® ®

Avid Media Composer

Advanced Guide

m a k e m a n a g e m ove | m e d i a ™ Avid ®
 Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology,
Inc.

The software described in this document is furnished under a license agreement. You can obtain a copy of that license by
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Other patents are pending.

This document is protected under copyright law. An authorized licensee of Avid Media Composer may reproduce this
publication for the licensee’s own use in learning how to use the software. This document may not be reproduced or
distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or
educational services to others. This document is supplied as a guide for Avid Media Composer. Reasonable care has been
taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or
typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of
this document. Product specifications are subject to change without notice.

Copyright © 2007 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
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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 Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

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

The following disclaimer is required by Videomedia, Inc.:

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

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

The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample
Source Code:
©1993–1998 Altura Software, Inc.

The following disclaimer is required by Ultimatte Corporation:

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

The following disclaimer is required by [Link] Inc.:

Certain waveform and vector monitoring capabilities are provided under a license from [Link] Inc.

For additional copyright information, see page 899.

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

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Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid DS Assist Station, Avid ISIS,
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Sci-Fi, ScriptSync, SecureProductionEnvironment, Show Center, Softimage, Sound Designer II, SPACE, SPACEShift,
SpectraGraph, SpectraMatte, SteadyGlide, Symphony, TARGA, Thunder, Thunder station, Trilligent, UnityRAID, Vari-Fi,
Video RAID, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology,
Inc. in the United States and/or other [Link] and Photoshop are either registered trademarks or trademarks of
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Computer, Inc., registered in the U.S. and other countries. DVCPRO HD is a registered trademark of Matsushita Electric
Corporation of [Link] is either a registered trademark or trademark of Microsoft Corporation in the United States
and/or other countries. All other trademarks contained herein are the property of their respective owners.

3
 Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States
and/or other countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States
and/or other countries. All other trademarks contained herein are the property of their respective owners.

Footage
Arri — Courtesy of Arri/Fauer — John Fauer, Inc.
Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved.
Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.
It’s Shuttletime — Courtesy of BCP & Canadian Airlines.
Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada.
Saturn “Calvin Egg” — Courtesy of Cossette Communications.
“Tigers: Tracking a Legend” — Courtesy of [Link], Carol Amore, Executive Producer.
'The Big Swell” — Courtesy of Swell Pictures, Inc.
Windhorse — Courtesy of Paul Wagner Productions.

GOT FOOTAGE?

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

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

For a copy of our release and Avid’s mailing address, go to [Link]/footage.

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

Avid Media Composer Advanced Guide • Part 0130-07607-01 • March 2007

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 Contents

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 1 Working with the Project Window: Advanced . . . . . . . . . . . . . . . . . . . . . 41
Working with User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Managing User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Guidelines for Project Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Creating a Folder in a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Managing Bins and Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Viewing Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Displaying Usage Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Statistics File Structure and Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Importing the Statistics File into a Spreadsheet . . . . . . . . . . . . . . . . . . . . . . . . . 54
Displaying Disk Space Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Customizing the Appearance of the Avid User Interface . . . . . . . . . . . . . . . . . . . . . 56
Changing Interface Component Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Changing Button and Toolbar Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Using Interface Appearance Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Customizing Your Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

5
 Linking User Settings and Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Sharing Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . . . . . 67
Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Sharing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Working with Locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Overriding the Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . 71
Restrictions and Limitations for Locked Bins . . . . . . . . . . . . . . . . . . . . . . . 71
Suggestions for Improving Performance When Working with Shared Bins. . . . 72
Shared Bin and Project Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Shared Bin Lock Icon Limitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Drive Filtering in Networked Workflows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Chapter 2 Using Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Using the Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Using the Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Understanding Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Mapping Modifier Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Activating Commands from the Command Palette . . . . . . . . . . . . . . . . . . . . . . 84
Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Using the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Displaying System Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Getting Information with the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Using the Console Window to Access Network Drives . . . . . . . . . . . . . . . . . . . 86
Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

