insert the text below the selected line.

The text is pasted into the script.

Removing Script Text

You cannot delete lines of text from the Script window by using the Delete key as you would in a normal word processor. Use the Cut command to remove the text.

To remove lines of script:

1. Select the lines of script you want to delete.

2. Choose Cut from the Edit menu.

Unlike a normal deletion, the text remains in the Windows Clipboard or Macintosh Clipboard until the next time you copy or cut a selection.

Searching Through ScriptScript integration provides a number of search tools you can use during the preparation phase, during editing, or during screenings. You can apply and search for scene or page numbers, or you can conduct a full-text search.

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n You can use the Find Bin and Find Script buttons to match back and forth between script and clips. For more information, see “Finding Script” on page 458.

Using Scene and Page Numbers

When you add scene and page numbers to the Script window, you gain the ability to search for them during preparation of the script and during editing. You can customize scene and page numbering by adding, changing, and moving the numbers as necessary.

Adding a Scene or Page Number

To add a scene or page number:

1. Select the line of the script at the beginning of the scene or page.

2. Do one of the following:

t Click the Add Scene or the Add Page button in the Script window toolbar.

t Choose Add Scene or Add Page from the Script menu.

A dialog box appears.

3. Type the number for the scene or page, and click OK.

The scene number appears in the left margin and the page number appears in the right margin next to the first line of the selected region.

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Scene and page numbers both appear in the status bar at the bottom of the Script window, and reflect your current position within the script. Each scene or page number will continue throughout the script until you mark another line as the beginning of a new scene or page.

Changing a Scene or Page Number

You can change a scene or page number to correct any errors that occur when adding numbers, and to reposition scene and page numbering to match script changes during postproduction.

To change a scene or page number:

1. Select the beginning line of the scene or page.

New scene number

Scene/page status bar

New page number

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2. Do one of the following:

t Click the Add Scene or Add Page button in the Script window toolbar.

t Choose Add Scene or Add Page from the Script menu.

A dialog box appears.

3. Type a new number for the scene or page, and click OK.

4. If the renumbering affects scene or page numbers that precede or follow the current change, then repeat these steps as necessary.

Deleting a Scene or Page Number

To delete a scene or page number:

1. Select the first line of the scene or page.

n You can also delete all scene or page numbering throughout a range of the script by selecting the range of lines or the entire script.

2. Press the Delete key.

The Delete dialog box appears.

3. Select the options for Delete scene or Delete page break(s) as appropriate, and then click OK.

The numbering is deleted from the Script window.

Searching for a Scene or Page Number

Once you have added scene and page numbers, you can search for them quickly during editing.

To search for a scene or page number:

1. Choose Go To Page or Go To Scene from the Script menu.

n You can also click on the scene or page display in the status bar at the bottom of the Script window.

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Linking Clips to the Script

The Go To Scene/Page dialog box appears.

2. Type the number of the scene or page, and click OK.

The Script window scrolls to the scene or page, and the first line is highlighted. If you type a page or scene number that is not in the script, then no action occurs.

Conducting a Text Search

To search for text in the script:

1. With the Script window active, choose Find from the Edit menu.

The Find dialog box appears.

2. Type the text you are looking for.

3. Select one of the optional search parameters, when appropriate:

t Choose Ignore Case if you do not want the search to be case sensitive.

t Choose Whole Word if you do not want the search to highlight instances where your text is part of another word.

4. Click OK.

The first occurrence of the text is highlighted in the Script window.

5. Choose Find Again from the Edit menu to search for the next occurrence of the text.

Linking Clips to the ScriptTo link clips to the script:

1. Open the script bin by double-clicking the script bin icon.

2. Open the source bin for the clips that you want to link to the script.

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3. (Option) Sort the source clips to make the job easier:

t You can sort the Scene/Take column for an alphanumeric list of clips that matches their relative order in the script.

t If you are not working with scene and take information (for example, in a video documentary project), you can provide your own numbering for the clips in a custom column, or you can sort the clips manually in Frame view according to their order in the script. For more information on adding a custom column, see “Adding Customized Columns to a Bin” on page 366.

4. Select the portion of the script that is covered by the first clip or clips.

5. Select the clip or clips in the source bin and drag them to the highlighted text.

n Make sure the pointer is over the highlighted text before releasing the mouse button.

A slate frame appears above the text, with one or more of the takes covering the scene as lines.

Drag a clip or several clips to the highlighted text.

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Interpolating Position for Script Integration

6. Continue to apply clips to additional portions of the script until you have finished creating all your slates.

Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script.

Interpolating Position for Script IntegrationInterpolate Position matches a clip to a take and allows you to see where a particular line in the script would appear in the clip footage.

When you set Interpolate Position, the length of the take in the script is matched to the length of the clip in the Source pop-up monitor. The position indicator in the Source pop-up monitor corresponds to wherever you double-click in the take.

If you set a script mark in the take, the portions of the take on either side of the script mark are matched to the portions of the clip on either side of the IN point in the Source pop-up monitor.

The slate appears.

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To set Interpolate Position:

t Choose Interpolate Position from the Script menu.

n You can change the default behavior before opening a script in the Script window by selecting Interpolate Position in the Script Settings dialog box. See “Script Settings Options” on page 426.

Manipulating SlatesOnce you create a slate by dragging a clip into the Script window, you can manipulate the slate’s appearance and position.

Selecting Slates

To select slates, do one of the following:

t Click a slate to select it.

t Shift+click additional slates to select all the active takes.

t Drag a lasso through a region of the script containing slates. All slates and takes within the lasso are selected. See “Lassoing Objects” on page 349.

n Selecting multiple slates is especially useful when you add or delete color or off-screen dialog indicators across takes. See “Manipulating Takes” on page 447.

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Resizing Slates

You can resize the slates the same way you resize frames in the bin in Frame view.

To enlarge the slates:

t Choose Enlarge Frame from the Edit menu.

To reduce the slates:

t Choose Reduce Frame from the Edit menu.

n You can enlarge the font size of the script to increase the size of the slate frames. This can be useful for presentation or screening purposes when you need a large display for an audience. For information on resizing the font, see “Changing the Font of the Script” on page 432.

Holding Slates On Screen in the Script Window

When you are working with slates in the Script window, you can choose to hold slates on screen. As you scroll a script in the Script window, each slate remains on screen as long as the take lines to which it is linked remain on screen.

To hold slates on screen:

t Choose Hold Slates Onscreen from the Script menu.

n You can change the default behavior before opening a script in the Script window by selecting Hold Slates Onscreen in the Script Settings dialog box. See “Script Settings Options” on page 426.

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Hiding Slate Frames

By default, the system displays a representative frame for each take in the slates. You can hide this frame display and show only the clip name to simplify the interface or speed up scrolling and movement in a complex Script window.

n You can change the default behavior before opening a script in the Script window by selecting Show Frames in the Script Settings dialog box. See “Script Settings Options” on page 426.

To hide the slate frames:

t Choose Show Frames from the Script menu.

The Script window shows only the clip names for the takes.

To restore the frames:

t Choose Show Frames again.

Showing One Take Per Slate

You can minimize clutter on the screen by showing only one take per nonactive slate.

To show one take per nonactive slate:

t Choose Show All Takes in the Script menu.

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The check mark to the left of the command is removed, indicating Show All Takes is disabled.

The Script window shows only the first take in each nonactive slate.

To display all the takes:

t Choose Show All Takes again.

Moving a Slate

You can adjust the position of slates to make room for more slates, to avoid blocking words, or to display takes over specific lines.

To move a slate, use one of the following methods:

t To move a slate horizontally, click the slate and drag it to the left or the right. (If necessary, resize the Script window by dragging the size box.)

t To move a slate vertically without moving the position of the take lines in the script, click the slate and drag it up or down. The take

A single take is shown.

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lines remain fixed over the text to which they have been previously linked.

t To move the slate and all its take lines vertically to a new location in the script, press the Ctrl key (Windows) or the k key (Macintosh), and then drag the slate to the new location.

n As you move the slate, the takes continue to cover the same number of lines in the script. To lengthen or shorten the number of lines covered in the takes at the new location, see “Adjusting Take Lines” on page 450.

Deleting a Slate

Occasionally, you might need to delete a slate — for example, when you find that the takes in the slate are no longer needed.

n When you delete slates and takes from the Script window, the digitized source clips remain in the source bins.

c You cannot undo the deletion of slates. To restore a slate after deletion, you need to re-create the slate. See “Linking Clips to the Script” on page 439.

To delete a slate:

1. Select all the takes in the slate by pressing the Shift key and clicking the tab for each take.

2. Press the Delete key.

The Delete dialog box appears.

3. Select Delete Takes, and click OK.

The slate and all its takes are deleted from the script.

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Manipulating Takes

Manipulating TakesScript integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips, as described in this section.

Selecting Takes

To select takes, use one of the following methods:

t Click any take tab to select it. The outline of the take changes to red to indicate that the take is active.

t Shift+click additional takes in the same slate or across slates to select them.

t Drag a lasso through an entire region of the script. All takes within the lasso are selected. See “Lassoing Objects” on page 349.

n Selecting multiple takes is especially useful when you add or delete color or off-screen dialog indicators. See “Using Color Indicators” on page 451 and “Indicating Off-Screen Dialog” on page 451.

Adding Takes

To add another take to an existing slate:

1. Select the region of the script that the take covers.

2. Open the bin where the clip for the take is located.

3. Drag the clip to the slate.

The new take appears in the slate and is applied to the selected region of the script.

n You need to manually adjust the take lines if the new take covers a different region than the existing slate. See “Adjusting Take Lines” on page 450.

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Deleting Takes

As you screen clips, you might find that a take has been applied to the wrong scene and should be deleted from the slate. You might also decide to delete a bad take to simplify the script interface for the editor.

c You cannot undo the deletion of takes. To restore a take after deletion, see “Adding Takes” on page 447.

To delete one or more takes:

1. Select the takes in the Script window.

2. Press the Delete key.

The Delete dialog box appears.

3. Select Delete Take, and click OK.

The takes are deleted.

Displaying Take Numbers

To display the take number in the tab of each take:

t Type the numbers in the Take column of the source bin for the clips.

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Changing the Representative Frame for a Take

To change the representative frame that appears in the slate for a take:

1. Click the Takes tab in the Script window.

2. Press the appropriate arrow keys or step keys on the keyboard to advance the footage displayed in the slate forward or backward to the frame you want.

You can also select multiple takes and advance them all at once.

Loading Takes

To load individual takes into the Source pop-up monitor:

t Double-click any Takes tab.

To load multiple takes into the Source pop-up monitor:

t Select multiple takes, and then double-click any take you selected.

Numbers in the Take column appear in the tabs for each take.

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Playing Takes

To play back a take, do one of the following:

t Double-click a take to load it into the Source pop-up monitor, and then click the Play button or press the Play key.

The clip plays back and stops when it reaches the end.

t Select a take in the script, and then click the Play button at the top of the Script window.

The clip loads and plays back in a continuous loop until you press the space bar. If you selected more than one take, each take will play in sequence.

Adjusting Take Lines

As you screen clips in the script, you might find that a take or group of take lines should begin earlier or end later in the script. You can adjust the take lines by moving the beginning mark, the end mark, or both.

To change the length of a take line:

1. Press the Ctrl key (Windows) or the k key (Macintosh).

Notice the movement icon that appears when you place the pointer at either end of the take.

2. Click the end mark or beginning mark of a take and drag it until you reach the correct line in the script.

3. Press the Ctrl key (Windows) or the k key (Macintosh) and drag the opposite end of the take to a new location, if necessary.

4. Repeat the procedure for other takes in the slate as necessary.

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Indicating Off-Screen Dialog

In the traditional lined script, you indicate off-screen dialog by drawing a jagged line next to the dialog. You can apply a similar effect to lines in the Script window.

To indicate off-screen dialog:

1. Select the range of script containing the off-screen dialog.

2. Select one or more takes that you want to mark with the off-screen indicator.

3. Click the Set Offscreen button in the Script window toolbar.

The off-screen indicator appears, superimposed on the selected takes of the highlighted range of the script. You can switch the indicators on or off by clicking the button repeatedly.

n You must select the range of the script that contains the off-screen dialog before you enable the off-screen function.

To remove one or more off-screen indicators:

1. Select the range of script containing the off-screen indicators.

2. Select only those takes that display the indicators.

3. Click the Set Offscreen button.

Using Color Indicators

You can use color to indicate several pieces of information, including:

• Preferred takes or takes used in the current active sequence

• Picture versus audio track used in the current active sequence

• Line changes in dialog

• Use of multiple cameras

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To apply color to takes:

1. Choose a color from the Color submenu of the Script menu.

2. Select the region of the script that covers the range within the take or takes that you want to highlight with color.

3. Select one or more takes.

4. Click the Set Color button in the Script window toolbar.

The color appears only in the highlighted script region of the selected takes. You can switch the indicators on or off by clicking the button repeatedly.

n You must select the range of the script that you want to highlight with color before you enable the color indicator function.

To remove one or more color indicators:

1. Select the range of script containing the color indicators.

The first take in the selected region determines the color indicator status displayed in the Set Color button.

2. Select only those takes that display the indicators.

3. Click the Set Color button.

Using Script MarksScript marks allow you to synchronize individual lines of script with matching points in digitized clips. When you place a mark in the script, an IN point also appears in the clip when you load it into a monitor for editing. This provides line-by-line control over alternative takes that the editor can instantly load and edit into the sequence.

You can place script marks one take at a time, or you can automate the process of screening and marking selected takes in a playback loop.

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Placing Script Marks Manually

To place script marks manually:

1. Map the Add Script Mark button from the Other tab on the Command palette to a user-customizable palette or to the Keyboard palette. See “Mapping User-Selectable Buttons” on page 153.

2. Double-click in the Script window at the intersection of a take and the line of dialog that you want to mark.

The take is selected in the slate, the chosen line of the dialog is highlighted, and the clip loads into the Source pop-up monitor.

3. Click the Play button or press the Play key. The take plays in the monitor.

Alternatively, you can step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing.

Intersection of take and line of dialog

Play button

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4. When the playback reaches the chosen line of dialog, click the Add Script Mark button or press the Add Script Mark key.

The line is marked in the Script window with a small horizontal bar, and play stops.

5. Repeat these steps to add more script marks.

Automating Screening and Marking

The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes.

To use automated screening and marking:

1. Select one or more takes.

2. Click the Record button in the Script window toolbar.

The first selected take changes to green in the Script window, the system automatically loads the clip into the Source pop-up monitor, and the clip begins to play.

The script mark appears.

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3. As you hear a line of dialog (or see a particular clip) that you want to mark, click the matching line in the Script window.

A script mark appears at that location in the take, and the clip continues to play.

4. Continue to mark additional sync points by using one of the following methods:

You can scroll through the Script window without affecting playback.

t Click a line that already contains a mark in order to replace the previous mark and update the sync point in the clip.

t Click a line in the script before or after the range of the existing take line, and the mark will be added while the take line is extended to include the new line.

t Use variable-speed play controls (J-K-L keys on the keyboard) to shuttle, step, or pause during playback.

t Press the Tab or Shift+Tab keys on the keyboard to begin playback of the next or the previous take.

As each take reaches its end, the system automatically loads and plays the next take.

5. Continue to place marks until all takes have been screened.

Current playback is highlighted in green.

Several takes are selected for automated playback.

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To stop the playback loop:

t Press the space bar.

Loading and Playing Marked Segments

Once you have placed marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog. You can load a single take, or you can load all the coverage for any given range of lines.

To load the marked segment of a take:

t Click the script mark at the line of dialog that you want to cue.

The take is loaded into the Source pop-up monitor and is cued to the synced line of dialog. An IN point is placed at the sync location.

To load all the coverage for a range of lines:

1. Select the lines in the Script window, dragging through all intersecting takes.

The script lines and takes are highlighted.

2. Click the Play button in the Script window if you want to screen the takes for those lines, or click the Record button if you want to add script marks.

The takes load and play back one after another. You can use the Tab key or J-K-L keys to jump between takes and control playback.

Moving a Script Mark

When you move a script mark up or down, the mark in the source clip remains at the same frame, but is resynced to a new line in the script.

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To move a script mark:

1. Press the Ctrl key (Windows) or the k key (Macintosh).

Notice the movement indicator that appears when you move the pointer to a mark in the script.

2. Click the mark and drag it to the new position.

Deleting a Script Mark

When you remove a script mark, you do not delete the marked portion of the take, only the sync point between the script and the source clip.

c You cannot undo the deletion of script marks. To restore a script mark after deletion, see “Placing Script Marks Manually” on page 453.

To delete a script mark:

1. Click once on a script mark to select it. (If you double-click, you load the clip and make the Composer window active.)

n You can select multiple script marks for removal by highlighting an entire region of text and selecting the takes containing the script marks you want to remove.

2. Press the Delete key.

The Delete dialog box appears.

3. Select Delete 1 mark(s), and click OK.

The mark is deleted.

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Finding Clips and ScriptAfter you have placed script marks, which synchronize lines in the Script window to frames in the source clips, you can use the Find Bin or Find Script buttons to search back and forth between the two items.

Finding Script

The Find Script button allows you to quickly match back from currently loaded clips to portions of script in the Script window to which the clip has been linked.

To find the script linked to a loaded clip:

1. Place the position indicator in the clip at the line of dialog (or within a range of dialog) that you want to find.

2. Click the Find Script button in the Other tab of the Command palette.

The Script window instantly scrolls to and highlights the portion of script that most closely matches the clip location.

Finding Clips and Bins from the Script Window

Script integration allows you to search instantly through bins and to find the source clips for takes that have been linked to the script. You can search on a single take, or on multiple takes across several slates.

To find source clips and bins:

1. Select the takes that you want to find.

2. Click the Find Bin button in the Script window toolbar.

The system searches through bins linked to the project, opens the bin containing the linked clips, and highlights them in the bin.

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Editing with the Script Window

Editing with the Script WindowUsing the Script window, you can edit in a highly streamlined manner. To use the Script window most effectively during a session, make sure the Script window is fully prepared, including preferred takes, alternative takes (indicated with colors), and script marks for matching lines of text to sync points in the clips.

Assembling a Rough Cut

To quickly assemble a rough cut from the Script window:

1. Open the Script window for the current cut.

2. Double-click the first preferred take and load it into the Source pop-up monitor. The IN point is already marked and cued.

3. Play the take until the appropriate OUT point is reached, and stop play.

4. Click the Splice-in or the Overwrite button to make the first edit.

5. Prepare the sequence for the next edit:

a. Create new tracks, if necessary.

b. Enable the appropriate source and record tracks.

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c. Patch the tracks, if necessary.

d. Mark an IN point in the sequence for the next edit.

6. Double-click the next preferred take to load it.

7. Play the clip until you reach the appropriate OUT point, and stop play.

8. Perform the edit on-the-fly.

9. Repeat steps 5 through 8 until you have moved through the entire scene or segment.

10. Fine-tune the edits by using normal trimming and editing procedures. Continue to use the Script window to quickly load and cue alternative takes as necessary.

Splicing a Script Range

During editing, you can use the Ctrl and Alt keys (Windows) or the Ctrl key (Macintosh) to instantly splice clips linked to ranges of script directly from the Script window into the sequence. To use this feature with accuracy, you should carefully mark with script marks the ranges of script during the screening and marking phase.

To splice a range:

1. Mark an IN point or place the position indicator at the location in the sequence where you want to splice in the segment.

2. Press the Ctrl key and Alt key (Windows) or the Ctrl key (Macintosh). Notice that the Splice-in arrow appears when you point to a take.

3. Double-click the preferred take within the range of dialog that has been marked with script marks.

The marked section of the clip is spliced into the sequence.

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Editing with the Script Window

Revising the Script

During or after each session, or when a scene or segment is completed, the editor or assistant editor can update the Script window to reflect the final edit decisions made during the day. In this way, you can maintain a complete record of the elements used to construct the scene or segment, as well as all existing alternatives. When further changes or repackaging are required, you can quickly retrieve all the source material in one window.

Interactive Screenings

The Script window can be a valuable tool during screenings of work in progress, allowing you to:

• Quickly search for scenes and pages with clips attached for instant retrieval.

Sequences cannot be loaded into the Script window. Instead, you can perform a video mixdown and load the resulting master clips. For more information, see “Mixing Down Video Tracks” on page 795.

• Match back and cue source material to compare alternative takes.

• Quickly find and open bins for retrieval of additional material not included in the Script window.

• Enlarge script font and slate frames for better viewing by your audience.

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The Script window provides a visual, interactive look at the content of the original script against the elements in the final piece.

Matching colors indicate takes used in the preferred cut as well as alternative cuts.

You can mix down alternative cuts to form master clips and place them next to the script.

All alternative takes are available for viewing and comparing.

CHAPTER 12Viewing and Marking Footage

Before making your first edit, you can review your footage, add locators to clips, mark IN and OUT points, or create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip. Techniques for playback, viewing, and subcataloging clips are described in the following sections:

• Customizing the Monitor Displays

• Viewing Methods

• Loading and Clearing Footage

• Controlling Playback

• Marking and Subcataloging Footage

• Finding Frames and Clips

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Customizing the Monitor DisplaysThe monitors can be customized by changing the background color, the size, and the kind of display. You can also display a variety of information about your sequence.

Changing the Source Pop-up Monitor Size

You can resize the Source pop-up monitor for better viewing.

To resize the Source pop-up monitor:

t Click the lower right corner of the monitor and drag it to the size you want.

Using Dual Monitors

You can stretch your Composer monitor into two monitors. This lets you open a source clip in the left monitor, or Source monitor; the right monitor, or Record monitor, displays your sequence and provides the usual Composer monitor functions.

To view dual monitors:

t (Windows only) Click either edge of the Composer monitor and drag it to the outside.

t (Macintosh only) Do the following:

a. Click the Composer monitor title bar and drag it to the left.

b. Click the bottom right corner of the Composer monitor and drag it to the right.

The monitor splits into two. When you drag a sequence into the Timeline, it appears in the right monitor.

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To open a clip in the left monitor:

t Drag a clip from the Bin window into the left monitor.

The clip appears in the left monitor.

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n If you have the “Double-click loads object in” option set to “Source or Record Monitor” in the Bin Settings dialog box, you can also double-click a clip in the Bin window to have it appear in the left monitor. See “Bin Settings” on page 96.

To switch between the monitors:

t Press Esc.

To view a single monitor:

t (Windows only) Click an edge of the dual monitors and drag it to the center.

t (Macintosh only) Click the lower right corner of the Record monitor and drag it to the left.

The Composer monitor returns to a single monitor.

n When you are using a single monitor, double-clicking a clip opens it in a free-standing Source pop-up monitor.

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Resizing Monitors

You can resize the Composer monitor and any Source pop-up monitor to provide more area for displaying the Timeline or other windows. You can either hide the video completely or resize the monitor.

Hiding the Video in the Composer Monitor

You can resize the Composer monitor, displaying only the position bars, the editing buttons, and the information portion above the monitors. No video is displayed.

To hide the video in a monitor:

t Click the bottom right corner and drag up until the video disappears (Windows) or click the zoom box on the top right corner of the monitor (Macintosh).

Drag from here.

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The video disappears. Only the position bars, the editing buttons, and the information portion above the monitors are displayed.

To redisplay the video in the monitor:

t Click the bottom right corner and drag down until the video reappears (Windows) or click the zoom box on the top right corner of the monitor (Macintosh).

Resizing the Composer Monitor

You can resize the Composer monitor to a variety of sizes.

To resize the Composer monitor:

1. Click in the Composer monitor to make it active.

2. Click the lower right corner of the window, and drag to the new size you want the monitor to be.

The monitor is displayed with the new size.

n If you choose 16:9 Monitors from the Clip menu, the Composer monitor maintains the 16:9 dimensions. See “Using the 16:9 Display Format” on page 468.

Using the 16:9 Display Format

The Avid system supports the 16:9 aspect ratio for the display of wide-screen images used in the high-definition television (HDTV) standard as well as some feature film formats.

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The 16:9 option allows you to offline edit wide-screen footage that you first transfer anamorphically to NTSC or PAL tapes. Once you are finished with the offline phase, you can generate an edit decision list (EDL) (or cut list, using matchback) for conforming the final master or cut, using the original high-definition footage.

To enable the 16:9 display:

1. Click in the Composer monitor to make it active.

2. Choose 16:9 Monitors from the Clip menu.

A check mark appears next to the 16:9 option. The Composer monitor displays media as 16:9.

n If you shoot footage as anything other than 16:9 and choose to display the Composer monitor as 16:9, the media appears distorted.

Displaying Tracking Information

Tracking information consists of any type of format used to identify clips, audio and video tracks, individual frames, or footage durations while you work. The Avid Xpress interface displays this information in the Tracking Information menu, located above the Composer monitor. This information is updated continuously to reflect your current position in the footage. You can choose various alternative tracking formats from submenus.

By default, the tracking information area displays no information until you select a tracking format. In addition, tracking data is not displayed when you don’t have material loaded in the monitor. If you load a clip and no information is currently displayed, you can still open the submenu by clicking in the area above a monitor.

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To choose a tracking information format:

1. Load a clip or sequence into the Composer monitor.

2. Click in the gray information display area above the Composer monitor (to the left of the sequence name), and choose a format from the Tracking Information menu.

Tracking Format Options

The Tracking Information menu contains a number of options for information to display above the monitors.

Tracking Informationmenu

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The following is a summary of the contents of the menu:

• The upper portion of the menu lists options for summary information, such as master timecode (Mas), duration of the entire clip (Dur), IN to OUT duration (I/O), absolute timecode (Abs), and time remaining (Rem).

• The second portion of the menu lists options for displaying the timecode for a specific track (V2, V1, A1, A2, and so forth). This list contains options only for the tracks existing in the currently loaded clip or sequence. For example, a clip with only one audio track does not show an option for A2. See “Displaying the Timecode Window” on page 474.

• The third portion displays the Clip Name for the track that you choose from a submenu. The name displayed is continuously updated based on the location of the position indicator.

• The bottom portion allows you to select None to turn off the display.

n The Tracking Information menu contains the same options as the Timecode pop-up menu. For more information about the Timecode window, see “Displaying the Timecode Window” on page 474.

Table 12-1 presents the tracking format options.

Table 12-1 Tracking Format and Timecode Display Options

Option Description

Mas Displays master timecode at the present location

Dur Displays total duration of the sequence

I/O Displays duration between IN and OUT points

Abs Displays absolute time duration at the present position

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Displaying the Info Window

The Info window displays statistical information about the clip. You can open the Info window from a bin, from the Source pop-up monitor, or from the Composer monitor. This window also updates information automatically.

To open the Info window from a bin:

1. Press Ctrl+Alt (Windows) or k+Shift (Macintosh) and click the clip for which you want to display information.

The Info window opens.

2. Drag the window to a new location to leave the window open.

Rem Displays time remaining at the present position

V2 Displays the source timecode of the video on track 2

V1 Displays the source timecode of the video on track 1

A1 Displays the source timecode of the audio on track 1

A2 Displays the source timecode of the audio on track 2

A3 Displays the source timecode of the audio on track 3

A4 Displays the source timecode of the audio on track 4

Clip Name Displays the name of the clip

None Hides the display

Table 12-1 Tracking Format and Timecode Display Options (Continued)

Option Description

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To open the Info window from a Source pop-up or from the Composer monitor:

1. With the monitor active, click and hold in the gray area at the border between the title bar and the clip or sequence window. If the Info window doesn’t appear, keep holding.

The Info window opens.

2. Drag the window to a new location to leave the window open.

Click and hold here.

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n If no clip is loaded in a monitor, the Info window does not open.

Displaying the Timecode Window

Each Source pop-up monitor displays one line of timecode. The Timeline also displays one line of timecode. The Timecode window allows you to display one line of timecode in a separate window.

To set a timecode display:

1. Choose Timecode Window from the Tools menu.

The Timecode window opens.

2. Click anywhere in the Timecode window.

3. Choose an option from the Timecode pop-up menu.

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The window displays the timecode you have chosen. The Timecode pop-up menu contains the same options as the Tracking Information menu. For a description of the Timecode options, see Table 12-1.

4. Click the Close button (Windows) or the close box (Macintosh) to close the Timecode window.

Setting the Font and Point Size for Monitor Displays

You can apply a font and point size to a sequence or clip name.

To set the font and point size:

1. With the Composer monitor active, choose Set Font from the Edit menu.

The Set Font dialog box appears.

Close button

Timecode pop-up menu

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2. Choose a font from the Font pop-up menu, and type a point size in the Size text box.

3. Click OK.

The new font and point size are applied to the sequence name or clip name.

Viewing MethodsYou can work with clips and sequences in several different ways, depending on your needs and preferences. Each method has its own uses and advantages, as follows:

• Viewing in bins: You see pictorial images of the clips in your bins using Frame view. See “Using Frame View” on page 375. You can also list the clips by name using Text view. See “Using Text View” on page 362.

• Viewing in the Source pop-up monitors: You can load clips and sequences into the Source pop-up monitors to view and mark or subcatalog clips for use in a sequence that you build in the Composer monitor.

• Viewing in the Composer monitor: You can load a sequence into the Composer monitor to view, mark, or modify an existing sequence. You cannot load clips directly into the Composer monitor.

• Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence or a source clip.

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Loading and Clearing FootageYou load individual or multiple clips into the Source pop-up monitor, and you load sequences into the Composer monitor using different methods. You can also use the Clip Name menu to display clips and sequences.

Loading Footage

To load a clip or sequence into the Source pop-up monitor:

1. Open a bin and locate the clip or sequence.

2. Double-click the clip or sequence. Ctrl+click (Windows) or Shift+click (Macintosh) to load multiple clips or sequences.

For each clip or sequence that you selected, a Source pop-up monitor opens.

n You can also load sequences by clicking the sequences and dragging them from the bin to the monitor.

To load a sequence into the Composer monitor:

1. Open a bin and locate the sequence.

2. Drag the sequence into the Composer monitor or the Timeline.

Ctrl+click (Windows) or Shift+click (Macintosh) to load multiple sequences.

n When you start a new sequence, you must drag the first clip into the Timeline; you cannot drag it into the Composer monitor.

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Using the Clip Name Menu

When you have clips loaded in a monitor, you use the Clip Name menu located above each monitor to switch between various loaded clips or to clear clips from monitors.

Switching Between Loaded Sequences

If you load multiple sequences into the Composer monitor, you see only one sequence displayed at a time.

To view an alphabetical list of the loaded sequences and to choose an alternative sequence for viewing:

1. Click the name of the current sequence displayed above the monitor to reveal the Clip Name menu.

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2. Choose a different sequence name from the menu. The selected sequence replaces the current sequence in the monitor.

n To see the list of sequences sorted in the order in which they were loaded into the monitor, press the Alt key (Windows) or the Option key (Macintosh) while opening the Clip Name menu.

Clearing Sequences from Monitors

To clear the monitor or the sequence names from the menu:

1. Click the name of the sequence currently displayed above the Composer monitor to display the Clip Name menu.

Clip Name menu

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2. Do one of the following:

t To remove the displayed sequence from the screen, leaving black, choose Clear Monitor from the Clip Name menu.

The sequences are still loaded.

t To delete the list of all loaded sequence names and leave only the sequence currently displayed, choose Clear Menu from the Clip Name menu.

Controlling PlaybackThere are several ways to play, view, and cue clips:

• Instantly access frames or move through footage using the position indicator within the position bar under the monitors.

• Play, step (jog), or shuttle through the footage using user-selectable buttons or the mouse.

• Play, step, or shuttle using keyboard equivalents.

n If you try to play a sequence and the outline of the Composer monitor flashes, another window is covering the Composer monitor. Click the Composer monitor to bring it forward or move the window that is covering it.

Using Position Bars and Position Indicators

To quickly access frames within a clip loaded into a monitor or to move through the footage, do one of the following:

t Use the position indicators that appear in the position bars under the Source pop-up and Composer monitors. The position indicator also appears in the Timeline when you are viewing a sequence.

t Move the position indicator within the position bar under the monitor by clicking anywhere in the position bar or by dragging the position indicator to the left or right. The speed with which

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you drag the position indicator determines the speed at which you move through the footage.

t Click anywhere in the Timeline to relocate the position indicator, or drag the position indicator through footage at varying speeds. In the Timeline, the position indicator shows your position within the sequence. It is always in the same position as the position indicator in the Composer monitor’s position bar.

t Click at the far left or far right of the position bar or the Timeline to go directly to the beginning or end of a clip or sequence.

Using Buttons

You can use the buttons that appear under the Composer monitor and in the Source pop-up monitors to play and step (jog) through your footage. You can also use the keyboard to manipulate footage.

Position bar

Position indicator

Position indicator in Timeline

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To play the clip backward or forward in one-frame increments:

t Click the Step (or Jog) buttons under the monitors.

To play forward or backward in 10-frame increments:

t Press the 1 key (backward) or the 2 key (forward) on the keyboard.

t Press and hold the Alt key (Windows) or the Option key (Macintosh) while clicking the Step (or Jog) buttons under the monitors.

To step (or jog) through footage:

1. Load a clip into a Source pop-up monitor or a sequence into the Composer monitor.

Step Backward button Step Forward button

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2. Click the appropriate button to:

- Step one frame forward.

- Step one frame backward.

Your Avid system enables you to locate defects on individual fields of a frame with the single-field step feature. By default, the first field of every frame is displayed when you step through material frame by frame.

With single-field step, you can view both fields of each two-field frame sequentially to locate a dropout from the source videotape, or dust and scratches from the original film footage.

n You can map the Step Forward One Field and Step Backward One Field buttons to any button on the Tool palette or to any key on the Keyboard palette. For information on mapping buttons, see “Using the Command Palette” on page 150.

To use single-field step:

1. Choose Command Palette from the Tools menu.

2. Click the Move tab.

3. Select Active Palette.

4. Click the Step Forward One Field or the Step Backward One Field button, which can be mapped to any button on the Tool palette or any key on the Keyboard palette.

A number 2 appears in the upper right corner of the monitor to indicate you are parked on field 2 of a frame. (The absence of the number 2 indicates you are parked on field 1 of the frame.) Subsequent single-frame steps are based on this field.

5. Continue to click the Step Forward One Field or the Step Backward One Field button to view each field of a frame.

Step Forward One Field

Step BackwardOne Field

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Understanding the Keyboard

The Keyboard palette varies, depending on the type of keyboard attached to your Avid Xpress system. If an Avid-supported international keyboard is attached to your Avid Xpress system, then the Keyboard palette matches that keyboard. Some international keyboards might differ from this picture.

The J-K-L keys on the keyboard allow you to play, step (jog), and shuttle through footage at varying speeds. This feature, also referred to as three-button or variable-speed play, allows you to use three fingers to manipulate the speed of playback for greater control.

n F9–F12 are reserved for the first four workspaces you customize. See “Assigning a Workspace Button” on page 130.

To view your Keyboard settings:

t Double-click Keyboard in the Settings scroll list of the Project window.

Workspace buttonsStep buttons Delete key

Stop buttonPlay buttons Arrow keys

Home key

End key

Play button

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The Keyboard palette appears.

Shuttling with J-K-L Keys

To shuttle through the footage using the J-K-L keys on the keyboard:

1. Load a clip into the Source pop-up monitor or a sequence into the Composer monitor.

2. Use the J-K-L keys to shuttle at varying speeds:

t Press the L key to move forward through the footage at normal speed. You can increase the speed according to the following table:

t Press the J key to move backward at the same shuttle speed increments.

t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL).

t Press the K and J keys together for slow backward.

t Press the K key and tap the L key or the J key to step through footage one frame at a time.

To pause the shuttling:

t Press the K key.

Press the L Key To Play Footage at NTSC Rate PAL Rate

2 times 2x normal speed 60 fps 50 fps

3 times 3x normal speed 90 fps 75 fps

4 times 5x normal speed 150 fps 125 fps

5 times 8x normal speed 240 fps 200 fps

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To stop shuttling:

t Press the space bar.

n You can also perform smooth audio scrub with the J-K-L keys. For more information, see “Using the J-K-L Keys to Perform Smooth Scrub” on page 605.

Navigating with Home, End, and Arrow Keys

In addition to using the buttons in the application, you can use the following keys on your keyboard to navigate through clips and sequences:

Jogging with the Mouse

To jog using the mouse:

1. Load a clip or sequence into the Source pop-up monitor.

2. Choose Command Palette from the Tools menu.

Press To

Home key Move to the beginning of a clip or sequence.

End key Move to the end of a clip or sequence.

Left Arrow key Move the footage one frame backward. Pressing and holding the Alt key (Windows) or the Option key (Macintosh) while pressing the Left Arrow key moves 10 frames backward.

Right Arrow key Move the footage one frame forward. Pressing and holding the Alt key (Windows) or the Option key (Macintosh) while pressing the Right Arrow key moves 10 frames forward.

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3. Click the Play tab.

4. Select Active Palette.

5. Click the Mouse Jog button.

The Play button in the monitor toolbar becomes the Mouse Jog button and the mouse pointer disappears. The mouse now controls jogging.

n You can map the Mouse Jog button to any button on the Tool palette or to any key on the Keyboard palette. For information on mapping buttons, see “Using the Command Palette” on page 150.

6. Move the mouse to the right to jog forward or to the left to jog backward.

To pause jogging with the mouse:

t Click the mouse button.

To quit jogging with the mouse:

t Press the space bar.

The Play button and mouse pointer reappear.

Shuttling with the Mouse

To shuttle using the mouse:

1. Load a clip or sequence into the Source pop-up or Composer monitor.

2. Choose Command Palette from the Tools menu.

3. Click the Play tab.

4. Select Active Palette.

5. Click the Mouse Shuttle button.

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The Play button on the monitor toolbar displays the shuttle speed; a bar to either side of the speed display changes to green to indicate in which direction the blue position indicator is moving.

n You can map the Mouse Shuttle button to any button on the Tool palette or to any key on the Keyboard palette. For information on mapping buttons, see “Using the Command Palette” on page 150.

6. Move the mouse to the right to increase the shuttle speed or to the left to decrease the shuttle speed.

To pause shuttling with the mouse:

t Click the mouse button.

To quit shuttling with the mouse:

t Press the space bar.

The Play button and mouse pointer reappear.

You can also use the keyboard in conjunction with the mouse to control shuttling. For example, if you are shuttling with the mouse and you press the L key, the playback speeds up to the next normal play rate (30, 60, 120, 240 fps for NTSC; 25, 50, 100, 200 fps for PAL). You can continue to change the shuttle speed and direction with the mouse.

Play Length �In Use� Indicator

The Play Length indicator reminds you to turn off the Play Length function before an important play and review session.

To use the Play Length function

1. Choose Command palette from the Tools menu, and then click the Play tab.

2. Select Active Palette.

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3. Click the Play Length Toggle button.

The Play button highlights in white. When the Play Length function is active, the sequence stops playing after 1 minute.

Marking and Subcataloging FootageYou can speed the editing process by marking clips with IN and OUT points in advance, using locators to subcatalog footage, and by creating subclips.

Marking IN and OUT Points

You can mark IN and OUT points for your clips in advance, which provides several advantages:

• You can quickly build a sequence by splicing the marked clips into place one after another.

• You can use the process of rough cut or storyboard editing, which allows you to instantly splice several prepared clips into a sequence. See “Creating an Instant Rough Cut” on page 522.

• You can play back and mark clips in the bin before loading a single clip, saving several steps.

Even if your marks are not accurate now, Avid Xpress allows you to trim the edit points and fine-tune the sequence later without reediting the material.

To mark IN and OUT points before adding them to a sequence:

1. Load a sequence into the Composer monitor, or load a clip into a Source pop-up monitor. See “Loading Footage” on page 477.

2. Play or step through the material. Use the J-K-L keys when playing a clip in a bin. See “Shuttling with J-K-L Keys” on page 485.

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3. Mark an IN point by doing one of the following:

t Click the Mark IN button under the monitor to mark an IN point and stop playback.

t Press the Mark IN key on the keyboard to mark a clip in a bin. (Mark IN on the keyboard does not stop playback.)

The Sawtooth icon appears on the left side of the monitor to indicate the mark IN frame.

4. Continue playing or stepping (jogging) through the material.

5. Mark an OUT point by doing one of the following:

t Click the Mark OUT button under the monitor to mark an OUT point and stop playback.

Sawtooth

Mark IN button Mark OUT button

icon

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t Press the Mark OUT key on the keyboard to mark a clip in a bin.

The Sawtooth icon appears on the right side of the monitor to indicate the mark OUT frame.

Clearing a Mark and Setting a New One

You can clear marks and set new ones.

To clear the IN point:

t Click the Clear IN button (or press the D key).

To clear the OUT point:

t Click the Clear OUT button (or press the F key).

To clear both the IN and OUT points:

t Press the Clear Both Marks key (or press the G key).

To set a new IN point:

t Click the Mark IN button when you reach a different frame.

To set a new OUT point:

t Click the Mark OUT button when you reach a different frame.

Dragging IN and OUT Points

To more easily position IN and OUT points based on visual feedback:

t Press the Alt key (Windows) or the Option key (Macintosh) and drag marked IN and OUT points to visible locations.

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Marking an Entire Clip or Segment

To mark an entire clip or segment:

n A segment in a sequence consists of the material between any two edit points.

1. Load a sequence into the Composer monitor, or load a clip into a Source pop-up monitor. See “Loading Footage” on page 477.

2. For a sequence, move the position indicator to the segment that you want to mark.

3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark. See “Using the Track Selector Panel” on page 547.

4. Click the Mark Clip button under the monitor.

Track Selector panel

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n To ignore the current track selection and to mark the smallest clip at the current position in the sequence, press and hold the Alt key (Windows) or the Option key (Macintosh) while you click the Mark Clip button.

Marking Audio Clips

You can use the Audio Mark buttons to mark audio and video separately for an edit. This feature is useful for creating an overlap edit (split edit or L-cut).

To mark IN and OUT points on audio tracks:

1. Load a clip or sequence into a monitor.

2. Select the tracks corresponding to the cuts you want to mark.

3. Place the position indicator where you want to mark the audio clip.

4. Choose Command Palette from the Tools menu.

The Command Palette window opens.

5. Click the Edit tab.

Mark Clip button

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6. Select Active Palette.

7. Do one or both of the following:

t Click the Audio Mark IN button to mark an IN point.

t Click the Audio Mark OUT button to mark an OUT point.

You can also create an overlap edit for an audio track using the Audio Mark buttons. See “Creating Overlap Edits” on page 594.

Using the Tool Palette

The Tool palette provides additional buttons for editing and navigating. You can have the Tool palette buttons appear with or without labels. You can “tear off” the Tool palette to have it displayed in another screen location. You can also map other tools or functions to the Tool palette. See “Using the Command Palette” on page 150.

To open the Tool Palette window:

t Click the Fast Menu button under the Source pop-up or Composer monitor.

The Tool Palette window opens.

n If a subset of the buttons appears on the Tool palette, click the lower right corner and drag it to the right and down to reveal the full Tool palette and blank, mappable buttons.

To see the names of the buttons on the Tool palette:

t Hold the mouse pointer over a button.

Audio MarkOUT

Audio MarkIN

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The name of the button appears in a yellow ToolTip box.

To have labels appear on the Tool Palette buttons:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Interface.

The Interface dialog box appears.

3. Select “Show Labels in Tool palette.”

4. Click OK.

The names of the buttons appear on the buttons under the icons.

To tear off the Tool palette and move it to another location:

1. Click the Fast Menu button under the Source pop-up or the Composer monitor.

2. Click the Tool palette and drag it to another location in the application.

Using the Timeline Top Toolbar

Avid Xpress provides you with a top toolbar in the Timeline.

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You can use the top toolbar for editing; you can also map additional buttons to it. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 153.

You can choose to hide or show the Timeline top toolbar.

To show the Timeline top toolbar:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Timeline.

The Timeline Settings dialog box appears.

3. Click the Display tab.

4. Select Show Toolbar, and then click OK.

Creating Subclips

When you mark footage with IN and OUT points, you can either save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage.

This is similar to creating circle takes of all of your best footage before editing. Subclips do not directly reference the original media. Subclips remain linked to the master clips from which they are created, and the master clips, in turn, reference the digitized media files located on your storage drives. As a result, none of the original footage is lost.

Subclips do not limit your access to the original, digitized master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT points of the subclip to make it longer or shorter, your system accommodates the adjustments during the trim. For more information on trimming, see Chapter 15.

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You can create subclips directly from the marked section of material in the monitors using one of the following methods.

To use the Alt key (Windows) or the Option key (Macintosh) to create a subclip:

1. Press and hold the Alt key (Windows) or the Option key (Macintosh).

2. Drag the picture from the monitor to the bin in which you want to store the subclip.

To use the Make Subclip button to create a subclip:

1. Click the Fast Menu button under the monitor.

The Tool palette appears.

2. Click the Make Subclip button to create the subclip and place it into the active bin by default.

If you press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button, a dialog box allows you to select the destination bin for the subclip.

The new subclip is listed in the bin, preceded by a subclip icon and identified with a numbered .Sub.n file name extension, as shown in the following illustration.

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Using Locators

Locators are a type of electronic bookmark. They allow you to find and identify specific frames during editing. Key words that you enter into the comments attached to a locator allow you to use standard Find procedures to access the clips quickly. You can display information about the locators using the Locators window.

There are eight Add Locator buttons in the More tab of the Command palette. Each Add Locator button is a different color, which allows you to group locators by color. For example, you can use the red Add Locator button to identify color correction frames and use the blue Add Locator button to identify cutaway shots.

A new subclip

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Ways to Use Locators

There are many possible uses for locators. A few examples are:

• Visual track alignments: Use locators at matching points in synchronized audio and video tracks so that if the tracks lose sync, you can visually realign the locators in the Timeline to restore sync.

• Music cues: Use locators to mark the IN and OUT points for music.

• Trim markers: Use locators in the Timeline to return directly to an edit you have designated for further trimming at a later time.

• Cutaway markers: Use locators to identify cutaway shots with comments so that when you return to cover jump-frame edits with cutaway footage, you can use Find procedures to quickly access the shots.