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 Using External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . 87
Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Preparing Log Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Converting Log Files with Avid Log Exchange (Windows) . . . . . . . . . . . . . . . . . 90
Using Drag-and-Drop Conversion for Log Files (Windows) . . . . . . . . . . . . . . . . 93
Converting Log Files with Avid Log Exchange (Macintosh) . . . . . . . . . . . . . . . . 95
Using Drag-and-Drop Conversion for Log Files (Macintosh) . . . . . . . . . . . . . . . 97
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Data Entries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Double-Checking Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Transferring Bins (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Transferring Bins (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Associating the Bin with Your Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Tips for Logging Preroll, Logging Timecode, and Naming Tapes . . . . . . . . . . 112
Logging with Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Pausing the Deck While Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Logging with Non-Avid-Controlled Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Logging Film Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Modifying the Pulldown Phase Before Capturing . . . . . . . . . . . . . . . . . . . 128
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . . . . . . . . . . 130

7
 Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Entering Additional Timecodes (Option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Entering the Ink Number (Option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Chapter 4 Capturing Media: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Advanced Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Capturing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
General Settings for Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Settings for Film and 24p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Disabling Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Understanding Drop-Frame and Non-Drop-Frame Timecode . . . . . . . . . . . . . . . . 144
Preparing for Audio Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . 146
Changing an Audio Level in the Passthrough Mix Tool . . . . . . . . . . . . . . 148
Adjusting Pan Values in the Passthrough Mix Tool . . . . . . . . . . . . . . . . . 148
Changing the Audio Hardware Calibration Setting . . . . . . . . . . . . . . . . . . . . . 148
Calibrating Audio Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Calibrating Audio Output Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Using the Console Window to Check Audio Levels. . . . . . . . . . . . . . . . . . . . . 151
Preparing for Video Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Limitation When Using Consumer Decks or Decks Without
Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . . . . . . . 154
Adjusting Video Levels for Tapes Without Color Bars. . . . . . . . . . . . . . . . . . . 154
Using Function Keys When Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

8
 Special Capture Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Logging Errors to the Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Creating Subclips While Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Creating Timed Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Returning to the Previous Place in the Select Tape Dialog Box . . . . . . . . . . . 162
Understanding DV Capture Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Capturing DV Material with Offset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Delaying Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Live Capture with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . . . . . . . . . . 170
Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Selecting Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . 171
Enabling Remote Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Enabling Remote Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Setting up Your System for Remote Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . 173
Avid Serial Driver and Remote Play and Capture (Windows Only) . . . . . . . . . 176
Relinking Clips by Key Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Modifying the Pulldown Phase After Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
DV and HDV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Setting Up DV and HDV Scene Extraction Before Capturing. . . . . . . . . . . . . . 182
Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . . . . . . . . 183
Support for Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Chapter 5 Importing Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Importing Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Importing Single-Layer Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 186

9
 Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Example of Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . 187
Support for Multilayered Photoshop Graphics Import. . . . . . . . . . . . . . . . 189
Preserving Layer Effects in Multilayered Photoshop Graphics. . . . . . . . . 191
Importing Multilayered Photoshop Files . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Importing Media from XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Connecting the XDCAM Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Working with XDCAM HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Playing XDCAM Media on an Avid Symphony . . . . . . . . . . . . . . . . . . . . . . . . 195
Setting the XDCAM Import Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Importing XDCAM Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Automatically Importing Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Importing All Proxy Media from an XDCAM Disc . . . . . . . . . . . . . . . . . . . 199
Copying XDCAM Proxy Media to a Local Drive or a Server. . . . . . . . . . . 200
Manually Importing XDCAM Media from the XDCAM Disc . . . . . . . . . . . 201
Importing Essence Marks as Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Editing the Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Batch Importing High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Editing and Finishing High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . 208
Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Importing Sequences from Pro Tools through Interplay. . . . . . . . . . . . . . . . . . . . . 210
Chapter 6 Working with Bins: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Advanced Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Film Scene Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Displaying Custom Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Saving a Custom Bin View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Sifting Timecodes or Keycode Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