• Replace markers: Use locators to mark filler segments with comments to identify the items that should replace the filler.

• Semipermanent IN or OUT points: Use locators with the Mark Locators button to put multiple sets of locators on a long clip, and so on.

• Add comments for EDLs: Use locators to add comments to sequence clips to appear in lists that you create, such as an EDL or cut list.

• Viewing reviewer comments: Use the Locators window to view reviewer comments and the specific frame. See “Sending Material Out for Review” on page 792.

• Print a list of reviewer comments: Use the Locators window to print a list of changes or comments that you can distribute to other people in the production.

When you insert a locator, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the locator button you used.

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You can add locators and comments to your source material while you are in an editing session, as described in “Adding Locators While Editing” on page 500.

Adding Locators While Editing

To add locators and comments during an editing session:

1. Load a sequence or clip. See “Loading Footage” on page 477.

2. (Option) Select a specific track, using the Track Selector panel. See “Using the Track Selector Panel” on page 547.

3. Cue to the frame and click an Add Locator button. The Add Locator buttons are found in the More tab of the Command palette.

The locator oval appears in the Timeline, in the position bar, and at the bottom of the frame in the monitor.

Locator displayed in the monitor, the position bar, and the Timeline

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4. Double-click the locator in the position bar under the monitor or click the large oval on the frame in the monitor.

The Locators window opens. See “Using the Locators Window” on page 503.

5. Click the locator’s information line displayed in the top section of the Locators window.

The locator’s information line is highlighted.

6. Type your comments in the comment entry area of the Locators window.

7. Press the Tab key or close the Locators window to save your comments. You can also press the Enter key on the numeric keypad to save your comments.

The information is stored with the marked frame. The first line of the information appears at the bottom of the frame in the monitor.

To go quickly to a frame with a locator while editing:

t Choose Find from the Edit menu to search for a particular comment.

Locator informationarea

Comment entry area

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Moving to the Previous or Next Locator

To move to the previous or next locator:

1. Choose Command Palette from the Tools menu.

The Command Palette window opens.

2. Click the Move tab.

3. Select Active Palette.

4. Click the Go to Previous Locator button or the Go to Next Locator button.

The position indicator moves in the direction you have indicated and the monitor displays the frame containing the locator.

n You can map this button to your Tool palette or Keyboard palette. See “Mapping User-Selectable Buttons” on page 153.

Copying Locators from Source Clips

You can copy all locators currently placed in source clips directly into the sequence as you edit. The locators and the locator text appear in all sequence segments that reference the source clips.

To automatically copy source locators as you edit:

1. Double-click Composer in the Settings scroll list of the Project window.

The Composer Settings dialog box appears.

2. Click the Edit tab.

3. Select Copy Source Locators.

4. Click OK.

Go to PreviousLocator

Go to NextLocator

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Using Locators to Mark an Area

You can mark the area between two locators using the Mark Locators button.

To mark the area between two locators:

1. Move the position indicator between two locators.

2. Click the Mark Locators button located in the Edit tab of the Command palette.

The area between the two locators is selected.

Deleting a Locator

To delete a single locator:

1. Select a locator in the Timeline or in the position bar.

2. Press the Delete key.

The selected locator is removed.

For more information on using the Locators window to delete locators, see “Using the Locators Window to Delete Locators” on page 507.

Using the Locators Window

The Locators window allows you to quickly add comments, go to locator marks, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window.

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You can use the Locators window to:

• Find information about each locator.

• Access the Locators Fast menu, which allows you to:

- Modify and sort the display.

- Display frames for easy visual reference.

- Change the color of the locator icons.

- Open a Review & Approval file. See “Sending Material Out for Review” on page 792.

• Print the Locators window.

This is especially useful for identifying and listing specific frames to be used in an effect, for example. You can also make a list of IN and OUT points for adding music.

• Go to the locator in the sequence or clip.

• Delete a single locator or multiple locators.

The Locators window is divided into two sections:

• The top section displays information in text columns about the locators.

• The bottom section allows you to type comments about the frame marked by the selected locator.

The following illustration shows a Locators window with three locators.

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Viewing and Navigating in the Locators Window

To view locators in the Locators window:

1. Load the sequence containing the locators into the Composer monitor.

2. Choose Locators from the Tools menu.

To navigate in the Locators window:

t Press the Tab key to switch between the locator information area and the comment entry area.

t Press the Up Arrow and Down Arrow keys to select locators in the locator information area.

Sorting Information in the Locators Window

You can sort or reverse-sort the locators in the locator information area in the Locators window.

To sort the locators in ascending order:

1. Select the column that you want to sort.

The column is highlighted.

Locator informationarea

Comment entry area

Fast Menu button

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2. Click the Fast Menu button and choose Sort.

The locators are sorted.

To sort the locators in descending order:

1. Select the column that you want to sort.

The column is highlighted.

2. Click the Fast Menu button.

3. Press and hold the Alt key (Windows) or the Option key (Macintosh) while you choose Sort Reversed from the Locators Fast menu.

Displaying Frames in the Locators Window

You can display the frame associated with each locator in the Locators window.

To display the frame associated with a locator:

t Click the Fast Menu button and choose Images.

The Locators window displays the frame associated with each locator.

Changing the Color of the Locator Icon

You can change the color of the locator icon from the Locators window. The Avid system uses the same color in the Timeline, position bar, and monitor.

To change the color of the locator icon:

1. Select a locator in the locator information area of the Locators window.

2. Click the Fast Menu button and choose a color.

The icon color of the selected locator changes to the new color.

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Accessing a Locator in a Sequence or Clip

From the Locators window, you can go to the frame in the sequence or clip that is marked by the locator.

To go to a locator in a sequence or clip:

t Double-click a locator in the locator information area of the Locators window.

The appropriate frame is displayed.

Printing the Locators Window

To print the Locators window:

1. Make sure your printer is set up correctly.

2. Choose Page Setup from the File menu.

A Page Setup dialog box appears, reflecting specific options for your printer.

3. Select the appropriate options.

4. Click OK.

5. Choose Print from the File menu.

The Print dialog box appears, reflecting specific options for your printer.

6. Select the print options.

7. Click OK.

The system prints the Locators window.

Using the Locators Window to Delete Locators

You can use the Locators window to delete a single locator or multiple locators.

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To delete locators using the Locators window:

1. Select the locators in the locator information area of the Locators window by doing one of the following:

t Click a single locator.

t Ctrl+click (Windows) or Shift+click (Macintosh) multiple locators.

2. Press the Delete key.

The selected locators are removed.

n You can also delete locators in the Timeline or in the position bar. See “Deleting a Locator” on page 503.

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 are using the NetReview™ process.

You can display the following information for each locator displayed in the Locators window:

• Name of the user who created the locator

• Date the locator was created

• Time the locator was created

To display information about a locator:

t Click the Locators Window Fast Menu button and choose Details from the Fast menu.

The Locators window shows the User, Date, and Time columns.

For more information about using the Locators window, see “Using the Locators Window” on page 503.

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Finding Frames and Clips

Finding Frames and ClipsOnce you have digitized, viewed, marked, and subcataloged numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins. Avid Xpress allows you to quickly locate and cue footage.

Using Frame Offset Timecode to Cue a Frame

To cue a frame using frame offset timecode:

1. Using the numeric keypad, type a plus (+) sign to move forward or a minus sign (–) to move backward from the current position.

2. Type a number for the frame offset, and press Enter on the numeric keypad. Use the following formats:

- One or two digits: Type 1 through 99 to specify a number of frames forward or backward. For instance, type –42 to move backward 42 frames.

- Three digits: Type 100 or a greater number to move forward or backward a specified number of seconds and frames. For instance, if you type +100 and the master track timecode is selected on the Tracking Information menu, you move forward 1 second and 0 frames.

Using Timecode to Find a Frame

At any time during editing you can type timecode values, using the numeric keypad on the right side of the keyboard, to cue a loaded clip or sequence to a specific frame. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds plus frames using positive or negative frame-offset values.

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The system interprets the numbers you type with the numeric keypad according to the type of tracking format you have chosen in the row of information displayed above the monitor.

To cue to a frame based on a known timecode:

1. Type the timecode for the frame using the numeric keypad on the right side of the keyboard.

2. Use one of these formats:

- SMPTE timecode: Use two digits each for the hours, minutes, seconds, and frames with no leading zeros. For example, type 1230200 to enter 01;23;02;00.

- Current timecode: If you are finding a timecode that starts at the same time as the current timecode, just type the last digits. For example, if the current timecode is 1;05;12;13 and you type 4;25, the system finds the frame at 1;05;04;25.

3. Press Enter on the numeric keypad.

Searching a Clip

You can use the Find command to search a clip loaded in the Source pop-up monitor or a sequence in the Composer monitor or Timeline for:

• Clip names

• Locator text

• Text displayed in the Timeline

• Comment text

To do a text search of a loaded clip or sequence using the Find command:

1. Load the clip or sequence into the monitor or Timeline.

2. Choose Find from the Edit menu.

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The Find Text dialog box appears.

3. Enter part or all of the text for which you are searching. If the exact text is unknown, enter only a known word or portion of a word.

4. Select one or more options:

- Locators causes the system to search for matching text entered into Locator comments only.

- Clip Names causes the system to search for matching text in Clip names only.

- Timeline Text causes the system to search for matching text in any clip displayed in the Timeline.

5. Click OK.

If the system finds matching text, it cues to the head of the clip if you selected Clip Names or Timeline Text. The system cues to the Locator frame if you selected Locators.

6. If the cue point is not the one you want, choose Find Again from the Edit menu to search for another incidence of matching text.

Using Match Frame

The Match Frame feature locates the source footage for the frame currently displayed in either the Source pop-up or the Composer monitor, loads it into the Source pop-up or the Composer monitor, cues to the matching frame, and marks an IN point. It removes the source clip’s original IN and OUT points.

In addition to helping you relocate and reedit master clips during a session, the Match Frame feature can be used to locate clips quickly, based on media relatives when you have forgotten their location.

Track selection determines the match frame. If you select a video track, the system matches a frame from the video. If you enable several tracks, the system matches the frame from the highest selected track level, in descending order: V1, A1, A2, and so on.

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To use the Match Frame feature:

1. Load a sequence into the Source pop-up or the Composer monitor. See “Loading Footage” on page 477.

2. Move to the frame that you want to match.

3. Make sure you select the correct track for the frame that you want to match in the Track Selector panel.

4. Click the Fast Menu button, and drag to tear off the Tool palette.

5. Click the Match Frame button on the Tool palette.

This loads and marks the source clip in a Source pop-up monitor.

n If you do not want to mark the source clip and remove the original marks, press the Alt key (Windows) or the Option key (Macintosh) as you click the Match Frame button.

Matchframing Motion Effects

You can locate the source clip (a master clip or subclip) of a motion effect by using the Match Frame feature. For more information about using match frame, see “Using Match Frame” on page 511.

To matchframe a motion effect:

1. In the Timeline, place the position indicator on the motion effect that you want to match.

2. Select the track for the motion effect that you want for match.

3. Press and hold Alt+Ctrl (Windows) or Option+k (Macintosh) and click the Match Frame button.

The source clip of the motion effect is loaded into the Source pop-up monitor.

CHAPTER 13First Edits

After you have viewed and marked your clips or have created subclips, you are ready to create a sequence. This chapter introduces you to procedures that you use to build a basic sequence, as described in the following sections:

• Editing in DV

• Setting Up a New Sequence

• Making the First Edit

• Editing Additional Clips into the Sequence

• Lifting, Extracting, and Copying Material

• Playing the New Sequence

• Proceeding with Editing

Editing in DVIf you have Avid Xpress with DV Option, 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

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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.

Avid Xpress with 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. See “Rendering Effects” in the Avid Xpress Effects Guide and in the Help. If you are recording to an SDI or to an analog deck, the system maintains real-time effects.

Setting Up a New SequenceFor information about setting up a new sequence, see the following sections:

• “Creating a New Sequence” on page 514

• “Changing Sequence Information” on page 516

• “Changing the Start Timecode for Sequences” on page 516

• “Setting Up Tracks for the New Sequence” on page 516

• “Adding Filler” on page 518

Creating a New Sequence

To create a new sequence:

1. Choose New Sequence from the Clip menu.

One of the following occurs:

- If just one bin is open, or if several bins are open and you clicked a specific bin to activate it, the new sequence appears in the bin. It also appears in the Composer monitor and in the

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Timeline, with the generic title “Untitled Sequence n.” Each new sequence is numbered incrementally until you rename it.

- If several bins are open but none is activated, the Select dialog box appears.

2. Select the bin in which to store the new sequence, or click the New Bin button to create and open a new bin.

3. Click OK.

An untitled sequence appears in the bin, in the Composer monitor, and in the Timeline.

To rename the new sequence:

t Immediately type a new name while the name is highlighted in the bin.

n If you click anywhere in the interface after creating the new sequence, you deactivate the sequence name field. You must click the sequence name again to rename the sequence.

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Changing Sequence Information

The following optional procedure allows you to rename the new sequence and to set a customized start timecode using the Get Sequence Info command.

To rename a sequence and to set a customized timecode:

1. With your sequence loaded and the Composer monitor active, choose Get Sequence Info from the File menu.

The Sequence Info dialog box appears.

2. Type a new name in the Name text box.

3. Drag the pointer across the Start timecode, and then type a new timecode.

4. Click OK.

Changing the Start Timecode for Sequences

To change the start time of a sequence that has already been created:

1. Click the sequence start time in the bin.

2. Type a new timecode.

Setting Up Tracks for the New Sequence

When you create a new sequence using the New Sequence command, and no material is loaded into the Source pop-up monitor, the Timeline is empty.

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Setting Up a New Sequence

To add a new track to a sequence loaded in the Composer monitor:

t Choose New Audio Track or New Video Track from the Clip menu.

The new track appears in the Timeline.

When you add a new track to a sequence, the Avid Xpress system assigns a consecutive number to it. You can change the numbering scheme of tracks rather than use the consecutive numbering default.

You can add a Meta track for MetaSync™ editing. For information about MetaSync, see the Avid MetaSync Setup and User’s Guide for the Windows 2000 Operating System or the Help.

To add a new track and to change the numbering system:

1. Press and hold the Alt key (Windows) or the Option key (Macintosh), and choose New Audio Track or New Video Track from the Clip menu.

The Add Track dialog box appears.

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2. If you want to switch from the type of new track you chose (for example, from a new video to a new audio track), click the Track Type pop-up menu and choose the other option.

3. If you want to select a track number other than the default consecutive numbering offered by the dialog box, click the Track Number pop-up menu and choose another number. You cannot choose the number of an existing track.

4. Click OK.

The new track appears in the Timeline and in the Track Selector panel.

Adding Filler

You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler at any time during editing to another part of the sequence.

n You cannot add filler to the end of a sequence.

To add filler at the start of a sequence, do one of the following:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline, and choose Add Filler at Start from the shortcut menu.

t Click in the Timeline, and choose Add Filler at Start from the Clip menu.

Track Type pop-up menu Track Number pop-up menu

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Filler appears at the beginning of the sequence in the Timeline.

To set a default duration for the filler:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Timeline.

The Timeline Settings dialog box appears.

3. Click the Edit tab, and type the duration of the filler that you want added to the start of a sequence.

4. Click OK.

To add filler anywhere in a sequence:

1. Choose Load Filler from the Clip menu.

The system loads a 2-minute clip of filler into a Source pop-up monitor.

Mark IN button Mark OUT button

Fast Menu button

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2. Select the length of filler, as needed, using the Mark IN and Mark OUT buttons.

3. Click the Fast Menu button.

The Tool palette appears.

4. Click the Splice-in or the Overwrite button on the Tool palette to edit the black into the sequence. See “Using the Tool Palette” on page 494.

Making the First EditMaking the first edit involves the following procedures:

• Beginning to Edit

• Creating an Instant Rough Cut

• Undoing or Redoing Edits

• Monitoring Audio While Editing

Splice-inbutton

Overwritebutton

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Making the First Edit

Beginning to Edit

To begin editing:

1. Load the first clip into a Source pop-up monitor. If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary.

2. Click buttons in the Track Selector panel to select the tracks you want to include in the edit.

Only the tracks that have been digitized for the clip appear as source tracks in the Timeline. For more information on using the Track Selector panel, see “Using the Track Selector Panel” on page 547.

For example, with a talking head, you might select tracks V1 (picture) and A2 (sound), if the voice was recorded on that track. You would deselect track A1, which might have unwanted wild sound picked up from a second microphone or no sound at all.

As another example, if you are laying down a music track first, you would select track A1 or A2, depending upon where the music was digitized, and deselect V1.

3. Click the Splice-in button on the Tool palette to add the edit to the sequence in the Composer monitor. See “Using the Tool Palette” on page 494.

The Composer monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or

Source TrackMonitor buttons

Source Trackbuttons

Splice-inbutton

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the position bar under the Composer monitor to review the clip.) The edit also generates a graphical display of the cut in the Timeline.

Creating an Instant Rough Cut

As an alternative to creating a new sequence by editing clips one at a time, you can quickly create a rough cut by selecting and loading multiple clips directly from the bin in Frame view and by dragging them into the Timeline.

Screen display of the first edit in a sequence

Timeline generated by the edit

The end of thelast frame of the new edit

Source clip

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To create a rough cut from a bin:

n To create a more accurate rough cut, view and mark clips in the bin in advance. See “Marking IN and OUT Points” on page 489.

1. Click the Frame tab to enter Frame view.

2. In the bin, sort the clips in the order in which you want them to appear in the sequence.

3. Select the tracks for the edit.

n If no sequences are loaded in the Composer monitor, the Timeline has no features.

4. Do one of the following:

t Shift+click (Windows) or Ctrl+click (Macintosh) the clips.

t Lasso the clips by dragging left to right and down to select more than one clip. See “Lassoing Objects” on page 349.

t Choose Select All from the Edit menu if there are no other clips in the bin.

5. Drag the highlighted clips to the Timeline to splice the clips into place.

The clips are spliced together to form a new sequence based on the order in which they were listed in the bin.

Undoing or Redoing Edits

You can undo or redo up to 32 previous actions listed in the Edit menu.

To undo only the previous edit or function:

t Choose Undo from the Edit menu.

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To redo only the previous edit or function:

t Choose Redo from the Edit menu.

Monitoring Audio While Editing

You can use the Audio tool to monitor audio levels while you edit. If you have the Audio tool open and you play footage that includes audio, the audio levels are tracked in the Audio tool. For more information on using the Audio tool, see “Using the Audio Tool” on page 245.

Editing Additional Clips into the SequenceThe primary edit functions are splice-in and overwrite. In most cases, you perform three-point edits in which you set three marks — two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends upon the type of edit you perform.

Performing a Splice-in Edit

A splice-in edit inserts material from the Source pop-up monitor into the sequence without replacing material already in the sequence. Existing material in the sequence is moved beyond the new material, lengthening the overall duration of the sequence.

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Editing Additional Clips into the Sequence

To perform a splice-in edit:

1. Double-click a clip to open a Source pop-up monitor.

2. Mark an IN point.

3. Mark an OUT point.

4. Mark an IN point in the sequence as follows:

a. Move the position indicator in either the Timeline or the position bar of the Composer monitor to the point where you want to splice the clip into the sequence.

b. Click the Mark IN button, or press the Mark IN key on the keyboard.

n If you don’t mark an IN point, the system splices the new clip into the sequence at the current location of the position indicator.

5. Click the Fast menu button.

The Tool palette appears.

6. Click the yellow Splice-in button to complete the edit.

Performing an Overwrite Edit

An overwrite edit replaces a section of the sequence with the material you select from a Source pop-up monitor. Unlike a splice-in edit, an

BeforeSplice-in

AfterSplice-in

New Clip

Insertion point

Clip Z

Existing clips are moved down.

Clip X Clip Y

Clip ZClip X Clip Y New Clip

Mark IN button

Mark OUTbutton

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overwrite edit replaces existing material and therefore does not lengthen the overall duration of the sequence.

To perform an overwrite edit:

1. In the Source pop-up monitor, mark an IN point or an OUT point, but not both, to show the start or end of the clip you want to use.

2. In the Composer monitor, mark both an IN point and an OUT point to select the material in the sequence you want to overwrite. You can also mark an OUT point and move the position indicator in the Timeline or position bar to the IN point.

3. Click the red Overwrite button on the Tool palette to complete the edit.

Performing a Replace Edit

To perform a replace edit:

1. Choose a sync frame in the source clip by moving the position indicator to display that frame in the Source pop-up monitor.

The sync frame can be an IN point, an OUT point, or any frame in-between that you want to sync to a frame in the existing shot in the sequence.

2. Choose the sync frame in the sequence for the edited shot that you want to replace by moving the position indicator in either the Composer monitor position bar or in the Timeline to that frame.

3. Choose Command Palette from the Tools menu.

BeforeOverwrite

AfterOverwrite

Material to be overwritten

New Clip

Clip ZClip X Clip Y

Clip ZClip X Clip Y New Clip

Overwrite button

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Lifting, Extracting, and Copying Material

4. Click the Edit tab.

5. Select Active Palette.

6. Click the Replace Edit button (blue).

The system replaces the clip.

n If you are replacing a clip in an overlap edit, and the position indicator falls within the overlap, you might end up replacing the wrong material unless you select the entire segment you want to replace.

Lifting, Extracting, and Copying MaterialExtract/Splice-in and Lift/Overwrite are Segment mode functions you can also use to remove and reposition segments. For more information, see “Performing Segment Mode Edits” on page 565.

Lifting, extracting, and copying allow you to remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Lifting, extracting, and copying place the removed material into the Clipboard. You can then paste the material elsewhere in the sequence or in another sequence altogether.

Lifting Material

The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same.

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To lift material:

1. Mark IN and OUT points in the sequence at the start and end of the material that you want to lift.

2. Select the tracks containing the material.

The system performs the function on selected tracks only. See “Using the Track Selector Panel” on page 547.

3. Click the Lift button in the Timeline top toolbar to complete the edit.

Extracting Material

The Extract function removes selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence.

Material is placed in the Clipboard.

Lifted Clip X

Clip W Clip YBlack Filler Clip Z

Liftbutton

Material is placed in the Clipboard.

BeforeExtract

After Extract

Track is shortened.

Clip ZClip X Clip Y

Clip ZClip X

Extracted Clip Y

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Lifting, Extracting, and Copying Material

To extract material:

1. Mark IN and OUT points in the sequence at the start and end of the material that you want to extract.

Select the tracks containing the material.

The system performs the function on selected tracks only. See “Using the Track Selector Panel” on page 547.

2. Click the Extract button in the Timeline top toolbar to complete the edit.

Copying Material

The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact. When you copy material, the sequence remains unaffected. The material can then be inserted into the sequence elsewhere or into another sequence.

To copy material to the Clipboard:

1. Mark IN and OUT points in the sequence at the start and end of the material that you want to copy.

2. Select the tracks containing the material.

The system performs the function on selected tracks only. See “Using the Track Selector Panel” on page 547.

3. Choose Command Palette from the Tools menu, and click the Edit tab.

4. Click the Copy to Clipboard button.

The system copies the selected material to the Clipboard and leaves the sequence untouched.

Extractbutton

Copy toClipboardbutton

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Using the Clipboard

The Avid Xpress Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment.

Placing a Sequence into the Clipboard

To place a marked section of the sequence into the Clipboard at any time:

t Click the Lift button or the Extract button located in the Timeline top toolbar, or the Copy to Clipboard button in the Edit tab of the Command palette.

n You can map these buttons to buttons on the Tool palette or to keys on the Keyboard palette. See “Mapping User-Selectable Buttons” on page 153.

The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments in Segment mode or for rebuilding the section at another location. For example, you can:

• Copy a portion of a sequence for pasting into another sequence.

• Isolate and copy a portion of an audio track for looping music or repeating a sound effect.

• Copy graphic elements for repeating at other locations in a format cut.

Recovering Material from the Clipboard

The Clipboard allows you to restore lifted or extracted segments quickly. This is especially useful if you have performed one or more edits since removing the material. In contrast, if you restore the material using the Undo function, the system also removes all edits performed in the meantime. The Clipboard provides the benefit of restoring the material while maintaining subsequent edits.

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To restore material from the Clipboard:

1. Open the Clipboard as a Source pop-up monitor by choosing Clipboard Monitor from the Tools menu.

2. Click the Mark Clip button to mark the entire segment.

3. Locate the IN point in the sequence from which the segment was removed. Move the position indicator here, or mark an IN point.

4. Splice or overwrite the material into the sequence.

Playing the New SequenceYou can play a sequence at any time and view it in the Composer monitor.

Mark Clip button

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Playing a Sequence

To play a sequence:

1. Make sure that the Video Track Monitor icon is located on the topmost video track to display all video tracks and effects during playback.

2. Make sure the Audio Track Monitor button for the audio track is selected to ensure proper playback of all audio tracks.

3. Go to the start of the sequence in the Composer monitor or Timeline by clicking the left side of the position bar to reposition the position indicator at the beginning or by pressing the Home key on the keyboard.

4. Use the position indicator, buttons, or keyboard to play or step (jog) through footage, viewing it in the Composer monitor.

Starting a Playback Loop

You can play back your sequence in a continuous loop by augmenting the Play IN to OUT command with the Alt key (Windows) or the Ctrl key (Macintosh). You must mark IN and OUT points in the sequence to determine the range of the playback loop.

Video Track Monitor button with Monitor icon

Audio Track Monitor button with gold speaker icon

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Playing the New Sequence

n You can also use this technique to isolate and continuously play back a small portion of the sequence during a difficult edit.

To start a playback loop:

1. Mark IN and OUT points in the sequence. To play back the entire sequence, mark the IN point at the beginning and the OUT point at the end.

2. Press the Alt key (Windows) or the Ctrl key (Macintosh) and the Play IN to OUT key.

The playback loop begins and continues until you press the space bar or click anywhere with the mouse.

Improving Playback Performance

As you continue to edit, you might find the playback performance of the system diminishing as the sequence grows in length and layers. This can happen when you are using a great deal of RAM for playback of large and complex sequences. The following are a few tips for improving playback performance:

• Check the number of media objects in use for your project in the Memory window, as described in “Viewing Memory” on page 112. If this number is large (for example, more than 50,000 objects on a system with 32 MB of RAM), reduce the number of media objects by doing one of the following:

t Close bins that are not in use.

t Reduce the number of clips in the open bins.

t Unmount drives that are currently not in use. See “Mounting and Ejecting Drives” on page 64. You can remount the drives at any time by choosing Mount All from the File menu.

• Restart the computer once a day to refresh the system memory.

• Split the sequence into two or more segments, if possible.

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Proceeding with EditingWhen you have finished a rough cut, you are ready to fine-tune the sequence.

To See

Learn about the Timeline and Segment mode editing techniques

Chapter 14

Make frame-accurate adjustments to your edits, using Trim mode

Chapter 15

Edit with audio or to mix audio tracks in preparation for playback or output

Chapter 16

Add effects to your sequence The Avid Xpress Effects Guide or the Help

Edit with synced tracks Chapter 17

Output the finished sequence Chapter 18

CHAPTER 14Using the Timeline

The Avid Xpress system represents each edit and effect in a graphical Timeline structure to help you track and manipulate the elements of your sequence. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks.

The audio and video tracks in the Timeline play in the Composer monitor. You can continually edit your sequence and review your changes in the Composer monitor until you are pleased with the result. These features are described in the following sections:

• Customizing Timeline Views

• Navigating in the Timeline

• Editing in the Timeline

• Printing the Timeline

Customizing Timeline ViewsYou can customize your Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You use the Timeline Fast menu and the Timeline settings to change the display.

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Examples of customizing your Timeline include:

• Visual detail: If you want to display more detailed information about clips with which you are working, you can enlarge the video tracks to display clip names and durations, and source and media names.

• Audio detail: If you are doing advanced audio work with multiple tracks or are fine-tuning difficult audio edits, you can enlarge audio tracks to display waveform plots and audio levels.

• Mapping buttons: You can map buttons to the Timeline top toolbar. For more information, see “Using the Timeline Top Toolbar” on page 495.

Accessing the Timeline Settings

The Timeline Settings options allow you to customize the Timeline.

To access the Timeline Settings options:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Timeline.

The Timeline Settings dialog box appears.

Table 14-1 and Table 14-2 describe the Timeline Settings options.

Table 14-1 Timeline Settings Options (Display Tab)

Option Description

Show Tool Bar Displays the Timeline top toolbar.

Show Marked Region Highlights the region from the IN point to the OUT point.

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Show Marked Waveforms

Shows waveforms drawn between an IN point and an OUT point instead of over the entire composition.

Scroll While Playing Scrolls over the position indicator while you play a sequence.

Table 14-1 Timeline Settings Options (Display Tab) (Continued)

Option Description

Table 14-2 Timeline Settings Options (Edit Tab)

Option Description

Start Filler Duration Type the amount of filler you want to appear by default when you choose Add Filler at Start from the Clip menu.

Find Flash Frames Shorter Than n frames

Type the maximum number of flash frames you want the system to detect. The default is 10, which tells the system to detect clips with 9 frames or fewer. See “Finding Black Holes and Flash Frames” on page 560.

Auto-Patching When this option is selected, the system automatically patches the enabled source tracks to the tracks enabled in the Timeline sequence.

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

Segment Drag Sync Locks

When this option is selected and sync locks are enabled, you can move segments in the Timeline and maintain sync between audio and video. After moving a segment in the Timeline, this option maintains sync by adding filler to the location from which the segment was moved, and to the location on all other sync-locked tracks that corresponds to the new location of the segment you moved. You can move either an audio clip or a video clip.

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Using the Timeline Fast Menu

You can customize the appearance of the Timeline using various options from the Timeline Fast menu.

To choose an item from the Timeline Fast menu:

t Click the Fast Menu button and scroll through the menu to select or deselect an option. Selected options have check marks next to them.

Table 14-3 lists the Timeline Fast menu options.

Dupe Detection Handles Choose the size of the handles, in frames, to use for dupe checking. The chosen number of frames is added at the beginning and the end of each clip before checking for overlap. The handles are used only for internal calculations.

n Dupe Detection is available only if you have PowerPack. See “Using PowerPack” on page 750.

Table 14-2 Timeline Settings Options (Edit Tab) (Continued)

Option Description

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Table 14-3 Timeline Fast Menu Options

Option Suboption Description

Default Setup Sets the Timeline display back to the default.

Clip Frames Displays the first frame within a clip in the Timeline.

Clip Names Switches on and off the display of clip names in the Timeline.

Clip Durations Switches on and off the display of clip durations in the Timeline.

Source Names Switches on and off the display of source material names in the Timeline.

Media Names Switches on and off the display of original media file names in the Timeline.

Dupe Detection Enhances color-coded dupe display for V1 track.

n Dupe Detection is available only if you have PowerPack. See “Using PowerPack” on page 750.

Render Ranges Indicates unrendered or partially rendered effects; see “Customizing Render Ranges Display” in the Avid Xpress Effects Guide and the Help.

None Turns off the display of render ranges.

Partial Displays a red line on the portion of any partially rendered effect that is currently unrendered (but does not mark completely unrendered effects).

All Displays a red line on the portion of any partially rendered effect that is currently unrendered and on all completely unrendered effects.

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Additional Procedures for Customizing the Timeline

The Avid Xpress system allows you to enlarge and reduce the sizes of the Timeline tracks, and to change the colors of the tracks and background. These procedures include:

• Enlarging and Reducing Tracks

• Changing the Timeline Track Color

Audio Clip Gain Displays audio clip gain information. See “Automation Gain Values and System Clip Gain Values” on page 626.

Audio Auto Gain Displays audio automation clip gain information. See “Automation Gain Values and System Clip Gain Values” on page 626.

Sample Plot Switches on and off the display of sample plots for each audio track in the Timeline. It is easier to see this display if you expand the audio track in the Timeline.

Clip Color Displays local, source, and offline colors assigned to clips.

Offline When this option is selected, any clips in the Timeline with media offline are highlighted in red.

Track Color Displays a Color palette from which you can choose a color for the tracks displayed in the Timeline.

Table 14-3 Timeline Fast Menu Options (Continued)

Option Suboption Description

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Enlarging and Reducing Tracks

You can enlarge or reduce the height of one or more tracks to improve visibility and to display more information within the tracks. Use this feature to:

• Enlarge all tracks to view waveform plots or other displays in multiple tracks.

• Reduce and view all the tracks in a multilayer sequence, and enlarge them when finished.

To enlarge or reduce the height of selected tracks:

1. Select the tracks in the Timeline that you want to resize. See “Selecting Tracks” on page 548.

2. Do one of the following:

t Choose Enlarge Track or Reduce Track from the Edit menu.

t Press Ctrl+L (Windows) or k+L (Macintosh) to enlarge the track, or press Ctrl+K (Windows) or k+K (Macintosh) to reduce the track.

t Move the pointer over the Track Selector panel until it changes to a bar intersected by a double-headed arrow. Drag the edge up or down to make the track narrower or wider. This method applies to only one track selection at a time.

Changing the Timeline Track Color

To change the color of selected tracks in the Timeline:

1. Click the Timeline to make it active.

2. Click the Timeline Fast Menu button and choose Track Color from the Timeline Fast menu.

3. Choose a color for the tracks from the Color palette.

If you want to choose a custom color for the tracks, press the Alt key (Windows) or the Option key (Macintosh) while performing this

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procedure. When you release the mouse button on the Color palette, the Windows Color dialog box or the Macintosh Color Picker appears.

Saving a Custom Timeline View

After you customize the Timeline, you can save it and access the view as you switch between projects and workspaces.

To save a custom Timeline view:

1. Click the View Menu button at the bottom of the Timeline.

If you have not yet saved a view, the button is labeled Untitled.

2. Choose Save As from the pop-up menu.

The View Name dialog box appears.

3. Type a name for your Timeline view.

4. Click OK.

Replacing a Timeline View

If your saved views become extensive and there are views you no longer use, you can replace them.

To replace saved views:

1. Press and hold the Alt key (Windows) or the Option key (Macintosh) while you click the View Menu button to display the list of saved view names, each preceded by the word Replace.

2. Select a saved view name that you want to replace from the list.

The current Timeline view is applied to the selected name, and that name is displayed in the Settings scroll list in the Project window. You can change the View Name in the Settings scroll list.

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Customizing Timeline Views

Setting the Scroll Option for the Timeline

When you choose the Scroll While Playing option, the Timeline scrolls over the position indicator while you play a sequence. This is useful if you are viewing the Timeline in more detail and the end of the Timeline is not visible on the monitor. If you select Scroll While Playing, the Timeline scrolls until the end of the Timeline is visible in the monitor.

To set the scroll option:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Timeline.

The Timeline Settings dialog box appears.

3. Click the Display tab, and then select Scroll While Playing.

n To turn off Scroll While Playing, deselect this option in the dialog box.

4. Click OK.

When you play a sequence in the Timeline, the sequence scrolls over the position indicator. When the Timeline has passed the play head and the end of the Timeline is revealed, the Timeline stops moving and the position indicator travels the remaining distance.

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n For the Timeline to scroll, you might need to display more detail in the Timeline to expand the sequence. Click the scale box, and drag it to the right to expand the Timeline. All effect icons are hidden as you scroll.

Restoring the Default Timeline View

To restore the default view in the Timeline:

t Click the Timeline Fast Menu button and choose Default Setup from the Timeline Fast menu.

Navigating in the TimelineThe Timeline provides various controls in the Timeline bottom toolbar for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scale bar, or the Timeline scroll bar to navigate within the Timeline. In addition, marked sections of the sequence are highlighted in the Timeline for visual reference.

Scale box

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Navigating in the Timeline

Using the Position Indicator

The position indicator in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted. When you drag the position indicator in the Timeline, the smaller position indicator within the Composer monitor’s position bar also moves.

Using the Timeline Scroll Bar

The Timeline scroll bar appears along the bottom of the Timeline on the right side of the Timeline toolbar.

The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll box to reposition yourself within the Timeline, or click the arrows to scroll left or right.

Displaying Detail in the Timeline

The scale bar stretches and contracts the Timeline area centered around the position indicator. This allows you either to zoom in to

Scale box Scroll boxScale bar Scroll barBottom Toolbar Position indicator

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Using the Timeline

focus on a specific area of your sequence or to zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits.

To zoom in on a section of the Timeline at the position indicator and then zoom back to your original display:

1. Click the scale box and drag it to the right.

The following happens:

- The Timeline expands horizontally.

- The Timeline track shows more detail.

- The position indicator splits into a solid blue line and a dotted blue line (or “shadow”), marking the beginning and end of the current frame.

2. Click the scale box, and drag it back to the left.

The Timeline shrinks to its original size.

Controlling Movement in the Timeline

While working in the Timeline, you can use the Ctrl and Alt keys (Windows) or the k and Option keys (Macintosh) to control the movement of the position indicator.

To snap to the head of transitions as you move through the Timeline sequence:

t Press and hold the Ctrl key (Windows) or the k key (Macintosh) as you drag the position indicator.

To snap to the tail of transitions:

t Press Ctrl+Alt (Windows) or k+Option (Macintosh) as you drag the position indicator.

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Navigating in the Timeline

To move frame by frame:

t Press the Alt key (Windows) or the Option key (Macintosh) as you drag the position indicator.

Using the Track Selector Panel

As your project progresses, you might need to add and edit with additional audio or video tracks. You use multiple tracks of video primarily for effects. The Avid Xpress system allows you to edit up to eight tracks of video and eight tracks of audio.

While working with multiple tracks, you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and other effects.

n Multiple video tracks do not immediately play back at the same time until you apply an appropriate effect that composites the layers. Multiple audio layers, however, do play back immediately if correctly monitored.

Source Track Monitor buttons

Source Track buttons

Sync Lock and Lock buttons

Record Track buttons

Record Track Monitor buttons

Timecode buttonSync Lock All button

Video Track Monitor button with Monitor icon

Audio Track Monitor

Audio Track Monitor button with black Speaker iconbutton with gold Speaker icon

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The source side of the panel displays only those tracks available for the clip currently loaded. For instance, a clip that has audio digitized only for track A1 does not display an A2 track in the Track Selector panel.

The record side of the panel displays only those tracks currently in use for the sequence. However, if you edit source material with a track selected that does not yet exist on the record side, by default the track appears on the record side after the edit takes place.

Selecting Tracks

Consider the following when you select tracks on either the record side or the source side of the Track Selector panel:

• You can edit selected tracks on the source side directly into the sequence, assuming you have selected parallel tracks on the record side.

• You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections.

• You cannot edit deselected tracks on the record side into the sequence, regardless of source track selections.

There are five methods for selecting tracks:

• Click the Track button of any inactive track to select the track. (To deselect the track, click the Track button of any active track.)

• Drag a lasso around multiple tracks to select all of them at the same time. See “Lassoing Objects” on page 349.

• With the Timeline window active, choose Select All Tracks from the Edit menu to select all tracks on the record and source sides.

• Click the Cycle Picture/Sound button in the Edit tab of the Command Palette to cycle among selected video tracks, audio tracks, and all tracks.

• Click the V and A buttons in the Edit tab of the Command palette.

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Navigating in the Timeline

For example, you might select the source and record tracks for V1, A1, and A2 to edit the picture and audio from the source clip into the sequence. Select only V1 source and record tracks to edit the picture without the sound, or select only A1 and A2 source and record tracks to edit the sound without the picture.

Monitoring Tracks

To determine the monitoring of tracks:

t Click the monitor column of either the source-side or record-side tracks to activate or deactivate the monitor buttons. Video and Audio Track Monitor buttons behave differently in some circumstances.

Monitoring Video

The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback.

When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track. This feature is especially useful when you have multiple layers of video effects and need to see one track without additional layers. You can also monitor a solo track, as described in “Monitoring a Solo Track” on page 551.

n If you reposition the Video Track Monitor icon, be sure to return it to the topmost track to view, render, or output all the tracks together. Unmonitored tracks are not included in playback.

To monitor video tracks:

t Click the Video Track Monitor button for the track you want to monitor.

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Monitoring Audio

There are two types of monitor icons that appear in the monitor column for audio tracks: a black Speaker icon and gold Speaker icon. Your Avid system allows you to monitor up to eight audio tracks at a time, depending on your configuration.

Consider the following:

• The system pans odd-numbered tracks to the left speaker and even-numbered tracks to the right speaker by default.

• If your sequence includes more than eight audio tracks, you can select any eight tracks to monitor at one time by clicking the Audio Track Monitor button for each audio track you want to monitor. The Audio Track Monitor button changes to purple with either a black or gold Speaker icon when the audio track is selected for monitoring playback and output.

• To hear more than eight tracks at once, you must mix down some of them to a maximum of eight. For more information, see “Mixing Down Audio Tracks” on page 701.

• By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see “Soloing Audio Tracks in the Timeline” on page 602.

• A gold Speaker icon on the Audio Track Monitor button indicates that the track is not dropped when the play speed increases during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon. For more information about setting an audio track to ensure it is not dropped during scrubbing, see “Selecting Tracks for Scrubbing” on page 604.

• The Audio Track Monitor button changes to green with a black Speaker icon when selected for soloing. For more information, see “Monitoring a Solo Track” on page 551.

• When you choose Direct Out in the Audio Mix tool, tracks 5 to 8 play back on channels 1 to 4. You can also customize the output of the tracks, as described in “Using the Audio Mix Tool” on page 614.

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Navigating in the Timeline

Monitoring a Solo Track

You can isolate an individual video or audio track for monitoring when editing without having to deselect monitoring of all other tracks. Solo monitoring has several advantages:

• You can monitor the upper layers of a composited effect apart from the lower layers.

• You can isolate an individual audio track for monitoring without having to click several audio tracks to deselect monitoring of all other audio tracks.

• You can overcome slow cueing and playback when working with a complex sequence by isolating tracks for monitoring.

To select a track for solo monitoring:

t Ctrl+click (Windows) or k+click (Macintosh) the Track Monitor button for the chosen track.

The Track Monitor button changes to green with a black Monitor icon (video track) or black Speaker icon (audio track) to indicate solo monitoring.

To deselect solo monitoring:

t Press and hold the Ctrl key (Windows) or the k key (Macintosh), and click again in the monitor column in the Track Selector panel. The Monitor icon returns to normal functionality.

Cycling Through a Selection of Tracks

To cycle through the selection of tracks in the Track Selector panel:

1. Click the Cycle Picture/Sound button in the Edit tab of the Command Palette.

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Each time you click the Cycle Picture/Sound button, the system cycles through the selection as follows:

a. Video tracks

b. All tracks

c. Audio tracks

d. No tracks

2. Continue to click the button to repeat the cycle.

n You can map the Cycle Picture/Sound button to any button on the Tool palette or to any key on the Keyboard palette. For information on mapping buttons, see “Using the Command Palette” on page 150.

Locking and Unlocking Tracks

You can lock selected tracks to prevent further editing from being performed on them.

The middle row of the Track Selector panel displays the Sync Lock icon (slash mark) for sync-locked tracks, and the Lock icon (padlock) for locked tracks.

Locking tracks to prevent further editing is especially useful in the following circumstances:

• For video editing, you can lock tracks when you have completed a set of complex, multilayer edits and want to avoid making accidental changes while you work on other adjacent tracks.

• For audio editing, you can lock audio tracks containing sync dialog that should be maintained while you edit adjacent video tracks or audio tracks.

• For projects involving multiple editors, you can lock tracks to prevent unnecessary or accidental changes.

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Navigating in the Timeline

For more information about sync-locking tracks, see “Sync Locking Tracks” on page 555.

To lock tracks:

1. Select the tracks you want to lock (source, record, or both) by clicking to select each in turn.

2. Do one of the following:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline and choose Lock Tracks from the pop-up menu.

t Choose Lock Tracks from the Clip menu.

The Lock icon indicates that the selected tracks are locked; no further editing can occur on locked tracks.

To unlock tracks:

1. Select the tracks you want to unlock.

2. Do one of the following:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline and choose Unlock Tracks from the pop-up menu.

t Choose Unlock Tracks from the Clip menu.

The Lock icon disappears and the tracks are unlocked.

Patching Tracks

When working with multiple tracks, you occasionally encounter a circumstance where you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track.

You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track. Audio can patch only to audio, and video only to video.

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n You can also patch tracks using the Auto-Patching option in the Edit tab of the Timeline Settings dialog box. For more information, see Table 14-2.

To perform a patch:

t Drag from a source track (audio or video) to the targeted record track.

A white arrow appears during the patch.

To undo a patch:

t Manually repatch to the previous track.

The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit.

c When you patch from one video track to another, the Video Track Monitor icon moves to the track you are patching if Auto-monitoring is selected in the Edit tab of the Timeline Settings dialog box (see Table 14-2). Return to monitoring the topmost track, when necessary, to play back and output all video tracks.

An audio patch from a source track to a record track.

New source track order identifies the patch.

During patch After patch

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Navigating in the Timeline

Sync Locking Tracks

The Sync Lock feature allows you to maintain synchronization among several tracks while adding or removing frames in Trim mode. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between them.

There are several unique aspects to sync locking:

• Sync locking applies to single-roller trims only; dual-roller trims do not break sync.

• You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks.

• Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you trim anywhere in the sequence.

Sync locking affects Trim mode. This feature is especially useful when you are working with multiple tracks and want to maintain sync between two or more tracks while trimming.

To sync lock the tracks:

t Click in the center column between track selectors to activate the Sync Lock icon for each synchronized track.

To resume editing on individual tracks:

t Click again to remove the Sync Lock icon.

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Deleting Tracks

To delete one or more tracks from the sequence:

1. Click the Record Track buttons for the tracks, and press the Delete key.

The Delete Track dialog box appears.

2. Click OK.

The tracks are deleted.

To restore a deleted track:

t Choose Undo from the Edit menu.

Adding an Edit

The Add Edit function places an artificial edit point between the frames of a clip. The edit appears in the Timeline as a transition between two clips, but when you play the clip, the footage appears unchanged because the frames are continuous.

Use add edits primarily to divide and isolate portions of a clip or sequence in order to modify that portion without affecting the rest of the footage. Once you make the adjustment (for example, adding an effect), playback of the clip is no longer seamless because the two portions of the clip are different.

1 2 3 4 6 75

Add edit placed between frames

Footage plays back continuously.

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Navigating in the Timeline

You can add an edit to a single audio or video track, or you can place the add edit across several tracks at once.

To add an add edit:

1. Move the position indicator to the chosen frame.

2. Select the tracks where you want to add the edit.

3. Click the Add Edit button under the Composer monitor or in the Timeline top toolbar.

The edit appears in the sequence with an equal sign to indicate a add-edit edit.

Removing Add Edits

To remove add-edit edits, do one of the following:

t Choose Undo from the Edit menu.

If you made other edits since you performed the Add Edit function, when you use the Undo command, you lose those additional edits.

t Enter Trim mode at the add-edit point, and then press the Delete key. For more information about Trim mode, see Chapter 15.

t Do the following:

a. Select a portion of the sequence by marking an IN point and an OUT point surrounding the match-frame edits (add edits) you want to remove, or select the entire sequence by removing any IN and OUT points.

b. Select the tracks from which you want to remove the edits.

c. Choose Remove Match Frame Edits from the Clip menu.

n This method is the only way to remove add-edits after you have used the 32 levels of Undo, or if you want to remove add-edits on a subsequent day.

The Avid system removes the edits.

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c You cannot remove add edits between segments in which audio pan levels have been adjusted.

Backtiming Edits

Backtiming an edit is effectively the reverse of the process you normally use for marking footage. Instead of marking from the IN points forward, you mark according to the OUT points.

For example, you might have a track of audio (music or voice) that ends at a specific point, and you want to synchronize a video clip to end on a particular clip. You can backtime the edit to match the end points of the tracks.

Consider the following:

• Avid Xpress needs only three marks to perform a backtimed edit when four edits of unequal duration exist in the sequence. The IN and OUT points set in the Timeline always take precedence.

• If you do not mark an IN point in the sequence, the system uses the position indicator as the IN point.

• If you do not mark an OUT point in the clip and no OUT point is set in the sequence, the system uses the end of the clip as the OUT point.

• If you mark OUT points in both the Source pop-up monitor and in the Timeline, the system uses the OUT point in the Timeline.

To backtime an edit:

1. Mark an OUT point in the Timeline where you want the edit to end. Also, mark an IN point where the edit is to start.

2. Select the appropriate tracks.

3. Open a clip in the Source pop-up monitor.

4. Mark an OUT point in the Source pop-up monitor to synchronize to the OUT point in the sequence.

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Navigating in the Timeline

5. Do one of the following:

t Click the Fast Menu button, and then click the Overwrite button on the Tool palette.

t Press the Alt key (Windows) or the Option key (Macintosh) and drag the clip from the Source pop-up monitor to the Timeline.

The source material is added to the sequence, with the synchronized ending.

Detecting Duplicate Frames

When you edit offline with plans to generate an EDL, the Dupe Detection feature allows you to visually track duplicate frames of footage as you edit so that you can eliminate or manage the requirements of an online dupe reel.

n Dupe Detection is available only if you have PowerPack. See “Using PowerPack” on page 750.

To activate Dupe Detection:

t Click the Timeline Fast Menu button and choose Dupe Detection from the Timeline Fast menu.

n This procedure only works for the V1 track.

When you activate Dupe Detection, each set of duplicate frames is tagged with a different color. (Up to 10 color sets can be distinguished during a single detection process.) Matching frames have matching colors. If the duplicate frames are unnecessary, you can use any of the Trim mode options to remove the superfluous frames before generating an EDL.

The colored bars that distinguish duplicate frames in the sequence are automatically drawn above the frames in the Timeline.

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Using the Timeline

Orange bars mark the first set of duplicate frames, green bars mark the second set, and so on. You can use Dupe Detection while you are editing to locate duplicate frames and remove them as the sequence evolves.

Dupe Detection is instantaneous and retroactive; if duplicate frames already exist in your sequence, the colored bars appear immediately. As you edit, the system shows duplicate frames as they occur.

n The handle size used by Dupe Detection can be changed in the Timeline Settings dialog box.

Finding Black Holes and Flash Frames

The following two commands help you quickly find parts of your sequence that you might want to delete from the final sequence:

• Find Black Holes

• Find Flash Frames

Black holes are segments of the sequence that consist of one or more frames of filler. Flash frames are clips that have an extremely short duration, for example, less than 30 frames.

Finding Black Holes

To find a black hole:

1. Click the Timeline window to activate it.

2. Select the tracks you want to search.

3. Park the position indicator at the beginning of the sequence or before the part of the sequence you want to search.

4. Choose Find Black Hole from the Clip menu.

The position indicator moves to the first segment that contains filler. You can then edit or delete the filler if necessary.

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Navigating in the Timeline

To find the next segment that contains filler:

t Choose Find Black Hole again.

Finding Flash Frames

To find flash frames:

1. Check or set the maximum frame length that you want the system to detect:

a. Click the Settings tab in the Project window.

The Settings scroll list appears.

b. Double-click Timeline.

The Timeline Settings dialog box appears.

c. Click the Edit tab.

d. In the option “Find Flash Frames Shorter Than n frames,” indicate the maximum number of frames you want the system to detect. The default is 10, which tells the system to detect clips with 9 frames or fewer.

e. Click OK.

2. Click the Timeline window to activate it.

3. Select the tracks you want to search.

4. Park the position indicator at the beginning of the sequence or before the part of the sequence you want to search.

5. Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline, and choose Find Flash Frames from the shortcut menu.

The position indicator moves to the first flash frame.

To find the next flash frame:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the Timeline, and choose Find Flash Frames from the shortcut menu again.

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Editing in the TimelineThe following sections describe editing you can do in the Timeline:

• Selecting and Deselecting Segments

• Performing Segment Mode Edits

• Bin Editing into the Timeline

• Bin Editing Directly into a Sequence

• Using the Top and Tail Commands

• Setting the Duration for Filler at the Start of a Sequence

• Cutting, Copying, and Pasting in the Timeline

• Editing and Nesting Effects

Selecting and Deselecting Segments

Segment editing is a unique feature of digital, nonlinear editing. Unlike traditional tape editing, segment editing allows you to instantly reposition entire segments as though you were physically “dragging” portions of your sequence across a tape. You can move audio and video tracks separately or together, and individual or multiple segments can be repositioned at the same time.

To perform segment editing:

1. Select the segments either by clicking a Segment Mode pointer and making selections or by lassoing segments with the mouse. You can select one or several segments or tracks, as described in “Selecting Segments with the Segment Mode Pointer” on page 563 and “Lassoing One or More Segments” on page 563.

When you enter Segment mode, the pointer becomes enlarged and changes to yellow to indicate Extract/Splice-in mode or red to indicate Lift/Overwrite mode. Outside the Timeline, the pointer

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Editing in the Timeline

changes back to the standard arrow or I-beam, allowing you to perform other functions while in Segment mode.

2. Move the segments by dragging with the mouse. Use either the Extract/Splice-in button or the Lift/Overwrite button to move the segment to a new position.

3. Use additional segment editing techniques, if you want, to edit clips directly from a bin, to quickly delete segments, or to mark material in the Timeline.

Selecting Segments with the Segment Mode Pointer

To select segments with the pointer:

1. Click one of the Segment Mode buttons located in the Timeline bottom toolbar next to the scroll bar. The arrow changes to an enlarged pointer (Windows) or a pointing hand (Macintosh).

2. Click a segment in any track to select it. Ctrl+click (Windows) or Shift+click (Macintosh) additional segments to select a group.

Lassoing One or More Segments

The system automatically enters Segment mode when you lasso segments from left to right.

To lasso segments:

t Click in the area above the tracks in the Timeline. Drag left to right and down to select more than one segment.

Lasso box

Segment

Begin

End

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Using the Timeline

To switch to Lift/Overwrite mode:

t Click the Lift/Overwrite button after drawing the lasso.

Observe the following guidelines when lassoing segments:

• Position the pointer above the tracks before dragging. If you click within the tracks, you simply relocate the position indicator to that position. To lasso segments in the middle of the Timeline between multiple tracks, press and hold the Alt key (Windows) or the Ctrl key (Macintosh) while you click and drag the lasso.

• Lasso at least two transitions or all transitions included in multiple segments. If your lasso surrounds only one transition, you enter Trim mode.

• Drag from left to right.

Deselecting Segments

You can deselect one or more selected segments.

To deselect an entire track:

t Click the Track button in the Track Selector panel.

For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 track buttons to leave only the segment on the middle track, V1, selected.

To deselect one or more segments:

t Use the Segment Mode pointer to Ctrl+click (Windows) or Shift+click (Macintosh) specific segments on any track, leaving the remaining tracks selected.

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Editing in the Timeline

Performing Segment Mode Edits

There are two methods for editing segments or adding clips:

• Extract/Splice-in, indicated by a yellow arrow

• Lift/Overwrite, indicated by a red arrow

Consider the following when editing segments:

• Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved.

• When you are finished making an edit, Segment mode continues to affect edits you make in Trim mode, unless you click the active Segment Mode button to deactivate it.

Observe the following guidelines when selecting tracks:

• You cannot simultaneously move segments that are separated along the same track. You can, however, move segments separated on different tracks.

• You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps).

• With a group, you can click any one of the selected segments to drag the entire group to a new position.

• You can select black filler as a segment.

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Maintaining Sync in Segment Mode

When you use Lift/Overwrite in Segment mode, filler is added to the sequence to maintain sync. When you move segments in the Timeline using Extract/Splice-in, the sync is broken. To maintain sync when you use Extract/Splice-in, you need to select the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box. After moving a segment in the Timeline with Extract/Splice-in, this option maintains sync by adding filler to the following locations:

• Where the segment was moved from in the sequence

• On all other sync-locked tracks that correspond to the new location of the segment you moved

You can move either an audio segment or a video segment.

To move a segment and maintain sync:

1. Double-click Timeline in the Settings scroll list of the Project window.

The Timeline Settings dialog box appears.

2. Select the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box.

3. Click OK.

4. In the Track Selector panel, click the Sync Lock button for the video and audio tracks that you want to keep in sync.

5. Click the Extract/Splice-in button.

6. Click an audio or video segment, and drag it to the new location.

In the following example, an audio segment in track A2 is moved. The new location for the audio segment has filler added to the video track. All segments remain in sync.

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Editing in the Timeline

Extracting/Splicing-in Segments

Use Extract/Splice-in to move the selected segments in the Timeline without affecting the adjacent material. The total duration of the sequence is unaffected.

Like the standard Splice-in function, the Extract/Splice-in edit inserts the segment into the new position. However, as an additional function, it also extracts (removes) the segment from its previous position and closes the gap.

n For information on maintaining sync in the sequence when you use Extract/Splice-in, see “Maintaining Sync in Segment Mode” on page 566.

Before segment drag sync lock

After segment drag sync lock Filler added after segment is moved.

This segment will be moved.

Filler left after segment is moved.

Before Splice-in

Clip W Clip Y

Surrounding clips are unchanged.

Clip Z

Clip W Clip Y Clip ZAfter Splice-in

(selected clip)

(selected clip)

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Using the Timeline

To perform an Extract/Splice-in edit:

1. Click the Extract/Splice-in button (yellow arrow) in the Timeline bottom toolbar.

2. Select the segment you want to move.

3. Click the segment, and drag it to its new position.

4. Release the mouse button.

The system extracts the selected segment from its old position, closes the gap left by its removal, and then splices the material back into the sequence at the newly selected location.

5. Click the Extract/Splice-in button again if you want to leave Segment mode.

n To cancel a segment edit in progress, drag the segment out of the Timeline and release the mouse button. Alternatively, choose Undo from the Edit menu.

Lifting/Overwriting Segments

Use Lift/Overwrite to replace existing material at the new position, while leaving blank space in the previous position. The total duration of the sequence is unaffected. The material in the sequence remains in sync.

Like the standard Overwrite function, the Lift/Overwrite edit deletes and replaces underlying material at the new position, effectively creating new edits. It also lifts the segments from the previous position, leaving black or silence of the same duration on the middle track (V1) selected.

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Editing in the Timeline

To perform a Lift/Overwrite edit:

1. Click the Lift/Overwrite button (red arrow) in the Timeline bottom toolbar.

2. Select the segment you want to move.

3. Click the segment, and drag it to its new position.

4. Release the mouse button.

The system lifts the selected segment from its old position, leaving black filler, and then overwrites the material onto the sequence at the newly selected location.

5. Click the Lift/Overwrite button again if you want to leave Segment mode, or continue to lift and overwrite segments.

n To undo a segment move, drag the segment out of the Timeline and release the mouse button. Alternatively, choose Undo from the Edit menu or press Ctrl+Z (Windows) or k+Z (Macintosh).

Deleting Segments with Segment Mode

Segment mode allows you to quickly delete whole segments in the Timeline without having to first mark IN and OUT points. In addition, you can select multiple segments in separate tracks anywhere along the Timeline to delete them all at once.

Underlying materials are overwritten.

Clip W Clip Y Clip Z

Clip W Clip Y Clip Z(selected clip)

Before Overwrite

After Overwrite

Black filler

(selected clip)

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Using the Timeline

To delete segments quickly:

1. Click one of the Segment Mode buttons:

- Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps. The total duration of the sequence is shortened, and any synchronized tracks lose sync.

- Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place. The total duration of the sequence remains the same, and sync is maintained.

2. Select one or multiple segments.

3. Press the Delete key.

The segments are deleted.

n If the segment has an effect, the system deletes the effect first.

Bin Editing into the Timeline

Bin editing allows you to bypass the process of loading clips into a Source pop-up monitor, setting marks, and clicking the Extract/Splice-in button or the Overwrite button. You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline.

To perform a drag edit from a bin into your Timeline:

1. For a more accurate edit, mark IN and OUT points for each clip or create subclips, as described in “Marking and Subcataloging Footage” on page 489. Otherwise, the entire clip is edited into the sequence.

2. Click one of the Segment Mode buttons:

- Lift/Overwrite (red arrow) acts as an overwrite edit, causing the clip to overwrite material of the same length in the

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Editing in the Timeline

sequence, while maintaining the same duration of the sequence.

- Extract/Splice-in (yellow arrow) acts as a splice-in edit, inserting the clip into the sequence, moving existing material down, and lengthening the total duration.

3. Drag a clip from the bin into the Timeline. You can edit only one clip at a time.

4. When you find the correct location for the clip, release the mouse button.

The Timeline reflects the new edit.

n Once you have completed the edit, you remain in Segment mode until you click the active Segment Mode button again to deactivate it.

Bin Editing Directly into a Sequence

Bin editing allows you to bypass the process of loading clips into the Source pop-up monitor, setting marks, and clicking the Splice-in button or the Overwrite button. You can use keyboard shortcut keys to edit clips directly from a bin into the sequence in the Timeline.

To perform a direct edit from a bin into a sequence:

1. Activate bin editing:

a. Click the Settings tab in the Project window.

The Settings scroll list appears.

b. Double-click Bin.

c. Select “Enable edit from bin (Splice, Overwrite).”

d. Click OK.

2. Mark an IN or OUT point in the Timeline, or place the position indicator at the place where you want the clip to appear.

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Using the Timeline

3. Select a clip in the bin.

The entire clip is edited into the sequence, unless you have marked IN and OUT points.

4. Press the V key to perform a splice edit, which inserts the clip into the sequence and moves existing material down, thereby lengthening the total duration.

Press the B key to perform an overwrite edit, which causes the clip to overwrite material of the same length in the sequence, while maintaining the same duration of the sequence.

The Timeline reflects the new edit.

Using the Top and Tail Commands

The Top and Tail commands allow you to perform quick edits to segments in the Timeline.

Use the Top button to extract footage from the start of the clip or segment up to the position indicator. This action is the equivalent of the T-R-X keyboard command sequence: Mark Clip, Mark OUT, Extract. The Top button appears in the Edit tab of the Command palette.

Use the Tail button to extract footage from the position indicator to the end of the clip or segment. This action is the equivalent of the T-E-X keyboard command sequence: Mark Clip, Mark IN, Extract. The Tail button appears in the Edit tab of the Command palette.

For information about how Mark Clip works, see “Marking an Entire Clip or Segment” on page 492.

To edit using Top and Tail commands:

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

2. Select the track or tracks you want to edit and deselect all other tracks.

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Editing in the Timeline

3. Park the position indicator where you want to perform an edit.

4. Choose Command Palette from the Tools menu.

5. Click the Edit tab.

6. Do one of the following:

t Click the Top button to extract the footage from the start of the segment to the position indicator.

t Click the Tail button to extract the footage from the position indicator to the end of the segment.

Setting the Duration for Filler at the Start of a Sequence

To set the duration of filler used at the start of a sequence:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Timeline.

The Timeline Settings dialog box appears.

3. Click the Edit tab.

4. In the option “Start Filler Duration n frames,” type the amount of filler you want to appear by default when you choose Add Filler at Start from the Clip menu.

5. Click OK.

For instructions on how to use filler, see “Adding Filler” on page 518.

Top button

Tail button

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Using the Timeline

Cutting, Copying, and Pasting in the Timeline

You can use the traditional shortcut keys for cutting, copying, and pasting segments selected in the Timeline.

To cut or copy and paste:

1. Select the segment using one of the Segment Mode buttons.

2. Do one of the following:

t Choose Copy from the Edit menu.

t Press Ctrl+C (Windows) or k+C (Macintosh) to copy.

t Choose Cut from the Edit menu.

t Press Ctrl+X (Windows) or k+X (Macintosh) to cut.

3. Move the position indicator to the new IN point.

4. Press Ctrl+V (Windows) or k+V (Macintosh) to paste the segment in the Timeline.

Editing and Nesting Effects

You can edit effects in the Timeline. Effects editing techniques fall into the following basic categories:

• Motion effects, such as freeze-frame and slow-motion or fast-motion effects, involve applying frame-motion parameters to selected footage, usually on a single video track.

• Transition effects, such as dissolves and wipes, involve transitioning from one edited clip to another on the same video track.

• Segment effects, such as picture-in-picture, keys, or color effects, are applied to whole segments. They commonly require multiple layers of video.

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Printing the Timeline

n For more information on effects editing, see the Avid Xpress Effects Guide or the Help.

When editing effects, you can use a procedure known as nesting. This involves opening up effects to reveal added layers for combining multiple images and digital video effects. When the effect is applied, you can close it to view and render the effect as one segment on the track.

n For more information on nesting techniques, see ”Nesting Effects” in the Avid Xpress Effects Guide or the Help.

Printing the TimelineTo print the Timeline:

1. Click the Timeline to make it active.

2. Choose Print Timeline from the File menu.

The Print dialog box appears.

3. Select the printing options.

4. Click OK (Windows) or Print (Macintosh).

The system prints the current view of the Timeline.

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Using the Timeline

CHAPTER 15Working in Trim Mode

Basic editing in the Timeline initially produces a rough cut, which can be loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence, rather than create a rough cut first. The following sections describe the Trim mode procedures:

• Customizing Trim Mode

• Using Basic Trim Procedures

• Slipping or Sliding Clips or Segments

• Creating Overlap Edits

• Maintaining Sync While Trimming

Customizing Trim ModeYou can customize Trim mode by changing the Transition Play Loop settings for preroll, postroll, and intermission.

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Working in Trim Mode

To customize the Transition Play Loop settings:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Trim.

The Trim Settings dialog box appears.

3. Set and alter the lengths of the preroll, postroll, and intermission intervals by clicking the appropriate text box, and then typing a new value.

4. Click OK.

Using Basic Trim ProceduresYou can enter Trim mode in several different ways, depending on the type of trim you expect to perform. Once in Trim mode, you can:

• Select trim sides.

• Perform and review the trim.

• Trim on-the-fly.

• Trim video tracks.

• Extend edits.

Entering Trim Mode

To enter Trim mode, use one of the following methods:

t Click the Trim Mode button on the Tool palette or in the Timeline top toolbar. See “Using the Tool Palette” on page 494.

By default, the system enters Trim mode and selects the transition nearest the position indicator for dual-roller trimming. The Dual-Roller icon appears on all highlighted tracks. This method is useful for selecting straight-cut transitions on one track or across

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Using Basic Trim Procedures

video and audio tracks. If the transitions are not straight cuts (overlap cuts or L-edits), the Dual-Roller icon only appears on the transition nearest the position indicator of the topmost track, and all other tracks are deselected.

t Press the Alt key (Windows) or the Option key (Macintosh) and click the Trim Mode button to select the previous trim-roller configurations. By default, when you enter Trim mode, the trim rollers are set for dual-roller trimming. For more information about selected trim sides, see “Selecting Between Trim Sides” on page 582.

t Lasso the transitions in the Timeline.

Draw the lasso by clicking at a point above the top track in the Timeline and by dragging to surround the transitions. You can drag from right to left or from left to right, and you can lasso single transitions across several contiguous tracks.

Lasso drawn across three tracks

Transitions are selected for dual-roller trim

580

Working in Trim Mode

n Avoid lassoing more than one transition on a single track when lassoing from left to right because this activates Segment mode and lassoing from right to left activates slipping trim mode.

This method is useful when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming.

n To select transitions located below several track layers, you can draw a lasso within the Timeline by pressing the Alt key (Windows) or the Option key (Macintosh) while you drag.

Exiting Trim Mode

To exit Trim mode, use one of the following methods:

t Click the Trim Mode button on the Tool palette.

t Press the Right Arrow key or the Left Arrow key.

t Press Esc.

t Click a specific location in the Timecode (TC1) track at the bottom of the Track Selector panel.

The position indicator moves to that location.

Trim Mode Displays

You can trim in Big Trim mode or Small Trim mode. Your choice of mode depends on whether you are using the dual Source/Record monitors or the single Composer monitor. For more information about dual monitors, see “Using Dual Monitors” on page 464.

To trim in Big Trim mode:

t In the dual Source/Record monitors, click the Trim Mode button in the Timeline top toolbar or on the Tool palette.

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Using Basic Trim Procedures

n For more information about the Timeline top toolbar or the Tool palette, see “Accessing the Timeline Settings” on page 536 or “Using the Tool Palette” on page 494.

Big Trim mode opens in both monitors.

To trim in Small Trim mode:

t In the single Composer monitor, click the Trim Mode button in the Timeline top toolbar or on the Tool palette.

Small Trim mode opens in the Composer monitor.

Outgoing frames Incoming frames

Playback loop parameters Trim buttons Frame offset counters Play Loop button

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Working in Trim Mode

Selecting Between Trim Sides

You can trim a transition on either the outgoing side (A-side or tail), the incoming side (B-side or head), or both sides (dual-roller).

To select sides of a transition to trim:

t Click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to a Single-Roller A-Side, Single-Roller B-Side, or Dual-Roller icon, depending on the position.

Outgoing frames

Play Loop button

Incoming frames

Playback loop parameters

Trim buttons

Frame offset counters

A-Side B-Side A and B

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Using Basic Trim Procedures

t Click in between the two frames displayed in the Composer monitor to trim both sides.

Selecting Additional Transitions

While in Trim mode, you can select additional transitions for trimming in different contexts.

To select additional transitions on contiguous tracks for trimming on the same side:

t Click the corresponding Record Track buttons in the Track Selector panel. See “Using the Track Selector Panel” on page 547.

Likewise, you can deselect tracks in the Track Selector panel to remove transitions on those tracks from the trim procedure.

To select additional transitions for single-roller trimming in varying locations on different tracks:

t Shift+click the transitions in the Timeline.

This method is useful when you are working with staggered transitions across multiple tracks. It also allows you to select both A-side and B-side transitions for simultaneous trimming in opposite directions (asymmetrical trim). This is not possible with dual-roller trims.

As you move the pointer back and forth across a transition, the roller icon changes from an A-side roller (facing left) to a B-side roller (facing right) to indicate the type of selection.

You do not see the Dual-Roller icon in the Timeline.

To select both sides:

t Select one side, and then Shift+click to select the other side.

Single-Roller A-Side icon Single-Roller B-Side icon

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Working in Trim Mode

To quickly add multiple transitions to the currently selected transition:

t Press and hold the Shift key and lasso the additional transitions.

You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames. This allows you to save time and, in some cases, to maintain sync by performing a single-trim procedure across multiple tracks and transitions. For more information about lassoing, see “Entering Trim Mode” on page 578.

Performing a Basic Trim

After you select your transitions and trim sides, you can perform a basic trim.

To perform a trim, use one of the following procedures:

t Use the Trim buttons to trim forward or backward by 1-frame or 10-frame increments.

t Use the J-K-L keys to trim forward or backward in the sequence.

t Use the numeric keypad on the right side of the keyboard, as follows:

- To move the transition a specific number of frames, type a plus sign (+) or minus sign (–) and the number of frames (from 1 to 99) you want to move forward or backward. Then press Enter.

If the number of frames is larger than 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200, then type f, and press Enter.

- To move the transition to an exact timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02).

1 frame

10 frames

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Using Basic Trim Procedures

t Use controls in the Timeline by clicking a roller at the selected transition and by dragging forward or backward in the sequence.

To have greater control:

t Press the Alt key (Windows) or the Option key (Macintosh) as you drag one frame at a time.

t Press the Ctrl key (Windows) or the k key (Macintosh) to snap to other transition points.

As you trim, all selected transitions in the Timeline move in unison. The Trim counter displays the frame count backward or forward for one or both trim sides, and the monitors display the new incoming or outgoing frames.

n You can render transition effects while in Trim mode but you cannot render segment effects. If the position indicator is on a segment effect or if the marked portion of your sequence includes a segment effect, render menu commands and buttons are not available.

Reviewing the Trim Edit

You can review an edit using the Play Loop button or the Edit Review button.

Reviewing an Edit with the Edit Review Button

The Edit Review command allows you to review an edit or other change that you have just made to a transition.You can set how far the position indicator backs up in the Preroll option in the Trim Settings dialog box (see “Customizing Trim Mode” on page 577). The Edit Review button appears in the Play tab of the Command palette and is mapped by default to the Tab key.

When you use the Edit Review command, Avid Xpress exits Trim mode.

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Working in Trim Mode

To review footage starting from the previous transition:

1. Park the position indicator at the transition you want to review.

2. Press the Tab key (Edit Review button).

The position indicator backs up past the previous transition and begins to play.

n If you have a sequence with multiple selected tracks, the Edit Review command backs up past the first set of cuts that line up on all the selected tracks.

To stop play:

t Press the space bar.

Reviewing an Edit with the Play Loop Button

To review the most recent trim edit or to play the currently selected transition while in Trim mode:

1. Click the Play Loop button in the Composer monitor toolbar.

The system enters a playback loop. This repeatedly begins at a preroll point before the transition and ends at a postroll point, pausing briefly before beginning playback again.

2. Stop the playback loop by clicking the Play Loop button again.

To exit Trim mode:

t Click the Step Forward or Step Backward button.

For other ways to exit, see “Exiting Trim Mode” on page 580.

Trimming On-the-Fly

In Trim mode, you can use the J-K-L keys on the keyboard to play through outgoing or incoming material and to mark trim points. For convenience, this method isolates the trim controls to just three keys.

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Using Basic Trim Procedures

To trim on-the-fly:

1. Select one or more transitions for single-roller or dual-roller trimming. See “Performing a Basic Trim” on page 584.

2. Use the J-K-L keys to step (jog), play, or shuttle through the footage at varying speeds:

t Press and hold the K key while pressing J or L to step slowly backward or forward through the footage. When you find the frame where you want to relocate the transition, release the K key to complete the trim.

t Press the J or the L key once to play at normal speed, or more than once to shuttle at higher speeds. When you see the frame where you want to relocate the transition, press the space bar or the K key to complete the trim.

The monitors and the Timeline are updated to reflect the trim.

n When trimming with the J-K-L keys, you cannot completely trim away a segment. The system always leaves one frame. To remove the one frame, use another trim method. See “Performing a Basic Trim” on page 584.

Trimming Video Tracks

In Trim mode, when you click the A-side or B-side of a transition, all trim rollers are set to the selected side.

To set only the trim rollers on the video tracks:

t Press the Alt key (Windows) or the Option key (Macintosh) and click either the A-side or B-side.

The trim rollers appear only on the video tracks of the selected side.

To save the position of the trim rollers:

t Press the Alt key (Windows) or the Option key (Macintosh) when you click the Trim Mode button to return to Trim mode.

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Working in Trim Mode

Extending an Edit

Use the Extend Edit function to perform dual-sided (A-side and B-side) trims on selected tracks. Using Extend Edit allows you to quickly create a split or overlap edit without entering Trim mode. It also lets you establish the exact frame you want to trim using the position indicator. (If you enter Trim mode, the position indicator moves to the nearest transition by default.)

You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, the Extend Edit function always maintains sync relationships.

To perform an Extend Edit:

1. Select the tracks you want to extend.

2. Find the point in the sequence to which you want to trim. If the trim point is before the edit, mark an IN point. If it is after the edit, mark an OUT point.

3. Choose Command Palette from the Tools menu.

4. Click the Trim tab.

5. Select Active Palette.

6. Click the Extend button.

The adjustment appears in the Timeline.

n You can map the Extend Edit button to any button on the Tool palette or to any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 153.

Slipping or Sliding Clips or SegmentsSlip and slide procedures are two unique Trim mode techniques that allow you to make frame-accurate adjustments to a selected clip. They

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Slipping or Sliding Clips or Segments

occur without affecting the overall duration of the sequence or the sync relationships between multiple tracks. Procedures for performing them are described in this section.

You can slip and slide the video and audio for a clip together. Alternatively, you can slip and slide a single segment of video or audio independently from the rest of the clip.

The type of trim you perform (slip or slide) determines which frames are updated, as follows:

• In slip trimming, the head and tail frames of the clip change because only the contents of the clip are adjusted. The frames that precede and follow the clip are not affected. The trim rollers point inward to the clip.

• In slide trimming, the outgoing (A-side) and incoming (B-side) frames change because the clip remains fixed while the footage before and after it is trimmed. The trim rollers point away from the clip.

Before slip

After slip

Frames

Surrounding material Slip 1 frame to the right.remains fixed

1 2 3 4

2 3 4 5

Rollers on the inside

1 2 3 4

2 3 4 51

1 2 3 4

2 3 4

Frames

Before slide

After slide

Slide 1 frame to the rightSurrounding material is selected

Rollers on the outside

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Working in Trim Mode

Selecting Clips or Segments for Slip or Slide Trimming

To select clips or segments for either slip or slide trimming, do one of the following:

t While in Editing mode, select what you want to slip or slide. Then, enter Trim mode by dragging a lasso from right to left around a segment (two or more transitions). To select a segment for slide trimming, press Shift+Alt (Windows) or the Option key (Macintosh) while you drag the lasso.

Drag right to left around at least two transitions.

To drag a lasso around a segment on a lower track, press the Alt key (Windows) or the Option key (Macintosh) while you drag a lasso. You enter slide trim by default. To switch to slip trim, Shift+click the the insides of the rollers. To return to slide trim, press the Alt key (Windows) or the Option key (Macintosh) while you double-click the segment.

You can also select two or more contiguous segments within a track for slipping or sliding as a whole by dragging the lasso around four or more transitions.

c Be sure to draw the lasso from right to left; if you draw from left to right, you enter Segment mode.

t While in Trim mode, press the Shift key and select both the head and tail of a clip for slipping. Alternatively, select the outgoing tail frame of the preceding clip and the incoming head frame of the following clip in the sequence to prepare the clip for sliding.

IN OUT

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Slipping or Sliding Clips or Segments

You can also use this method to select two or more contiguous segments on the same track, and additional segments on other tracks for slipping or sliding as a group.

n You cannot perform both slipping and sliding simultaneously.

You can slip and slide segments in a four-frame display. With the Composer monitor stretched to the dual Source/Record monitors, click the Trim Mode button to enter Big Trim mode, and select segments for slipping or sliding by any of the preceding methods. The four-frame display appears.

For more information about Big Trim mode, see “Trim Mode Displays” on page 580.

The two outer frames indicate ending and beginning frames of clips before and after the segment.

The two inner frames represent the start and end frames of the segment.

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Performing the Slip or Slide Trim

To slip or slide a clip or segment:

1. After selecting the segments, as described in “Selecting Clips or Segments for Slip or Slide Trimming” on page 590, do one of the following:

t Click any roller in the Timeline, drag the selected material to the left or right, and release.

t Use the numeric keypad to enter specific frame-count or timecode values, and press Enter (Windows) or Return (Macintosh).

t Use the Trim keys to shift the selection by 1-frame or 10-frame increments.

2. Monitor the progress of the trim using the monitors, the Trim counters, and the Timeline.

When you reach the end of available material while slipping a clip, the trim stops. Similarly, when you reach the next transition while sliding a clip along a track, the trim stops.

3. Exit Slip mode or Slide mode:

t Click another transition for trimming.

Key Slips

/ 10 frames forward

m 10 frames backward

period (.) 1 frame forward

comma (,) 1 frame backward

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Slipping or Sliding Clips or Segments

t Click the Trim Mode button on the Tool palette.

t Press the Escape key to exit Trim mode.

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Creating Overlap EditsYou can use an overlap edit (or L-edit) to smooth a transition by giving the viewer the illusion that the audio or video is shared between two separate but adjacent clips.

To create an overlap edit:

1. Perform a straight-cut edit between two clips, including audio and video tracks.

t If the timing of the video edit is crucial, mark edit points according to video.

t If the timing of the audio transition is crucial, mark edit points according to audio.

2. Perform a dual-roller trim on either the video track or the audio tracks, but not both.

t If the video transition occurs at the correct place, but you want the audio from one clip to linger into the other (or the reverse), trim the audio tracks accordingly.

t If the audio transition occurs at the correct place, but you want the video to transition either before or after the audio cut, trim the video track accordingly.

V1A1A2

Beforetrimming

Aftertrimming

V1A1A2

Clip B audio is extended.

Audio overlap example

Clip A Clip B Clip C

Clip A Clip B Clip C

Clip C audio is trimmed in.

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Maintaining Sync While Trimming

Maintaining Sync While TrimmingThe Avid Xpress system provides two features to ensure that you do not break sync unintentionally between two or more video and audio tracks when performing single-roller trims.

• You can add black filler to maintain the overall duration of the track.

• You can trim with tracks sync locked.

Adding Black While Trimming

You can add black filler on either the A-side or the B-side of a transition while maintaining the overall duration of the track and the sync relationships. The system adds a black segment to fill the duration of the trimmed frames.

To add black while trimming:

1. Enter Trim Mode.

2. Select the transition.

3. Press and hold the Alt key (Windows) or the Ctrl key (Macintosh) while dragging the A-side or B-side trim roller.

The system adds a black segment without changing the duration of the sequence.

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Working in Trim Mode

After you add black filler to a video track, you can replace the filler with footage by performing a replace edit. For more information, see “Performing a Replace Edit” on page 526.

Trimming with Sync-Locked Tracks

To trim with sync-locked tracks:

n Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks.

1. While in Trim mode, click next to the tracks you want to keep in sync.

The Sync Lock icon appears, and the location of the position indicator determines the sync point across tracks.

Trimming without adding black

Black fills the trim duration, and sync is maintained.

No black is added, and sync breaks appear in the Timeline.

Adding black while trimming

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Maintaining Sync While Trimming

n You can also click the Sync Lock All button next to the Timecode button to switch sync lock on and off for all tracks.

2. Perform single-roller trims as necessary, with the following results:

- When you trim the A-side of a transition forward, all other segments locked in sync move forward with the trim. If the transitions are staggered, this might split one or more of the segments at the sync point established by the position indicator, leaving fill.

If you trim the B-side of the transition in the same direction, the additional sync-locked segments slide back in the sequence to maintain sync until they encounter another segment in the same track. At this point, you can trim no further and the system emits a warning sound.

- When you trim back the A-side of a transition, additional segments locked in sync move back as well. If the segments are staggered and one of the additional sync-locked segments encounters another segment on the same track, you can trim no further and the system emits a warning sound.

If you trim the B-side of the transition in the same direction, all other segments locked in sync move forward to stay in sync. If the transitions are staggered, this action might split one or more of the sync-locked segments at the sync point established by the position indicator. Filler is added where the split occurs.

Sync Lock icon

Sync Lock All button Timecode button

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Working in Trim Mode

CHAPTER 16Working with Audio

You edit audio using many of the same techniques and tools you use to edit video, including editing, Segment mode, and Trim mode functions. Your Avid Xpress system also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers. In addition, you can use the Audio Equalization (EQ) tool to adjust the high, low, and midrange frequency ranges of segments. The following sections describe these procedures:

• About Audio Tools

• Accessing Audio Effect Tools

• Audio Editing Aids

• Understanding the Audio Mix Tool

• Using the Audio Mix Tool

• Understanding Audio Gain Automation

• Using the Audio EQ Tool

• Digidesign AudioSuite Plug-Ins

• Recording Voice-Over Narration

• Using a GPI Device with the Audio Punch-In Tool

• Fine-Tuning Audio Transitions

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• Mixing Down Audio Tracks

• Changing the Sample Rate

• Displaying Audio File Information

• Reimporting Zaxcom Deva or Aaton InDaw Audio

About Audio ToolsThe Avid Xpress system provides a collection of tools for managing and fine-tuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows:

• Audio tool: Use this tool primarily for adjusting and calibrating global input and output levels when you digitize from analog sources or from output to tape. For more information, see “Using the Audio Tool” on page 245 and “Preparing for Audio Output” on page 728.

• Audio Mix tool: Use this tool primarily for adjusting pan and volume levels on clips or whole tracks within a sequence. For more information, see “Using the Audio Mix Tool” on page 614.

• Audio Gain Automation tool: Use this tool to fine-tune your audio tracks. The tool provides control over volume keyframes and ramps within a clip. For more information, see “Understanding Audio Gain Automation” on page 625.

• Audio EQ tool: Use this tool for adjusting the sound characteristics of audio clips in the sequence based on three-band control over high, low, and midrange frequencies. For more information, see “Using the Audio EQ Tool” on page 644.

• Digidesign® AudioSuite Plug-In tool: Use this tool to access third-party audio plug-ins. For more information, see “Digidesign AudioSuite Plug-Ins” on page 662.

• Audio Punch-In tool: Use this tool to record up to two channels of audio directly into the Timeline for voice-over narration. For more information, see “Recording Voice-Over Narration” on page 680.

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Accessing Audio Effect Tools

Accessing Audio Effect ToolsYou can access the following tools from any of the audio effect tools:

• Audio Mix (for adjusting pan and volume)

• Automation Gain

• AudioSuite

• Audio EQ

To access one of the audio effect tools:

t Choose one of the tools from the Tools menu.

To switch to another tool:

t Choose the new tool from the Effect Mode Selector pop-up menu.

To keep more than one tool open at the same time:

t Choose the tool from the Tools menu or press and hold the Alt key (Windows) or the Option key (Macintosh) while choosing a new tool from the Effect Mode Selector pop-up menu.

Effect Mode Selector pop-up menu

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Working with Audio

n To prevent confusion, Avid Xpress allows only one copy of an audio effect tool to be open at a time. For example, you can open only one copy of the Audio EQ tool.

The following section describes several features that help you locate transitions and monitor audio samples while editing or adjusting sound with the tools.

Audio Editing AidsThe Avid Xpress system provides audio track soloing, audio scrub features, pan defaults, and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during editing or while making adjustments with the audio tools.

Soloing Audio Tracks in the Timeline

You can solo multiple tracks in the Timeline. This feature allows you to:

• Listen to several tracks at once without turning other audio tracks off or down.

• Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks.

To solo an audio track:

t Ctrl+click (Windows) or k+click (Macintosh) the Audio Track Monitor button for the track that you want to solo.

The Audio Track Monitor icon changes to green.

To turn off soloing for the track:

t Click the Audio Track Monitor button again.

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Audio Editing Aids

To turn off the solo feature for all tracks:

t Ctrl+Alt+click (Windows) or k+Option+click (Macintosh) an Audio Track Monitor button for a solo track.

Using Audio Scrub

The term audio scrub originated in the film industry. It describes the process of “scrubbing” a magnetic audiotape across the playback heads to monitor a portion of sound. This process isolates portions of audio to help you accurately mark edit points or analyze transitions for careful trimming.

Smooth Scrub Versus Digital Scrub

You have two options for scrubbing audio in either the sequence or the source material:

• Smooth audio scrub: This feature mimics the variable-pitch playback of traditional analog tape.

• Digital audio scrub: This feature takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at normal pitch and playback rate.

Each type of scrub has its advantages:

• Smooth scrub makes it easier to examine sound at varying speeds.

• Digital scrub allows you to focus quickly on individual bits of incoming or outgoing audio for frame-accurate edits and adjustments.

Try both types of scrub and see which one works better in different situations.

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Working with Audio

Selecting Tracks for Scrubbing

By default, all monitored audio tracks are selected for scrubbing. However, as the play speed increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to two tracks to ensure they play during scrubbing, even if the system has to drop some tracks.

Table 16-1 shows how many tracks can be scrubbed at the varying speeds of play.

To ensure an audio track is monitored during scrubbing:

t Alt+click (Windows) or Option+click (Macintosh) the Audio Track Monitor button in the Track Selector panel for the chosen track.

Table 16-1 Number of Tracks and Scrub Speeds

When you play footage forward or backward at: You can scrub:

Normal speed Up to 8 tracks

Two times normal speed Up to 8 tracks (Windows)

2 tracks (Macintosh)

Three times normal speed 2 tracks

Greater than three times normal speed 0 tracks

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Audio Editing Aids

The Audio Track Monitor button is purple with a gold Speaker icon to indicate which tracks are played if the system has to drop tracks during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon.

You can isolate specific audio tracks for scrubbing, without having to deselect monitoring of all other audio tracks, by soloing the audio tracks. See “Soloing Audio Tracks in the Timeline” on page 602.

Performing Smooth Audio Scrub

You perform the smooth audio scrub procedure using either the J-K-L keys or the mouse, as described in this section.

Using the J-K-L Keys to Perform Smooth Scrub

You can use three-button play with the J-K-L keys to perform smooth audio scrubbing of selected tracks of audio at variable speeds. You cannot activate digital audio scrub with three-button play. You can monitor while stepping (jogging) or while shuttling at fixed rates up to three times normal speed. The audio cuts out at greater than three times the normal speed and comes back in after the speed drops below three times.

Audio Track Monitor buttons with gold Speaker icons

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Working with Audio

To monitor audio with three-button play:

1. Select the correct track and adjust the playback volume as necessary.

2. Play the audio, using the three-button variable speed playback procedures described in “Shuttling with J-K-L Keys” on page 485.

Using the Mouse to Perform Smooth Scrub

You can use the mouse to perform smooth audio scrubbing of selected tracks. Like the J-K-L keys, you can jog and shuttle using the mouse. Unlike three-button play, however, playback rates with the mouse are not at fixed increments. They can vary from 1 to 300 fps, depending on manipulation of the mouse.

To monitor audio with the mouse:

1. Select the correct track and adjust the playback volume as necessary.

2. Choose Command Palette from the Tools menu.

3. Click the Play tab.

4. Activate the mouse for jogging or shuttling by pressing the Mouse Jog button or the Mouse Shuttle button.

Mouse Jog allows you to move the position indicator with the mouse. Mouse Shuttle allows you to control the speed of the position indicator by dragging the mouse.

To deactivate jog or shuttle, press the space bar or the Escape key.

5. Play the footage with the mouse.

Using Digital Audio Scrub

Digital audio scrub allows you to sample selected frames of incoming or outgoing audio as you move through the footage, without a change

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Audio Editing Aids

in pitch or speed. The following are unique characteristics of digital audio scrub:

• The frames of audio you hear are always at your point of destination. For example, if you step forward 10 frames, you hear a selected number of audio frames from a point behind the position indicator (outgoing frames) to a point in front of the position indicator (incoming frames) as it reaches the new destination point.

• The audio is always sampled in a forward playback direction; whether you step backward or forward through the material, you hear the same audio sampling at each destination frame.

Adjusting Digital Scrub Parameters

The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator). To isolate frames for marking or trimming, the default parameters are sufficient.

You can increase these settings to include more frames of audio on either side — for example, when you want to sample whole words or parts of words as you scrub to find edit points within a phrase. You can also reverse the settings to sample frames behind the position indicator (outgoing frames) as you scrub. You should avoid increasing the number of sampled frames on both sides at once because this can

Digital scrub example

Selectedtrack

Outgoing frames Incoming frames(behind position indicator) (ahead of position indicator)

This entire section is sampled.

Step 10 frames

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Working with Audio

make it difficult to isolate an edit point or trim point based on the location of the position indicator.

To adjust the parameters for digital audio scrub:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Audio.

The Audio Settings window opens.

3. Click in a text box and type a new number of outgoing or incoming frames in the Pop-up Scrub area, the Timeline Scrub area, or both.

The new parameters are now in effect.

4. Click the Close button (Windows) or close box (Macintosh).

Performing the Digital Scrub Procedure

To locate an audio edit point in audio using digital scrub:

1. Solo an audio track for scrubbing, and adjust the output volume, if necessary. See “Soloing Audio Tracks in the Timeline” on page 602.

2. Press the Caps Lock key to activate digital audio scrub.

n You can also activate digital audio scrub by pressing and holding the Shift key while you drag the position indicator or click the Step (Jog) buttons.

3. Move through the material in one of the following ways to hear the scrub:

t Drag the position indicator.

t Click the Step (Jog) buttons, located in the Move tab of the Command palette, to step through in fixed increments: 1 frame backward, 1 frame forward, 10 frames backward, or 10 frames forward.

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Audio Editing Aids

When you find the correct frame, mark the location, trim the transition, or perform any other function you choose.

If you are sampling incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point. If you are sampling outgoing frames, the system places the position indicator at the tail of the last sampled audio point.

Adjusting Pan Defaults

The way your footage was recorded in the field and was digitized with Avid Xpress affects the way sound pans between the speakers. By default, the system pans audio tracks 1 and 3 to the left speaker output and pans audio tracks 2 and 4 to the right speaker output.