10
 Selecting Sources Used by an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Selecting Unreferenced Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Using Text View: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Manipulating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Duplicating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Changing a Custom Bin Column Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Tracking Frames Based on File Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Managing Clip Information in Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Using the Modify Command to Modify Data . . . . . . . . . . . . . . . . . . . . . . . 231
Copying Information Between Columns . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Copying Information from Another Cell in a Custom Column . . . . . . . . . . 234
Selecting a Film Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Tracking 3-Perf Counts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Selecting an Edgecode Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Displaying Timecodes in a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . 237
Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . 238
Adding Timecode Values to the Timecode Columns. . . . . . . . . . . . . . . . . 238
Bin Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Working with Restricted Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Displaying or Outputting Restricted Material . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Disassociating Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Viewing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Changing Restriction Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Searching the Database for Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

11
 Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Chapter 7 Managing Media Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Using Panasonic DVCPRO P2 Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Panasonic P2 Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
P2 Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Workflow for Editing with P2 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Installing the Panasonic P2 Drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Preparing to Mount P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Mounting P2 Cards as Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Copying P2 Files to a FireWire or Network Drive . . . . . . . . . . . . . . . . . . . 258
Copying P2 Files to a Local Media Drive . . . . . . . . . . . . . . . . . . . . . . . . . 259
Changing P2 Cards in the Card Reader . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Importing P2 Clips and Media Directly from a P2 Card
or a Copy of a P2 Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Dragging P2 Master Clips from the Media Tool to a Bin . . . . . . . . . . . . . 261
Working with Spanned Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Sharing P2 Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Exporting Your Clip or Sequence to a P2 Card . . . . . . . . . . . . . . . . . . . . . . . . 266
Deleting P2 Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Relink Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Relinking Clips to a New Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Relinking by Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Relinking to Selected Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Relinking Consolidated Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Relinking Moved Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Using Videotapes for Archiving and Restoring Media Files . . . . . . . . . . . . . . . . . . 277
Archiving Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

12
 Restoring an Archive from Videotape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Chapter 8 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Lined Script Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Explanation of Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Lining in the Digital Realm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Script Window Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Script Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Importing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Selecting Text Encoding for Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Opening, Closing, and Saving the Script Window . . . . . . . . . . . . . . . . . . . . . . 293
Displaying Clip and Sequence Information in a Script Window . . . . . . . . . . . . 294
Exploring the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Adjusting the Script Margins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Manipulating Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Changing the Font of the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Selecting Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Cutting, Copying, and Pasting Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Using Page and Scene Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Adding a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Changing a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Deleting a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Searching for a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Conducting a Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Linking Clips to the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Manipulating Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Selecting Slates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Resizing Slates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Holding Slates On Screen in the Script Window . . . . . . . . . . . . . . . . . . . . . . . 305

13
 Hiding Slate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Showing One Take Per Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Moving a Slate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Manipulating Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Changing the Representative Frame for a Take . . . . . . . . . . . . . . . . . . . . . . . 310
Loading Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Playing Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Adjusting Take Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Indicating Off-Screen Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Using Color Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Using Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Placing Script Marks Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Using Real-Time Screening and Marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Marking with ScriptSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Moving a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Finding Clips and Bins from the Script Window. . . . . . . . . . . . . . . . . . . . . . . . 321
Editing with the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Assembling a Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Revising the Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Interactive Screenings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Chapter 9 Viewing and Marking Footage: Advanced . . . . . . . . . . . . . . . . . . . . . . . 325
Displaying the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Displaying Timecode in the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