You can set global pan settings before or during editing using the Audio Settings dialog box and by selecting All Tracks Centered. The Audio Settings dialog box also provides options for adjusting the default audio pan when editing with new clips, and for adjusting digital audio scrub parameters for monitoring and analyzing audio tracks and transitions.

For information on using the Audio Mix tool to adjust pan for individual clips in a sequence, see “Using the Audio Mix Tool” on page 614.

To open the Audio Settings dialog box:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Audio.

The Audio Settings dialog box appears.

By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output.

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Working with Audio

The option All Tracks Centered instructs the system to center the pan of all tracks between the two speakers for monitoring and output.

For information about adjusting audio scrub parameters, see “Adjusting Digital Scrub Parameters” on page 607.

Displaying Waveform Plots

You can use waveform plots to help you visually locate points in an audio track for editing or trimming. There are two types of waveform plots, Energy or Sample, which you choose from the Timeline Fast menu.

To display audio waveforms:

1. If you are searching for a point in a known section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster.

2. Click the Timeline Fast Menu button and choose Sample Plot.

The sample plot displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform.

n Press Ctrl+period (Windows) or k+period (Macintosh) at any time during the redraw of the waveform plot to stop the redraw.

Waveform sample plot

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Audio Editing Aids

3. (Option) Maximize the visibility of your waveform display using any of the following procedures:

t Continue to expand or shrink your view of the Timeline using the scale bar, effectively spreading out the waveform plots to show detailed variations in the audio levels.

t To enlarge the height of selected audio tracks and subsequently the waveform displays, press Ctrl+L (Windows) or k+L (Macintosh).

t To reduce the height of selected audio tracks and subsequently the waveform displays, press Ctrl+K (Windows) or k+K (Macintosh).

t To enlarge the size of the sample plot image without enlarging its track, press Ctrl+Alt+L (Windows) or k+Option+L (Macintosh).

This procedure is useful when you view detail in quiet passages.

t To reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K (Windows) or k+Option+K (Macintosh).

This procedure is useful when you view detail in loud passages.

n You can set the option “Show Marked Waveforms” in the Display tab of the Timeline Settings dialog box to narrow the view of the tracks in the Timeline. This option allows the Timeline to display faster because the waveform is displayed only between the mark IN and the mark OUT.

4. Move through the audio shown in the waveform using any of the playback methods.

You hear sound as you track the audio visually. When the position indicator is at the point you want in the waveform, you can mark, trim, or perform any other function.

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n Audio waveform plots can slow your navigation through the Timeline. Therefore, you might want to use them selectively. To do this, you can create a custom Timeline view, as described in “Customizing Timeline Views” on page 535.

Once you have created a customized waveform view, you can choose it from the Timeline View pop-up menu when needed, and return to another view when you are done.

Identifying the Sample Rate by Color

If you have a sequence with several different sample rates, you can allow the system to identify a specific sample rate by color.

To apply a color coding to a sample rate:

1. Load a sequence with multiple sample rates into the Timeline.

2. Choose Sample Plot from the Timeline Fast menu.

3. In the Project window, click the Settings tab.

The Settings scroll list appears.

4. Double-click Audio Project.

The Audio Project Settings window opens.

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5. Choose Yes from the Show Mismatched Sample Rates as Different Color pop-up menu.

Depending on what sample rate you have chosen for your project, the color black displays on those clips. For example, if you have chosen 48 kHz from the Sample Rate pop-up menu in the Audio Project Settings window, the sample plot of these clips (48 kHz) displays as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.1 kHz) displays as white.

44.1 kHz 48 kHz 48 kHz32 kHz

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Understanding the Audio Mix ToolFor additional information on audio levels for digital cut output, see “Preparing for Audio Output” on page 728.

The default volume for master clips is set to zero (that is, with no attenuation) when you first digitize the media. The pan option in the Audio Settings dialog box determines how the system plays back the default pan. If you set the Default Pan to “Alternating Left - Right,” odd tracks are sent to the left channel and even tracks are sent to the right channel. For more information, see “Adjusting Pan Defaults” on page 609.

The Audio Mix tool allows you to:

• Adjust pan and volume for an individual clip, a whole track, several tracks at once, or a whole sequence.

• Adjust the volume, pan, or both for one track at a time.

• Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. See “Ganging and Adjusting Multiple Tracks” on page 620.

The system uses these adjustments for all playback, including output to a digital cut.

n The Audio Mix tool adjusts entire clips only. You can use Audio Gain Automation to adjust volume levels within a clip in the Timeline. For more information, see “Understanding Audio Gain Automation” on page 625.

Using the Audio Mix ToolTo open the Audio Mix tool, do one of the following:

t If one of the Audio tools is already open, choose Audio Mix from the Effect Mode Selector pop-up menu.

t Choose Audio Mix from the Tools menu.

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Using the Audio Mix Tool

Resizing the Audio Mix Tool

You can use the Number of Mix Panes button to change the display from 8 tracks to 4. When you select 4 tracks, a menu appears that allows you to display the first 4 or last 4 tracks that are enabled.

You can further simplify the Audio Mix Tool display by clicking the Display/Hide Sliders button to switch between hiding and displaying the Volume Level sliders.

With the tool collapsed, you can continue to adjust levels by selecting a track and typing values using the numeric keypad on the keyboard, or by typing a value into the Volume Level display.

Audio Loop Play button

Render Effect button

Bypass Clip Gain button

Number of Mix Panes button

Fast Menu button

Track Selection Menu button

Volume Level displayGang button

Pan level and slider

Level slider

Effect Mode Selector pop-up menu Display/Hide

Sliders button

Which Set of Tracks to Display in Mix Panes pop-up menu

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Working with Audio

You can resize the entire Audio Mix tool by dragging the edge or corner of the tool. You can resize the Audio Mix tool only when the sliders are displayed.

Adjusting One Audio Track at a Time

To adjust one audio track at a time in the Audio Mix tool:

1. Load a clip or sequence, and activate the appropriate monitor:

t To adjust a track in a source clip, make sure the Source pop-up monitor is active.

t To adjust a track in a sequence, make sure the Composer monitor is active.

2. Select the track or portion of a track to be adjusted:

t To adjust the track in a single edited clip in a sequence, place the position indicator in the clip.

t To adjust an isolated section of audio on a track, mark IN and OUT points. Adjusting a clip with mark IN and mark OUT adjusts the entire clip.

t To adjust levels from an IN point through the end of the track, mark an IN point only. One mark also adjusts the entire track from the beginning of the clip that includes the mark.

t To adjust levels globally throughout the track, make no marks.

3. Choose Audio Mix from the Tools menu to open the Audio Mix tool.

n The Audio Mix tool contains eight panels, one for each audio track that you can monitor and adjust. The Audio Mix tool can display only tracks that exist in the sequence and are monitored, or tracks that were digitized with the source clip. Only monitored tracks appear in the Audio Mix tool. If a track does not appear, check the sequence to make sure the track is monitored.

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Using the Audio Mix Tool

4. Select the audio track to be adjusted by doing one of the following:

t Click the Track Selection Menu button for the appropriate audio track.

t Alt+click (Windows) or Option+click (Macintosh) the Track Selection Menu button, and then choose a track from the pop-up menu.

n To verify or change the output channels, use the Audio tool (choose Audio Tool from the Tools menu).

5. With the Audio Mix tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments.

The keyboard can control either the Source pop-up or Composer monitor, depending on which monitor was active when you opened the Audio Mix tool. Switch your selection by clicking the appropriate monitor.

6. Decide whether to raise or lower the volume, or pan left or right, which adjusts the volume or pan for a single clip. See “Changing an Audio Level” on page 618.

7. Adjust pan values. See “Adjusting Pan Values” on page 618.

Audio Level slider

Click Gang buttons to gang multiple tracks.

Pan Value display

Volume Level display

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8. Apply the adjustments to a chosen region of the track using the Audio Mix Fast Menu button located in the top bar of the tool. See “Applying Pan Value Adjustments” on page 619.

9. Play through the audio again, using the J-K-L keys.

10. Repeat steps 6 through 9 until you are satisfied with the pan and volume levels.

The system uses the new settings whenever you play back or record the sequence.

Changing an Audio Level

To change an audio level value in the audio track panel, do one of the following:

t Click a number along the vertical edge of the Level slider.

t Click the Level slider, type a value, and press Enter (Windows) or Return (Macintosh).

Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter (Windows) or Return (Macintosh) before typing the 2.

t Click the Level slider, and then drag the slider to a new position.

t Click the Volume Level display, type a value, and press Enter (Windows) or Return (Macintosh).

t Alt+click (Windows) or Option+click (Macintosh) the Level slider to reset the value to 0 dB.

Adjusting Pan Values

To adjust the pan values in the audio track panel, do one of the following:

t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position.

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t Alt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID.

If the sequence is playing, notice that play stops when you make an adjustment (the Audio Mix tool does not provide real-time audio control). You can adjust volume while playing the clip. For more information, see “Adjusting Volume While Playing an Audio Mix Effect” on page 623.

Applying Pan Value Adjustments

To apply the pan value adjustments:

t Click the Audio Mix Fast Menu button and choose a command from the Fast menu as shown in Table 16-2.

Table 16-2 Audio Mix Fast Menu Commands

Command Description

Set Pan on Track, Set Level on Track

Applies the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks.

Adjust Pan/Vols on Track

Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks.

For example, when you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.

Remove Clip Gain on Track, Remove Pan on Track

Removes clip gain or pan values from the marked regions of selected tracks.

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n The Clip Gain values set by the Audio Mix tool are the values for the entire segment; for example, you cannot set a subsection of a segment without affecting the entire segment. To set gain for a portion of a segment, use Audio Gain Automation. For more information, see “Understanding Audio Gain Automation” on page 625.

Ganging and Adjusting Multiple Tracks

You can gang multiple tracks in the Audio Mix tool to maintain the same relative settings between tracks when you make adjustments. This is useful in a variety of circumstances. For example, you can gang tracks to raise the overall volume of a portion of a sequence while maintaining variations in level adjustment among tracks.

Remove Pan/Vols on Track

Deletes all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings.

The options in the Fast menu appear dimmed until you select a track by clicking the Track Selection Menu button. (To apply the adjustments to multiple tracks, click additional Track Selection Menu buttons.) The options vary depending on the types of marks you set within the clip or sequence, as follows:

• With IN and OUT points: Commands apply adjustments to selected tracks between the points.

• With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks.

• With an OUT point (no IN point): Commands apply to full clips from the beginning of selected tracks to the OUT point.

• With no points: Commands apply globally (across entire tracks).

Table 16-2 Audio Mix Fast Menu Commands (Continued)

Command Description

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To gang and adjust multiple tracks:

1. Click the Gang buttons of the tracks you want to group. To deselect a Gang button, click it a second time.

2. Adjust either volume or pan for one of the tracks using any of the techniques described in “Adjusting One Audio Track at a Time” on page 616, and the other tracks maintain the same relative levels.

When you gang two or more tracks, you gang both the Level and Pan sliders.

To set all ganged sliders to the same value for volume:

t Click the number along the vertical edge of the Volume Level slider or type a value in one of the Volume Level displays and then press Enter (Windows) or Return (Macintosh).

To set all ganged sliders to the same value for pan:

t Click the Pan Value display and type a value.

Rendering an Audio Effect

The Render Effect button allows you to render an audio effect without closing the Audio Mix tool. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render Effect button to rerender the audio dissolves directly from the Audio Mix tool. Then, you can play the clip back immediately to hear the effect of the level change with the dissolve in place. For more information about rendering, see the “Rendering Effects” in the Avid Xpress Effects Guide or in the Help.

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Modifying Pan Values

There are two basic ways to work with pan values:

• Create or modify an audio pan/vol effect. This method creates an effect that is stored with the sequence.

• Modify the way that the system interprets pan values during playback.

Creating or Modifying an Audio Pan/Vol Effect

To create or modify an audio pan/vol effect, do one of the following:

t Use the Pan pop-up sliders at the bottom of the Audio Mix tool.

t Use the pan-related commands in the Audio Mix Tool Fast menu. See the description of the commands in “Adjusting Pan Values” on page 618.

n Stereo (available in the Audio tool) is the only Audio Mix mode that supports pan/vol effects.

Modifying How the System Interprets Pan

To modify the way the system interprets pan during playback:

t Set the default pan values in the Audio Settings dialog box. See “Adjusting Pan Defaults” on page 609.

t Choose one of the following modes from the Mix Mode Selection button in the Audio tool (see “Adjusting Output on Two-Channel Audio Systems” on page 730):

- Stereo uses the default pan settings and allows you to create pan/vol effects.

- Mono pans all tracks to center during output. This mode also ignores pan/vol effects.

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Bypassing Existing Volume Settings

You can have the system ignore the volume settings established with the Audio Mix tool when playing back or recording a sequence.

To turn off current volume adjustments, do one of the following:

t Click the Bypass button in the Audio Mix tool.

t Click the Bypass Clip Gain button in the Audio tool.

The volume controls disappear.

To restore the previous settings:

t Deselect the Bypass button in the Audio Mix tool.

t Deselect the Bypass Clip Gain button in the Audio tool.

Adjusting Volume While Playing an Audio Mix Effect

You can use the Audio Loop Play button to change the volume on an existing Audio Mix effect while you play the clip.

The Audio Loop Play button appears in several of the audio effect tools and is also a mappable button in the Play tab of the Command palette. For more information on mapping buttons, see “Mapping User-Selectable Buttons” on page 153.

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You can perform the following operations while the system plays the loop:

• Adjust audio effects.

• Use the Peak Hold pop-up menu in the Audio tool to change between Peak Hold and Infinite Hold.

• Use the Reset Peak button in the Audio tool.

For more information on the Audio tool, see “Using the Audio Tool” on page 245. For limitations on adjusting volume, see “Limitations on Adjusting Volume” on page 625. For information on improving response time, see “Improving Response Time” on page 625.

To adjust volume while playing an Audio Mix effect:

1. Do one of the following:

t Choose an existing Audio Mix effect.

t Identify an area of the clip with IN and OUT points.

t Place the position indicator over an audio clip.

2. Click the Audio Loop Play button in the Audio Mix Tool window.

The Avid Xpress system repeatedly loops through the selected area as follows:

- If you have IN and OUT points on your sequence, the command loops over the selected area.

- If there are no IN or OUT points, the command loops over the smallest selected audio track identified by the position indicator.

- If you have only an IN point or only an OUT point, the system uses the location of the position indicator as the second point. For example, if there is an IN point and no OUT point, the system loops from the IN point to the end of the (smallest selected) audio segment under the position indicator.

3. Adjust the volume as necessary.

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Understanding Audio Gain Automation

4. Click the Audio Loop Play button to stop.

The Avid Xpress system automatically saves your changes as part of an Audio Mix effect.

Limitations on Adjusting Volume

If there is not an existing Audio Mix effect on the clip before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect.

As you adjust the volume values on an existing Audio Mix effect, you might not hear the results immediately. It takes a few seconds for the Avid Xpress system to apply the changes to the clip. The response time for this feature is considerably longer than it is when changing EQ parameters while using Audio Loop Play. You might need to click the Audio Loop Play button to complete the edit and then play the effect to hear the result.

Improving Response Time

To improve the response time, do any of the following:

t Monitor as few audio tracks as possible.

t Deselect the video track, if practical.

t Use IN and OUT points to select a narrow interval to adjust.

n For additional ways to change the volume while playing an Audio Mix effect, see “Recording Automation Gain Information” on page 640.

Understanding Audio Gain AutomationAudio Gain Automation (also known as audio volume rubberbanding) allows you to change the volume of a segment by adding and manipulating gain keyframes in the Timeline. The

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following illustration shows an expanded audio track containing gain keyframe information.

The Avid Xpress system uses a linear ramp to change the volume from one gain keyframe to the next.

Automation Gain Values and System Clip Gain Values

When you add a keyframe to a clip with Clip Gain already on, the keyframe is placed at 0 dB.

Values set by the volume Level sliders in the Audio Mix tool are referred to as system clip gain values. Audio gain keyframes are additive to the system clip gain values. This allows you to adjust the values separately. You typically adjust clip gain values first, as shown in the following workflow.

Gain values in decibels

Graphic representation of keyframes and gain ramps in the Timeline

Clip GainAudio Effect Processing

Automation Gain

Adjust overall volume. Apply effects. Fine-tune volume.

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Understanding Audio Gain Automation

For example, assume that you have copied an audio file from a CD-ROM. You want to equalize (EQ) the audio and the overall volume is too loud. In this case, you would do the following:

1. Use the Audio Mix tool to lower the overall volume. See “Using the Audio Mix Tool” on page 614.

2. Apply an EQ effect and any other audio effects. See “Using the Audio EQ Tool” on page 644.

3. Use Audio Gain Automation to fine-tune the volume of different sections of the audio in the sequence. See “Understanding Audio Gain Automation” on page 625.

You can view the clip gain and the automation gain values in the Timeline at the same time.

To turn on the display of clip gain values, automation gain values, or both:

1. Click the Timeline Fast Menu button.

2. Select Audio Auto Gain or Audio Clip Gain.

n Avid Xpress releases earlier than Release 2.0 do not support additive clip gain and automation gain. If you transfer a sequence containing additive clip gain and automation gain to a system running a release earlier than Release 2.0, you cannot hear the additive clip gain. Also, if you save the transferred sequence on the system running the earlier release, the system does not save the additive clip gain. If you need to transfer sequences from Release 2.0 to earlier releases and then bring the sequences back to Release 2.0, remove any additive clip gain before you transfer the sequence. To remove the clip gain, choose Remove Clip Gain on Track from the Audio Mix Tool Fast menu.

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Adjusting Volume in the Timeline

To use Audio Gain Automation to adjust volume:

1. Select an audio track for adjusting volume.

2. Click the Timeline Fast menu button and choose Audio Auto Gain from the Timeline Fast menu.

n If there is audio volume data on a clip and Audio Auto Gain is not chosen from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed.

n You can enable Audio Clip Gain, Audio Auto Gain, and Sample Plot in the Timeline Fast menu to display audio information superimposed over waveform plots in the Timeline.

3. (Option) Expand the audio track by doing one of the following:

t Press and hold Ctrl+L (Windows) or k+L (Macintosh).

t Press and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in the Track Selector panel. When the pointer changes to a cross, drag the cross to expand or shrink the track as shown in the following illustration.

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Understanding Audio Gain Automation

The following illustration shows the expanded audio track with volume data.

4. Click the Add Keyframe button on the Tool palette to add keyframes along the Timeline. The Avid Xpress system adds a keyframe to each enabled track.

A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mix tool.

n You adjust gain in the Automation Gain tool by dragging keyframes in the Timeline or by placing the position indicator on a keyframe and adjusting the slider.

After you add the first keyframe to a segment, you can adjust the gain for the entire clip. When you move the keyframe up or down, the corresponding Volume Level slider in the Automation Gain tool also moves.

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Deleting Audio Gain Keyframes in the Timeline

To delete a single audio gain keyframe:

1. Move the pointer over the keyframe.

2. When the pointer changes to the hand pointer, press the Delete key.

n You don’t need to press the mouse button. If you press the mouse button, you might change the gain.

If there are identical keyframes in other active tracks, the system deletes them also.

To delete groups of audio gain keyframes:

1. Mark an IN point and an OUT point or mark the entire segment.

2. Delete any keyframes in the marked area.

Moving Audio Gain Keyframes in the Timeline

To move audio gain keyframes in the Timeline, do one of the following:

t Click a keyframe and drag it up or down to increase or decrease the gain at that point. If there is a point at the same position on another enabled track, it moves also.

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Understanding Audio Gain Automation

n To snap to the decibel lines, press and hold the Ctrl key (Windows) or the k key (Macintosh) while you drag the point.

t Move a keyframe horizontally to move the start or end of a ramp. Place the pointer over a keyframe. When the pointer changes to the hand pointer, press and hold the Alt key (Windows) or the Option key (Macintosh), click the keyframe, and drag it.

t Move several keyframes vertically on a track at the same time by placing IN and OUT points to select the area you want. When you move one keyframe up or down within the marked area, all keyframes within the marked area move in relation to each other. This works for all enabled audio tracks.

This procedure is similar to ganging sliders on an audio mixing board or in the Audio Mix tool.

Using an External Fader or Mixer to Adjust Volume

n An external fader controller or mixer is optional. It is not required to perform Audio Gain Automation recording.

Your Avid Xpress system supports the following external fader controllers or mixer:

• JL Cooper FaderMaster Professional (FaderMaster Pro™) MIDI automation controller

• JL Cooper MCS-3000X MIDI automation controller

• Yamaha® 01V digital mixing console

For a description of the fader controllers and mixer, and for information on attaching them, see “Configuring an External Fader or Mixer” in the Help.

For information on using these external fader controllers or mixer, see “Recording Automation Gain Information” on page 640.

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Adjusting the Volume of Individual Keyframes

To edit the volume for individual keyframes using an external fader controller or mixer:

1. Check the color of the position indicator lights.

If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue.

2. Click an audio gain keyframe.

3. (FaderMaster Pro only) Adjust the sliders on the fader controller until both lights for each enabled track are on. This indicates that the slider on the fader controller matches the current volume in the Timeline. For more information, see “Position Indicator Lights” on page 637.

n On the MCS-3000X and Yamaha 01V, the faders automatically adjust to the volume setting.

4. Move the corresponding fader to adjust the volume for the keyframe.

For information on connecting a fader controller or mixer, see “Configuring an External Fader or Mixer” in the Help.

Understanding the Automation Gain Tool

Before this section discusses recording volume in the Timeline, it describes the Automation Gain tool in detail. The following illustration shows the Automation Gain Tool window.

Position indicatorlights

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Understanding Audio Gain Automation

Some portions of the Automation Gain tool are similar to the Audio Mix tool and the Audio Punch-In tool.

The following components are similar to those in the Audio Mix tool:

• Bypass Auto Gain button: This button allows you to temporarily turn off the Automation Gain effect. This button is the same as the Bypass Clip Gain button in the Audio Mix tool.

• Number of Mix Panes and Which Set of Tracks to Display in Mix Panes buttons: These buttons allow you to display four or eight panes and to select which enabled tracks are displayed. They are similar to the display options in the Audio Mix tool. For more information, see “Resizing the Audio Mix Tool” on page 615.

Fast Menu button

Preroll and Postroll text boxes

Audio Loop Play button

Which Set of Tracks to Display in Mix Panes button

Bypass Auto Gain button

Number of Mix Panes button

Record Status light

Cancel button

Record button

External fader controller or mixer position indicators

Track Solo button

Render Effect Button

Level sliders

Track Selection Menu button

Gang button

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• Render Effect Button: This button is particularly useful for rendering audio effects. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render Effect button to rerender the audio dissolve directly from the Automation Gain tool. Then you can play back the clip immediately to hear the effect of the level change with the dissolve in place.

• Audio Loop Play button: This button allows you to adjust audio effects while looping over a portion of audio. This button is also available in the Play tab of the Command palette. For more information, see “Adjusting Volume While Playing an Audio Mix Effect” on page 623.

The following record features are similar to the Audio Punch-In tool:

• Record button: Starts and stops the recording.

• Cancel button: Stops a recording without saving the recorded data.

• Record Status light: Is black when there is no activity, green during a preroll, red during recording, and blue during a postroll.

n In the Automation Gain tool, the Record Status light is gold during the Hardware Calibration test.

• Preroll text box: Allows you to provide a visual cue before the recording begins. The Avid Xpress system backs up the blue position indicator for the prescribed number of seconds.

• Postroll text box: Allows you to provide the same kind of visual cue at the end of the recording.

The remainder of the features described in this section are specific to the Automation Gain tool.

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Understanding Audio Gain Automation

Track Solo Button

The Track Solo button (Speaker icon) lets you mute and solo individual audio tracks during Audio Gain Automation recording.

To switch between solo and on:

t Click the Track Solo button.

To switch between on and mute:

t Alt+click (Windows) or Option+click (Macintosh) the Track Solo button.

When you turn off solo, the button returns to its previous state (mute or on).

To change the previous state of a button:

t Alt+click (Windows) or Option+click (Macintosh) the button.

Button Color Description

Purple (default) The audio track is on.

Gray The audio track is muted.

Green The track is soloed. You can solo more than one track at a time.

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You can also use the buttons above each fader on the external fader controller or mixer to solo or mute an individual audio track as follows:

• FaderMaster Pro: Has one button that you can use to solo or mute an individual audio track during Audio Gain Automation recording:

t Press the button above the fader once to switch between solo and on.

t Press the button above the fader twice quickly to switch between mute and on.

• MCS-3000X: Has separate buttons for solo and mute. Mute buttons are on the bottom row and Solo buttons are above the Mute buttons. For more information, see “MCS-3000X Buttons” in the Help.

• Yamaha 01v: Supports solo only if you are not using the unit for audio mixing as well as Audio Gain Automation recording. For more information, see “Operational Notes for the Yamaha 01V Mixer” in the Help.

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Position Indicator Lights

The position indicator lights provide information about the current location of the faders on the external fader controller or mixer.

The position indicator lights are especially useful for the FaderMaster Pro because it is important to position the faders close to the track volume before you start recording. Otherwise, you might create an unwanted jump in the volume when you move the faders during a recording.

n The Avid Xpress system does not record values from a fader on the FaderMaster Pro until you move the fader. Then it reads the current position of the fader and adjusts the volume accordingly. In many cases, it is not possible to exactly match the Timeline value.

You do not have to reposition the faders on the MCS 3000-X and the Yamaha 01V because the units automatically reset the faders to match the volume data in the Timeline.

Position indicatorlights

Colors Description

Both lights are blue. The fader matches the current Timeline volume.

Only top light is blue. The fader is higher than the Timeline volume.

Only bottom light is blue. The fader is lower than the Timeline volume.

Both lights are gray. Either there is no fader controller or mixer attached to the system or the Avid Xpress system does not recognize the fader controller or mixer.

If the system does not recognize the fader controller or mixer, check the connection as described in the setup guide for your Avid Xpress system.

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Applying Automation Gain Adjustments

To apply adjustments to a chosen region of the track:

1. Select the tracks.

2. Click the Automation Gain Tool Fast Menu button (located in the upper right portion of the tool) and choose a menu command.

n The commands in the Fast menu appear dimmed until you select a track by clicking the Track Selection Menu button.

3. Click the Track Selection Menu button.

To apply the adjustments to multiple tracks:

t Click additional Track Selection Menu buttons.

Automation Gain Tool Fast Menu

To make the Automation Gain Tool Fast menu active for a given track:

t Click the Track Selection Menu button for that track in the Automation Gain tool.

The commands in the Fast menu appear dimmed until you select a track by clicking the Track Selection Menu button. (To apply the adjustments to multiple tracks, click additional Track Selection Menu buttons.) The commands vary depending on the types of points you set within the clip or sequence, as follows:

• With IN and OUT points: Commands apply adjustments to selected tracks between the points.

• With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks.

• With an OUT point (no IN point): Commands apply adjustments to full clips from the beginning of selected tracks to the OUT point.

• With no points: Commands apply globally (across entire tracks).

Track Selection Menu button

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Understanding Audio Gain Automation

To apply the adjustments:

t Choose one of the following commands from the Fast menu:

- Set Pan on Track: This command applies the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks.

- Filter Automation Gain on Track: This command removes approximately 50 percent of the keyframes in the marked region. If you press and hold the Alt key (Windows) or the Option key (Macintosh) while choosing the menu item, the system removes all keyframes in the selected area, except for the minimum and maximum peaks. Avid Xpress tries to save major gestures while removing redundant points and points on a linear ramp. This is useful for deleting extra keyframes after a recording.

- Adjust Pan/Vols on Track: This command opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks.

For example, if you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.

- Remove Automation Gain on Track: This command removes all of the audio keyframes within the marked region.

- Remove Pan on Track: This command deletes all pan adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan settings.

- Remove Pan/Vols on Track: This command deletes all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings.

- Calibrate Hardware Sliders: This command takes the place of the HW (hardware) button. When the Calibrate Hardware Sliders option is enabled, the Record Status light changes to

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gold and the external faders control the sliders in the Automation Gain tool. This is a test mode. You cannot edit volume data when the Record Status light is gold. Choose the Fast menu option again to disable the test mode.

Recording Automation Gain Information

You can instruct the Avid Xpress system to record your actions while playing the clip as you move sliders to adjust the volume. The system creates the corresponding keyframes and saves them as part of a pan/volume audio effect. After you finish the recording, you can move, add, and delete keyframes to achieve the results you want.

To record automation gain information, do one of the following:

t Use the Level sliders in the Automation Gain tool to adjust volume while you play the clip.

t Attach an optional fader controller or mixer to the system and use the faders on the unit to adjust volume.

Using the Automation Gain Tool Sliders

This procedure describes how to record audio gain information without using an external fader controller or mixer.

To record audio gain information using the Automation Gain Tool sliders:

1. Select an audio track for adjusting volume.

2. Click the Timeline Fast Menu button and choose Audio Auto Gain from the Timeline Fast menu.

n If there is Automation Gain volume data on a clip and Audio Auto Gain is not chosen from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed.

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3. (Option) Expand the audio track by doing one of the following:

t Press Ctrl+L (Windows) or k+L (Macintosh).

t Press and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in the Track Selector panel.

4. Move the blue position indicator to the section of audio that you want to adjust and mark IN to OUT points.

5. Click the Record button or press the B key to start recording your actions.

6. Listen to the audio and adjust the Level sliders in the Automation Gain tool as necessary.

7. Click the Record button again to stop recording.

The Avid Xpress system adds volume keyframes to the audio in the Timeline. Because it records every movement of the sliders, there are usually more keyframes than you need.

8. Decrease the number of keyframes:

a. Click the Track Selection Menu button for the track to enable the Fast menu.

b. Choose Filter Automation Gain on Track — In/Out from the Automation Gain Tool Fast menu.

9. Repeat step 8 until you have decreased the number of keyframes to an acceptable level.

You should remove as many excess keyframes as possible while still maintaining the volume changes.

You can move, add, and delete keyframes individually or as groups to further adjust the volume. For details on how to adjust the keyframes, see “Moving Audio Gain Keyframes in the Timeline” on page 630 and “Deleting Audio Gain Keyframes in the Timeline” on page 630.

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Using a Keyboard Shortcut

You can map the Fast Forward and Rewind buttons to your keyboard to speed your editing of audio keyframes.

To use the Fast Forward and Rewind keys when editing audio keyframes:

1. Choose Command Palette from the Tools menu.

2. Click the Move tab.

3. Map the Fast Forward and Rewind buttons to the Keyboard palette. See “Mapping User-Selectable Buttons” on page 153.

4. Click the Automation Gain tool to make it active.

5. Click the Track Selection Menu button and choose the appropriate tracks from the pop-up menu.

6. Press the Fast Forward key or Rewind key.

The position indicator moves to the next or previous audio keyframe.

n The Automation Gain tool must be active when you use the Fast Forward or Rewind keys.

Using an External Fader Controller or Mixer

To record audio gain information using an external fader controller or mixer:

1. Attach the fader controller or mixer to your system (see “Configuring an External Fader or Mixer” in the Help).

The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system.

2. Move the blue position indicator to the section of audio that you want to adjust and mark IN to OUT points.

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Understanding Audio Gain Automation

3. (FaderMaster Pro only) Note the colors of the position indicator lights for the track you want to adjust. Move the fader until both lights are blue. If you cannot adjust it to the exact position where both lights are blue, get it as close as you can.

4. Set Preroll and Postroll values, if necessary.

5. Click the Record button to start recording your actions.

6. Depending on the fader controller or mixer, listen to the audio and do the following:

t FaderMaster Pro: When you want to start recording volume information, move the corresponding fader. The system does not begin recording until you move a fader.

t MCS-3000X: When you want to start recording volume information, either touch or move the corresponding fader. The MCS-3000X faders are touch sensitive.

t Yamaha 01V: When you want to start recording volume information, click the fader’s On button and move the fader.

n If the Yamaha 01V fader is not moving, you can move it without first clicking the On button. For more information, see “Operational Notes for the Yamaha 01V Mixer” in the Help.

n When you record over previously recorded audio volume keyframes, the MCS-3000X and the Yamaha 01V automatically display the changing values. This allows you to make quick adjustments to existing automation gain recordings.

7. Click the Record button again to stop recording.

8. Click the Audio Loop Play button to play the clip and test your results.

9. To decrease the number of keyframes, choose Filter Automation Gain on Track — In/Out from the Automation Gain Tool Fast menu. (Click the Track Selection button for a track to enable Filter Automation.)

Position indicatorlights

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n If you delete too many keyframes, use the Undo command to restore them.

10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level.

You should remove as many excess keyframes as possible while still maintaining the volume changes.

Using the Audio EQ ToolThe Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips. This feature allows you to adjust the high, low, and midrange frequency ranges of an audio clip. You can also save a variety of audio EQ effects and apply them in different circumstances, as described in this section.

To access the Audio EQ tool, do one of the following:

t Choose Audio EQ from the Tools menu.

t If one of the Audio tools is already open, choose EQ from the Effect Mode Selector pop-up menu.

The Audio EQ tool opens.

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Audio EQ Tool Components

This section describes the basic buttons and menus in the Audio EQ tool as well as the EQ-specific items in the tool.

Basic EQ Tool Components

The following items appear in the top portion of the Audio EQ tool:

• Effect Mode Selector pop-up menu: Allows you to choose among the Audio EQ, Automation Gain, Audio Mix, and AudioSuite Plug-In tools.

• Audio Loop Play button: Allows you to make adjustments to an EQ effect while you play the effect. This button is also a mappable button on the Command palette. For more information about

Track Selection Menu button

Fast Menu button

EQ Range slider

Effect icon

Low shelf

Parametric midrange

High shelf

Enable/Disable EQ Effect button

Render Effect button

Display/Hide EQ Graph button

EQ Parameter graph

3 bands of Controls

Audio Loop Play button

EQ Parameter display Bypass RT EQ button

Effect Mode Selector pop-up menu

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using this button, see “Adjusting Volume While Playing an Audio Mix Effect” on page 623.

• Render Effect button: Allows you to render an effect without leaving the Audio EQ tool.

• Effect icon: Allows you to create an EQ template. Drag the icon to an open bin to create the template.

• Fast Menu button: Allows you to perform the following tasks:

- Set EQ for enabled tracks.

- Remove EQ for one or more tracks.

- Apply an effect template (see “Using Audio EQ Templates” on page 657).

• Track Selection Menu button: Allows you to choose which tracks are enabled for the EQ effect. When you choose an item from this menu, the system selects or deselects the corresponding track in the Timeline.

n If you enable more than one track in the Timeline, the tracks are designated by plus signs (+). They indicate that the effect will be applied to more than one track.

• Display/Hide EQ Graph button: Allows you to display or hide the EQ Parameter graph.

• Bypass RT EQ button: Instructs the system to ignore all the EQ effects. This button is also available in the Audio Mix and Automation Gain tools.

• Enable/Disable EQ Effect button: Allows you to enable or disable the current EQ effect. When the button is yellow, the effect is enabled. (The button text IN stands for inline.)

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EQ-Specific Features

The Audio EQ tool provides three bands of control:

• The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0.

A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point.

• The second band is the parametric midrange. This band has two bandwidth values: 1/4 octave and 2 octaves. These values control the width of the curve.

• The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz.

The horizontal center line of the graph is 0 (zero). As you move the curve below the zero line, the corresponding frequencies are deemphasized. Above the zero line, the corresponding frequencies are emphasized. The parametric midrange allows a smooth transition from deemphasized frequencies to emphasized frequencies.

The Enable/Disable EQ Effect button (IN) allows you to turn off an individual EQ effect (the currently selected effect). The button is yellow when the EQ effect is on (inline) and gray when the EQ effect is off.

The Bypass option turns off all EQ effects for the sequence. Rendered EQ effects still play correctly.

When you apply Audio EQ effects, consider the following:

• Audio EQ can be applied only to entire segments. You cannot use IN to OUT points to isolate portions of a segment for an Audio EQ effect. You must use add edits (match frames) to mark off a smaller segment.

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• You can use IN to OUT points to select a range of complete segments for applying an Audio EQ effect. Segments that fall within the marks, either in part or whole, have the effect applied to them.

The following illustration shows the Audio EQ tool with the frequency response curve displayed, and identifies the related areas of the tool.

The Audio EQ tool allows you to emphasize or deemphasize audio frequencies. The height of the curve in the bottom pane shows the amount of emphasis or deemphasis (also called boost or cut) that is being applied. The range is from +15 dB to –20 dB.

Turnover point where low shelf curve starts moving back toward 0

Current values of the EQ parameters

Turnover point where high shelf curve starts moving back toward 0

Bandwidth around the center point of the parametric curve — 1/4 octave (narrow) or 2 octaves (wide)

Low shelf

High shelf

Parametric midrange

0 line

EQ Parameter display

Center point of the parametric midrange curve

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Applying Audio EQ Effects

To adjust audio EQ for a track:

1. Load the sequence containing the audio track.

2. (Option) Isolate a portion of an audio segment by placing add edits. See “Isolating Clip Portions for Adjustment” on page 697.

3. (Option) Mark a range of audio segments by adding IN to OUT points in the track. See “Marking IN and OUT Points” on page 489.

4. Choose Audio EQ from the Tools menu.

5. Select the audio track to be adjusted from the Track Selection Menu button in the Audio EQ tool.

The Track Selector panel in the Timeline is updated to reflect your selection.

n If multiple tracks are enabled in the Timeline, then plus signs (+) appear next to the enabled tracks in the Audio EQ tool.

6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range. To stop playing the loop, click the button again or click anywhere in the Timeline.

7. Use one of the following methods to change a value in the Audio EQ tool:

t Click a number along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders.

t Click the Low Shelf, Parametric Midrange, or High Shelf slider and type a value on the numeric keypad.

Track Selection Menu button

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Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter (Windows) or Return (Macintosh) before typing the 2.

t Click a slider, and then drag the slider to a new position.

t Click the EQ Parameter display and type a value on the numeric keypad.

t Set a value of 0 dB by clicking the slider and entering 0, or by clicking 0 along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders

8. Click the Audio EQ Tool Fast menu button and choose Set EQ to apply the adjustments to the track. The command works as follows on the selected tracks:

- With IN and OUT points: Apply the EQ effect to selected tracks between the points.

- With an IN point (no OUT point): Apply the EQ effect to full clips from the IN point to the end of selected tracks.

- With an OUT point (no IN point): Apply the EQ effect to full clips from the beginning of selected tracks to the OUT point.

- With no points: Apply the EQ effect globally (across entire tracks).

The Audio EQ Tool Fast menu also allows you to remove EQ effects from one track or all enabled tracks, and provides access to a number of predefined EQ templates. For a description of predefined audio templates, see “Using Audio EQ Templates” on page 657.

For example, the following illustration shows a segment with one EQ effect applied to the audio clip 2 in track A2. If you choose Set EQ In/Out, the current EQ effect is also applied to audio clips 1, 3, and 4 on track A2.

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If there is no EQ setting on the currently selected clip, choosing Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range.

Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool. You can change your selected region by eliminating or adding marks in the Timeline, or by selecting a different track.

9. Play through the audio again, using the Audio Loop Play button.

10. Repeat steps 6 through 9 until you are satisfied with the EQ adjustments.

Before Set EQ In/Out

After Set EQ In/Out, EQ effect is added to audio clips 1, 3, and 4.

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Saving Audio EQ Effects

The Avid Xpress system treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline.

To save EQ settings in a bin:

t Drag the effect icon in the Audio EQ tool to a bin.

EQ effect icon in the Timeline

EQ effect icon in a bin

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To copy the settings to another audio clip:

t Drag the effect icon in the Audio EQ tool to another audio clip in the Timeline.

For more information on using effect templates, see “Using an Effect Template” in the Avid Xpress Effects Guide or the Help.

Removing Audio EQ Effects

To remove an Audio EQ effect:

1. Place the position indicator on the effect in an active track.

2. Click the Remove Effect button on the Tool palette. See “Using the Tool Palette” on page 494.

3. From Trim or Effects mode, press the Delete key.

You can also use the commands from the Audio EQ Tool Fast menu.

Audio EQ Examples

The following examples present two different ways to use the Audio EQ tool to remove excess bass from an audio track. In these examples, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while deemphasizing the bass drum sound.

Consider that the goal of the adjustments is the final sound. You should use small adjustments to preserve as much of the original sound track as possible. Do not be overly concerned about specific parameter values.

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Low Shelf Example

In this example, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while deemphasizing the bass drum sound.

Consider that the goal of the adjustments is the final sound. You should use small adjustments to preserve as much of the original sound track as possible. Do not be overly concerned about specific parameter values.

This example adjusts the low shelf to deemphasize the bass. By dropping the low shelf to –20 dB, we are able to deemphasize it. However, there are voices on this track, and dropping the low shelf also removes some bass from the voices.

To compensate for the loss of bass:

1. Use the 2-octave midrange setting to create a wide midrange.

2. Move the midpoint of the parametric curve to 88 Hz (Windows) or 90 Hz (Macintosh).

3. Boost the midrange of the parametric curve to +7.7 dB.

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Small Octave Range Example

In this example, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while deemphasizing the bass drum sound.

Consider that the goal of the adjustments is the final sound. You should use small adjustments to preserve as much of the original sound track as possible. Do not be overly concerned about specific parameter values.

This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, but instead use the parametric midrange to isolate the frequency.

2-octave midrange

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To isolate the frequency:

1. Use the 1/4-octave influence range.

2. Set the midrange EQ parameter to –15 dB.

3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency that we want to deemphasize is approximately 80 Hz.

The following technique allows you to locate a specific frequency and either emphasize or deemphasize it:

- Use the 1/4-octave influence range and a large negative decibel value.

- Keep both the high shelf and low shelf set to zero.

- Use the EQ Range slider to move the center point of the parametric curve along the frequency range while you play the audio track.

Once you locate the frequency you want, you can adjust it as needed.

Use the EQ Range slider to move the center point of the parametric curve and locate a specific frequency.

1/4-octave range

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Using Audio EQ Templates

Your Avid Xpress system provides a set of predefined audio EQ templates. These templates address a number of common audio problems such as removing tape hiss or boosting the low frequency on a music track. The templates are accessible from the Fast menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast menu.

The Fast menu in the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration.

The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems.

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Applying an EQ Template

To apply an EQ template from the Audio EQ Tool Fast menu:

1. Place the blue position indicator on the audio clip in the Timeline.

2. Click the Fast Menu button and choose the template from the Audio EQ Tool Fast menu.

The Avid Xpress system places the EQ effect on the audio clip.

The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template.

n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, choose Console from the Tools menu.

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Creating Your Own Templates

If you create an EQ effect, you can use it again as a template in another sequence or on another track.

To create your own EQ effect template

1. Drag the effect icon from the Audio EQ tool to a bin.

The system creates an EQ effect in the bin.

2. Rename the template by clicking the text and typing a new name.

Adding an EQ Template to the Fast Menu (Windows)

You can add your own EQ templates to the Audio EQ Tool Fast menu. You do this by storing your EQ template in the same bin as the predefined templates.

The Avid Xpress system stores the predefined EQ templates in a special bin named Site_EQs_Bin in the following location:

• (Windows) drive:\Program Files\Avid\Avid Xpress\SupportingFiles\Site_Effects

• (Macintosh) Avid drive:SupportingFiles:Site_Effects

To add an EQ template to Site_EQs_Bin:

1. Open the bin containing your EQ templates.

2. Choose Open Bin from the File menu.

A dialog box appears.

Effect icon

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3. Open the bin named Site_EQs_Bin.avb as follows:

a. Navigate to drive:\Program Files\Avid\Avid Xpress\SupportingFiles\Site_Effects.

b. Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_EQs_Bin.avb file appears.

c. Double-click the Site_EQs_Bin.avb file.

4. Drag one of your EQ templates to Site_EQs_Bin.

5. If you have not already done so, name the template by clicking the text and typing a name.

6. Close the bin.

n The Avid Xpress system does not save the effect to the bin until you close the bin.

7. Click the Audio EQ Tool Fast Menu button and look for your new template.

Adding an EQ Template to the Fast Menu (Macintosh)

To add an EQ template to Site_EQs_Bin:

1. Open the bin containing your EQ templates.

2. Choose Open Bin from the File menu.

A dialog box appears.

3. Open the bin named Site_EQs_Bin.avb as follows:

a. Open the Avid Xpress folder.

b. Open the SupportingFiles folder.

c. Open the Site_Effects folder.

d. Double-click the Site_EQs_Bin file.

4. Drag one of your EQ templates to Site_EQs_Bin.

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5. If you have not already done so, name the template by clicking the text and typing a name.

6. Close the bin.

n The Avid Xpress system does not save the effect to the bin until you close the bin.

7. Click the Audio EQ Tool Fast Menu button and look for your new template.

Adjusting EQ While Playing an Audio Effect

You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing.

Use the same procedure as described in “Adjusting Volume While Playing an Audio Mix Effect” on page 623.

If there is no existing EQ effect on the clip before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect.

As you adjust the EQ values on an existing EQ effect, you might not hear the results immediately. It takes a few seconds for the changes to be applied to the clip.

To improve the response time, do one of the following:

t Monitor as few audio tracks as possible.

t Deselect the video track, if practical.

Audio Loop Play button

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t Use IN and OUT points to choose a narrow interval to adjust.

Digidesign AudioSuite Plug-InsYour Avid Xpress system supports AudioSuite, the Digidesign host-based, file-based plug-in specification. Users have access to audio-processing plug-ins developed by Digidesign and by Digidesign third-party developers. These plug-ins perform pitch processing, artifact removal, audio reversal, and many other processes. For more information on using the AudioSuite plug-ins, see “Using AudioSuite Plug-Ins” in the Help.

For information on Digidesign and third-party plug-ins, see the AudioSuite Plug-In Catalog available from Digidesign. For more information, contact Digidesign at 800-333-2137.

For information on plug-ins that are not supported by your Avid Xpress system, see “Plug-In Limitations” on page 677.

Installing AudioSuite Plug-Ins (Windows)

The Avid Xpress system installation software automatically creates a DAE™ (Digidesign Audio Engine) folder in the following location:

drive:\Program Files\Digidesign\DAE

The DAE folder contains the following:

• A DAE Prefs folder.

The plug-in vendor might install settings in this folder.

• A DAE Plug-Ins folder containing the following:

- A set of basic plug-ins from Digidesign.

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- A file named AvidAppPlugIn.dpm. The Avid Xpress system requires this file; do not delete it.

- A file named AvidAppPlugIn.dpm.rsr. The Avid Xpress system requires this file; do not delete it.

Several basic plug-ins are installed automatically. For a description of the plug-ins, see “Using AudioSuite Plug-Ins” in the Help.

When you purchase additional plug-ins, the third-party vendor provides instructions on how to load the plug-ins. Some vendors might require you to drag the plug-in to the Plug-Ins folder. Other vendors might perform the task automatically for you via an installation program.

Installing AudioSuite Plug-Ins (Macintosh)

The Avid Xpress system installation software automatically creates a folder in your System folder named DAE folder (DAE stands for Digidesign Audio Engine). The DAE application manages the AudioSuite plug-ins.

The DAE folder contains the following files and folders:

• The DAE application.

• A Plug-In Settings folder. The plug-in vendor might install settings in this folder.

• A Plug-Ins folder containing the following:

- A set of basic plug-ins from Digidesign.

- A file named Avid Application PlugIn. The Avid Xpress system requires this file; do not delete it.

Several basic plug-ins are installed automatically. For a description of the plug-ins, see “Using AudioSuite Plug-Ins” in the Help.

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When you purchase additional plug-ins, the third-party vendor provides instructions on how to load the plug-ins. Some vendors might require you to drag the plug-in to the Plug-Ins folder. Other vendors might perform the task automatically for you via an installation program.

Starting and Quitting DAE (Macintosh Only)

When you open the Digidesign AudioSuite window (see “Using Digidesign AudioSuite Plug-Ins” on page 665), the Avid Xpress system automatically starts the DAE application. The application continues running even after you close the window.

To quit the DAE application while the AudioSuite window is open:

t Press k+click the status display in the AudioSuite window.

n The DAE application uses between 9 and 16 MB of memory, depending on how many plug-ins are loaded. If you plan to use other applications while the Avid Xpress system is running, you might find it useful to quit the DAE application to free up memory for the other application. To restart the DAE application, Option+click the status display.

Setting Playback Buffer Size (Macintosh Only)

While the DAE application is running, you can choose Set Playback Buffer Size from the DAE application’s File menu. However, this

Target Drive pop-up menu

Plug-In Selection pop-up menu

Status display

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command has no effect on Avid Xpress system performance. For an example of how to use this command, see “Addressing Memory Allocation (Macintosh Only)” on page 678.

Using Digidesign AudioSuite Plug-Ins

To use AudioSuite plug-ins, do one of the following:

t Apply a plug-in to a clip in the Timeline. The end result is a rendered effect.

t Use the controls in the AudioSuite window to create a new master clip. This method allows you to process more than one channel at a time and to create new media that is longer or shorter in duration than the source media. For more information, see “Creating New Master Clips” on page 669.

By default, the AudioSuite window displays the controls for applying a plug-in to a clip in the Timeline. When you drop a master clip onto the window, the window expands to display additional parameters for working with master clips. The following illustration shows the expanded view.

Additional parameters for working on master clips

Status display

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Applying an AudioSuite Plug-In to a Clip in the Timeline

The following illustration shows the default layout of the AudioSuite window.

To apply an AudioSuite plug-in to a clip in the Timeline:

1. Open the AudioSuite Tool window by doing one of the following:

t Choose AudioSuite from the Tools menu.

t If an audio tool is already open, choose AudioSuite from the Effect Mode Selector pop-up menu.

2. Use the Track Selection Menu button to choose the tracks that you want to modify. When you choose an item from this menu, the system selects or deselects the corresponding track in the Timeline.

n To select multiple tracks, press the Shift key while you choose additional tracks from the Track Selection Menu button. The tracks are designated by plus signs (+), which indicate that the effect will be applied to more than one track.

Target Drive pop-up menu

Plug-in Selection pop-up menu

Status display

Fast Menu buttonRender Effect button

Effect iconAudio Loop Play button

Effect Mode Selector pop-up menu

Track Selection Menu button Activate Current Plug-In button

Display/Hide Master Clip Controls button

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3. Choose a plug-in from the Plug-in Selection pop-up menu.

The Avid Xpress system automatically applies the plug-in effect to the track or tracks in the Timeline.

4. Click the Activate Current Plug-in button.

A dialog box associated with the plug-in appears.

5. Make any necessary adjustments and click the Preview button to preview the effect. For more information, see “Using a Plug-In Dialog Box” on page 667.

6. Do one of the following:

t To save the effect, click OK.

t To close the dialog box without saving the effect, click Cancel.

t (Option) To save the effect as a template, drag the effect icon to a bin.

n If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in “Creating New Master Clips” on page 669.

Using a Plug-In Dialog Box

The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. If a particular button is not available, it appears dimmed. The following illustration shows the Digidesign Normalize plug-in.

These six buttons appear in all AudioSuite Plug-in dialog boxes.

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The buttons are:

• OK: Saves the effect and closes the dialog box.

• Cancel: Closes the dialog box and does not save the effect.

• Preview: Plays back a portion or all of the currently selected audio clip with processing.

Some plug-ins can preview in real time and some cannot. If the plug-in cannot preview in real time, the Avid Xpress system plays back the processed audio in 2-second intervals. The Avid Xpress system processes 2 seconds of audio, plays it, processes the next 2 seconds, plays it, and so on.

• Render: Renders the effect and creates a new audio media file.

• Bypass: Plays the selected audio without processing. This is useful for comparing the audio with and without processing applied.

• Find Peak: Performs an analysis pass on the audio. Depending on the plug-in, the text and function of this button might change.

Some plug-ins require an analysis pass on the audio data before they can process the information. If so, they perform the first pass automatically. Other plug-ins do not require a first pass but can achieve more accurate results if you allow them to perform a first pass. If the plug-in supports the optional pass, this button is available. Otherwise, it appears dimmed.

AudioSuite Plug-In Fast Menu

The Fast menu allows you to perform the following tasks:

• Apply an existing Audiosuite template (see “Using AudioSuite Effect Templates” on page 675).

• Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have IN to OUT points on the sequence.

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The following commands appear in the menu:

• Global: There are no IN points on the segment. The command affects all the plug-ins on the selected tracks.

• IN/OUT: There are IN to OUT points on the segment. The command affects the plug-ins on the selected tracks within the marked region.

• From IN: There is an IN point and no corresponding OUT point. The command affects all plug-ins on selected tracks, starting with the IN point.

• From OUT: There is an OUT point and no corresponding IN point. The command affects all plug-ins on selected tracks, ending with the OUT point.

Rendering Plug-In Effects

You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, the Avid Xpress system automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect.

For more information, see “Troubleshooting AudioSuite Plug-Ins” on page 678.

Creating New Master Clips

You can use AudioSuite plug-ins to create new master clips. This allows you to use multiple input and output channels, and to change the length of the media. You can perform the following operations on the media you create:

• Apply AudioSuite plug-ins to more than one track (also referred to as a channel or stream) at the same time. For example, a plug-in might allow you to process two separate tracks as a stereo pair.

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This enables you to use plug-ins that perform linked compression, reverb, and other effects that allow multichannel input.

• Create new media that is longer or shorter in duration than the source media. This allows you to use effects that perform time compression and expansion. For example, you can use a Time Compression Expansion plug-in to change the length of the audio file, or you can lengthen the file to add a reverb trail.

• Apply one mono AudioSuite effect to multiple inputs of a master clip in a multiple-mono fashion.

AudioSuite Controls for Creating New Master Clips

When you drag a master clip onto the AudioSuite window, the window automatically expands to display additional controls. You can also click the Display/Hide Master Clip Controls button to display or hide the additional parameters.

The following illustration identifies the controls that appear when you expand the AudioSuite window.

Clip Selection pop-up menu

Input Source Track selectors

Processing Mode Selection pop-up menu

Target Bin for New Master Clip pop-up menu

Toggle Master Clip Mode button

Mark IN to OUT indicators

Find Source button

Load in Source Pop-up Monitor button

Load Result check box

Track Selection Menu button

Status Display Handle Length for End of Master Clip text box

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• Track Selection Menu button: This menu is not active in Master Clip Processing mode.

• Clip Selection pop-up menu: This menu allows you to choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip.

• Input Source Track selectors: These buttons allow you to choose the input source tracks for the effect.

The system automatically chooses a preview track and displays a blue Speaker icon on the track. To change the preview track, Alt+click (Windows) or Option+click (Macintosh) the appropriate source track. If the source track that is set as the current preview track is deselected, the system chooses the lowest available track.

• Processing Mode Selection pop-up menu: This menu displays the current processing mode of the AudioSuite effect on a given clip. For more information, see “Mono, Stereo, and Multichannel Processing” on page 672.

• Target Bin for New Master Clip pop-up menu: This menu allows you to choose the target bin. The system places the new media and a corresponding AudioSuite effect template in the bin. The template allows you to modify the effect at a later time.

• Toggle Master Clip Mode button: This button activates the master clip processing mode. The button is yellow when master clip processing mode is active.

• Mark IN to OUT indicators: These lights change to green when a mark IN or mark OUT exists on the current master clip.

• Find Source button: This button allows you to find the master clip associated with an AudioSuite template. When you drop an AudioSuite effect template into the AudioSuite window, the system activates this button. Click the button to load the master clip into the AudioSuite window as the active master clip.

n The template you drop in the window must reference an existing master clip in an open bin.

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• Load in Source Pop-up Monitor button: This button loads the current source master clip into the Source pop-up monitor. This is useful if you want to add or change IN to OUT points on the clip.

• Load Result check box: Click this box to instruct the system to automatically load the resulting master clip into the Source pop-up monitor.

• Handle Length for End of Master Clip text box: This text box allows you to add filler at the end of a master clip. The value represents the number of seconds to add. For example, use this feature to add filler at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in.

• Status display: This display provides information about the current state of the DAE application and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that can be processed. If more than the maximum are initially selected, the system automatically disables tracks until it reaches the plug-in’s maximum number.

Mono, Stereo, and Multichannel Processing

AudioSuite plug-ins allow you to select the following types of processing:

• Mono processing only: This option is available for plug-ins that operate on only one audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner.

• Mono and stereo processing: These options are available for plug-ins that can treat two tracks as a stereo pair. This allows the system to apply the audio effect simultaneously to each track. For example, Time Compression Expansion plug-ins typically operate on a stereo pair. You can choose mono if you want the plug-in to operate on each track individually, in a serial manner.

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• Single-track and multiple-track processing: These options are available for plug-ins that can process multiple tracks simultaneously. For example, the Normalize plug-in allows you to adjust the volume separately for each track or to adjust the volume for all tracks at the same time. In the latter case, the system examines all enabled tracks for the loudest volume and then adjusts all tracks relative to that value.

n You can think of stereo processing as a special case of multichannel processing.

For mono processing, the system creates a new master clip with the same number of tracks that you selected in the AudioSuite window.

For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-channel master clip. A plug-in such as Normalize, which operates on multiple channels, creates a master clip with as many tracks as were selected in the AudioSuite window.

The Status display at the bottom of the AudioSuite Plug-in window indicates how many tracks the plug-in can process. If more tracks are enabled than can be processed, the plug-in automatically selects the correct number of tracks. You can change the track selection based on your needs.

Most AudioSuite plug-ins automatically select the appropriate processing mode and label the values in the Processing Mode Selection pop-up menu. For example, the Normalize plug-in offers two choices: Peak On Each Track and Peak From All Tracks. The default is Peak From All Tracks.

You choose the processing mode from a menu in the AudioSuite window as described in “Using Plug-Ins to Create New Master Clips” on page 674.

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Using Plug-Ins to Create New Master Clips

To create new master clips, using the AudioSuite plug-ins:

1. Drag one (or more) master clips or subclips into the AudioSuite window.

The system automatically enters Master Clip Processing mode and expands the AudioSuite window, if necessary.

You can click the Display/Hide Master Clip Controls button to display or hide the controls for processing a master clip. To enter or exit Master Clip Processing mode, click the Toggle Master Clip Mode button. The button is yellow when Master Clip Processing mode is active.

2. If you dropped more than one master clip in the AudioSuite window, choose a clip to work on from the Clip Selection pop-up menu.

3. Choose the input sources from the Input Source Track selectors.

4. (Option) Change the preview source track; Alt+click (Windows) or Option+click (Macintosh) the Input Source Track selector.

5. (Option) Type a value in the Handle Length for End of Master Clip text box to lengthen the clip by a specific amount. For example, type 2 if you plan to add a 2-second reverb trail.

n If you are using Time Compression Expansion plug-ins, the plug-ins automatically lengthen or shorten the clip.

6. Choose a plug-in from the Plug-in Selection pop-up menu.

7. Click the Activate Current Plug-in button to open the plug-in’s dialog box. For more information, see “Using a Plug-In Dialog Box” on page 667.

8. Make any changes and click the Preview button to preview the effect.

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Digidesign AudioSuite Plug-Ins

9. Either render the plug-in from the Plug-in dialog box or return to the AudioSuite window. For more information on rendering, see “Rendering Plug-In Effects” on page 669.

When you click the Render Effect button, the system creates a new master clip in the target bin. The system names the new master clip by combining the original clip name with the effect name, for example:

• (Windows) Test Audio clip_Normalize

• (Macintosh) QuietClip.Normalize

The system also creates an AudioSuite effect template in the bin as described in “Using AudioSuite Effect Templates” on page 675.

Using AudioSuite Effect Templates

When you create a new master clip, the system also creates an AudioSuite effect template in the bin. This effect template contains a reference to the original master clip to which the effect was applied.

The system names the template as follows:

• (Windows) The original clip name is combined with the effect name, for example:

Test Audio clip - AudioSuite Plug-In Effect: Normalize.

• (Macintosh) An effect file name extension is added to the effect name, for example:

QuietClip.NormalizeQuietClip.Normalize.effect.

The template is useful if you want to modify the effect after it is created.

To use a template to modify a master clip:

1. Drag an AudioSuite plug-in template into the AudioSuite window.

The Find Source From Effect button becomes active.

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2. Click the Find Source From Effect button to load the master clip into the AudioSuite window.

If a corresponding master clip exists, the system loads the master clip with its associated plug-in values.

3. Modify the effect as described in “AudioSuite Controls for Creating New Master Clips” on page 670.

(Windows) To add a template to the AudioSuite Fast menu:

1. Open the bin containing your AudioSuite templates.

2. Choose Open Bin from the File menu.

A dialog box appears.

3. Open the bin named Site_AudioSuite_Bin.avb as follows:

a. Navigate to drive:\Program Files\Avid\Avid Xpress\SupportingFiles\Site_Effects.

b. Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_AudioSuite_Bin.avb file appears.

c. Double-click the Site_AudioSuite_Bin.avb file.

4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin.

5. If you have not already done so, name the template by clicking the text and typing a name.

6. Close the bin.

n The Avid Xpress system does not save the effect to the bin until you close the bin.

7. Click the AudioSuite Fast Menu button and look for your new template.

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Digidesign AudioSuite Plug-Ins

(Macintosh) To add a template to the AudioSuite Fast menu:

1. Open the bin containing your AudioSuite templates.

2. Choose Open Bin from the File menu.

A dialog box appears.

3. Open the bin named Site_AudioSuite_Bin.avb as follows:

a. Open the Avid Xpress folder.

b. Open the SupportingFiles folder.

c. Open the Site_Effects folder.

d. Double-click the Site_AudioSuite_Bin file.

4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin.

5. If you have not already done so, name the template by clicking the text and typing a name.

6. Close the bin.

n The Avid Xpress system does not save the effect to the bin until you close the bin.

7. Click the AudioSuite Fast Menu button and look for your new template.

Plug-In Limitations

The following limitations apply to the AudioSuite plug-ins:

• Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data.

• If you want to use plug-ins that change the length of an audio clip or that operate on multiple inputs at the same time, use the method described in “Creating New Master Clips” on page 669. Applying an effect to a clip in the Timeline does not work for these operations.

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Troubleshooting AudioSuite Plug-Ins

This section describes problems you might encounter when using the AudioSuite plug-ins.

• Addressing Memory Allocation (Macintosh Only)

• Canceling a Render Operation

• Addressing Errors When Rendering a Plug-in Effect

Addressing Memory Allocation (Macintosh Only)

The DAE application requires between 9 and 16 MB of RAM, depending on how many plug-ins are loaded. When the application starts, it attempts to allocate enough memory for all the plug-ins in the Plug-Ins folder within the DAE folder. If you have many plug-ins (for example, more than 10), the application might not be able to allocate enough memory for all of them.

To correct memory allocation errors, or if the screen does not redraw correctly the first time you use the AudioSuite plug-ins:

1. Quit the Avid application.

2. Locate the DAE folder in your System folder and click the DAE application icon within the DAE folder.

3. Press k+I to open the Get Info dialog box.

4. Change the Preferred Size value to a large number, such as 30000 (30 MB), to change the memory allocation.

5. Close the Get Info dialog box.

6. Start the DAE application by double-clicking the DAE application icon.

The DAE application automatically checks the available plug-ins and allocates enough memory to run all of the plug-ins.

7. Choose Set Playback Buffer Size and set the buffer size to 0.

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n The Set Playback Buffer Size setting has no effect on the Avid Xpress system’s performance.

8. Quit the DAE application.

9. Repeat step 3 and change the Preferred Size value back to the Suggested Size value.

10. Restart the Avid application.

n If you still receive memory errors when using the AudioSuite plug-ins, you might have too many plug-ins in the Plug-Ins folder within the DAE folder. Move some plug-ins to another folder and try running the AudioSuite plug-ins again. For example, you could create a Plug-Ins Disabled folder for storing plug-ins that are not in use.

Canceling a Render Operation

To cancel a render operation:

t Press Ctrl+period (Windows) or k+period (Macintosh).

n Be careful not to press these keys multiple times. If you press Ctrl+period (Windows) or k+period (Macintosh) after the render operation has been stopped (from previously pressing Ctrl+period (Windows) or k+period (Macintosh)), the Avid Xpress system closes the window after it cancels the render operation.

Addressing Errors When Rendering a Plug-in Effect

If the DAE application is not running when you start to render a plug-in effect, the system displays an error message stating that the DAE connection does not exist. The dialog box gives you the following options:

• Cancel stops the rendering process. This allows you to open the AudioSuite tool and then start rendering again.

• Bypass continues the rendering process but doesn’t render the plug-in effect.

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(Windows) In most cases, you should click Cancel and open the AudioSuite window.

(Macintosh) In most cases, you should click Cancel and restart the DAE application. Either open the AudioSuite window, or if the window is already open, Option+click the Status display in the AudioSuite window.

If the plug-in is not installed when you go to render a plug-in effect, the system displays an error message and tells you which plug-in is not installed. At that time, you can cancel or bypass the rendering process.

Recording Voice-Over NarrationAudio punch-in allows you to record up to two channels of audio directly into the Timeline for voice-over narration. This feature saves you the extra steps of recording the narration to tape first, digitizing, and then editing the audio clip into the sequence. The narrator can also watch the sequence and hear playback of edited sound tracks while recording.

You can “rehearse” the voice-over while you listen to the sequence. The voice-over is not recorded while you are rehearsing. You can continue to rehearse until you are satisfied with the results. While recording, you can watch and listen to the sequence and hear playback of edited sound tracks.

To open the Audio Punch-In tool:

t Choose Audio Punch-In from the Tools menu.

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Recording Voice-Over Narration

The following illustration identifies the various components of the tool.

The components of the Audio Punch-In tool are as follows:

• Play In/Out button: Starts playing with the ability to perform a real-time punch-in. The play loops from the IN point to the OUT point, but stops looping once recording is done. This button blinks bright green when playing.

• Record button: Starts and stops the recording. If an IN point and OUT point are set, recording automatically starts at the IN point and stops at the OUT point. This button blinks bright red while recording.

• Stop button: Stops playing or recording and saves the last recorded data. This button is bright blue when stopped.

• Go to Mark IN button: Moves the position indicator to the mark IN point. If there is no mark IN, the system goes to where the position indicator was last, or to the start of the sequence.

• Cancel button: Stops a recording without saving the recorded data.

Timeline Track pop-up menus

Input Channels buttons

Target Bin pop-up menu

Target Drive pop-up menu

Play In/Out button

Stop button

Audio Tool button

Record button

Preroll and Postroll text boxes

Handles text box

Cancel button

Input Source pop-up menu

Go to Mark IN button

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• Audio Tool button: Opens the Audio tool so you can monitor and adjust the audio levels during recording.

• Preroll text box: Allows you to provide a visual cue before the recording begins. The Avid Xpress system backs up the blue position indicator for the prescribed number of seconds.

When starting a punch-in with the Record button, a preroll allows you to provide the duration, in seconds, of the audiovisual cue before the recording begins.

n The Record button takes precedence over preroll. During preroll, if you press the Record button, the system starts recording immediately.

• Postroll text box: Allows you to provide the same kind of visual cue at the end of the recording.

• Handles text box: Instructs the Avid Xpress system to record audio at the beginning and end of the clip. This allows you to perform trim edits on the audio, but only applies when you start recording with the Record button. Real-time punch-in is allowed only until the end of the handle.

n The selected input channels are not used for playback. Do not select the same channels as mix output in the Audio Mix tool.

• Input Source pop-up menu: Includes optional sources for audio input. Use one of the two digital formats when you are working with digital audio input and output, such as DAT (digital audiotape).

- Analog

- AES/EBU (Audio Engineering Society/European Broadcasting Union), the industry digital format

- S/PDIF (Sony/Philips Digital Interface Format), the consumer format

- Microphone

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- Mic w/Phantom Pwr, that draws power from the system if the microphone needs it

• Input Channels buttons: Identify the channels on the audio hardware that are used for recording. Click the appropriate button to select the channel. The button changes color when it is selected. Choose a different channel from the Input Channels pop-up menu. Alt+click (Windows) or Ctrl+click (Macintosh) the button to display a menu and select another channel.

• Timeline Track pop-up menus: Allow you to specify where the Avid Xpress system places the audio in the Timeline. Choose either New Track or an existing track. When you choose an existing track, the Avid Xpress system overwrites the audio on that track between the IN and OUT points.

• Target Drive pop-up menu: Allows you to choose a target drive.

• Target Bin pop-up menu: Allows you to choose a target bin.

Connecting the Hardware

Before you can use the Audio Punch-In tool, you need to connect a microphone or other input device to your system. The following are typical examples:

• Connect a microphone to a mixer, and connect the mixer to the audio interface I/O device on your Avid Xpress system.

• Connect a microphone to a microphone preamplifier, and connect the preamplifier to the audio interface I/O device on your Avid Xpress system.

For information on connecting the hardware, see the setup guide for your Avid Xpress system.

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Creating the Voice-Over

The following procedure provides general guidelines to record audio punch-ins, regardless of your scenario. You should adjust when to add mark IN and OUT points, when to use the Play In/Out button, and when to use the Record button based on your needs.

To use the Audio Punch-In tool:

1. Load a sequence in the Timeline.

2. Choose Audio Punch-In from the Tools menu.

The Audio Punch-In tool opens.

3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate.

To select the input channels you want, click and hold the appropriate Input Channels button.

4. Choose an output track from the Timeline Track pop-up menus. Choose either New Track or an existing track. This allows you to

Play In/Out button

Stop button

Record button

Input Channels buttons

Input Source pop-up menu

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Recording Voice-Over Narration

specify where the Avid system places the audio voice-over in the Timeline.

You can replace part (or all) of an existing track, or you can instruct the Avid system to create a new track for the voice-over.

5. Click the Play In/Out button or press the V key.

Loop play begins over the entire sequence. If you set an IN point and an OUT point, loop play begins from the IN point to the OUT point.

The Play In/Out button blinks bright green while playing.

6. When you are ready to start the voice-over, click the Record button or press the B key.

The Record button blinks bright red while recording and the Play In/Out button is a steady green. The Audio Meter Channel button becomes an I and changes to orange.

7. Continue to click the Record button to record additional voice-overs.

During the audio punch-in process, you have the ability to record over the duration of the sequence or from the IN point to the OUT point.

8. Click the Stop button or press the space bar to stop play and recording.

Your recorded voice-over is saved and the blue position indicator stops to get ready for your next voice-over.

OUT pointIN point

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n To go to the mark IN point at any time, click the Go to Mark IN button.

The system creates one master clip regardless of how many punch-ins you perform.

The following illustrations show the results of adding a voice-over. The system automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin).

n To cancel a punch-in at any time, click the Cancel button or press the Esc or the period key.

n There are three Undo functions that can be performed during one session. The first undo, removes the most recent punch-in, the second undo removes the second-to-last punch-in, and the third undo removes all the punch-ins.

Voice-over adding a new track

Voice-over replacing a portion of a track

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Recording Voice-Over Narration

Scenarios for Using the Audio Punch-In Tool

There are several ways to punch-in audio as outlined by the following scenarios:

• Scenario 1 — Set only an OUT point. The blue position indicator is used as the IN point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end the record.

• Scenario 2 — Set an IN point and an OUT point around the material you want to record. Set a preroll time. Click the Record button to start the preroll. When the system arrives at the OUT point, recording ends. The last region including the OUT point will be recorded. Repeat the recording over the same region until you are satisfied with the results.

• Scenario 3 — With no IN point or OUT point set, click the Record button continuously throughout your sequence. Click the Record button to start recording, and then click the Record button again to end recording. Continue this process to record multiple punch-ins.

Monitoring the Recording

To monitor the recording:

1. Choose Audio Tool from the Tools menu.

The Audio tool opens.

2. Choose Direct Out from the Mix Mode Selection pop-up menu. See “Adjusting Output on Two-Channel Audio Systems” on page 730.

3. Send the output to an external console.

You can hear the recording as it is being made. This audio is not mixed with the other tracks; it allows you to monitor the recording as it is happening.

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Monitoring Previously Recorded Tracks

You can monitor previously recorded audio tracks while you record a voice-over narration with the Audio Punch-In tool.

To monitor other audio tracks:

1. Choose Audio Tool from the Tools menu.

The Audio tool opens.

n For two-channel audio systems, omit step 2. You can monitor one previously recorded track.

2. Choose Direct Out from the Mix Mode Selection pop-up menu. See “Adjusting Output on Two-Channel Audio Systems” on page 730.

3. Choose Audio Punch-In from the Tools menu.

The Audio Punch-In tool opens.

4. Follow the procedure in “Creating the Voice-Over” on page 684.

5. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio Tool window and from the sound on the speakers.

Voice-Over Media Files

The Avid Xpress system automatically names the voice-over and stores it as an audio clip.

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Using a GPI Device with the Audio Punch-In Tool

Using a GPI Device with the Audio Punch-In ToolYour Avid system can send signals to a V-LAN VLXi deck controller and a general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when playback begins and ends, and also when recording with the Audio Punch-In tool begins and ends.

If you have a V-LAN VLXi deck controller and a GPI device connected to your Avid system and they are configured correctly, you can use the GPI to control additional external hardware while you are working with the Audio Punch-In tool. For example, you might want to control an indicator light in a recording studio to provide a visual cue for performers, or a control light outside the studio that indicates when recording is in progress.

To make use of this feature, you must:

• Understand when the Avid system sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 690.

• Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 692.

• Configure the V-LAN VLXi deck controller and the GPI, and then create appropriate GPI settings for your specific needs. For more information, see “Configuring a V-LAN VLXi Controller and GPI” on page 693.

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Understanding GPI Trigger Signals

Your Avid system sends three different GPI trigger signals under the following circumstances:

For more information on using the Audio Punch-In tool, see “Recording Voice-Over Narration” on page 680.

GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll

When you use the Audio Punch-In tool without any preroll or postroll, the sequence of signals is as follows:

1. Record Out is sent when recording begins.

2. Stop Out is sent when recording (and playback) ends.

Trigger Signal Sent When

Play Out Playback begins.

Recording with the Audio Punch-In tool ends but playback continues because a postroll value is set in the Audio Punch-In tool (that is, the signal is sent when the Record Status light in the Audio Punch-In tool changes from red to blue).

Record Out Recording with the Audio Punch-In tool begins.

Stop Out Playback stops.

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Using a GPI Device with the Audio Punch-In Tool

GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll

When you use the Audio Punch-In tool with preroll and postroll, the sequence of signals is as follows:

1. Play Out is sent when the preroll begins (the position indicator begins moving in the Timeline and the Record Status light in the Audio Punch-In tool changes to green).

2. Record Out is sent when recording begins (the Record Status light in the Audio Punch-In tool changes from green to red).

3. Play Out is sent when recording ends and the postroll begins (the Record Status light in the Audio Punch-In tool changes from red to blue).

4. Stop Out is sent when the postroll ends (the position indicator stops moving).

Example of Linking GPI Actions to Trigger Signals

You can configure the GPI to respond to each of the signals sent by the Avid system in a specific manner. For a simple indicator light, you might create a GPI setting linking the Record Out signal from the Avid system to the GPI Set action (to turn the light on) and a setting linking the Stop Out signal from the Avid system to the GPI Reset action (to turn the light off).

If you were working with preroll and postroll values, you might also link the Play Out signal to the GPI’s Pulse action to flash the light on and off repeatedly during the preroll and postroll periods. (Since the Pulse action does not switch between on and off very rapidly, your preroll and postroll durations might need to be quite long to allow for the light to flash enough times to be meaningful.)

For more information on configuring the GPI, see “Configuring a V-LAN VLXi Controller and GPI” on page 693.

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Connecting a V-LAN VLXi Controller and GPI

The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct serial connection as shown in the following figure. For more information on connecting V-LAN equipment to your Avid system, see the setup guide for your Avid Xpress system.

You must configure the V-LAN VLXi controller to work with the VLXi-GT GPI. Assign the VLXi-GT to a V-LAN node address between 16 and 19. LAN connections of more than 50 feet (15.24 meters) must have a terminator. For more information on configuring the V-LAN, see the Videomedia VLXi User’s Guide.

SERIAL PARALLEL REF LAN CF

AC

SERIAL A SERIAL BTIMECODE A

IN INOUT OUTTIMECODE B

VLX TRANSMITTER VLX 2R DUAL RECEIVER

SERIAL LAN CF

AC

IN OUT

1

IN OUT

2

IN OUT

3

IN OUT

4

IN OUT

5

IN OUT

6

Serial cable to serial port connector on Avid system

VLXi transmitter serial input

V-LAN connection

V-LAN VLXi

VLXi-GT (GPI)

Terminator (required when cable length is more than 50 feet [15.24 meters])

GPI terminals (for connections to external hardware)

Note: All cables are customer supplied.

V-LAN VLXi Controller and VLXi-GT GPI

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Using a GPI Device with the Audio Punch-In Tool

Configuring a V-LAN VLXi Controller and GPI

Once you have a V-LAN VLXi controller and VLXi-GT GPI connected to your Avid system, you can configure the system to communicate with the controller and the GPI, and create GPI settings appropriate to your needs.

You must create a separate GPI setting for each trigger signal you want the GPI to recognize. For example, you might need one setting for the Record Out signal and another for the Stop Out signal.

You can also edit an existing GPI setting or delete a GPI setting so that it no longer appears as an option in the GPI Settings dialog box.

To configure the V-LAN VLXi controller and the VLXi-GT GPI:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Deck Configuration.

The Deck Configuration dialog box appears.

3. Click Add Channel.

4. From the Channel Type pop-up menu, choose VLAN VLX.

5. From the Port pop-up menu, choose the serial port to which the V-LAN VLXi is connected.

6. Click OK.

The Auto-configure message box appears.

7. Click Yes.

The connected GPI is automatically detected and appears in the Deck Configuration dialog box.

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Creating a GPI Setting

To create a GPI setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Deck Configuration.

The Deck Configuration dialog box appears.

3. Double-click the VLXi-GT text box.

The GPI Settings dialog box appears.

4. Select the appropriate settings.

Table 16-3 describes the GPI Settings options.

5. Click Add.

The GPI Node Settings dialog box appears.

6. Select the appropriate settings.

Table 16-4 describes the GPI Node Settings options.

7. Click OK.

The GPI Settings dialog box appears.

8. Click OK to set the GPI.

9. Click Apply in the Deck Configuration dialog box.

Table 16-3 GPI Settings Options

Option Description

Name Keep the default V-LAN VLXi name or type a new name.

Description (Option) Add a description of the GPI trigger.

Device Type Select V-LAN, which is the Avid-supported device type.

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Address Select the V-LAN network address to which the VLXi-GT is assigned. Valid addresses on the V-LAN network are 16 through 19. This address must match the internal V-LAN address.

Pulse Duration Leave this setting at its default value; it does not alter the length of the Pulse action in the GPI.

GPI Control Enable When you deselect this option, you disable the GPI but keep the GPI settings. This is useful for troubleshooting purposes.

Edit Click to edit an existing GPI node setting.

Delete Click to delete an existing GPI node setting.

Add Click to add another GPI node setting.

Table 16-3 GPI Settings Options (Continued)

Option Description

Table 16-4 GPI Node Settings Options

Option Description

Function Select one of the three active functions:

• Record Out

• Play Out

• Stop Out

Seven options are listed, but only the three signals described in “Understanding GPI Trigger Signals” on page 690 are active.

Node Choose a node from the Node pop-up menu. Nodes 1 through 6 correspond to the physical connectors on the back of the VLXi-GT GPI device.

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Editing an Existing GPI Setting

To edit an existing GPI setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Deck Configuration.

The Deck Configuration dialog box appears.

3. Click the VLXi-GT text box.

4. Select the name of the existing GPI you want to edit.

5. Click Edit.

6. Make the applicable changes.

7. Click OK.

8. Click Apply.

The GPI setting is updated.

Deleting a GPI Setting

To delete a GPI setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Deck Configuration.

Action Select an action:

• Set activates a command.

• Reset deactivates a command.

• Pulse switches the state between active and inactive.

Table 16-4 GPI Node Settings Options (Continued)

Option Description

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The Deck Configuration dialog box appears.

3. Click the VLXi-GT text box.

4. Select the name of the GPI you want to delete.

5. Click Delete.

6. Click OK.

7. Click Apply.

The GPI setting is deleted.

Fine-Tuning Audio TransitionsWhen making audio level and pan adjustments, the Avid Xpress system looks at either an individual clip in the Source pop-up monitor, a segment in the sequence, or entire tracks. To change level or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit function to define your own custom area. For more information on Add Edit, see “Isolating Clip Portions for Adjustment” on page 697.

Isolating Clip Portions for Adjustment

To isolate clip portions for adjustment:

1. Find the start of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker.

2. Select the appropriate track in the Track Selector panel.

3. Click the Add Edit button under the Composer monitor.

This places an edit where the position indicator is parked.

4. Find the end of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker.

5. Select the appropriate track.

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6. Click the Add Edit button.

7. Use the process described in “Using the Audio Mix Tool” on page 614 to change the level or pan within this new segment.

Fading and Dipping Audio

In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by:

• Fading audio up or down

• Dipping audio to a lower level

• Crossfading between audio elements on two separate channels

With the Avid Xpress system, these effects are more accurately termed audio dissolves because they occur instantly when you apply the same dissolve effect that you use for video tracks.

Fading Audio

To fade or crossfade audio, you can use the procedures described in “Understanding Audio Gain Automation” on page 625, or you can use the procedure described in this section.

Fading and crossfading audio are easy effects to achieve. The procedure that differs most from analog editing is crossfading. In the analog world, unless you are using a mixer, you must lay down audio on two separate channels and fade one down, and then fade up the second on an overlapping section. With the Avid Xpress system, you simply apply an audio dissolve.

To apply a fade or crossfade:

1. Place the position indicator on a transition.

2. Click the Fast Menu button under the Composer monitor.

The Tool palette appears.

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Fine-Tuning Audio Transitions

3. Click the Quick Transition button.

The Quick Transition dialog box appears.

4. Choose Dissolve from the Add pop-up menu.

n Do not choose another effect from the Add pop-up menu; only dissolves work with audio tracks.

5. Select a duration for the dissolve, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage).

6. Choose the location for the dissolve from the Position pop-up menu.

- Ending at Cut fades the audio on the A-side to 0, ending at the cut point.

- Centered on Cut or Custom Start creates a crossfade. Custom Start allows you to begin the dissolve off-center — that is, closer to the transition and ending later into the B-side, or the reverse.

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Working with Audio

- Starting at Cut fades the audio up from the B-side, starting at the cut point.

7. If you chose Custom Start, type the number of frames before the transition to begin the effect in the “Starts n frames before cut” text box. Otherwise, leave the default value in the text box.

8. (Option) Choose a media drive other than the default from the Target Drive pop-up menu.

9. Click the Add button to place the effect at the transition point without rendering. Click the Add and Render button to do both at once.

n In most cases, you can click Add and Render for immediate real-time playback of the audio effect (rendering of audio dissolves is usually instantaneous).

The effect is completed.

For more information on using the Quick Transition button, see “Using the Quick Transition Button” in the Avid Xpress Effects Guide or the Help.

n You can also use the Head Fade and Tail Fade buttons to add a dissolve to audio tracks. See “Adding Dissolves with the Head Fade and Tail Fade Buttons” in the Avid Xpress Effects Guide or the Help.

Dipping Audio

To dip audio from a higher level to a lower one — for example, when bringing music down and under a voice-over track — you can use the procedures described in “Understanding Audio Gain Automation” on page 625, or use the procedure described in this section.

To apply a dip in audio:

1. Play back the section of the sequence where the dip will take place to determine the start point for the dip, and apply an add edit to

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Mixing Down Audio Tracks

the audio track. For information on add edit, see “Adding an Edit” on page 556.

2. Repeat the action in step 1 for the end point where the audio will dip back up.

3. Place the position indicator over the new segment of audio, and open the Audio Mix tool.

4. Adjust the track to the volume level you want, as described in “Using the Audio Mix Tool” on page 614.

5. Apply a Quick Dissolve to both Add Edit points, using the techniques described in “Fading Audio” on page 698. Be sure to choose Centered on Cut or Custom Start from the Position pop-up menu.

After rendering, the audio dips smoothly from the higher levels of the adjacent segments of the track to the lower level applied to the middle segment.

Mixing Down Audio TracksWhen you work with multiple audio tracks while editing your material, you might need to mix down the final audio to two tracks.

To mix down several edited audio tracks to one or two audio tracks:

1. Load a sequence into the Composer monitor.

2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down.

3. Mark an IN point and an OUT point at the start and end of the material you want to mix down.

If you do not mark the section of audio you want to mix down, the system mixes down all of the selected audio tracks.

4. Choose Audio Mixdown from the Clip menu.

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Working with Audio

The Audio Mixdown dialog box appears. The top of the dialog box displays the source audio tracks and the start and end timecodes for the section of audio you selected to mix down.

5. Do one of the following:

t Select Mono and select the target track to which you want to mix down the audio.

t Select Stereo and select two target tracks for the mixed-down audio.

6. Choose a destination drive and a destination bin.

The destination drive is the media drive where the system stores the media files for the mixed-down audio.

7. Click OK.

The audio is mixed down and the Avid Xpress system displays the new master clip in the bin.

Selected section of audio

Destination tracks

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Changing the Sample Rate

Changing the Sample RateYou can change the sample rate for sequences and audio clips from within the Change Sample Rate dialog box. Since you can combine clips of different sample rates in the same sequence, this feature is useful when you need to ensure that the entire sequence has the same sample rate for a digital cut or export.

To change the sample rate for a sequence or an audio clip:

1. Select one or more sequences or audio clips in the bin.

2. Choose Change Sample Rate from the Bin menu.

The Change Sample Rate dialog box appears.

3. Select from the options in Table 16-5.

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Working with Audio

Displaying Audio File InformationWhen you transfer audio with a Zaxcom Deva or an Aaton® InDaw recorder, you can log information about the audio, such as:

• Shoot date

• Timecode

• Scene

• Take information

• Production notes

After you import the audio file to an Avid system, you can display this information in the bins. Table 16-6 shows the names of tapes and clips.

Table 16-5 Change Sample Rate Options

Option Description

Sample Rate Selects between 32 kHz, 44.1 kHz, and 48 kHz.

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

For information on setting the sample rate for a project, see “Adjusting Audio Project Settings” on page 240.

Quality Selects High, Medium, or Low conversion quality.

Delete Original Media The system automatically deletes the original media after the conversion process is complete.

Destination Drive Identifies the drive for the new media files.

Make sure that you choose a destination drive with enough storage space for the generated media files and the ability to play back media.

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Reimporting Zaxcom Deva or Aaton InDaw Audio

Reimporting Zaxcom Deva or Aaton InDaw AudioIf you use audio transferred with a Zaxcom Deva or an Aaton InDaw recorder and later delete the media, you can use batch import to reimport the media. For more information, see Chapter 8.

You can also batch digitize the deleted media if you have a source tape. Aaton InDaw can have a tape name and a source tape associated with it. For more information on batch digitizing, see Chapter 7.

Table 16-6 Tape and Clip Name Information

Item Name

Tape ID File name

Tape name (Aaton InDaw) Assigned by field recorder, or date:tapeID

Tape name (Zaxcom Deva) date:tape ID

Clip name scene info/take info

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Working with Audio

CHAPTER 17Syncing Methods

Your Avid Xpress system provides special tools that help you establish and maintain sync relationships between various clips. This includes managing sync between unrelated clips or clips with the same timecode, match-framing footage, and ganging footage. These topics are discussed in the following sections:

• Autosyncing Clips

• Managing Sync Breaks

• Managing Sync with Multiple Tracks

Autosyncing ClipsWhen you digitize footage that includes both audio and video, the system automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that have been digitized separately, usually from two separate sources. Autosyncing creates a new subclip that displays sync breaks in the Timeline as though the audio and video were recorded simultaneously.

Sync break displayed in the Timeline

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Syncing Methods

Understanding Autosyncing

Autosyncing is often used for film projects in which picture and sound are captured separately. These clips are often synced based on common film timecode, sound timecode, or auxiliary timecode. You can also autosync any audio and video clips based on an artificial IN point or OUT point relationship you establish with marks.

Use the following guidelines when autosyncing:

• You can autosync audio clips with video clips only.

• You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously.

• If the audio and video clips do not have matching source or auxiliary timecode, you must establish common sync frames. To do this, mark IN points (or OUT points) on both clips before autosyncing.

• If you are autosyncing clips of different lengths, the longer clip is truncated to the length of the shorter clip.

• If you autosync according to common timecodes that are staggered (one clip starts later than the other), the later starting timecode becomes the start of the new subclip. The clip with the earlier starting timecode is trimmed accordingly.

Creating an Autosynced Subclip

To create an autosynced subclip:

1. Highlight the two clips in the bin, and then choose AutoSync™ from the Bin menu.

The Sync Selection dialog box appears.

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Managing Sync Breaks

2. Select an option, based on the following:

- Inpoints if you are syncing according to IN points set in both clips.

- Outpoints if you are syncing according to OUT points set in both clips.

- Source Timecode if the two clips have matching timecode.

- Auxiliary TC1–TC5 if the two clips have matching timecode in the same auxiliary timecode column. Choose an Auxiliary TC, 1 through 5, from the pop-up menu.

3. Click OK.

The subclip is created and named by default after the video clip with the extension .sync.n where n is the incremental number of subclips created with the same name.

Managing Sync BreaksThe Timeline displays sync breaks whenever they occur during editing. They appear at break points as white numbers indicating negative or positive offset values relative to zero.

Sync breaks occur when a frame-accurate relationship between two clips or between the audio and video tracks within a single clip is offset during editing. Often this happens unintentionally when you perform one of the following actions:

• Selecting only one track in a synced relationship (for example, audio only or video only) and performing edit functions that lengthen the duration, such as Splice-in, Extract/Splice-in, or adding frames in Trim mode

• Selecting only one synced track and performing edit functions that shorten the duration, such as Extract, Extract/Splice-in, or removing frames in Trim mode

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Syncing Methods

Your Avid Xpress system provides several features for avoiding, tracking, and removing sync breaks, as described in the following sections.

Editing to Avoid Sync Breaks

One way to avoid breaking sync is to maintain the duration of the track when you add or remove material, as follows:

• When adding material to a track, use the Overwrite function instead of Splice-in, whenever possible.

• When removing material from a track, use Lift instead of Extract. (The Lift function leaves filler of the same duration when you remove footage.)

• When performing Segment mode edits, use the Lift/Overwrite function instead of Extract/Splice-in whenever possible. (Lift/Overwrite leaves filler behind and overwrites material at the new destination, maintaining sync in both cases.)

• In Trim mode, you can sync lock tracks to avoid breaking sync, or you can use the Alt key (Windows) or the Ctrl key (Macintosh) for adding black during trims, as described in “Maintaining Sync While Trimming” on page 595. You can also perform dual-roller trims (that maintain duration) instead of single-roller trims.

There are many cases in which you cannot avoid splicing or extracting material, or performing single-roller trims that break sync.

Fixing Sync Breaks

In general, sync breaks are displayed only when the out-of-sync tracks overlap and the audio no longer matches the video. If an overlapping portion of one of the tracks is deleted, replaced, moved, or trimmed, then the sync break disappears. You fix sync breaks in one of several ways, based on the type of break and the needs of your sequence.

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Managing Sync Breaks

Fixing Sync in Trim Mode

To restore frames to sync in Trim mode:

t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break.

Consider the following:

• Sync lock any additional tracks that are synced to the track you are trimming. Otherwise, you might restore sync in one track and break it in the others. See “Using Sync Lock” on page 712.

• Do not perform a dual-roller trim; this does not remove the sync break.

• Do not perform the trim on the OUT point (A-side transition) of the out-of-sync segment. This does not remove the sync break. Always perform the trim on the IN point (B-side transition) of the out-of-sync segment.

Fixing Sync in Segment Mode

To restore frames to sync in Segment mode:

t Select and move the entire out-of-sync segment. You can move the segment forward or backward in the opposite direction of the break to reverse it.

Consider the following:

• Use the Lift/Overwrite function to leave filler behind and maintain any other sync relationships that might be affected by the move.

• Use the Lift/Overwrite function to delete the entire segment and leave filler to eliminate the break.

• Use the Add Edit function to isolate a portion of the clip for moving or deleting. See “Adding an Edit” on page 556.

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Syncing Methods

• Move the out-of-sync track, if possible, beyond the overlapping range with the synced material to eliminate the sync break.

Managing Sync with Multiple TracksDisplaying sync breaks in the Timeline makes it easy to manage sync between video and one or two audio tracks. You can use additional techniques to manage sync when you work with four or more tracks. These techniques include the Sync Lock feature, tail leaders, and add edits.

Using Sync Lock

The sync lock feature allows you to maintain sync among several tracks while adding, moving, trimming, or removing frames in a sequence. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between the two.

You activate sync locking by clicking the Sync Lock button in the Track Selector panel to display the Sync Lock icon. You can also switch all sync locks on or off by clicking the Sync Lock All button.

Sync Lock button

Sync Lock All button

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Managing Sync with Multiple Tracks

There are several unique aspects to sync locking:

• Sync locking is a Trim mode feature only. Edits performed in editing, Segment, or Effect mode override sync-locked tracks.

• Sync locking applies to single-roller trims only because dual-roller trims do not break sync. For more information, see “Maintaining Sync While Trimming” on page 595.

• You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources, and can include multiple video tracks as well as audio tracks.

• Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence.

Syncing with Tail Leader

You can add tail leader to the audio or video material in Avid Xpress to provide a useful visual reference in the Timeline for tracking and fixing sync breaks across any number of tracks.

Film editors traditionally use standard head and tail leaders for this purpose. You can create your own leader according to any specification, as described in “Creating Leader” on page 385.

With tail leader added to synchronized tracks, you can go to the end of the sequence after making a complicated edit and see whether the leaders are lined up. If they are out of line, this indicates a sync break that you can measure and eliminate as follows.

Tail leaders lined up for multiple

video (vid) and audio (aud) tracks

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Syncing Methods

To restore sync using tail leaders:

1. Move the position indicator to the black segment that follows the out-of-sync leader.

2. Select the track, and then click the Mark Clip button. You can measure the break by checking the IN to OUT duration of the marked segment.

3. Find the point at which the sync was lost.

4. Add or remove frames using the appropriate edit function, as described in “Fixing Sync Breaks” on page 710.

As a quick fix, click the Extract/Splice-in button. Drag the black segment at the end of the out-of-sync tail leader to the location where the sync was lost. This segment of black, created when the track went out of sync, is the exact length of the sync break.

Syncing with Locators

You can add locators to material in the Timeline to track and adjust breaks in sync between any number of tracks. With locators, you have the advantage of placing them anywhere in the sequence and adding specific notes.

To mark sync points with locators:

1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks.

2. Select the top video track, and click the Add Locator button.

Move the blacksegment usingExtract/Splice-in.

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Managing Sync with Multiple Tracks

The system adds a red locator to the top track in the Timeline and in the Composer monitor.

To add a note that will appear in the Composer monitor whenever you park on the locator frame (such as Music sync or Sound Effect sync):

1. Double-click the locator in the Composer monitor.

2. Type the text in the Locator text box.

3. Click OK.

To repeat the procedure for subsequent synchronized tracks:

1. Disable the video track where you placed the locator.

2. Enable the top audio track. Make sure you keep the position indicator in the same location in order to line up the locators.

n Avid Xpress shows the comment only for the locator on the top track.

To determine if sync is broken after an edit:

t Return to the segment that contains the locators. If the locators are not lined up, the sync is broken.

To adjust the sync break:

1. Measure the sync break by first moving the position indicator to the leftmost locator and clicking the Mark IN button. Then move it to the other locators and click the Mark OUT button.

2. Check the IN to OUT duration of the marked section.

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Syncing Methods

To restore sync:

1. Find the point at which the sync was lost.

2. Add or remove frames using the appropriate edit function, as described in “Fixing Sync Breaks” on page 710.

Using Add Edit When Trimming

When you are trimming with several audio tracks in sync, the Add Edit button allows you to create an edit in the silent or black areas of the synced tracks. They occur in line with the track you are trimming, and they trim all the tracks at once to maintain sync.

To use the Add Edit button while trimming:

1. Move the position indicator to the edit that you want to trim.

2. Select only the additional tracks that are in sync, and click the Add Edit button in the Timeline top toolbar.

The system adds a transition at the location of your position indicator in the Timeline.

3. Select the transition and trim (be sure to select all the synced tracks).

As you trim, frames are also added or removed from the additional tracks.

4. When you have finished trimming, you can remove the add edits from the synced tracks by clicking each Add Edit transition and by pressing the Delete key.

CHAPTER 18Output Options

The Avid Xpress 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) to be used by editors in a videotape suite for preparing a master tape. You can also use VTR emulation for direct playback of sequences using an edit controller in an analog editing suite. These options are described in the following sections:

• Preparing for Output

• Preparing for Audio Output

• Using the Digital Cut Tool

• Using EDL Manager

• Using PowerPack

• VTR Play Emulation

Preparing for OutputPreparing for video output involves the following procedures:

• Render all non-real-time effects. See ”Rendering Effects” in the Avid Xpress Effects Guide or the Help.

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Output Options

• Calibrate and adjust video output levels. See “Calibrating for Video Output” on page 719.

• Calibrate and adjust audio output levels. See “Preparing for Audio Output” on page 728.

• Decide whether you want to generate stereo or mono audio. See “Adjusting One Audio Track at a Time” on page 616.

• Mix down multiple audio tracks if necessary. Systems equipped with a two-channel audio board can generate a maximum of two channels. See “Mixing Down Audio Tracks” on page 701.

• Prepare the record tapes. See “Preparing Record Tapes” on page 735.

• (Option) Record reference bars and tone to tape. See “Recording Bars and Tone” on page 736.

Choosing Video Output

To choose video output:

1. Choose Digital Cut from the Clip menu.

The Digital Cut tool opens.

2. Do one of the following:

t (DV Option only) Choose OHCI or 1394 from the Target Device pop-up menu to output directly to a digital camera, digital video deck, or analog video deck through a transcoder.

t Choose Meridien from the Target Device pop-up menu to output through the Meridien I/O Box.

n If you have an OHCI board, OHCI appears in the menu. If you have a Canopus™ board, 1394 appears.

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Preparing for Output

Establishing Sync for Output

Sync for output comes from 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 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 Xpress system.

Avid Xpress now supports longitudinal timecode (LTC) 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.

If you connect a reference input while the Avid Xpress application is running, you might need to reestablish sync.

To reestablish sync, do one of the following:

t Exit and then restart the Avid Xpress application.

t Open the Digital Cut tool.

Calibrating for Video Output

c Before you calibrate video output for an NTSC-EIAJ (Japan) project, make sure the option “NTSC Has Setup” is deselected in the General Settings dialog box. For information about the General Settings dialog box, see “Reviewing Basic Settings” on page 96.

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Output Options

You can calibrate for video output using the factory preset buttons or by performing a basic video calibration:

• Calibrating for video output, using the factory preset buttons: You should use the factory preset buttons if you do not have an external Waveform monitor or if your site engineers calibrate the system as a general maintenance procedure.

• Performing basic video calibration: All users can follow the steps for calibrating video output, as described in “Basic Video Output Calibration” on page 720.

Using the Factory Preset Buttons

The preset buttons in the Video Output tool show the status of each calibration setting as follows:

• When you open the Video Output tool the first time you run the application, all preset buttons are lit (appear green), with the factory settings 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 settings.

• When you click an unlit preset button, it becomes lit (appears 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 calibrate using digital color bars and tone that you create and edit into the sequence.

n If you or your site engineers calibrate the system as a general maintenance procedure, or if you do not have an external Waveform monitor, leave the Video Output tool set to the preset values.

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Preparing for Output

To calibrate for video output:

1. Choose Video Output Tool from the Tools menu.

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 Xpress system.

2. Select the output format and display the appropriate controls:

- 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.

n 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

Preset buttons

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Output Options

cannot be adjusted from within the Avid application. For H-Phase adjustment of a Serial Digital output signal, see “Adjusting Phase Controls” on page 726.

The Video Output tool displays the appropriate parameters for the chosen video format, as described in Table 18-1.

Table 18-1 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 Composite and S-Video(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 Composite and S-Video 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

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Preparing for Output

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 Sync for Output” on page 719.

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 18-2.

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

SC Phase Composite and S-Video 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 726.

Table 18-1 Video Format Output Parameters (Continued)

Parameter Video Formats Description

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Output Options

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:

a. Choose Save As from the Settings pop-up menu.

Table 18-2 Luminance Settings for Video Output

Parameter/Video Standarda SMPTE Bars

Full-Field Bars at 75% Signal Level

Full-Field Bars at 100% Level

Black level (setup) Adjust Black slider to place black level at:

Adjust Black slider to place black level at:

Adjust Black slider to place black level at:

Video Standard:

NTSCNTSC-EIAJPAL

7.5 IRE0.0 IRENAb

7.5 IRE0.0 IRE0.3 V

7.5 IRE0.0 IRE0.3 V

White level (gain) Adjust Gain/Y Gain slider to place white level at:

Adjust Gain/Y Gain slider to place white level at:

Adjust Gain/Y Gain slider to place white level at:

Video Standard:

NTSCNTSC-EIAJPAL

100 IRE100 IRENA

100 IRE100 IRE1.0 V

100 IRE100 IRE1.0 V

a. Includes NTSC-EIAJ used in Japanb. NA = Not applicable

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Preparing for Output

b. Type a name.

c. Click OK.

n Output settings are Site settings, available to all users and all projects on the system.

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 Choose a pattern from the Test Patterns pop-up menu.

To add test patterns to the list:

1. Quit the Avid Xpress application.

2. 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 use a third-party application to improve the accuracy of the image by correcting colors and by removing errors.

3. Place the file in the Test Patterns folder in the SupportingFiles/Test_Patterns folder as appropriate.

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.

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Output Options

The new pattern appears in the Test Patterns pop-up menu in the Video Output tool.

Adjusting Phase Controls

The expanded Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H Phase, is the horizontal blanking interval used to synchronize the timing of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing two or more signals based on the color burst portion of a composite or S-Video signal.

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 Xpress 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 Xpress system, you can calibrate the system one time to conform to existing standards with the least amount of alteration of the signal using a passthrough signal (a signal that gets sent directly from an input source to the output channels).

This advanced form of calibration is an alternative to Video Input tool calibration settings for each source tape. It involves calibrating tapes at the source device using external time-based correction. You 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.

2. Choose Video Input Tool from the Tools menu.

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Preparing for Output

The Video Input tool opens. See “Calibrating for Video Input” on page 256.

3. Choose a video format from the Input pop-up menu. The chosen input provides the passthrough signal.

4. Calibrate the input using the Video Input tool, as described in “Calibrating for Video Output” on page 719.

5. Save the input calibration settings as the system Default settings, as described in “Saving Video Input Settings” on page 261.

6. Choose Video Output Tool from the Tools menu.

The Video Output tool opens.

7. Choose Digitize from the Tools menu.

The Digitize tool opens. With the Digitize tool active, in the input signal passes through to the output channels.

8. Choose an output format in the Video Output tool.

9. Calibrate any of the available controls in the Video Output tool while checking the external Waveform and Vectorscope monitors. For more information, see “Basic Video Output Calibration” on page 720.

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. Use the sliders in the Video Output tool while checking the external Waveform and Vectorscope monitors.

n 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, the controls appear dimmed in the Video Output tool.

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Output Options

12. Save this setting with an appropriate name:

a. Choose Save As from the Settings pop-up menu in the Video Output tool.

b. Type a name.

c. Click OK.

The Video Output settings, a Site setting, applies to all users and projects on the system. The default Video Input settings are recalled each time a new tape is loaded for digitizing in the current project.

Preparing for Audio OutputThe Audio tool lets you generate and customize calibration tone and adjust global output levels. For information on additional audio mix procedures, see “Using the Audio Mix Tool” on page 614.

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 730.

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 732.

You can also calibrate the output channels of the eight-channel audio I/O device. See “Calibrating for Video Output” on page 719.

c Eight-channel audio output requires the appropriate hardware configuration. For more information, see the setup guide for your Avid system.

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Preparing for Audio Output

Audio Sample Rates

You must convert to a single audio sample rate when performing a digital cut. If your sequence or master clip has multiple audio sample rates, for example, one clip at 32 kHz and other clips at 44.1 kHz, you need to convert it to a single audio sample rate. For information on converting the audio sample rate, see “Changing the Sample Rate” on page 703.

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 100-Hz, 1-kHz, and 10-kHz tones back-to-back.

To change the parameters for the calibration tone:

1. Choose Audio Tool from the Tools menu.

The Audio tool opens. See “Using the Audio Tool” on page 245.

2. Click the Peak Hold (PH) Menu button.

3. Choose Set Calibration Tone from the Peak Hold pop-up menu.

The Set Calibration Tone dialog box appears.

4. Type new values for the tone level and frequency, and click OK.

To play back the tone:

t Choose Play Calibration Tone from the Peak Hold pop-up menu.

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Output Options

To check the adjusted tone level in the meters:

t Make sure the In/Out (I/O) toggle buttons are set to O for Output.

Calibrating Global Output Levels

You can use the meters and master attenuator (output control slider) in the Audio tool to make global level adjustments for output from the system. These adjustments affect levels for all output tracks to both the speakers and to record devices.

c You should leave this output level at the factory setting of 0 dB. Adjust the level only when necessary to raise or lower the overall volume based on the headroom parameters of the record format, or for consistently overmodulated or undermodulated source material.

Adjusting Output on Two-Channel Audio Systems

By default, the volume scales for Output sliders in the Audio tool reflect levels for consumer-grade VCRs and recording devices.

To adjust the output parameters:

1. Choose Audio Tool from the Tools menu.

The Audio tool opens.

731

Preparing for Audio Output

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. 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.

6. Click the In/Out toggle buttons above the meters to display O for Output.

Peak Hold Menu button

Mix Mode Selection pop-up menuOutput Control slider(master attenuator)

Setup Options panelShow/Hide Output Control button

Show/Hide Setup Control button

IN/OUT toggle buttons

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Output Options

7. Play back one of the following sources of reference audio:

t Click the Peak Hold button and choose Play Calibration Tone from the 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 window.

Adjusting Output on Eight-Channel Audio Systems

To adjust global output on a system equipped with an eight-channel audio I/O device:

1. Choose Audio Tool from the Tools menu.

The Audio tool opens.

733

Preparing for Audio Output

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.

t Choose Direct Out to map tracks directly to up to eight channels of output (depending on your hardware configuration). By default, Direct Out maps all audio tracks in

Peak Hold Mix Mode Selection

Output Control slider

Show/Hide Setup Control button

Setup Options panel

IN/OUT toggle

Channel

Show/Hide Output Control button

Reset Peak button

pop-up menu

(master attenuator)

menu button

assignments

buttons

Stereo Mix Tracks pop-up menu

All or Timeline Track Maps pop-up menu

734

Output Options

numerical sequence to existing output channels. You can remap a track to any channel by clicking the channel assignment display and by choosing another channel.

n You must select All from the All or Timeline Track Maps pop-up menu to remap channels.

5. (Option) Depending on your type of output, you can make additional adjustments:

- By default, the Stereo Mix Tracks option directs the mixed tracks to output channels 1 and 2. You can also direct mixed tracks to output channels 3&4, 5&6, or 7&8.

- You can select between All or Timeline from the All or Timeline Track Maps pop-up menu above the track and channel selectors buttons as follows:

Timeline allows you to assign output channels to the tracks that are monitored in the Timeline.

All allows you to choose between all available tracks.

- 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.

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.

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Preparing for Audio Output

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. See “Using the Audio Mix Tool” on page 614.

9. Close the Audio tool.

Preparing Record Tapes

The two basic methods of recording to tape are:

• Frame-accurate recording, using the Digital Cut tool

• Manual recording, using controls on the record deck

Each method requires different treatment of the record tapes.

Frame-Accurate Recording

Frame-accurate recording involves using the Digital Cut tool to record your sequence onto a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape.

Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance using either insert-editing recording or assemble-edit recording. See “Enabling Assemble-Edit Recording” on page 737.

To perform insert-edit recording:

t Stripe the record tapes (record black with timecode for the entire duration of the tape) in advance (prestriped tape).

To perform assemble-edit recording:

t Record black with timecode onto the tape, including the necessary preroll prior to the IN point plus at least 10 seconds (partially striped tape).

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Output Options

Manual Recording

Manual recording (sometimes referred to as crash recording) involves bypassing deck control in Avid Xpress and using manual operation of the record deck. Because the timing of playback is based on manual procedures, the recording is not frame accurate. However, you do not need to record timecode onto the tape in advance. You can also record onto non-Avid-controlled decks, such as a consumer-grade VHS or Hi8™.

n You cannot manually record to a DV device or camera. Use the Digital Cut tool with local control. For more information, see “Recording a Digital Cut to Tape (Local Mode)” on page 747.

To record manually:

1. If the record deck has a serial control switch, set it to Local.

2. Use the controls on the deck to start the videotape recording.

3. Play the sequence.

Recording Bars and Tone

You can also record a portion of bars and tone onto the tape before recording a digital cut. There are two methods of recording bars and tone to tape:

• If your recording must be frame accurate, consider adding a segment of digital bars and tone to the front of your sequence, or prepare it as a separate sequence that you can record using the Digital Cut tool. For more information, see “Preparing Digital Bars and Tone” on page 382.

• If your recording does not need to be frame accurate, you can manually record direct output of bars and tone from Avid Xpress.

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Preparing for Audio Output

To record bars and tone manually:

1. Open the Video Output tool and the Audio tool by choosing them from the Tools menu.

2. Choose a color bars pattern from the Test Patterns pop-up menu in the Video Output tool.

If you do not see the Test Patterns pop-up menu, click the Arrow button at the lower left corner of the window.

3. Choose Play Calibration Tone from the Peak Hold (PH) pop-up menu in the Audio tool.

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.

Enabling Assemble-Edit Recording

Insert editing is the default setting for the Digital Cut tool. You can also use assemble-edit settings in Avid Xpress, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance.

c To avoid accidentally breaking timecode on prestriped tapes during digital cut recording, enable assemble editing only when in use, and disable it during insert-edit recording.

To enable assemble-edit recording:

1. Click the Settings tab in the Project window.

The Settings Scroll list appears.

2. Double-click Deck Preferences.

The Deck Preferences dialog box appears.

3. Select “Allow assemble edit for digital cut.”

738

Output Options

4. Click OK.

5. 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, set the Local/Remote switch to Remote for deck control from within Avid Xpress.

6. When you are ready to record, set the options in the Digital Cut tool, as described in “Using the Digital Cut Tool” on page 738.

Using the Digital Cut ToolThe 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 use the deck controller in the Digital Cut tool to control the deck. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 744.

• Local mode allows you to use the controls on the deck to manually control the record deck. This mode is useful when you need to use non-Avid-controlled decks, such as a consumer-grade VHS or Hi8. Local mode also allows you to preview the output of a digital cut before recording it to tape.

You can manually record a digital cut including countdown, but the recording is not frame accurate. For more information, see “Preparing Record Tapes” on page 735.

739

Using the Digital Cut Tool

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 Sync for Output” on page 719.

The Digital Cut tool allows you to:

• Select the sequence video and audio tracks to record (use the Sequence Tracks pop-up menu and the Track Selection buttons).

• Select the tracks to record to on the tape (use the Enable Video Track button — Remote mode only).

• Record an entire sequence.

• Add black at the end of a digital cut.

The Digital Cut tool provides several options for managing the recording of your sequence. For example, you can:

• Record using either assemble or insert edits.

• Record a selected portion of the sequence or selected tracks.

• Record according to different timecode parameters.

You can also preview the digital cut before recording it to tape.

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 marking 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).

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Output Options

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.

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.

Track Selectionbuttons

Enable Video Track button

Deck Selection

Timecodetext boxes

Deck controls

Deck Control Options area

Preview Digital Cut buttonSequence Trackspop-up menu

pop-up menu

741

Using the Digital Cut Tool

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 215.

• 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 209.

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 as well as Local mode before actually making the cut.

To preview a digital cut:

1. Choose Digital Cut from the Clip menu.

The Digital Cut tool opens.

2. Select Remote or Local in the Deck Control Options area.

3. Select the options that you want for the digital cut. See “Recording a Digital Cut to Tape (Remote Mode)” on page 744.

742

Output Options

4. Use the Sequence Tracks pop-up menu to choose the audio tracks and topmost video track that you want represented in the digital cut preview. The display of tracks 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 option Custom Screen allows you to change the font (type style), size, and color of the countdown numbers. You can also import your own PICT file as a background.

To create a custom countdown:

1. Choose Digital Cut from the Clip menu.

The Digital Cut tool opens.

2. Select Local in the Deck Control Options area.

3. Select With Countdown, and select Custom Screen.

4. Click the Choose button.

The Custom Countdown dialog box appears.

743

Using the Digital Cut Tool

5. 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.

6. Click Import if you want to import an available PICT file to use as a custom background.

The Directory dialog box appears.

7. Locate a PICT file to serve as the new background image, and click Open.

8. Click OK.

The custom countdown screen is ready for previews.

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 import.

744

Output Options

Recording a Digital Cut to Tape (Remote Mode)

To record a digital cut to tape:

1. Load a sequence into the Composer monitor. (You cannot access digital cut options without a sequence loaded.)

2. Choose Digital Cut from the Clip menu.

The Digital Cut tool opens.

3. (DV Option only) Choose one of the following from the Target Device pop-up menu:

t Choose OHCI to output a DV sequence to a DV camera or deck connected through the 1394 connection.

t Choose Meridien to output a DV sequence to a composite, component, or serial digital device connected to the Meridien I/O Box.

Track Selectionbuttons

Deck Selection

Timecodetext boxes

Deck controls

Deck Control Options area

Preview Digital Cut button

Sequence Trackspop-up menu

pop-up menu

Halt Digital Cut button

Enable Video Track button

Play Digital Cut button

745

Using the Digital Cut Tool

4. Select or deselect the Entire Sequence option based on the following:

t Select Entire Sequence if you want the system to ignore any IN or OUT points and to play the entire sequence from start to finish.

t Deselect Entire Sequence if you have established IN points, OUT points, or both for recording a portion of the sequence.

5. (Option) Select Add Black at Tail, and enter a timecode to add black at the end of the digital cut.

6. Select Remote in the Deck Control Options area.

7. Choose either Insert Edit or Assemble Edit from the pop-up menu.

n This menu appears only if you selected the "Allow assemble edit for digital cut" option in the Deck Preferences dialog box. For more information, see “Enabling Assemble-Edit Recording” on page 737.

8. Choose an option from the pop-up menu in the Deck Control Options area to indicate where to start recording on the tape:

t 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 the appropriate IN points on the tape.

t Choose Record Deck Time to ignore the timecode of the sequence and to start the recording wherever the record deck is currently cued.

746

Output Options

t Choose Mark In Time to ignore the sequence timecode. Establish an IN point on the record tape by cueing and marking with the deck controls.

9. (Option) Select Custom Preroll 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.

10. Select the audio and video tracks you want represented in the digital cut preview. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence.

n 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 “Changing the Sample Rate” on page 703.

11. Click the Enable Video Track button to select the audio and video tracks to record to tape.

12. Click the Play Digital Cut button.

The system cues the record deck and then plays and records the digital cut. The playback appears in the Composer monitor and the video monitor (if you have one).

To stop the recording at any time, do one of the following:

t Press the space bar.

t Click the Halt Digital Cut button.

n After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending on the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up.

747

Using the Digital Cut Tool

n If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect the option “Poll deck during digital cut” in the Deck Preferences dialog box and record the digital cut again. With this option deselected, the timecode display in the deck controller does not update for the duration of the digital cut.

Recording a Digital Cut to Tape (Local Mode)

Recording in local mode allows you to manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid controlled decks, such as consumer-grade VHS or Hi8.

To record a digital cut to tape:

1. Load a sequence into the Composer monitor. (You cannot access digital cut options without a sequence loaded.)

2. Choose Digital Cut from the Clip menu.

The Digital Cut tool opens.

748

Output Options

3. (DV Option only) Choose one of the following from the Target Device pop-up menu:

t Choose OHCI to output a DV sequence to a DV camera or deck connected through the 1394 connection.

t Choose Meridien to output a DV sequence to a composite, component, or serial digital device connected to the Meridien I/O Box.

Track Selectionbuttons

Deck Selection

Timecodetext boxes

Deck controls

Deck Control Options area

Preview Digital Cut button

Sequence Trackspop-up menu

pop-up menu

Halt Digital Cut button

Play Digital Cut button

749

Using the Digital Cut Tool

n If you have an OHCI board, OHCI appears in the menu. If you have a Canopus board, 1394 appears.

4. Select or deselect the Entire Sequence option based on the following:

t Select Entire Sequence if you want the system to ignore any IN or OUT points and play the entire sequence from start to finish.

t Deselect Entire Sequence if you have established IN points, OUT points, or both for recording a portion of the sequence.

5. (Option) Select Add Black at Tail, 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 740.

7. Select Local in the deck control option area.

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 742.

10. Select the audio and video tracks you want represented in the digital cut preview. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence.

c Make sure you connect the correct deck and black burst generator for the format you choose (NTSC or PAL).

11. Press the Record button on the deck.

12. Click the Play Digital Cut button.

The system cues the record deck and then plays and records the digital cut. The playback appears in the Composer monitor and the video monitor (if you have one).

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Output Options

n Depending on the system configuration, you might need to use the deck controls in the Digitize tool to review a digital cut.

To stop the recording at any time, do one of the following:

t Press the space bar.

t Click the Halt Digital Cut button.

n If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect the option “Poll deck during digital cut” in the Deck Preferences dialog box and record the digital cut again. With this option deselected, the timecode display in the deck controller does not update for the duration of the digital cut.

Using EDL ManagerEDL Manager is a standalone application with powerful features and sorting capabilities to help you prepare an edit decision list (EDL).

For more information on specific features and capabilities of EDL Manager, see the Avid EDL Manager User's Guide or the Avid EDL Manager Help.

Using PowerPackPowerPack on an Avid Xpress system, along with the standalone FilmScribe application and the Matchback option, 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:

• Generating a videotape master for the project along with a final cut on film

751

Using PowerPack

• Generating pull lists for retransferring selects at high quality before online editing

PowerPack also enables the following features:

n For more information about the FilmScribe application, see the Avid FilmScribe User’s Guide or the Avid FilmScribe Help.

n Your system might not include PowerPack. To purchase PowerPack, contact your Avid sales representative.

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.

To use See

Dupe detection in the Timeline

“Customizing Timeline Views” on page 535

Script integration Chapter 11

Ink numbers and auxiliary ink numbers

“Choosing Film Settings” on page 754

Film-style fades and dissolves

The Avid Xpress Effects Guide or the Help

752

Output Options

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.

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 or subtracted to 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.

NTSCvideo

Film

Shot X Shot Y Shot Z

The matching film edit pointfalls within a frame.

.................................................................................................................................

.................................................................................................................................

753

Using PowerPack

Matchback Limitations

Matchback is subject to the following limitations:

• 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.

• 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.

Setting Up a Matchback Project

To use matchback:

1. Click New Project in the Select User and Project dialog box.

The New Project dialog box appears.

2. Select Matchback.

3. Choose NTSC or PAL from the Format pop-up menu.

4. Choose a film type from the Film Type pop-up menu.

5. Click OK.

The system creates the new project files and folder, and returns you to the Select User and Project dialog box. The project name is highlighted in the Projects scroll list.

6. Choose Film settings. See “Choosing Film Settings” on page 754.

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Output Options

Choosing Film Settings

To choose Film settings:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Film.

The Film Setting dialog box appears.

3. Select options as presented in Table 18-3.

4. Click OK.

Table 18-3 Film Setting Dialog Box Options

Option Description

Ink Number Format Choose one of these industry-standard ink number formats to meet your production lab standards and your film format.

Ink Number displayed as

Choose the format for the ink number display in bins and cut lists.

Auxiliary Ink Format

Choose the format for the auxiliary ink number (this is useful for tracking additional information for different film gauges). The choices are the same as for Ink Number Format.

Auxiliary Ink displayed as

Choose the format for the auxiliary ink number display. The choices are the same as for Ink Number displayed as.

755

VTR Play Emulation

VTR Play EmulationVTR emulation supports the following options:

• 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.

• VTR play emulation allows you to control a sequence loaded in the Composer 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 Composer monitor.

n To use VTR play emulation, you must use a special Avid 9-pin VTR emulation cable and a serial adapter to connect a supported controller (any controller that uses Sony serial control protocol) to the system. For information about the cable connection, see the setup guide for your Avid Xpress system.

n (Windows only) To avoid timeout errors when using VTR play emulation, you need to install a serial driver from the Avid Xpress installation CD-ROM. Perform a Custom installation, and select only Serial Driver. For more information, see the release notes that came with your system.

Enabling VTR Emulation

To open the VTR Emulation dialog box:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click VTR Emulation.

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The VTR Emulation Settings dialog box appears.

Table 18-4 describes the VTR Emulation Settings options.

Table 18-4 VTR Emulation Settings Options

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 is used when you want to play the sequence from an edit controller. This mode is used when you want to step, play, cue, and mark IN and OUT points with the controller.

Device Code Select the device code that identifies the VTR that the system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW 2800, which performs all the common play and 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 five frames.

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 that the two devices attain full speed at nearly the same time.

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Using VTR Play Emulation

To use VTR play emulation:

1. Make sure the controller is properly connected.

2. Click the Settings tab in the Project window.

3. Double-click VTR Emulation in the Settings scroll list.

4. Choose the appropriate VTR Emulation settings, and then click OK. See “Enabling VTR Emulation” on page 755.

5. Choose Serial (COM) Ports (Windows) or Serial Ports (Macintosh) from the Tools menu.

The Serial (COM) Ports tool (Windows) or Serial Ports tool (Macintosh) opens. See “Using the Serial (Com) Ports Tool” on page 164.

6. Select the appropriate port from the VTR Emulation pop-up menu.

7. 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.

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.

This option causes the system to match the behavior of a tape deck when you step through footage frame by frame. Avid recommends this option only for projects that require quick cueing of one frame after another — for example, when you are using the system to present a sequence of still images as in a slide presentation.

Table 18-4 VTR Emulation Settings Options (Continued)

Option Description

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8. Choose VTR Emulation from the Clip 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 Composer 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 play emulation disabled (in Local mode) by default when you start the system.

Once active, VTR play emulation allows you to control the sequence with an edit controller as follows:

• You can shuttle, step (jog), play, cue, and mark points based on master sequence timecode for editing onto another master. IN and OUT points appear in the Timeline only if the controller sends that information to the Avid Xpress system.

• Your control of the Avid Xpress system is for play only. For example, you cannot arm tracks or send record commands to the Avid Xpress system itself. Audio scrub is enabled by default, emulating analog audio scrub on a VTR.

Limitations for Using VTR Play Emulation

When using 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” on the Avid Knowledge Center. For information on accessing the Knowledge Center, see the release notes for your Avid Xpress system.

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Using Direct Record Emulation1. Make sure the controller is properly connected.

2. Choose the appropriate VTR Emulation settings from the VTR Emulation dialog box in the Settings scroll list. See “Enabling VTR Emulation” on page 755.

3. Choose Serial (COM) Ports (Windows) or Serial Ports (Macintosh) from the Tools menu.

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 Clip 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 Composer 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.

7. Choose Digitize from the Tools menu.

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.

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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.

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.

CHAPTER 19Exporting and Exchanging Material

You can export material directly from your Avid system to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. See the following sections:

• Reasons to Export Files

• Preparing to Export a Sequence

• Using cleaner

• Exporting as an MPEG-1 or an MPEG-2 File

• QuickTime Reference Movies

• Exporting as a QuickTime Movie

• Creating Files for a DVD

• Exporting Video in DV Stream Format

• Sending Material Out for Review

• Mixing Down Video Tracks

• Exporting Frames, Clips, or Sequences

• Using AvidLinks

• Customizing Export Settings

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• Exporting OMFI and AAF Files

• Exporting as an AVI File (Windows Only)

• Using Avid Codecs

• Exporting Tracks as Audio Files

• Exporting as a Graphic File

• Exchanging Files with QuickTime Macintosh Applications

• Transferring a Project Between Avid Systems

• Transferring Media to and from a Video Server

Reasons to Export FilesThere are several reasons why you might want to export video, audio, or both from your Avid system:

• You can export files to be viewed as an AVI or QuickTime movie.

• You can export files in RealMedia™, ASF formats, MPEG-1, and MPEG-2 formats.

• You can export audio files for audio sweetening in a digital audio workstation (DAW), such as a Pro Tools system.

• You can export video files for touching up or for creating special effects in third-party applications or other Avid applications.

• You can export MPEG files and other files compatible with CD-ROM for use in multimedia projects.

• 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, SD2 (Macintosh only), and WAVE formats.

n If you plan to transfer the exported files to another Avid system or third-party application, see the appropriate section in this chapter or the Avid Products Collaboration Guide.

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Preparing to Export a Sequence

The following sections describe general procedures for preparing to export a sequence and for exporting frames, clips, and sequences.

Preparing to Export a SequenceIf 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:

• Make sure all media for the sequence is online. For more information about selecting offline items in a bin, see “Selecting Offline Items in a Bin” on page 359.

For more information on rendering, see the Avid Xpress Effects Guide or the Help.

• 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 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 “Mixing Down Video Tracks” on page 795.

• If your sequence contains numerous audio tracks with various audio effects and level adjustments, 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 audio tracks, see “Mixing Down Audio Tracks” on page 701.

• 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 “Changing the Sample Rate” on page 703.

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• 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 “Mixing Down Audio Tracks” on page 701.

• For OMFI files, consider consolidating the sequence to create smaller source clips, thereby saving time and disk space. For more information on consolidating media, see “Using the Consolidate Command” on page 398.

• OMFI 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 OMFI file, create a sequence from them. For example, you can select all the clips, Alt+drag (Windows) or Option+drag (Macintosh) them into the Timeline to create an instant sequence, and then export the sequence.

Using cleanerYou can use cleaner™ software to turn clips and sequences into streaming files. To use the cleaner application with your Avid system, install either of the following on your Avid system:

• cleaner EZ (from the CD provided by Avid)

• cleaner 5 or later

n 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.

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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 “QuickTime Reference Movies” on page 768.

To send a sequence or clip to cleaner:

1. Select a sequence or clip to export (see “Exporting Frames, Clips, or Sequences” on page 796).

2. Choose Send To from the File menu and Cleaner from the submenu.

The Avid system creates a QuickTime reference movie and starts cleaner, with the sequence or clip ready for processing.

For help using cleaner, see the documentation on the cleaner CD-ROM.

n You can use Avid ProEncode™ to manage the encoding process. ProEncode works with your Avid application to create a QuickTime reference movie and distribute it to multiple workstations for simultaneous creation of different output formats. For information about ProEncode, contact your Avid representative or see the Avid Web site.

Exporting as an MPEG-1 or an MPEG-2 FileMPEG-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 of higher quality than MPEG-1 files.

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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 787.

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 to create a DVD.

To export a clip or sequence as an MPEG-1 or an MPEG-2 file:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.

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.

t To export the entire clip or sequence, make sure the topmost track is monitored.

2. Select a sequence in one of two ways:

t Click the monitor that displays the clip or sequence you want to export.

t Click the sequence in a bin. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips or sequences.

n For more information, see “Preparing to Export a Sequence” on page 763.

3. Choose Export from the File menu.

The Export As dialog box (Windows) or a destination dialog box (Macintosh) dialog box appears.

4. Choose a setting from the Export Setting pop-up menu.

If you want to create a new setting, choose Untitled.

5. Click Options.

The Export Settings dialog box appears.

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6. Choose MPEG-1 or MPEG-2 from the Export As pop-up menu.

7. Do one of the following:

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.

n 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.

Low rates process more quickly, but produce lower quality; high rates process more slowly, but produce higher quality.

9. Select the aspect ratio.

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10. 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 packages such as DVDit! by Sonic Solutions.

n To obtain the audio from the sequence, perform a separate audio export using the WAVE format. See “Exporting Tracks as Audio Files” on page 832.

c 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.

QuickTime Reference MoviesA 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 on an Avid Unity workgroup. Advantages are speed and small file size because the system does not copy the source media files into the

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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. See “Exporting as a QuickTime Movie” on page 773.

Exporting as a QuickTime Reference Movie

To export as a QuickTime reference movie:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.

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.

t To export the entire clip or sequence, make sure the topmost track is monitored.

n For more information, see “Preparing to Export a Sequence” on page 763.

2. Choose Export from the File menu.

The Export As (Windows) or a destination dialog box (Macintosh) dialog box appears.

3. Select the Export settings by doing one of the following:

t Choose a setting from the Export Setting pop-up menu if you have created a setting in advance, and go to step 7.

t If you want to review or edit a setting, go to step 4.

4. Click Options.

The Export Settings dialog box appears.

5. Choose QuickTime Reference from the Export As pop-up menu.

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6. Select options as described in Table 19-1.

7. Click Save.

The file is exported and appears at the chosen destination.

c If a power failure or mishap 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.

QuickTime Reference Export Options

Table 19-1 describes the QuickTime reference options in the Export Settings dialog box.

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Table 19-1 Export Settings Dialog Box (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 clip or sequence.

Use Enabled Tracks When this option is selected (default), the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option.

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.

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

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

Add Shares for Media Drives

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

Pixel Aspect Ratio, non-square

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

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

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

Table 19-1 Export Settings Dialog Box (QuickTime Reference Options) (Continued)

Option Description

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Exporting as a QuickTime Movie

Exporting as a QuickTime MovieThis section presents the procedures for exporting as a QuickTime movie and the export options you can select.

The QuickTime Movie export option creates a standard QuickTime movie that combines the media files and QuickTime wrapper. This method allows you to move all related information as one file. If you are working with Avid OMFI media files available on your local system or on an Avid Unity workgroup, you might want to investigate the QuickTime reference format. See “QuickTime Reference Movies” on page 768.

To export as a QuickTime movie:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the QuickTime Export Settings dialog box. You can select this option before the export.

t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the QuickTime Export Settings dialog box.

t To export the entire clip or sequence, deselect Use Enabled Tracks and Use Marks in the QuickTime Export Settings dialog box, and make sure the topmost track is monitored.

You can use the drag-and-drop method to export QuickTime files. See “Using the Drag-and-Drop Method for Export” on page 800.

2. Choose Export from the File menu.

The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears.

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3. Choose the Export settings by doing one of the following:

t Choose a setting from the Export Setting pop-up menu if you created a QuickTime template in advance, and then click Save.

The file is exported and appears at the chosen destination.

t If you want to review or edit a setting, go to step 4.

4. Click the Options button.

The Export Settings dialog box appears.

5. 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 with Avid Xpress and are not supported by Avid.

QuickTime Movie (Same as Source) QuickTime Movie (Custom)

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6. Select one of the following:

- Same as Source: Allows you to use the resolution of the source file.

- Custom: Allows you to customize your settings.

7. (Option) Click Format Options, and select settings from the Movie Settings dialog box; use Table 19-3 and Table 19-4 as references.

8. Select the remaining options; use Table 19-2 as a reference.

9. Click Save, and then click Save again.

The file is exported and appears at the chosen destination.

c 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.

Table 19-2 describes the Export options that appear when you choose QuickTime Movie from the Export Settings dialog box.

Table 19-2 QuickTime Movie Export Options

Option Suboption Description

Use Marks When you select this option, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

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

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Same as Source When you select this option, the system copies the media files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files. Selecting Same as Source is the best method to use if you plan to process the video on another system, using a third-party application like After Effects or media cleaner®.

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

Format Options Click the Format Options button to open the Movie Settings dialog box. For more information, see “Selecting QuickTime Codecs” on page 780.

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

Video Only Select this option if you want to export only the video. For example, use this option if you want to add effects in a 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 audio in a third-party application or you want to use the audio in a multimedia project.

Table 19-2 QuickTime Movie Export Options (Continued)

Option Suboption Description

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

• Size to Fit: This option sizes to fit the specified width and height. You can type in values or 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 Select this option to set the color to RGB or ITU-R 601.

File Field Order These options allow you to choose the field that is the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

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

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

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

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

Table 19-2 QuickTime Movie Export Options (Continued)

Option Suboption Description

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Table 19-3 describes the options in the Movie Settings dialog box; it appears when you click Format Options in the Export Settings dialog box.

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

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

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

Table 19-2 QuickTime Movie Export Options (Continued)

Option Suboption Description

Table 19-3 QuickTime Movie Settings

Option Suboption Description

Video

Settings Compression Settings See “Selecting QuickTime Codecs” on page 780.

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

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

Sound

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Settings Compressor Allows you to 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 (see previous entry), but compresses the header information. The header is the portion of the file that allows the movie to start playing before the entire movie is downloaded. Compressing the header allows it to download faster. This is important for large movies (movies that are longer than several minutes).

Hinted Streaming Select this option if you are putting the exported file on a streaming video server. The file does not stream without a hint track for each track in the movie. The hint tracks allow the streaming video server to split the file into packets for the streaming.

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

For additional options, click Track Hinter Settings. The RTP (Real Time Protocol) Track Settings dialog box appears. For more information, see QuickTime Help at:

www.apple.com/quicktime/products/tutorials/hinttracks.html.

Table 19-3 QuickTime Movie Settings (Continued)

Option Suboption Description

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Selecting QuickTime Codecs

Your Avid system includes many codecs you can use to compress and export your sequence. See “Using Avid Codecs” on page 820.

To access the QuickTime codecs:

1. Choose Export from the File menu.

The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears.

2. Click the Options button.

The Export Settings dialog box appears.

3. Choose QuickTime Movie from the Export As pop-up menu.

4. Select Custom.

5. Click Format Options.

The Movie Settings dialog box appears.

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6. Click the Settings button in the Video area.

The Compression Settings dialog box appears.

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7. Select settings, using Table 19-4 for reference.

8. Click OK.

The Movie Settings dialog box reappears.

9. Click OK to return to the Export Settings dialog box. For information about exporting as a QuickTime movie, see “Exporting as a QuickTime Movie” on page 773.

The codecs that appear in Table 19-4 depend on the version of QuickTime that is installed. Not all settings are available for all codecs.

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Table 19-4 QuickTime Compression Settings

Format Options Suboption Description

Compressor Animation For high-quality, lossless compression (in which no picture information is lost).

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

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

Avid Meridien Compressed

For compression compatible with Avid products. Allows fast import. See “Using the Avid Codecs for QuickTime” on page 820.

Avid Meridien Uncompressed

For 1:1 resolution. Allows fast import. See “Using the Avid Codecs for QuickTime” on page 820.

n For export at the same resolution as your current clips, choose Same as Source instead of Custom. See “Exporting as a QuickTime Movie” on page 773.

Avid ABVB NuVista

For backward compatibility with systems using AVRs.

BMP (Windows only)

For internal encoding of individual frames as BMP (Windows native bitmap format) files.

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

Component Video

For high-quality, lossless compression (in which no picture information is lost). Uses the same algorithm as the Animation method but saves the file in YUV RLE format, which separates the luminance from the chrominance. All QuickTime applications can read this format, but only some can write to this format.

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Exporting and Exchanging Material

DV-NTSCDV-PAL

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

Graphics For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Uses a limited color palette version (16 colors) of Animation compression.

H.261 For low-quality video conferencing.

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

Intel Indeo Video 4.4

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

Motion JPEG A For medium-quality, lossy compression (in which some picture information is lost) requiring much storage space and additional hardware support for real-time playback.

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

Motion JPEG B For medium-quality, lossy compression (in which some picture information is lost) requiring much storage space and additional hardware support for real-time playback.

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

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

Table 19-4 QuickTime Compression Settings (Continued)

Format Options Suboption Description

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Exporting as a QuickTime Movie

Photo-JPEG For medium-quality, lossy compression (in which some picture information is lost) requiring moderate storage space and data throughput on playback.

Uses the Joint Photographic Experts Group (JPEG) algorithm for image compression; results in files that are 20% to 30% the size of the uncompressed files. Some data is lost during compression, and the export process takes longer to complete (typically six times longer than the Animation compression, for example).

Planar RGB For high-quality, lossless compression (in which no picture information is lost). Results in large files.

Encodes each image plane separately, using a run-length-encoded (RLE) scheme. Used primarily to support Photoshop files, which are usually stored using a planar run-length algorithm.

PNG Portable Network Graphics, used to replace GIF as a bitmap still-image format for newer Internet browsers.

Sorenson Video For medium-quality, lossy compression (in which some picture information is lost) at a low data rate and low storage requirements. This codec is particularly suited for Web or CD-ROM delivery and is recommended for R&A™ files. See “Sending Material Out for Review” on page 792.

Sorenson Video 3 An improved version of the Sorenson Video codec. Movies created with this codec require the QuickTime 5 viewer.

TGA Saves exported file in TARGA® format.

TIFF Tagged Image Format, a cross-platform bitmap still-image format, used often in pre-press production.

Video For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive.

Table 19-4 QuickTime Compression Settings (Continued)

Format Options Suboption Description

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Exporting and Exchanging Material

Colors Choose the colors that you want included in the exported file. The selections vary according to the codec you choose. Some codecs have only one color setting.

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

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

If you use one of the Avid Codecs for QuickTime with other applications that support alpha channels, you can choose 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 choose. Some codecs have only one Quality setting.

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

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

Motion 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.

Key frame every n frames

Use this option to have the system use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes.

Limit data rate to n KBytes/sec

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

Table 19-4 QuickTime Compression Settings (Continued)

Format Options Suboption Description

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Creating Files for a DVD

Creating Files for a DVDIf you plan to put your sequence onto a digital video disc (DVD), choose Create DVD from the File menu. Depending on your hardware and software, you can:

• Burn the sequence directly to a DVD from Avid Xpress.

• Create a DVD volume that you can move to another system.

• Use the Create DVD command to create the appropriate MPEG-2 and WAVE files.

n If you are using a Macintosh system with a SuperDrive™ (CD-ROM/DVD-R), you cannot use this procedure. For additional information, see the release notes for your Avid system.

To create files for a DVD:

1. Before you begin creating the DVD files, create and select an MPEG-2 export setting. See “Creating a New Export Setting” on page 804.

2. Select a sequence in a bin.

3. Choose Create DVD from the File menu.

The Create DVD dialog box appears.

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Exporting and Exchanging Material

4. Select one of the following options:

- Export MPEG-2 and WAV Files: Use this option 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 option to create a DVD volume. Then you can move the DVD

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Creating Files for a DVD

volume to a system that has DVD writing hardware and software.

- Create DVD Volume and Write to DVD: If you have DVD writing hardware attached to your Avid system, you can choose this option 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. Select a folder in which to store the generated files.

6. Choose an MPEG-2 export setting from the Export Setting pop-up menu.

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 an 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.

When you select the Create DVD Volume on Disk option, 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.

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Exporting and Exchanging Material

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.

n The Create DVD Volume on Disk option 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.

Exporting Video in DV Stream FormatThe DV Stream format is often used for distribution on a CD-ROM or over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track.

To export in DV Stream format:

1. Choose Export from the File menu.

The Export As (Windows) or a destination dialog box (Macintosh) dialog box appears.

2. Select the Export settings by doing one of the following:

t Choose a setting from the Export Setting pop-up menu if you have created a setting in advance, and go to step 7.

t If you want to review or edit a setting, go to step 4.

3. Click Options.

The Export Settings dialog box appears.

4. Choose DV Stream from the Export As pop-up menu.

5. Select options as described in Table 19-5.

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Exporting Video in DV Stream Format

6. Click the Format Options button.

The DV Export Settings dialog box appears.

7. Select a video format and an audio format. For compatibility with DV cameras that require unlocked audio, deselect Locked.

8. Click OK, and then click Save.

Table 19-5 Export Settings Dialog Box (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 this option is selected (default), the system uses tracks that are enabled in the Timeline. To export the entire clip or sequence, deselect this option.

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

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

File Field Order These options allow you to choose the field that is the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

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

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

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

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Exporting and Exchanging Material

The file is exported and appears at the chosen destination.

Sending Material Out for ReviewYour 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 view the reviewer comments using the Locators window in your Avid system. See “Opening R&A Files in the Locators Window” on page 793.

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 QuickTime Movie” on page 773.

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.

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Sending Material Out for Review

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.

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 793.

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 “Using the Locators Window” on page 503.

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.

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Exporting and Exchanging Material

• 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.

2. Do one of the following:

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.

A dialog box appears.

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. For more information, see “Displaying Information in the Locators Window” on page 508.

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

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Mixing Down Video Tracks

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.

Mixing Down Video TracksVideo mixdown allows you to combine several tracks into a single new master clip. This is convenient for building multilayered effects, for consolidating media, and for export and exchange.

c When you mix down video tracks, you cannot separate them again to work on the tracks individually. Use this function only during the last stages of editing when you no longer need to make changes, or to make a copy for previewing.

To perform a video mixdown:

1. Render all effects that require rendering. For information about rendering, see the Avid Xpress Effects Guide or the Help.

2. Highlight the tracks you want to mix down.

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Exporting and Exchanging Material

n Make sure the Record Track Monitor button in the Track Selector panel is in the topmost track that you want to mix down. Video mixdown works from the monitored track down, regardless of track selection.

3. Mark an IN point and an OUT point around the area to mix down.

4. Choose Video Mixdown from the Clip menu.

The Video Mixdown dialog box appears.

5. (Option) Choose a different bin from the Target Bin pop-up menu.

6. Choose a target drive for storing the new master clip from the Target Drive pop-up menu.

7. Choose a video resolution for the mixdown from the Resolution pop-up menu.

8. Click OK.

A progress indicator appears, showing the progress of the video mixdown. When the mixdown is completed, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive.

Exporting Frames, Clips, or SequencesFor information on using the drag-and-drop method, see “Using the Drag-and-Drop Method for Export” on page 800.

This section provides the steps for exporting frames, clips, and sequences. For information on exporting for digital distribution on the World Wide Web, CD-ROM, or DVD, see “Using cleaner” on page 764 and “Creating Files for a DVD” on page 787.

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Exporting Frames, Clips, or Sequences

To export frames, clips, or sequences:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Settings dialog box. You can set this option before the export. See “Customizing Export Settings” on page 804.

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 the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Settings dialog box.

t 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.

n When you export to an OMFI 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.

2. Select a clip or sequence in one of two ways:

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.

3. Choose Export from the File menu, or right-click (Windows) or Ctrl+Shift+click (Macintosh) and choose Export from the shortcut menu.

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Exporting and Exchanging Material

The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears with a default file name in the File Name text box (Windows) or the Export As text box (Macintosh), based on the file type.

Windows

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Exporting Frames, Clips, or Sequences

4. Select the destination folder for the file.

5. (Option) Change the file name. In most cases, keep the default file name extension.

6. (Windows only) 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.

n Your Avid system supplies you with several templates for Export settings. For a list of the templates and their settings, see the Avid Products Collaboration Guide.

7. (Option) If you want to view or modify the current Export setting or create a new setting, click the Options button to open the Export Settings dialog box, view the selections, and then click Save to return to the Export As dialog box (Windows) or a destination dialog box (Macintosh).

Macintosh

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Exporting and Exchanging Material

8. Click Save.

The file is exported and appears at the chosen destination.

n 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 in Settings tab of the Project window.

n For large exports, use QuickTime Reference. See “QuickTime Reference Movies” on page 768.

c 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 for Export

To export a frame, clip, or sequence using the drag-and-drop method:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Settings dialog box. See step 2.

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 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

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Using AvidLinks

the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Settings dialog box.

t To export the entire clip or sequence, deselect both Use Enabled Tracks and Use Marks in the Export Settings dialog box, and make sure the topmost track is monitored.

n You cannot use the drag-and-drop method to export ALE, tab-delimited, or sequential files.

n When you export to an OMFI 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.

2. 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 at the same time directly from a bin. To view or modify the parameters, double-click the setting.

3. 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 new location.

Using AvidLinksAvidLinks 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 are either composition-only, or composition with embedded audio or video. For

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Exporting and Exchanging Material

more information on compositions, see “Exporting Through OMF Interchange” on page 806.

You can use AvidLinks to export to any of the applications listed in Table 19-6.

To use AvidLinks:

1. In the bin, select the media object you want to export.

2. Choose AvidLinks from the File menu.

The AvidLinks submenu appears.

Table 19-6 Applications for AvidLinks Export

Avid ApplicationOutput File Format Options

Supported Media Objects

AudioVision OMFI Sequence or master clip

Digidesign Pro Tools OMFI Embed Audio in OMF Interchange® file

External Audio Files (native AIFF-C only)

Sequence or master clip

Media Illusion (Composition) OMFI Sequence only

Media Illusion (Video) OMFI Convert to 1:1a Master clip only

Avid|DS (Composition) OMFI Sequence only

a. Media Illusion 6.0 requires uncompressed media (1:1 resolution). If your media is not 1:1, select this option. The Avid system creates uncompressed media for the exported file. If your media is 1:1, don’t select this option; the exporting process is faster.

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Using AvidLinks

n To access AvidLinks from the shortcut menu, right-click (Windows) or Ctrl+Shift+click (Macintosh).

3. Choose an application from the AvidLinks submenu.

The AvidLink Export To application name dialog box (Windows) or a destination dialog box (Macintosh) appears with a default file name in the File Name text box (Windows) or the AvidLink Export To text box (Macintosh), based on the file type.

4. (Option) Change the file name.

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Exporting and Exchanging Material

Keep the default file name extension the same.

5. Select the destination folder for the file.

6. Click Save.

The file is exported and appears at the chosen destination.

Customizing Export SettingsIn 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.

Creating a New Export Setting

To create a new Export setting:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Click Export.

3. Do one of the following:

t Choose Duplicate from the Edit menu.

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) and select Duplicate from the shortcut menu.

4. Name the setting:

a. Click the custom name column.

b. Type a name.

c. Press Enter (Windows) or Return (Macintosh).

5. Adjust the parameters for the setting as described in the following procedure.

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Customizing Export Settings

To adjust the parameters in an Export Settings dialog box:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click the Export setting.

The Export Settings dialog box appears.

3. Select the appropriate file type and options based on the descriptions in Table 19-7.

4. Click OK.

The changed settings are saved.

Table 19-7 Export Settings Dialog Box Options

Export As Option Description

OMFI Select this option to export a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both. See “Exporting Through OMF Interchange” on page 806.

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 806.

QuickTime Reference

Select this option to create a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. See “QuickTime Reference Movies” on page 768.

MPEG-1 or MPEG-2

Select one of these options to export the selected media object in the MPEG-1 or MPEG-2 file format. See “Exporting as an MPEG-1 or an MPEG-2 File” on page 765.

DV Stream Select this option to create a standard DV stream. The DV Stream format is often used for distribution on a CD-ROM or over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. Requires a video track. See “Exporting Video in DV Stream Format” on page 790.

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Exporting and Exchanging Material

Exporting OMFI and AAF FilesThe options for exporting OMFI (OMF Interchange) and AAF (Advanced Authoring Format) files have changed for this release. You can now consolidate or copy media and create an OMFI or an AAF file in one step.

Exporting Through OMF Interchange

OMF Interchange (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and

QuickTime Movie

Select this option to create a self-contained QuickTime movie. See “Exporting as a QuickTime Movie” on page 773.

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 19-9 on page 816.

Audio Select this option to export audio tracks in the WAVE format, SD2 (Macintosh only), or AIFF-C audio format. See “Exporting Tracks as Audio Files” on page 832.

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 834. For information about supported file types, see ”File Format Specifications” in the Help.

Avid Log Exchange

Select this option to export the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see “Converting Log Files with Avid Log Exchange” on page 175.

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.

Table 19-7 Export Settings Dialog Box Options (Continued)

Export As Option Description

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Exporting OMFI and AAF Files

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 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 “File Format Specifications” in the Help.

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

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Exporting and Exchanging Material

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 consolidated media files, as well). You can consolidate media during the export (see “Exporting OMFI or AAF Files” on page 809) or before the export (see “Consolidating Media” on page 395).

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 OMFI or AAF Files” on page 809.

n (Macintosh only) SD2 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 SD2 audio format, you must select an export method that links to the files. If the audio files are not in SD2 format, you must select Consolidate and Link to Consolidated Media and select Convert Audio Sample Rate to SD2. See Table 19-8.

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Exporting OMFI or AAF Files

To export master clips or sequences as OMFI or AAF files:

1. Select the master clip or sequence you want to export.

2. Choose Export from the File menu.

The Export As dialog box appears.

Windows

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Exporting and Exchanging Material

3. Choose a setting from the Export Setting pop-up menu.

If you want to create a new setting, choose Untitled.

4. Click the Options button.

The Export Settings dialog box appears.

5. Choose OMF 1.0, OMF 2.0, or AAF from the Export As pop-up menu.

6. Select options as described in Table 19-8.

Macintosh

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Exporting OMFI and AAF Files

7. Do one of the following:

t To save your settings in the existing settings file, click Save.

The Export As dialog box appears again.

t 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 Export As dialog box appears again.

8. (Option) In the Export As dialog box, change the file name.

In most cases, keep the file name extension the same.

9. Select the destination folder for the file.

10. Click Save.

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Exporting and Exchanging Material

The file is exported and appears at the chosen destination.

Table 19-8 Export Settings Dialog Box (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 Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0.

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

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 export an OMFI or an AAF composition with links to media that you have consolidated. For more information about consolidating, see “Consolidating Media” on page 395.

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

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Exporting OMFI and AAF Files

Consolidate and Embed Media

Select this option to first consolidate, then embed media in the OMFI or the AAF file. Select the drive from the Target Drives list. The default handle length is 60 frames. If you want to change the default, type the length of the handles, in frames. For more information about consolidating, see “Consolidating Media” on page 395.

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 create the consolidated media files.

Handle Length: nn 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:

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

Select this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings window. For more information see “Adjusting Audio Project Settings” on page 240.) 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.

Table 19-8 Export Settings Dialog Box (OMFI and AAF Settings Options) (Continued)

Option Suboption Description

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Exporting as an AVI File (Windows Only)To export as an Audio Video Interleave (AVI) file:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Settings dialog box. You can set this option before the export. See “Customizing Export Settings” on page 804.

Convert Audio File Format to:

WAVE

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

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

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.

SD2 (Macintosh only)

Select SD2 to link to audio tracks in the SD2 (Sound Designer II™) format, for export to AudioVision or another product that supports the SD2 format. SD2 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.

Table 19-8 Export Settings Dialog Box (OMFI and AAF Settings Options) (Continued)

Option Suboption Description

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Exporting as an AVI File (Windows Only)

t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Settings dialog box.

t To export the entire clip or sequence, deselect Use Enabled Tracks and Use Marks in the Export Settings dialog box, and make sure the topmost track is monitored.

2. Choose Export from the File menu.

The Export As dialog box appears.

You can set these options in advance. See “Customizing Export Settings” on page 804.

3. Choose the Export settings by doing one of the following:

t If you created a setting in advance, choose the AVI setting from the Export pop-up menu, and go to step 11.

t If you want to review or edit a setting, go to step 4.

4. Click the Options button.

The Export Settings dialog box appears.

5. Choose AVI from the Export As pop-up menu.

6. Select AVI options from the Video Format tab as described in Table 19-9.

7. Select an AVI codec by clicking the Codec Options button.

The Video Compression dialog box appears.

8. Select the compressor you want, and click Configure to further configure the codec. For more information, see Table 19-10 on page 819.

9. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box.

10. Select AVI options from the Audio Format tab as described in Table 19-9.

11. Click Save.

The file is exported and appears at the chosen destination.

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Exporting and Exchanging Material

c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

AVI Settings (Windows Only)

Table 19-9 describes the AVI Settings options in the Export Settings dialog box. In the Video Format tab, you can also select further options by clicking the Codec Options button.

Table 19-9 Export Settings Dialog Box (AVI Settings Options) (Windows Only)

Option Suboption Description

Use Marks When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Use Enabled Tracks

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

Video and Audio Select this option if you want to export both the audio and the video. For more information, see “Using the Avid Codec for AVI (Windows Only)” on page 826.

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

Audio Only Select this option if you want to export only the audio. For example, use this option if you want to use or enhance audio in a third-party application or use the audio in a multimedia project.

Video Format Codec Options When you click this button, the Video Compression dialog box appears. For more information, see Table 19-10 on page 819.

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Exporting as an AVI File (Windows Only)

Width x Height This option allows you to set the width and height of the clip. Click the Fast Menu button to choose from a list of standard dimensions.

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

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

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

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

File Field Order These options allow you to choose the field that will be the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

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

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

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

Audio Format

Mono

Stereo

Exports audio to a single channel.

Exports audio to two channels.

Table 19-9 Export Settings Dialog Box (AVI Settings Options) (Windows Only) (Continued)

Option Suboption Description

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AVI Video Compression Dialog Box Options (Windows Only)

Table 19-10 describes the AVI Video Compression dialog box options. The list of codecs varies, depending on your platform and the version of Windows installed.

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).

Table 19-9 Export Settings Dialog Box (AVI Settings Options) (Windows Only) (Continued)

Option Suboption Description

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Exporting as an AVI File (Windows Only)

Table 19-10 AVI Video Compression Dialog BoxOptions (Windows Only)

Option Suboption Description

Compressor Cinepak Codec by Radius

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

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

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

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

Microsoft MPEG-4 Video Codec V1, V2, V3

For Web content containing both video and audio. (V3 is the most recent version.)

Click Configure to open the Configure dialog box. You can then adjust the frequency of the keyframes, as well as compression control and data rate.

Avid AVI Codec 2.0d2

Use this option to choose Avid resolutions. See “Using the Avid Codec for AVI (Windows Only)” on page 826.

Full Frames (Uncompressed)

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

Compression Quality Slider

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

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Exporting and Exchanging Material

Using Avid CodecsYou can use the following Avid codecs (compressor/decompressor) when exporting QuickTime or AVI files from your Avid system or from third-party applications for import into an Avid system:

• Avid Codecs for QuickTime

• (Windows only) Avid Codec for AVI

Using the Avid Codecs for QuickTime

You can use the following Avid codes when you export 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.

Key Frame Every n frames

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

Data Rate n KB/sec

Use 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.

Table 19-10 AVI Video Compression Dialog BoxOptions (Windows Only) (Continued)

Option Suboption Description

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Using Avid Codecs

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 when you use the Same as Source option. See “Exporting as a QuickTime Movie” on page 773.

Exporting with an Avid Meridien Codec

To export a clip or sequence with one of the Avid Meridien codecs:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.

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.

t To export the entire clip or sequence, make sure the topmost track is monitored.

2. Choose Export from the File menu.

The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears.

3. Click Options.

The Export Settings dialog box appears.

4. Choose QuickTime Movie from the Export As pop-up menu.

5. Select Custom.

6. Click the Format Options button.

The Movie Settings dialog box appears.

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Exporting and Exchanging Material

7. Click Settings in the Video area.

The Compression Settings dialog box appears.

823

Using Avid Codecs

8. Choose Avid Meridien Uncompressed or Avid Meridien Compressed from the top Compressor pop-up menu.

9. Click the Options button. The Quality slider does not affect your settings.

One of the Codec Configuration dialog boxes appears.

10. Choose the settings you want and click OK.

11. Click OK in the Compression Settings dialog box, and then click OK in the Movie Settings dialog box.

The Export Settings dialog box reappears.

12. Click Save.

The file is exported and appears at the chosen destination.

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Exporting and Exchanging Material

Exporting with the Avid Codec for QuickTime

To export a clip or sequence with the Avid ABVB NuVista Codec for QuickTime:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.

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.

t To export the entire clip or sequence, make sure the topmost track is monitored.

2. Choose Export from the File menu.

The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears.

3. Click Options.

The Export Settings dialog box appears.

4. Choose QuickTime Movie from the Export As pop-up menu.

5. Select Custom.

6. Click the Format Options button.

The Movie Settings dialog box appears.

825

Using Avid Codecs

7. Click Settings in the Video area.

The Compression Settings dialog box appears.

8. Choose Avid ABVB NuVista from the Compressor top pop-up menu.

9. Adjust the Quality slider.

The Avid ABVB/NuVista Codec Configuration dialog box appears. The quality slider does not affect your settings.

10. Select the appropriate format for the media you want to create: NTSC or PAL.

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Exporting and Exchanging Material

11. Select the appropriate board type for the media:

- NuVista (Macintosh systems with the NuVista video board)

- ABVB (Macintosh systems using the Avid Broadcast Video Board)

12. Select or deselect Input depending on your source.

13. Choose a resolution from the Resolution pop-up menu.

The menu is updated according to the format and system type you choose.

14. Click OK to close the Avid ABVB/NuVista Codec Configuration dialog box.

15. Click OK in the Compression Settings dialog box.

The Movie Settings dialog box reappears.

16. Click OK.

The Export Settings dialog box reappears.

17. Click Save.

The file is exported and appears at the chosen destination.

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:

1. Select the material you want to export in one of the following ways:

t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.

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.

827

Using Avid Codecs

t To export the entire clip or sequence, make sure the topmost track is monitored.

2. Choose Export from the File menu.

The Export As dialog box appears.

3. Click the Options button.

The Export Settings dialog box appears.

4. Choose AVI from the Export As pop-up menu.

5. Click the Codec Options button.

The Video Compression dialog box appears.

6. Choose Avid AVI Codec from the Compressor pop-up menu.

7. Click the Configure button.

The Avid AVI Codec Configuration dialog box appears.

8. Select the appropriate format for the media you want to create:

- NTSC

- PAL

9. Select the appropriate board set for the media:

- Interlaced

- Progressive

10. Choose a resolution from the Resolution pop-up menu.

11. Select or deselect “Source has ITU-R 601 video levels,” depending on your source.

12. Click Close.

13. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box.

14. Click Save.

The file is exported and appears at the chosen destination.

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Exporting and Exchanging Material

Installing an Avid Codec on Other Systems

When you install Avid Xpress on your system, the Avid Codecs for QuickTime and the Avid Codec for AVI are automatically installed. You can copy the codecs and install them on other Windows 2000 or Macintosh workstations where you are using QuickTime compatible applications. Once an Avid Codec for QuickTime is installed on the workstation, you can export files from the QuickTime compatible application for reimport into the Avid Xpress system. Once the Avid AVI codec is installed on the other workstation, you can export AVI files from the AVI compatible application for reimport into the Avid Xpress system.

n To use the Avid Codec for AVI on a Windows 2000 system, you must install the codec from the Avid Xpress installation CD-ROM.

Copying an Avid Codec for QuickTime to Another Windows 2000 System (Windows Only)

To copy an Avid Codec for QuickTime to another Windows 2000 system:

1. On your Avid system, open the following folder:

C:\Winnt\System32

2. Copy the codecs you need to a floppy disk or network server:

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

829

Using Avid Codecs

3. Install the codec in the other workstation in the following folder:

C:\Winnt\System32

Copying an Avid Codec for AVI (Windows Only)

To copy the Avid Codec for AVI to another Windows 2000 system:

1. Insert the Avid product installation CD-ROM.

2. On the opening screen, click Browse CD.

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.

The installer installs AvidAVICodec.dll in the system’s C:\Winnt\System32 folder. A message asks if you want to restart your computer.

8. Click Yes and then click Finish.

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Exporting and Exchanging Material

Copying a Codec to a Macintosh System (Macintosh Only)

To install the Avid Codec for QuickTime on another Macintosh system:

1. On your Avid system, open the Extensions folder in the System folder.

2. Copy the codecs you need to a floppy disk or network server.

The following table describes the codecs:

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 codec is installed.

n If you are having trouble opening or playing the export in a third-party application, increase the memory allocated to the program.

Codec 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

831

Using Avid Codecs

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.

Exporting from a Third-Party Application

To export files from a QuickTime compatible application or an AVI compatible application on a Windows 2000 system for import (or reimport) into your Avid system:

1. Make sure the applicable codec is installed on the workstation. See “Installing an Avid Codec on Other Systems” on page 828.

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.

n If you select a nonstandard frame size, your Avid system does not import the file quickly.

4. Complete the export.

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Exporting and Exchanging Material

Exporting Tracks as Audio FilesTo 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 a clip or sequence in one of two ways:

t Click the monitor that displays the clip or sequence you want to export.

t Click the clip or sequence in a bin.

3. Choose Export from the File menu.

The Export As dialog box (Windows) or a destination dialog box (Macintosh) dialog box appears.

4. Choose a setting from the Export Setting pop-up menu. If you do not have a preset audio template, click the Options button.

The Export Settings dialog box appears.

5. Choose Audio from the Export As pop-up menu.

6. (Option) Make sure Use Marks is selected.

7. Select Mono or Stereo.

8. Select an audio format and a sample rate. Use Table 19-11 to make your selection.

9. Click Save.

The file is exported and appears at the chosen destination.

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Exporting Tracks as Audio Files

Table 19-11 Export Settings Dialog Box (Audio Options)

Option Description

MonoStereo

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

WAVE Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows and Windows 2000 applications that support sound use WAVE files. QuickTime also supports the WAVE format.

SD2 (Macintosh only)

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

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

Sample Rate Choose one of the following:

• Project Rate

• 32 kHz

• 44.1 kHz

• 48 kHz

You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Adjusting Audio Project Settings” on page 240.) 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.

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Exporting and Exchanging Material

Exporting as a Graphic FileYour Avid system allows you to choose from a number of graphic format options.

To export as a graphic file:

1. 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.

2. Select a clip or sequence in one of two ways:

t Click the monitor that displays the clip or sequence you want to export.

t Click the clip or sequence in a bin.

3. Choose Export from the File menu.

The Export As dialog box (Windows) or a destination dialog box (Macintosh) appears.

4. Choose a setting from the Export Setting pop-up menu. If you do not have a preset graphic template, click the Options button.

The Export Settings dialog box appears.

5. Choose Graphic from the Export As pop-up menu.

6. Select options as described in Table 19-12.

7. Make sure Use Marks is selected.

8. Choose a format from the Graphic Format pop-up menu. Use Table 19-13 to make your selection.

9. Click Save.

The file is exported and appears at the chosen destination.

When you are working with the Format Options settings, you can click Default to return the settings to their default values. Table 19-13 describes the additional Graphic Format options.

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Exporting as a Graphic File

Table 19-12 Export Settings Dialog Box (Graphic Options)

Option Suboption Description

Use Marks When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

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

Graphic Format Format Options

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

Width x Height This option allows you to set the width and height of the clip. Click the Fast Menu button to choose from a list of standard dimensions.

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

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

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

Sequential Files This option produces a series of still images, numbered sequentially. The fps rate of the source file determines the number of still image files that are produced.

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Exporting and Exchanging Material

File Field Order This option allows you to choose the field that will be the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.

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

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

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

Table 19-12 Export Settings Dialog Box (Graphic Options) (Continued)

Option Suboption Description

Table 19-13 Graphic Format Options Settings

File Type Parameters Description

Alias This option creates files that are compatible with Alias™/Wavefront™ systems.

BMP Windows This option creates files that are compatible with systems running the Microsoft Windows operating system.

OS/2 This option creates files that are compatible with systems running the IBM® OS/2® operating system.

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Chyron Developed by Chyron Corporation for use with video frame buffers of Chyron® character generator titles.

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.

If the files came from and will be transferred back to a Cineon™ system, use a white point of 1023. The default value of 685 is appropriate if the final destination is not a Cineon system — for example, a video display.

Gamma This option specifies an adjustment to correct for any gamma inconsistencies in the output display. Values can be between 0.01 and 100.0.

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

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

ERIMovie Pack 24 bits This option controls whether the image data is packed into 24-bit color depth (compressed) or is saved as 32-bit (raw) color depth.

Framestore The Framestore format is a 16-bit video image format used on the Amiga® in conjunction with Newtek's Video Toaster™ hardware. HIIP supports both compressed and uncompressed Framestore formats.

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

Table 19-13 Graphic Format Options Settings (Continued)

File Type Parameters Description

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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 redigitizing. For more information on Avid compression ratios, see “Compression Resolutions and Storage Requirements” on page 264.

Frame Rate

NTSC/PAL

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

PCX Developed by Zsoft Corporation for use with their PC PaintBrush™ paint software.

Photoshop Compression This option controls the size of the file on disk. Disabling compression creates larger files on disk.

Table 19-13 Graphic Format Options Settings (Continued)

File Type Parameters Description

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Exporting as a Graphic File

PICT (Windows only)

Create MacBinary header

This option creates a file with a MacBinary header.

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

Pixar This option allows you to save the file in the Pixar® format.

PNG Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Interlaced This option allows you to save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves.

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

QRT Developed on the Amiga personal computer to run on several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer.

Rendition Developed by Numerical Design, Ltd.

SGI Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Softimage Developed by Softimage, Inc. for use in their Softimage software.

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

Table 19-13 Graphic Format Options Settings (Continued)

File Type Parameters Description

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Exporting and Exchanging Material

TARGA Color Depth This option controls how images are saved. The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format.

Compression This setting controls the size of the file on disk. Disabling compression creates larger files on disk.

TIFF Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

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

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

Wavefront Format Type This option specifies one of two output file formats supported by Wavefront (either RLA or RLB).

Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

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

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.

Table 19-13 Graphic Format Options Settings (Continued)

File Type Parameters Description

841

Exchanging Files with QuickTime Macintosh Applications

Exchanging Files with QuickTime Macintosh Applications

Your Avid system includes software that you can use to exchange files with QuickTime applications on Macintosh systems. This software is shipped on a Macintosh disk that accompanies the installation CD. For more information, insert the disk in a Macintosh system and open the readme file.

Transferring a Project Between Avid SystemsThis section describes how to move projects and media folders between Avid systems. If you plan to transfer the files to a different Avid system or to a third-party application, see the Avid Products Collaboration Guide.

XWindows Developed by the MIT X Consortium, and is supported by many X Window System™ applications on workstations and some personal computers.

YUV Format This option controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped.

Smooth YUV This option enhances the fidelity of images saved in YUV color space (if originating in RGB color space).

Table 19-13 Graphic Format Options Settings (Continued)

File Type Parameters Description

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Exporting and Exchanging Material

There are two basic methods for transferring projects between Windows or Macintosh systems:

• 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 299)

n 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.

• Transferring only the project folders and settings files requires minimal storage space.

Table 19-14 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.

843

Transferring a Project Between Avid Systems

n 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.

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.

• The fonts used in the project are installed on both systems.

• (Macintosh only) The memory allocation of the application is similar in both systems.

The resolutions are compatible if you are transferring media files. For more information about compatibility between Avid editing applications, see the Avid Products Collaboration Guide and the Avid Xpress Release Notes.

Table 19-14 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

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Exporting and Exchanging Material

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.

n 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.

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.

- For more information on consolidating, see “Consolidating Media” on page 395.

- For more information on transferring files using removable storage devices, see the Avid Products Collaboration Guide.

c 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 845.

Alternatively, create a folder at the top level of the media drive and copy the project folder and any settings files to that folder.

845

Transferring a Project Between Avid Systems

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.

n For more information on moving hard drives and removable drives from one system to another, see the chapter “Setting Up Your Avid Xpress System” in the the setup and user’s guide for your specific storage option.

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 on drive C: (Windows) or the Avid drive (Macintosh). For more information, see “Transferring Projects, User Profiles, and Site Settings” on page 845.

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

For information about these files and folders, see Chapter 2.

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 you move 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 2000 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.

846

Exporting and Exchanging Material

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 as follows:

- Project folder: drive:\Program Files\Avid\Avid Xpress\Avid Projects (Windows) or Avid drive:Avid:Avid Xpress:Avid Projects (Macintosh)

- User folder: drive:\Program Files\Avid\Avid Xpress\Avid Users (Windows) or Avid drive:Avid:Avid Xpress:Avid Users (Macintosh)

- Site Settings file: drive:\Program Files\Avid\Avid Xpress\Settings (Windows) or Avid drive:Avid:Avid Xpress:Settings (Macintosh)

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 do 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 appears in the Projects scroll list. New user settings 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.

847

Transferring Media to and from a Video Server

Transferring Media to and from a Video ServerA video server is an optional component used with your Avid system as part of a workgroup environment.

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.

For information on connecting a video server, see the setup guide for your Avid Xpress 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.

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Exporting and Exchanging Material

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 209.

To configure the video server as a deck:

1. Click the Settings tab in the Project window.

The Settings Scroll list appears.

2. Double-click Deck Configuration.

The Deck Configuration dialog box appears.

3. Click Add Channel.

The Channel dialog box appears.

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 Auto-configure the channel.

7. Click No.

n Your Avid system does not currently support the Auto-configure function for the video server.

8. In the Deck Configuration dialog box, click Add Deck.

The Deck Settings dialog box appears.

849

Transferring Media to and from a Video Server

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 upper 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.

n For information on saving the TapeID column as a default setting or as a site setting, see “Working with Settings” on page 105.

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 truncates any names longer than 15 characters. For seamless integration, you should not use special characters or spaces when naming the sequence.

850

Exporting and Exchanging Material

3. Choose Digital Cut from the Clip menu.

The Digital Cut tool opens.

4. Select Entire Sequence.

5. Select Remote.

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

Play DigitalCut button

Mark IN text box

Record to Tapepop-up menu

851

Transferring Media to and from a Video Server

preroll time for the video server is 1 second. For a preroll time of 1 second, type 01:00.

9. Click the Play Digital Cut button.

For complete information on creating a digital cut, see “Using the Digital Cut Tool” on page 738.

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 Record button in the Digitize tool to record from the video server to the Avid system.

For complete information on redigitizing, see “Redigitizing Your Material” on page 299.

852

Exporting and Exchanging Material

Numerics1394 Standard 20316:9 display option 4682-channel audio systems

adjusting output on 7308-channel audio I/O device

adjusting output on 732calibrating 252

AA2 timecode option 472AAF (Advanced Authoring Format) export 807Aaton InDaw audio media 705Absolute timecode 471ABVB NuVista Codec for QuickTime 820Accessing

audio effect tools 601Timeline settings 536

Activating commands from theCommand palette 156

Add Channel button (Deck Configuration dialog box) 210

Add Deck button (Deck Configuration dialog box) 212

Add Editdescribed 556procedure 557removing 557when trimming 716

Add Locator button 498Add Page button (Script window) 436Add Scene button (Script window) 436Add Scene/Page dialog box 436Add Track dialog box 517Adding

Audio EQ template to Fast menu (Macintosh) 660

Audio EQ template to Fast menu(Windows) 659

black during trim edit 595clip names 281color indicators (Script window) 451comments on-the-fly 281customized columns to a bin 366edits in Timeline 556fades and dissolves with Head Fade and Tail

Fade buttons 700filler to sequences 518locators while editing 498memory marks 171new tracks to a sequence 517

Index

A B C D E F G H I J K L M N O P Q R S T U V W Y Z

854

off-screen indicators (Script window) 451page and scene numbers in the

Script window 436script marks 453takes in the Script window 447

Adjust Deck command (Deck Selectionpop-up menu) 741

Adjust Pan/Vols command (Audio MixFast menu) 619

Adjust Pan/Vols command (Automation Gain Fast menu) 639

Adjustingaudio input levels 248chrominance settings 724digital audio scrub parameters 606EQ, while playing an audio effect 661luminance settings 723margins in the Script window 431multiple tracks 620output on eight-channel audio systems 732output on two-channel audio systems 730pan defaults 609pan in the Audio Mix tool 614phase controls, when calibrating for

video output 726reference level in the Audio tool 247take lines in the Script window 450video levels without color bars 263volume in the Audio Mix tool 614volume in the Timeline 625volume, using an external fader or mixer

632ALE (Avid Log Exchange)

Convert Type dialog box 180converting shot log files with 175

Alpha channel, options in Import settings 316Analog audio input levels

adjusting 248Appearance Interface settings

button separation 123button shading depth 122

button shading style 121color 117dialog box 115

Approval, obtaining 792Archive to Videotape dialog box 412Archiving, media files 409Arrow keys, navigating with 149ASCII text files, importing to a Script window

427Aspect Ratio options (Import settings) 314Assemble-edit recording 737Assembling a rough cut

in the Script window 459Assigning workspace buttons 130Attic files setting (Bin settings) 97Attic folder, retrieving bin files from

(Macintosh) 87Attic folder, retrieving bin files from

(Windows) 85Audio

adjusting output on two-channel systems 730

calibrating global output levels 730crossfading 698dipping 700dissolves 698editing 602eight-channel input 238EQ templates 657fading 698input levels, adjusting 248input settings described 220levels

fine-tuning with add edit 697media from Aaton InDaw 705media from Zaxcom Deva 705mixdown 701monitoring in Timeline tracks 550monitoring while editing 524pan, adjusting in Audio Mix tool 614pitch shift 669

855

punch-in 680setting pan defaults 609setup, in the Audio tool 245storage requirements 274time compression 669transitions, fine-tuning 697voice-over 680volume

adjusting in Audio Mix tool 614adjusting in the Timeline 625adjusting while playing 623

waveform plots, displaying 610Audio clips

changing sample rate for 703marking 493

Audio Data command (Timeline Fast menu) 610

Audio effectadjusting EQ while playing 661rendering 621

Audio effect tools, accessing 601Audio EQ (Equalization)

adjusting while playing 661templates 659

Audio EQ command (Tools menu) 644Audio EQ effects

applying 649removing 653saving 652

Audio EQ exampleslow shelf 654small octave range 655

Audio EQ toolcomponents 645EQ effect in 647examples of uses 655Fast menu options 650features of 647opening 644saving effects 652

Audio file formats for audio input 244

Audio file information, displaying in bins 704Audio files

exporting tracks as 832Audio Gain Automation

deleting keyframes in 630enabling and adding keyframes in 628recording 640Tool window 632using an external fader controller 631

Audio gain keyframesmoving and deleting in Timeline 630

Audio I/O deviceadjusting output on 732calibrating described 252calibrating input channels for 254calibrating output channels for 256changing hardware calibration 253

Audio inputestablishing sync for 239preparing for 238settings for 221

Audio leader, creating 386Audio levels

adjusting 618using Console window to view 658

Audio Mix command (Tools menu) 614Audio Mix effect, adjusting volume while

playing 624Audio Mix tool

adjusting volume and panon a single track 616on multiple tracks 618

described 614Fast menu options 618resizing 615

Audio Mixdown command (Special menu) 701Audio Mixdown Parameters dialog box 702Audio output

preparing for 728Audio Pan/Vol effect

creating 622

856

Audio Project settingsadjusting 240dialog box 240

Audio Punch-In tooldescribed 680using a GPI device with 689

Audio sample ratechanging 703when preparing for audio output 729

Audio scrubdescribed 603digital, adjusting parameters for 607listening to 609performing smooth, using J-K-L keys 605performing smooth, using the mouse 606selecting tracks for 604

Audio settingsdialog box 608, 609Digital Scrub options 607

Audio Setup display 245Audio tool

Calibrate mode 254described 245digital scale, defined 247features, described 245input levels, adjusting 248reference level, adjusting 247setup options 245tone media, creating 250volume meters, defined 247volume unit scale, defined 247

Audio Tool command (Tools menu) 245Audio tracks

adjusting in Audio Mix tool 616ganging and adjusting multiple in Audio

Mix tool 620mixing down 701selecting for scrubbing 604soloing in the Timeline 602

Audio volumeadjusting in Audio Mix tool 618

adjusting in the Timeline 628adjusting while playing 624

Audio volume rubberbanding 625AudioSuite

effect template 675plug-in templates 667

AudioSuite plug-ins 662applying 662, 665creating new master clips 669installing (Macintosh) 663installing (Windows) 662limitations 677troubleshooting 678

Auto-configure command (Deck Selection pop-up menu) 741

Autodigitizing procedure 288Automation Gain tool

adjusting gain with sliders 629Fast menu 638keyboard shortcuts 642recording information using sliders 640

Automation gain values 626Auto-Save options (Bin settings) 97Autosyncing clips 707Auxiliary timecode 472AVI (Avid Codec for AVI)

exporting files with described 826installing 828

AVI filesexporting (Windows only) 814

AVI settings (Windows only) 815AVI Video Compression dialog box

(Windows only) 818Avid ABVB/NuVista Codec Configuration

dialog box 825Avid AVI Codec Configuration dialog box 827Avid Calculator, using 157Avid Codec for AVI (Windows only) 826Avid Codec for QuickTime

described 820downloading 831

857

exporting with 824installing 828

Avid color scheme, setting 45Avid Controller 165Avid Log Exchange (ALE) 175

converting shot log files with (Macintosh) 180

converting shot log files with (Windows) 176

converting with drag-and-drop (Macintosh) 182

converting with drag-and-drop (Windows) 179

Avid logs, shot log files 167Avid Meridien codec

exporting with 820Avid Projects folder 48Avid System Test Pro 163Avid Unity 842Avid Unity LANshare 146Avid Unity MediaNet 138Avid Unity network

mapping workspaces on 146Avid Users folder 48Avid Xpress application, quitting 61Avid Xpress folder 47Avid Xpress with the DV option, workflows

204Avid-controlled camera, logging with 183Avid-controlled deck, logging with 183AvidLinks 801AvidLinks export 803

BBacking up

media files 403, 409project information, described 60project information, to a drive or floppy disk

60

Backtiming edits 558Backup options (Bin settings) 97Bandwidths in Audio EQ tool 647Bars

importing 382recording 736

Bars and tone, preparing 382Basic toolset 135Basic trim procedures 578Batch capturing

from logged clips 296preparing for 296

Batch Digitize settings 234Batch digitizing

clips 297deleted media from Aaton InDaw 705from logged clips 296preparing for 296procedure 297unattended, preparing for 297

Batch Import dialog box 333Batch importing procedure 335Big Trim mode 580Bin Column Selection dialog box 353Bin editing

directly to a sequence 571Bin Fast menu, opening 345Bin files

modifying the creation date 88retrieving from the Attic (Macintosh) 87retrieving from the Attic (Windows) 85

Bin settings 96, 97Attic files setting 97Auto-Save options 97backup options 97

Bin Settings dialog box 84Bin views

custom 342customizing 343described 342types of 342

858

Binsadding a color column to 353adding customized columns in 366aligning columns 364arranging text columns 363assigning a color to objects in 354Bin View pop-up menu 342changing background color 376changing custom column headings in 366choosing a target bin 223closing 80creating new 76deleting 80deleting columns in 365deleting with SuperBin enabled 349display view for 342displaying audio information in 704displaying in Project window 75duplicating clips and sequences in 350duplicating columns in 365finding from the Script window 458getting information about 160hiding columns in 364locking items in 358logging directly into 183managing 82modifying information about 195moving, into and out of the SuperBin 347opening 77, 79opening from a different project 79opening in SuperBin 346organizing a project with 339organizing with 349preparing for digitizing 280printing 381renaming 77saving automatically 83saving manually 84selecting clips and sequences in 350selecting offline items in 359setting clip display in 340

setting the font 127sharing on Avid Unity MediaNet 138unlocking items in 358using SuperBin 345viewing a list of 69

Bins displaychanging view size of 75customizing 342in Frame view 73in Project window 75in Script view 74in Text view 72

Black filleradding to sequences 518

Black holes in Timelinedescribed 560finding 560

Black level, adjusting for output 723Blank button, using 154Blue-only feature 724BMP file format

additional export options 836Brief view 361Buttons

Add Locator 498Add Page (Script window) 436Add Scene (Script window) 436Add Script Mark 454Blank 154changing separation of 123changing shading depth of 122changing shading style of 121changing style of 124Find Script 458Head Fade 700In/Out (Audio tool) 246mapping user-selectable 153Mark Locator 503Monochrome/Color Selection (Digitize tool)

226Output Control (Audio tool) 246

859

Play (Script window) 450Reset Peak (Audio tool) 246Set Color (Script window) 452Set Offscreen (Script window) 451stepping (jogging) through footage using

481Tail Fade 700

BY Gain slider, adjusting for video output 724Bypass volume settings 623

CCalculator 157Calibrate command (Peak Hold pop-up menu)

254Calibrate Hardware Sliders command

(Automation Gain Fast menu) 639Calibrating

audio I/O device 254for video output 719global output levels 730phase controls 726table of luminance settings 259tone parameters 250using basic video output 720using test patterns 725video input 259with passthrough signals 726

Calibration tone, setting 729CamCutter files, importing 337Camera

Avid-controlled, logging with 183non-Avid-controlled, logging with 188

Camera setups in the lined script 421Capturing

from a non-Avid-controlled deck 290material 296preparing for 201setting up 218to multiple media files 227

CCIR video levels, Import settings 315Change Sample Rate dialog box 703Change Scene/Page dialog box 438Changing

bin display view size 75color of Locator icon 506font and point size in specific windows 126font in the Script window 432interface component button separation 123interface component color 117interface component shading depth 122interface component shading style 121page and scene numbers in the Script

window 437project and user names 48representative frame in takes 449sample rate of audio 703sequence information 516

Channel dialog box 210Choose File Type dialog box 177Choosing

a user 55Film settings 754video output 718

Chrominance settings, adjusting for video output 724

Chunking 238Cineon file format

additional Export options 837cleaner application 764Clear Menu command (Monitor menus) 480Clear Monitor command (Monitor menus) 479Clearing clips from monitors 479Clearing sequences from monitors 479Clip information

changing 516displaying in a Script window 430in Text view 362managing in Text view 367modifications table 197modifying in Text view 368

860

moving 472Clip Information window

displaying 472moving 472

Clip Name menus, using 478Clip names

adding during digitizing 281setting the font and point size 475

Clipboardcopying to 529preserving contents of 530recovering material from 530

Clipsaccessing locators in 507audio, marking 493autosyncing 707batch digitizing 297clearing from monitors 479consolidated, relinking 407copying 352, 529copying locators from source 502copying, into and out of the SuperBin 348cueing 480deleting 352duplicating 350editing into sequences 524entire, marking 492exporting 761, 797extracting 529finding 509finding from the Script window 458group clips 401highlighting offline media in Timeline 356in Timeline, applying AudioSuite plug-ins

to 666isolating portions of, for adjustment 697lifting 528linking to script 439loading in Source pop-up monitor 477locating using Match Frame 511logged, batch capturing from 296

logged, batch digitizing from 296marking IN and OUT points 489master clips, redigitizing 300master clips, using AudioSuite to create 669moving 351moving, into and out of the SuperBin 347playing back 480rearranging 363rearranging, in Script view 380relinking 405searching 510selecting in bin 350selecting unreferenced 360, 361sifting 356slipping or sliding in Trim mode 588sorting 373, 374, 375sorting by color 355subcataloging 152subclips 497viewing 480

Closingbins 80projects 59the Project window 69the Script window 429the SuperBin 347

CodecsAvid ABVB NuVista Codec for QuickTime

820Avid Codec for AVI 826Avid Codecs for QuickTime 820Avid Meridien codec, exporting with 820Avid, downloading 831QuickTime, selecting 780third-party 831

Color See also Avid color schemeassigning to bin objects 353changing background in bins 376changing for Timeline tracks 541changing in interface 117

861

choices, limited 355choosing in Digitize tool 226color column, adding to bin 353custom source color, assigning 354of Locator icon, changing 506sifting by 355sorting by 355using to identify sample rate 612

Color barsadjusting video levels without 263importing 382in Dupe Detection 559

Color digitizing 226Color indicators (script integration)

adding to takes 451described 423

Color submenu (Script menu) 452Columns

adding customized 366aligning in bins 364arranging in bins 363changing custom heading 366, 367deleting in bins 365duplicating in bins 365hiding in bins 364moving within cells 367multilevel sorting with 375showing in bins 364

Command paletteactivating commands from 156for quick edits in Timeline 572mapping 155using 150

Commentsadding, during digitizing 281review 792

Compatibility requirements 843Composer monitor

and Small Trim mode 581clearing sequences from 479customizing 464

hiding video in 467resizing 467, 468setting font for 475viewing clips in 476

Compressionand image quality 264, 266and resolutions 264, 266defined 264mixed 269ratios 267specifications 267

Compression ratiosdefined 266disk striping requirements 266mixing 269single-field 266specifications 268storage in minutes per gigabyte 274two-field 266

Compression resolutionssingle-field 266two-field 266

Computer, turning off 63Configuring

a controller 165a video server 847decks 209V-LAN VLXi controller and GPI 693

Connectinghardware for voice-over narration 683V-LAN VLXi controller and GPI 692

Console windowchecking audio levels with 251getting information with 160using 159

Consolidate command 399Consolidated clips

relinking 407Consolidating media files

defined 395group clips 401

862

procedure 399Context menus (Macintosh) 43Context menus (Windows) 43Control track, using for preroll 229Controllers

configuring 165Controlling

decks from the keyboard 303movement in Timeline 546playback 480

Converting, shot log files with Avid Log Exchange 181

Copy to Clipboard button 529Copying

a codec to a Macintosh system 830an Avid Codec for AVI 829an Avid Codec for QuickTime to another

system 828clips and sequences 352information between columns in Text view

372locators from source clips 502settings between settings files 109text in the Script window 434to Clipboard 529

Countdown, creating a custom display 742Crash recording procedure 736Creating

a custom countdown display 742a new bin 76a new tape name with a keystroke 304a new workspace setting 128an Audio Pan/Vol effect 622an autosynced subclip 708an emergency repair disk (ERD)

(Windows only) 42audio leader 386DVD files 787folders in projects 76GPI setting 694instant rough cut 522

new export settings 804new master clips 669new projects 58new sequences 514new users 55overlap edits 594templates for Audio EQ 659tone media 250video leader 386voice-over narration 684

Crossfading audio 698Cueing a frame

with frame offset timecode 509Custom column heading

changing 367Custom countdown display 742Custom Sift command (Bin menu) 356Custom Timeline views

saving 542Customizing

appearance of the user interface 114bin views 343export settings 804monitor displays 464the Timeline 542toolsets 136Trim mode 578workspace 127

Cutaways, marking with locators 499Cutting, text in the Script window 434Cycling through tracks 551

DD1 VTR, recording to 721DAE (Digidesign Audio Engine)

described 663starting and quitting 664

Databases, refreshing media 402

863

Deck Configuration settingsAdd Channel options 210changing 215deleting 214in Settings scroll list 209

Deck control, setting ports 164Deck controller

in Digital Cut tool 741Deck preferences

options 217Deck Selection pop-up menu

Digital Cut tool 741Deck settings

Fast Cue option 216for configuring decks 212, 741options 216Preroll option 216

DecksAvid-controlled, logging with 183configuring 209controlling from the keyboard 303deleting configuration settings for 214for digital cut 740non-Avid-controlled, logging with 188pausing while logging with 187selecting 212setting preferences for 217settings options 215

Delete Take command (Script menu) 446Deleting

bins 80bins with SuperBin enabled 349clips and sequences 352columns in Text view 365deck configurations 214folders 80locators 503, 507media files with the Media tool 393page and scene numbers in the Script

window 438script marks 457

settings 109slates in the Script window 446takes in the Script window 448text in the Script window 435tracks in Timeline 556workspaces 133

Deselecting segments in Timeline 564Desktop

basics 41working with 42

Detecting duplicate frames 559Device Code option (VTR Emulation settings)

756Diagnostic utility (Hardware tool) 163Dialog boxes

Add Scene/Page 436Archive to Videotape 412audio export settings 833Audio Mixdown 702Audio settings 608AVI export options 815AVI Video Compression 818Avid ABVB/NuVista Codec Configuration

825Avid AVI Codec Configuration 827AvidLink Export to 803Batch Import 333Bin Column Selection 353Change Scene/Page 438Delete (script integration) 438, 448Digitize settings 209, 232, 288Export As 773, 780, 798, 814, 821, 824, 832,

834Export As, MPEG-2 Settings 827Export Settings 805, 805, 814Export Settings, QuickTime 775Import settings 312Left Margin 431Media Creation 270Media Tool Display 391Modify Pulldown Phase 194

864

Movie Settings 780navigating in 149Open 79Quick Transition 699QuickTime Movie Settings 780QuickTime Reference Settings 771Restore from Videotape 416Script Settings 426Set Bin Display 340Set Font 432Tape Lengths 412Video Compression 827Video Mixdown 796View Name (bin) 344

Dialog in the lined script 421Digidesign AudioSuite plug-ins 662Digital audio scrub

adjusting parameters for 606compared to smooth audio scrub 603using 606

Digital Audio Scrub options (Audio settings) 607

Digital bars and tone, preparing 382Digital Betacam VTR, recording to 721Digital cut

previewing 741recording to tape 744, 747

Digital Cut tooldeck controller in 741selecting decks from 740

Digital scale (Audio tool), defined 247Digital sync signal, checking for 239Digital video (DV), described 202Digital video resolutions 265Digitize settings

selecting 209using 232

Digitize toolchoosing a resolution in 223choosing monochrome or color in 226opening 218

resizing 297setting up 218

Digitizingacross timecode breaks 231and logging at the same time 281Audio Tool setup 245autodigitizing 288batch digitizing 296, 297described 279from a non-Avid-controlled deck 290from an IN point to an OUT point 282Monochrome/Color Selection button 226on-the-fly 285patching during 295preparing for 201preparing the hardware for 207selecting drives for 270setting only mark IN 285storage guidelines 273to multiple media files 227to the Timeline 294using time-of-day timecode 291with external timecode 292

Digitizing toolset 136Dipping audio 700Direct record emulation 756Disk space

estimating 273estimating for audio 274for rolling titles 275NTSC/PAL equivalency for estimating 274

Disk striping, in relation to compression ratios 266

Display formats16:9 469

Displayingaudio file information 704detail in Timeline 545frames in Locators window 506info window 472information in Locators window 508

865

locator comments 503project settings 102take numbers in slates 448timecode window 474tracking information 469waveform plots 610

Dissolvesadding with Head Fade andTail Fade buttons 700audio 698

Dominance, Import settings options 315Downloading

Avid Codecs for QuickTime 831Drag-and-drop method

exporting with 800importing with 323

DraggingIN and OUT points 491windows (Windows Only) 44

Drive striping requirementsfor specific compression ratios 268

Drivesfiltering 271removing from list 271selecting for recording 270single, targeting 225storing media on 270striping 207target, selecting 224

Drop-frame timecodedescribed 168

Dual monitorsand Big Trim mode 580and Small Trim mode 581using 464

Dupe checking 538Dupe detection 559Dupe Detection Handles option

(Timeline settings) 538Duplicate frames, detecting 559

Duplicatingclips and sequences 350columns in Text view 365settings 107

DV optionworkflows 204

DV Stream export 790DV, described 202DVD, creating a 787

EEdit controller, with VTR play emulation 755Edit decision list (EDL) 750Edit Digitize settings 236Edit session, ending 61Editcam files, importing 337Editing

audio 602avoiding sync breaks during 710beginning 513clips into sequences 524GPI settings 696in the Timeline 562monitoring audio during 524with the Script window 459

Editsadding 556backtiming 558copying to Clipboard 529extending 588Extract 528first edit, making 520first edits, described 513instant rough cut procedure 522Lift 528nesting, defined 575Overwrite 525Replace 526Segment mode 562

866

splice-in 524, 525undoing or redoing 523

EDL Manager 750Effects

Audio EQ 644Audio Pan/Vol effect, creating 622audio, rendering 621editing and nesting in Timeline 575mapping buttons for 152plug-in, rendering 669, 679types of 574

Effects Editing toolset 135Eight-channel audio board systems, adjusting

output on 732Eight-channel audio I/O device

calibrating 252Eight-channel audio input 238Ejecting

drives (Macintosh) 65drives (Windows) 65

Ejecting tapes with a button or key 305Emergency repair disk (ERD), creating

(Windows only) 42Emptying trash 81Emulation type option (VTR Emulation

settings) 756End key 486Enlarge Frame command (Edit menu) 443Enlarging tracks

in the Timeline 541Entering

pulldown of the sync point 191Trim mode 578

Environment, using toolsets to control 134EQ effect

adjusting while playing 661applying 647removing 653templates for 657

EQ-specific featuresAudio EQ tool 647

ERD, creating (Windows only) 42ERIMovie file format

additional export options 837Error log, reviewing 160Exchanging files

with QuickTime Macintosh applications 841Existing projects

selecting 56Existing user

selecting an 55Exiting Trim mode 580Export options

QuickTime Reference movie 770Export settings

creating new 804customizing 804templates 799video compression options 818

Export settings, video compression options 818Exporting

AAF 807Avid AVI files 814clips 797drag-and-drop method for 800DV Stream files 790DVD files 787frames 797graphic files 834MPEG-1 or MPEG-2 files 765OMFI 806preparing for 763QuickTime Movie files 773QuickTime Reference Movie files 768, 769sequences 797shot log files 199Targa files 840tracks as audio files 832using cleaner 764Wavefront files 840with Avid Codec for QuickTime 824with the AvidLinks option 803

867

YUV files 841Exporting files

preparing for 763preparing for OMFI export 763procedure for 797reasons for 762using drag-and-drop method 800with Avid Codec for AVI 814, 826with Avid Codecs for QuickTime 780, 820

Extending an edit 588External fader controller

adjusting volume with 632using 642

External timecode, digitizing with 292Extract button 529Extract edits 528

FFactory presets, using for video output 720Fader controller

external, adjusting volume with 632external, using 642

FaderMaster Professional fader controllerrecording audio gain 643supported 631

Fadesadding with Head Fade and Tail Fade

buttons 700Fading audio 698Fast Cue option (Deck settings) 216Fast menu

bin 76, 345button, opening the Tool palette with 494Locators window 504Settings 104Timeline 538

Field dominance, Import Settings options 315FieldPak, importing files from 337Fields, stepping forward and backward by 483

File management 389File type, choosing 177Files

See also Media Filesexchanging with QuickTime Macintosh

applications 841exporting

procedure for 797reasons for 762using drag-and-drop method 800

guidelines for importing 308importing mixed resolutions 309importing using drag-and-drop method 323procedure for importing 319reimporting 332reimporting, procedure for 335specifications for importing graphics 308

Filleradding during a trim 595adding to sequences 518setting duration of 573

Film features 751Film material, using matchback with 750Film settings

choosing 754FilmScribe application 204, 750, 751Filter Automation Gain command (Automation

Gain Fast menu) 639Filtering drives 271Find Bin button in the Script window 458Find command 510Find command (Edit menu) 439Find Script button 458Finding

black holes in Timeline 560clips and bins from the Script window 458flash frames in Timeline 561frames with timecode 510related media files 403script from marked takes 458text in the Script window 439

868

Fine-tuningaudio transitions 697

FireWire See also IEEE Standard 1394connecting a DV camera or deck with 211

Fixingsync breaks 710

Flash framesfinding, in Timeline 561

FoldersAvid Projects 48Avid Users 48Avid Xpress 47creating in projects 76deleting 80managing 82nesting projects in 58SupportingFiles 47

Fontchanging for monitor displays 475changing in the Script window 432setting for bins 127setting for clip name 475

Footageclearing marks from 491displaying current position 469loading into monitors 477marking and subcataloging 489source, locating for motion effects 512viewing and playing 463

Four-frame display, trimming in 591fps (frames per second) and storage

requirements 274Frame count, total, converting durations to 157Frame offset timecode

using to cue a frame 509Frame view

arranging frames in a bin 378changing frame identifying the clip in 378changing frame size in 377changing the bin background color for 376

described 375in Media tool 390rearranging frames 377

Frame-accurate recording 735Frames

accessing in footage 480arranging in bin 378changing frame identifying clip 378cueing by frame offset timecode 509displaying in Locators window 506duplicate, detecting 559enlarging or reducing 377exporting 763flash frames, finding 561rearranging in Frame view 377using timecode to find 510

Frequencies (audio), adjusting 644Full chroma digitizing 226

GGanging, multiple tracks in the Audio Mix tool

620General Digitize settings, using 232General settings 98

described 98dialog box 208

General-purpose interface (GPI) deviceconfiguring with VLAN-VLXi controller 693trigger signals 690using with Audio Punch-In tool 689using with V-LAN VLXi controller 692

Global output levelscalibrating 730

Global settings, Import 310Go To Page command (Script menu) 438Go To Scene command (Script menu) 438

869

GPI settings 694 See also General-purpose interface

(GPI) deviceediting 696

Graphic filesexporting 834

Graphicsimported, screen resolution for 308

Graphics (image) files, import specifications 308

Grass Valley Group Profile video server 847Group clips, consolidating 401

HHardware

connecting for voice-over narration 683preparing to use for digitizing 207

Hardware command (Tools menu) 161Hardware tool

checking system configuration with 161displaying 114using 161

HDTV, displaying 16:9 468Head Fade button 700Head leader

creating audio 386creating video 386

Headings command (Bin menu) 353Hiding

bin columns 344slate frames 444video in Composer monitor 467

High shelf in Audio EQ tool 647Highlighting offline media clips 356Hinted streaming, exporting as 779Holding slates on screen 443Home key 486Hue slider, adjusting for video output 724

Ii.LINK 203Identifying

a user 55sample rate, using color 612

IEEE Standard 1394 203Ignoring

pan settings 622volume settings 623

Image quality, for specific compression ratios 268

Import sequencesscreen resolution for 308

Import settingsalpha channel options 316aspect ratio options 314CCIR video levels 315creating and using 310dominance options 315modifying 312new, creating 310options for 312RGB graphics levels 315

Imported graphicsscreen resolution for 308

Importinga script 427color bars 382shot log files 172

Importing filesbatch import 333CamCutter 337creating settings 310described 307Editcam files 337in mixed-resolution projects 309modifying settings 312Photoshop files 324preparing for 308procedure for 319

870

reimporting 332settings options 312specifications for graphics files 308using drag-and-drop method for 323

Improving playback performance 533IN and OUT points

dragging 491marking 489

In/Out buttons (Audio tool), defined 246Indicating off-screen dialog 451Indicators

See also Color indicatorsPlay Length "In Use" 488

Info Display windowdisplaying Hardware 114displaying Memory 112displaying project information 112

Info windowdisplaying 472opening from a Script window 430

Inhibit Preloading option (VTR Emulation settings) 756

InstallingAudio Suite plug-ins (Macintosh) 663Audio Suite plug-ins (Windows) 662Avid Codec for QuickTime 828

Instant rough cutcreating 522

Interactive screeningin Script window 461

Interface Appearance settingsbutton style 124options 114

Interface appearance templates 125Interface components

changing button separation of 123changing button shading depth of 122changing button style of 124changing color of 117changing shading style 121

Interface settingsaccess and description 92dialog box 99

Interlaced resolutions, specifications for 308Interpolating position

for script integration 442

JJ-K-L keys

performing smooth audio scrub using 605JL Cooper fader controllers 631JL Cooper FaderMaster Pro MIDI automation

controller 631JL Cooper MCS-3000X MIDI automation

controller 631, 640JL Cooper Media Control Station3 165Jogging with the mouse 486JPEG file format

additional Export options for 838

KKeyboard

controlling decks with 303mapping user-selectable buttons to 153

Keyboard palette 484Keyframes

adjusting volume for individual 632Keys, navigating with 149, 486Keystroke, creating a tape name with 304

LLANshare client, setting up 146Lassoing

objects 349one or more segments in Timeline 563

871

transitions 579Launching

Avid Xpress application (Macintosh) 51Layering

mapping buttons for 152L-cut 594L-edit 594Left Arrow key 486Left Margin command (Script menu) 431Left Margin dialog box 431Lift button 528Lifting material 528Limitations

for adjusting volume 625for AudioSuite plug-ins 677Matchback 753

Linear timecode 292Lined script, described 420Linking

clips to script 439toolsets to other settings 137workspaces and user settings 131

Load Filler command (Clip Name menus) 518Loaded sequences

switching between 478Loading

clips and sequences 477filler 518footage 477media database 401takes from the Script window 449, 456

Locator iconchanging color of 506

Locatorsaccessing in sequence or clip 507adding while editing 500color, using with R&A files 795copying from source clips 502deleting 503, 507displaying comments 503icon, changing color of 506

marking an area with 503moving to previous or next 502NetReview process 792syncing with 714using 498

Locators Fast menu 504Locators window

deleting locators in 507displaying frames in 506displaying information in 508printing 507sorting locators 505using 504viewing and navigating in 505

Locking and unlocking, bins on the Avid Unity Network 143

Locking items in bin 358Locking tracks, procedure 553Locks

working with 143Logged clips

batch digitizing from 296Logging

and digitizing at the same time 281and recording at the same time 281described 167directly to a bin 183pausing deck while 187preroll 168timecode 170tips for 167with a non-Avid-controlled camera or deck

188with an Avid-controlled camera or deck 183

Logsconverting with ALE (Avid Log Exchange)

175converting with drag-and-drop method

(Windows) 179double-checking 171reviewing error 160

872

shot log files 167, 172, 175Low shelf in Audio EQ Tool 647LTC (longitudinal timecode), digitizing with

292Luminance settings

adjusting for video output 723table of 723

MMaintaining sync

while trimming 595with Add Edit 716

Managingbins 82folders 82media files 389sync breaks 709

Manual recording 736Mapping

buttons to Timeline top toolbar 495menu commands 154modifier key 154user-selectable buttons 153workspaces on the Avid Unity network 139

Marginsadjusting in Script window 431

Mark Locator button 503Marking

audio clips 493entire clips or segments 489footage 463IN and OUT points 283, 489segments 492tape location, using Mark Memory button

171with locators 498, 503

Marquee, importing materials finished with 332Master clips

redigitizing 300

Master shot, in the lined script 421Match Frame edit, using 511Match Frame feature

locating source footage for motion effects 512

locating source footage with 511using 512

Matchback optionlimitations 753using 750

Matchframingdiscussed 511motion effects 512

MCS3 165MCS-3000X fader controller

recording audio gain 643supported 631

Mediadeleting 352from Aaton InDaw, reimporting 705from Zaxcom Deva, reimporting 705

Media creation resolutionssetting 270

Media Creation settings 270Media databases

loading 401refreshing 402

Media directories, refreshing 402Media files

archiving and restoring 409archiving options 414backing up 403, 409consolidating

defined 395procedure 399

deleting 393digitizing to multiple 227finding related 403loading the database 401managing 389manipulating with Media tool 390

873

moving between systems 844relinking 404restoring from videotape 415unlinking 409, 409voice-over 688

Media Files Digitize settings 227, 237Media Illusion, importing materials finished

with 332Media offline, relinking 404Media relatives

selecting, for an object 359Media tool

basic features of 390opening 391

Media Tool Display dialog box 391Media Tool Fast menu 390MediaManager

described 417MediaNet, Avid Unity 138Memory

viewing 112Memory marks, adding 171Memory window 113Menu commands

Adjust Deck (Deck Selection pop-up menu) 741

Adjust Pan/Vols (Audio Mix Fast menu) 619

Adjust Pan/Vols (Audio Mix tool) 619Adjust Pan/Vols (Automation Gain Fast

menu) 639Audio Data (Timeline Fast menu) 610Audio EQ (Tools menu) 644Audio Mix (Tools menu) 614Audio Mixdown (Special menu) 701Audio Tool (Tools menu) 245Auto-configure (Deck Selection pop-up

menu) 741Calibrate (Peak Hold pop-up menu) 254Calibrate Hardware Sliders (Automation

Gain Fast menu) 639

Color (Script menu) 452Consolidate (Bin menu) 399Custom Sift (Bin menu) 356Delete Take (Script menu) 446Enlarge Frame (Edit menu) 443Filter Automation Gain (Automation Gain

Fast menu) 639Find (Edit menu) 439Go To Page (Script menu) 438Go To Scene (Script menu) 438Hardware (Tools menu) 161Headings (Bin menu) 353Left Margin (Script menu) 431Load Filler (Clip Name menus) 518mapping 154Modify (Clip menu) 196New Script (File menu) 428Open Bin (File menu) 79Reduce Frame (Edit menu) 443Remove Automation Gain (Automation

Gain Fast menu) 639Remove Clip Gain (Audio Mix Fast menu)

619Remove Clip Gain (Audio Mix tool) 619Remove Pan (Audio Mix Fast menu) 619Remove Pan (Audio Mix tool) 619Remove Pan (Automation Gain Fast menu)

639Remove Pan/Vols (Audio Mix Fast menu)

620Remove Pan/Vols (Automation Gain Fast

menu) 639Serial (COM) Ports (Tools menu) 164, 757,

758Serial Ports (Tools menu - Macintosh) 758Set Font (Edit menu) 432Set Level (Audio Mix tool) 619Set Pan (Audio Mix Fast menu) 619Set Pan (Automation Gain Fast menu) 639Set Reference Level (Peak Hold pop-up

menu) 247

874

Show All Takes (Script menu) 444Show Frames (Script menu) 444VTR Emulation (Clip menu) 757VTR Emulation (Special menu) 759

Menusnavigating in 149

Meridien codecexporting with 820

Meters, volume 247Mixed resolutions 309Mixer

adjusting volume with 632using 642

Mixing compression ratios 269Mixing down

audio 701video tracks 795

Modifier key, mapping 154Modify command

using in Text view 371Modify command (Clip menu)

brief description of 196using 196

Modify Pulldown Phase dialog box 194Modifying

bin files creation date 88bin information 196clip information 368data directly 369data with Modify command 371how the system interprets pan 622import settings 312pan values 622pulldown phase, after digitizing 305settings 105

Monitoring a solo track 551Monitoring audio

in Timeline tracks 550while creating a voice-over 687while editing 524

Monitoring tracks in Timeline 549

Monitorsclearing 479customizing display for 464dual 464resizing 467settings font and point size for 475

Mono option (audio) 702Monochrome/Color Selection button 226Motion effects

locating source footage for 512matchframing 512

Motion effects, described 574Mounting drives 65Mouse

jogging with 486performing smooth audio scrub using 606shuttling with 487

Movementcontrolling in Timeline 546

Movingbetween locators 502clips and sequences 351projects between systems 844script marks 457settings between systems 110, 845slates in the Script window 445

MPEG-1 file, exporting 765MPEG-2 file, exporting 765Multiple settings

selecting among 108working with 106

Multiple tracksadjusting and ganging 620managing sync with 712

NNaming settings 107Naming tapes 170

from the keyboard 304

875

Navigatingin dialog boxes 149in Locators window 505in Timeline 544with Home, End, and Arrow keys 486

Nestingdescribed 575projects in folders 58

NetReviewfiles, described 792using locator colors with 795workflow 792

NetReview filesdisplaying locator creation information 508

New binscreating 76

New export settings, creating 804New master clips

creating 669New projects

creating 58New Script command (File menu) 428New sequences

setting up 514setting up tracks for 517

New userscreating 55

Non-Avid-controlled camera, logging with 189Non-Avid-controlled deck, digitizing from 290Non-Avid-controlled deck, logging with 189Non-drop-frame timecode, described 168NTSC (National Television Standards

Committee) video waveform values 259NTSC (National Television Systems

Committee) video, luminance values 723NTSC-EIAJ, waveform values 259

OOffline editing, detecting duplicate frames

during 559Offline media

highlighting in Timeline 356selecting in bins 359

Off-screen dialogin the lined script 421indicating in the Script window 451

Off-screen indicators (script integration)adding to takes 451described 423

OHCI (Open Host Controller Interface)described 203

OMFI filesadditional export options for 838described 806methods for exporting 807preparing to export 763

Open Bin command (File menu) 79Open dialog box 79Open Host Controller Interface (OHCI)

described 203Opening

a shared project 141bins in SuperBin 346project window 69R&A files 793the Digitize tool 218the Media tool 391the Script window 429the Tool palette 494toolsets 134

Optional equipment, video server 847Organizing with bins 339Output

options 717preparing for 717

Output Control button (Audio tool), defined 246

876

Overlap edits (L-edit), creating 594Overwrite button 526Overwrite edits 525

PPage and scene numbers (Script window)

adding 436changing 437deleting 438searching for 438

Page Down key, navigating with 149Page Up key, navigating with 149PAL (Phase Alternating Line) video

luminance values 723waveform values 259

PalettesCommand 150Keyboard 484Tool 494

Panadjusting 616adjusting defaults 609adjusting in Audio Mix tool 639ignoring adjustment 622modifying 622modifying how the system interprets 622

Parametric midrange in Audio EQ tool 647Passthrough signals, calibrating with 726Pasting text in the Script window 434Patching tracks in the Timeline 295, 554Peak Hold pop-up menu (Audio tool), defined

247Phase controls, adjusting for output 726Photoshop file format

additional export options for 838Photoshop files

importing multilayered 325procedure 330understanding 325

importing single-layer 324PICT file format

additional export options for 839Pitch Shift AudioSuite plug-in 669Play button (Script window) 450Play Length "In Use" indicator 488Play tab, Play Length Toggle button 488Playback

controlling 480performance tips 533with audio scrub 603

Playback buffer size (Macintosh only) 664Playback loop, starting 532Playing

Play Length function 488sequences 532takes from the Script window 450

Plug-in effectsrendering 669

Plug-insAudioSuite 662dialog box 667Fast menu 668

PNG file formatadditional export options for 839

Pop-up monitorresizing 464

Port Server Settings dialog box 146Position bar, using in the Timeline 480, 545Position indicator lights (Automation Gain tool)

637Position indicator, using in the Timeline 480,

545PowerPack

described 750Preparing

digital bars and tone 382for audio input 238for audio output 728for output 717record tapes for audio output 735

877

sequences for export 763to batch digitize 296to digitize 201

Prerolllogging 168method for setting 229using control track for 229

Preroll option (Deck settings) 216Previewing a digital cut 741Printing

bins 381locators 507the Timeline 575

Profile video server 847Project information

backing up 60restoring 61

Project namechanging 48

Project settingsdisplaying 102

Project windowbins display 69closing 69Info display, using 111opening 68settings display 89working with 67

Projectsbacking up 60closing 59creating new 58mixed-resolution 309moving between systems 844nesting in folders 58opening 54, 56, 59relinking media files for 408restoring from backup 61saving 60selecting 56sharing on Aid Unity MediaNet 138

starting 53video, using script integration 424

Pulldownfinding at the sync point 191

Pulldown phasemodifying after digitizing 305modifying before digitizing 194

QQuick Transition dialog box 699QuickTime application, exchanging files with

841QuickTime export, described 820QuickTime Macintosh applications

exchanging files with 841QuickTime movie export 779

procedure 773settings for 778

QuickTime Reference Movie filesexport options 770export procedure 769

QuickTime Reference moviesdiscussed 768

QuittingDAE (Macintosh only) 664the Avid Xpress application 61

RR&A files

opening 793using locator colors with 795

Rearranging clips 380Recapturing 299Record tapes

preparing for audio output 735Recording

a digital cut 744, 747

878

assemble-edit, enabling 737automation gain information 640bars and tone 736frame-accurate digital cuts 737manually 736voice-over narration 680

Recoveringmaterial from the Clipboard 530

Redigitizingbatch redigitizing 299described 299master clips and subclips 300

Redigitizing sequencesprocedure 301saving two versions 301

Redoing edits 523Reduce Frame command (Edit menu) 443Reducing tracks

in the Timeline 541Reference level (Audio tool), adjusting 247Refreshing media databases 402Reimporting

media from Aaton InDaw Diva 705media from Zaxcom Deva 705

Reimporting filesdescribed 332using Batch Import dialog box 332

Reimporting imported files 335Related media files, finding 403Relinking

consolidated clips 407media files 404moved projects 408

Remove Automation Gain command (Automation Gain Fast menu) 639

Remove Clip Gain command (Audio Mix Fast menu) 619

Remove Pan command (Audio Mix Fast menu) 619

Remove Pan command (AutomationGain Fast menu) 639

Remove Pan/Vols command (Audio Mix Fast menu) 620

Remove Pan/Vols command (Automation Gain Fast menu) 639

RemovingAdd Edits 557Audio EQ effects 653bins with SuperBin enabled 349color indicators (Script window) 452drives from list 271off-screen indicators (Script window) 451text from the Script window 435

Renamingbins 77settings 107

Renderingand AudioSuite plug-ins 679audio effects 621plug-in effects 669

ReplacingTimeline view 542

Replacing edits 526Requirements

for storage 273Reset Peak button (Audio tool), defined 246Resizing

Audio Mix tool 615Composer monitor 468Digitize tool 297monitors 467slates in the Script window 443Source pop-up monitor 464

Resolutionsand compression 264choosing in Digitize tool 223digital video 265media creation, setting 270mixed 309mixing 269single-field 266two-field 266

879

video, setting 270Restore from Videotape dialog box 416Restoring

media files from videotape 415projects from backup 61Timeline view 542

Restricted characters, file names 55Retrieving bin files

from the Attic (Windows) 85from the Attic Macintosh) 87

Reveal File command (File menu) 403Review comments, obtaining 792Reviewing

material with NetReview 792trim edits 585

Revising scripts 461RGB graphics levels, Import settings 315Right Arrow key 486Rollers 578Rough cut

assembling in the Script window 459creating 522

Rounding buttons and toolbars 122Rubberbanding in Audio Gain Automation 625Runup option (VTR Emulation settings) 756RY Gain slider, adjusting for video output 724

SSample plot, displaying 610Sample rate

audio, when preparing for audio output 729changing 703identifying by color 612

Sat slider, adjusting for video output 724Saving

Audio EQ effects 652bins 83custom bin views 344custom Timeline views 542

Default custom setting for Video Input tool 262

Script window 429video input settings 261

SC phase, adjusting for output 724Scanning for tapes 185, 291Scene and page numbers (Script window)

adding 436changing 437deleting 438searching for 438

Screen resolution 265and Macintosh systems 46for imported graphics and sequences 308setting 45

Screeningsinteractive, in Script window 461

Script integrationSee also Color indicators, Off-screen

indicators, Scripts, Script marks, Script window, Slates, Takes

described 422elements of 423for video projects 424holding slates on screen 443importing a script for 427interpolating position 442lining conventions in 420workflow 423, 459

Script Mark button 454Script marks

adding 453adding during automatic screening 454deleting 457described 423manually placing 453moving 457using 452using for playback 456using to find script 458

Script range, splicing a 460

880

Script settings, using 426Script text

changing font of 432cutting, copying, and pasting 434removing 435selecting 432

Script viewdefined 379entering 380rearranging clips in 380

Script windowadding

color indicators to 451page and scene numbers in 436takes in 447

adjustingmargins in 431take lines in 450

assembling a rough cut in 459changing

font in 432scene or page numbers in 437

cutting, copying, and pasting text in 434deleting

slates in 446takes in 448

displayingclip and sequence information from 430take numbers in 448

editing with 459exploring 430finding bins from 458hiding slate frames in 444holding slates on screen in 443indicating off-screen dialog in 451interactive screening in 461linking clips to 439loading takes from 449moving slates in 445opening, closing, and saving 429playing takes from 450

removing text in 435resizing slates in 443screening and marking in 454searching through 435 to 439selecting

slates in 442text in 432

splicing a range of script from 460Scripts

importing into the Script windows 427linking clips to 439revising 461

Scroll barin Timeline 545

Scrubbing (audio) 603, 608Searching

a clip or sequence 510for page and scene numbers in the Script

window 438in the Script window 435 to 439

Segment 563Segment Drag Sync Locks option (Timeline

settings) 566Segment mode

deleting segments 570Extract/Splice-in edits 567fixing sync in 711Lift/Overwrite edits 568Segment Drag Sync Locks option 566

Segment Mode pointer 563Segments

cutting, copying, and pasting in Timeline 574

deselecting in Timeline 564lassoing in Timeline 563marking entire 492moving in sync 566selecting in Timeline 562, 563slipping or sliding in Trim mode 588

Select Tape dialog box 185returning to previous location in 305

881

tape names in 291Selecting

a deck 212a preroll method 229a tape 221additional transitions in Trim mode 583audio tracks for scrubbing 604between trim sides in Trim mode 582clips and sequences 350drives 270media relatives 359offline items in a bin 359projects 56QuickTime codecs 780segments in Timeline 562slates in the Script window 442source tracks 222takes in Script window 444target drives 224text in the Script window 432tracks in Timeline 548unreferenced clips 360, 361

Sequence informationchanging 516displaying in a Script window 430

Sequencesaccessing locators in 507adding filler to 518adding tracks to 517changing audio sample rate for 703changing start timecode for 516clearing from monitors 479copying 352, 529copying, into and out of the SuperBin 348cueing 480deleting 352duplicating 350editing clips into 524exporting 761, 797extracting 529imported, screen resolution for 308

lifting 528loading in Composer monitor 477moving 351moving, into and out of the SuperBin 347new, setting up 514new, starting 514output options for 717placing into clipboard 530playback loop in 532playing 480, 532recovering from clipboard 531redigitizing 299selecting 350sifting 356switching between 478viewing 480

Serial (COM) Ports command (Tools menu) 758Serial (COM) Ports tool

enabling VTR emulation in 757opening 164specifying a controller in 164

Serial digital output, calibrating 721Serial Ports command (Tools menu - Macintosh)

758Set Bin Display command 340Set Bin Display dialog box 340Set Color button (Script window) 452Set Font command (Edit menu) 432Set Font dialog box 432Set Level commands (Audio Mix Fast menu)

619Set Offscreen button (Script window) 451Set Pan command (Automation Gain Fast

menu) 639Set Pan commands (Audio Mix Fast menu) 619Set Reference Level command (Peak Hold

pop-up menu) 247Setting up

a matchback project 753decks 209new sequences 514

882

the Digitize tool 218tracks for new sequences 517

SettingsAppearance tab (Interface) 115Audio export 833audio pan default 609Audio Project 240AVI (Windows only) 815basic 96Batch Digitize 234bin 96bin display 340button 89copying 109deck 215deck configuration 209deck preferences 217defined 89defining 95deleting 109, 109digitize 209displaying 102duplicating 107Edit Digitize 236export 805export, customizing 804film, choosing 754general 98, 208General Digitize 232GPI 694import 310, 313in Settings scroll list 90interface 99Interface Appearance 114keyboard 484Media Files Digitize 227, 237modifying 105moving between systems 110, 845naming 107OMFI export 811QuickTime Reference export 771

selecting 105, 208selecting for digitizing 208site, using 111Timeline 536, 537Timeline, showing toolbar 495trim 578types of 94video input, saving 261video server 847volume, bypassing existing 623working with multiple 106workspace 131

Settings scroll listchanging display 103described 91table of settings 90using 94

Settings window 165Setup Control button (Audio tool), defined 246SGI file format

additional export options for 839Shared bins 140Shared projects 141Shared volume segmentation ("chunking") 238Shortcut menus (Macintosh) 43Shortcut menus (Windows) 43Shot log files

converting with Avid Log Exchange 181converting with Avid Log Exchange

(Windows) 176exporting 199importing 172

Shot logs 167Show All Takes command (Script menu) 444Show Frames command (Script menu) 444Shutting down computer 63Shuttling with the mouse 487Sifting by color 355Single-field compression ratios 266Single-field step 483Site settings

883

moving between systems 845using 111

Slates (script integration)creating 440deleting 446described 423hiding frames in 444holding on screen 443moving 445resizing 443selecting 442showing one take in 444

Slipping and sliding clips or segments in Trim mode 588, 591

Small Trim mode 581Smooth audio scrub

compared to digital audio scrub 603performing 605

SMPTE bars 723Soloing audio tracks in the Timeline 602Soloing tracks, monitoring in Timeline 551Sorting

clips 373, 374information in Locators window 505multilevel with columns 375

Sorting by color 355Sorting clips 373, 374, 375Source clips

copying locators from 502Source footage

locating, for motion effects 512Source material, loading into monitors 477Source pop-up monitor

resizing 467viewing clips and sequences in 477

Source tracksselecting 222

Source/Record Editing toolset 135Source/Record monitors

and Big Trim mode 580and Small Trim mode 581

Space bar, navigating with 149Specifications, graphics file import 308Splice-in button 521Splice-in edits 525Splicing a range of script 460Split edit, creating 594Start timecode, changing 516Starting

a Playback loop 532Avid Xpress application (Macintosh) 51Avid Xpress application (Windows) 50DAE (Macintosh only) 664projects 53

Steppingbackward by field 483forward by field 483

Storageestimates in minutes per gigabyte 274estimating 273estimating for audio 274for rolling titles 275NTSC/PAL equivalency for estimating 274planning 273requirements for 273

Storing media on drives 272Storyboard editing

from the Script window 460Striping drives

learning about 207Subcataloging footage 489Subclips

creating 497creating autosynced 708creating with Make Subclip button 497redigitizing 300rerecording 300

SuperBinclosing 347conserving screen real estate with 345copying clips and sequences in and out of

348

884

deleting bins in 349enabling 345moving bins in and out of 347moving clips and sequences in and out of

347opening bins in 346

SupportingFiles folder, defined 47Switching

between loaded sequences 478between workspaces 133

Sync 555digital signal, checking for 239fixing in Segment mode 711fixing in Trim mode 711for audio-only input 239maintaining during segment move 566maintaining during trim edit 595preparing for output 719

Sync breaksavoiding 710fixing 710managing 709

Sync lockmaintaining 712using 712

Sync locking tracks 555Sync point

finding the pulldown at 191Syncing

with locators 714with tail leader 713

Sync-locked tracks, trimming with 596System clip gain values 626System information, displaying 159

TTab key, navigating with 149Tail command

in Timeline 572

Tail Fade button 700Tail leader

creating audio 386creating video 386syncing with 713

Takes (script integration)adding 447adjusting lines in 450applying

color indicators to 451off-screen indicators to 451

changing representative frame for 449deleting 448described 423displaying numbers for 448loading 449loading from script marks 456playing 450removing

color indicators from 452off-screen indicators from 451

selecting 444showing one per slate 444

Tape deck 183Avid-controlled, logging with 183non-Avid-controlled, logging with 188

Tape Lengths dialog box 412Tape name

creating new with a keystroke 304finding 185, 291

Tapesejecting 305naming for logs 170naming from keyboard 304recording a digital cut to 744, 747returning to previous tape 305selecting 221

Targa file formatadditional Export options 840

Target bin, choosing 223Target drives, selecting 224

885

Tearing off the Tool palette 494Templates

AudioSuite effect 667, 675for Audio EQ 657for export settings 799

Test patternsimporting 382using when calibrating for video output 725

Text in the Script windowchanging font of 432cutting, copying, and pasting 434linking clips to 439removing 435searching through 435 to 439selecting 432

Text viewarranging bin columns in 363copying information between columns 372deleting columns in 365described 362duplicating columns in 365in Media tool 390managing clip information in 367modifying clip information in 368sorting clips in 373

Tidying up frames 378TIFF file format

additional Export options 840Time Compression Expansion AudioSuite

plug-in 669Timecode

See also External timecode, Time-of-day timecode

changing 516default starting 98displaying 474drop-frame and non-drop-frame 168external 292logging 170using to find a frame 510

Timecode breaks, digitizing across 231

Timecode windowdisplaying 474

Timeline 536adding offline media indicator 356adjusting volume in 628audio gain keyframes in 630audio tracks, selecting for scrubbing 604audio tracks, soloing 602controlling movement in 546copying a segment in 574customizing 535, 540cutting a segment in 574digitizing to 294displaying detail in 545Dupe Detection Handles option 538dupe detection in 559editing and nesting effects 575editing in 562finding black holes in 560finding flash frames in 561first edit displayed in 522navigating in 544pasting a segment in 574patching when digitizing 295printing 575saving a custom view 542scroll bar 545selecting and deselecting segments in 562setting scroll option 543settings, accessing 536settings, Display tab 536settings, Edit tab 537Top and Tail commands 572top toolbar 495Track Selector panel, using 547tracks, changing color of 541tracks, deleting 556tracks, enlarging and reducing 541tracks, locking and unlocking 553tracks, monitoring 549tracks, patching 554

886

viewing clips in 476Timeline Fast menu

options 539using 538

Timeline View settingreplacing 542restoring default 544saving custom view 542

Time-of-day timecodedigitizing with 291external source 292

Time-remaining display 226Tips for logging 167Tone

recording 736setting calibration 729

Tone media, creating 250Tool palette 494Toolbar, top Timeline 495Tools

Audio 245Audio EQ 625, 644Audio Mix 614Audio Punch-In 680AudioSuite 662Automation Gain 632Avid Calculator 157Console 159Digital Cut 738Digitize 218Hardware 161Locators 504Media 390Serial (COM) Ports 164Video Input 262Video Output 719

Tools menu 150Toolset

choosing 134customizing 136linking to a workspace 137

Top and Tail commandsin Timeline 572using 572

Top Timeline toolbar 495Track Hinter settings, for hinted streaming

export 779Track Selector panel 547Track Solo button (Automation Gain tool) 635Tracking format options 470Tracking information, displaying 469Tracks

adding 517audio, adjusting in Audio Mix tool 616audio, mixing down 701audio, monitoring in Timeline 550audio, selecting for scrubbing 604audio, soloing 602changing color in Timeline 541cycling through 551deleting 556enlarging in Timeline 541exporting as audio files 832ganging in the Audio Mix tool 620locking and unlocking in Timeline 553monitoring in Timeline 549multiple, adjusting and ganging 620multiple, managing sync with 712patching in the Timeline 295, 554reducing in Timeline 541selecting in Timeline 548solo, monitoring in Timeline 551source, selecting 222sync locking 555sync-locked, trimming with 596video, mixing down 795

TransferManager, described 417Transferring

compatibility requirements for 843projects between systems 844, 845settings between systems 845

887

Transferring videoto a video server 849to an Avid system 851

Transitionsadding in Trim edit 583audio, fine-tuning 698lassoing 579

Trashemptying 81viewing contents in 80

Trimmaintaining sync during 595sides, selecting 590with sync-locked tracks 596

Trim editadding black during 595for video tracks 587maintaining sync during 597on-the-fly 586reviewing with Edit Review button 585reviewing with Play Loop button 585selecting additional transitions for 583selecting transition sides for 582slip or slide procedures 588

Trim modebasic procedures 578, 584Big Trim mode 580customizing 578described 577entering 578exiting 580fixing sync in 711selecting additional transitions in 583Small Trim mode 581using the four-frame display 591

Trim pots, adjusting 255Trimming

adding black while 595maintaining sync while 595on-the-fly 586video tracks 587

with Add Edit feature 716with sync-locked tracks 596

TroubleshootingAudioSuite plug-ins 678

Turning off computer 63Turnover points in Audio EQ tool 647Two-channel audio systems

adjusting output on 730Two-field compression ratios 266

UUndoing edits 523Unity 842Unlinking media files 409Unlocking items in a bin 358Unlocking tracks, procedure 553Unreferenced clips, selecting 360, 361User

creating a new 55identifying 55selecting an existing 55selecting another 105

User interfaceappearance templates 125customizing appearance of 114

User nameschanging 48

User-selectable buttonsAdd Edit 697Add Locator 500mapping 153, 153Mark Locator 503Quick Transition 699

888

VVideo

hiding in Composer monitor 467input settings described 220leader

using to maintain sync 713monitoring in Timeline 549

Video Compression options (Export settings) 818

Video compression, defined 264Video deck 183

logging with a non-Avid-controlled 188logging with an Avid-controlled 183

Video inputcalibrating for 257settings 220settings, saving 261

Video Input tool, saving a custom default setting 262

Video leadercreating 386

Video levelsadjusting without color bars 263

Video mixdown 795Video output

calibrating for 719choosing 718

Video projectsusing script integration in 424

Video resolutionsguidelines for use 264specifications for interlaced 308

Video serversconfiguring 847described 847transferring media from 851transferring media to 849

Video streams, defined 267Video tracks

mixing down 795

Video tracks, trimming 587Video transfers with video server 847Videotape

archiving media files with 409restoring media files from 415

View Name dialog box (bin) 344Viewing

a list of bins 69contents of Trash 80in Locators window 505

Viewing and marking footage, described 463Views

Bin 342saving a custom Timeline 542Script 379

VITC (vertical interval timecode)NTSC 265PAL 265

V-LAN VLXi controllerconfiguring with general-purpose interface

(GPI) device 693using with general-purpose interface (GPI)

device 692Voice-over narration 680Volume

adjusting for individual keyframes 632adjusting in the Audio Mix tool 616bypassing adjustments 623in the Timeline 628limitations for adjusting 625recording audio gain 640while playing an effect 624, 625

Volume metersin the Audio tool, defined 247in the Timeline 629

Volume unit scale (Audio tool), defined 247VTR (videotape deck)

Avid-controlled, logging with 183logging with 183non-Avid-controlled, logging with 188

889

VTR EmulationEmulation type option 756

VTR Emulation command (Clip menu) 757VTR Emulation command (Special menu) 759VTR Emulation settings

Device Code option 756Inhibit Preloading option 756Runup option 756

VTR Emulation, setting ports for 756VTR play emulation

defined 755setting ports for 757

WWaveform plots (audio) 610Wavefront file format

additional Export options 840Wide screen (16:9) display option 468Windows taskbar, using 43Windows, dragging (Windows only) 44Work environment,using toolsets to control 134Workflow

for Avid Xpress with the DV option 204script integration 423

Workgroup support 417Workspace

assigning buttons to 127, 130assigning windows to 127customizing 127deleting 127linking to a toolset 137linking to user setting 131on the Avid Unity MediaNet 138settings 128

Workspace buttonsassigning 130

Writing DVD files 787

YYamaha 01v digital mixer

recording audio gain 643supported 631

YUV file formatadditional Export options for 841

ZZaxcom Deva, reimporting media from 705Zooming in the Timeline 546

890