14
 Adjusting the Play Delay Offset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Using the Tool Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Playing Selected Clips in a Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Finding Locators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Editing Locator Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Copying Locators from Source Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Marking an Area Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Moving to the Previous or Next Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Using the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Viewing Locators in the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . . 336
Working in the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Exporting and Importing Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Creating a Locator Text (.txt) File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Copying and Pasting Locators Using the Locators Window . . . . . . . . . . . 339
Printing the Contents of the Locators Window . . . . . . . . . . . . . . . . . . . . . 341
Chapter 10 Creating and Editing Sequences: Advanced. . . . . . . . . . . . . . . . . . . . . 343
User Preferences for Creating Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Using Phantom Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Setting One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Adding a Second Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Adding Comments to Sequence Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Playback Performance Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Understanding Autosyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Creating an Autosynced Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Using the AutoSequence Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Understanding AutoSequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Adding Audio to Original Videotape Using AutoSequence. . . . . . . . . . . . . . . . 350

15
 Resyncing Subframe Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Understanding Subframe Resyncing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Resyncing Audio for a Selected Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Managing Sync with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Using Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Using Sync Point Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Synchronizing Metadata Using MetaSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Chapter 11 Using the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Timeline Views: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Displaying the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Assigning Local Colors to Clips in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . 363
Displaying Local and Source Colors in the Timeline . . . . . . . . . . . . . . . . . . . . 364
Changing the Timeline Background Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Showing Locators in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Navigating in the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Using Advanced Timeline Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Bin Editing Directly into a Sequence Using the Keyboard. . . . . . . . . . . . . . . . 369
Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Editing in Heads or Heads Tails View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Performing a Quick Edit Using the Top and Tail Commands . . . . . . . . . . . . . 372
Adding an Edit (Match Framing). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Adding Edits to Filler Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Removing Match-Frame Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

16
 Detecting Duplicate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Adjusting Handle Length in Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Tracking Color Frame Shifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Chapter 12 Working in Trim Mode: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Maintaining Sync While Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Adding Black When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Trimming with Sync-Locked Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Selecting Segments for Slip or Slide Trimming . . . . . . . . . . . . . . . . . . . . . . . . 390
The Four-Frame Slip/Slide Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Performing the Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Slipping Shots in Source/Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Using the Transition Corner Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Chapter 13 Working with Audio: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . 398
Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . 399
Viewing Clip Gain and Automation Gain Values . . . . . . . . . . . . . . . . . . . . . . . 400
Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
About Adjusting Volume While Playing a Clip Gain Effect . . . . . . . . . . . . . . . . 400
Adjusting Volume While Playing a Clip Gain Effect. . . . . . . . . . . . . . . . . . 401
Improving Response Time When Adjusting Volume . . . . . . . . . . . . . . . . . 402
Using External Fader Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Adjusting the Volume of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . 405
Adjusting the Pan of Individual Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Using an External Fader Controller or Mixer to Record Automation Gain . . . . 406
Using the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Using the Digi 002 with Avid DNA Hardware (Windows Only) . . . . . . . . . . . . . 408
Using the Command|8 with Your Avid Editing System. . . . . . . . . . . . . . . . . . . 410
Configuring the Digi 002 or Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

17
 Mapping Buttons and Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . 411
Button Layouts on the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . . 414
Using Buttons to Change Focus in the Avid Editing Application Interface 415
Using a Foot Pedal as a Foot Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Switching Between the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . 416
Using a Digi 002 or Command|8 to Record Automation Pan . . . . . . . . . . . . . 416
Using the Latch Mode Feature on the Digi 002 and Command|8 . . . . . . . . . . 417
Configuring USB-to-MIDI Software for External Controllers. . . . . . . . . . . . . . . . . . 418
Installing USB-to-MIDI Software (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Installing USB-to-MIDI Software (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . 419
Testing the Fader Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Switching Between MIDI Connections on the USB-to-MIDI Converter . . . . . . 421
Troubleshooting the MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Using the FaderMaster Pro and MCS-3000X. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Using the Snap Mode Feature on the MCS-3000X . . . . . . . . . . . . . . . . . . . . . 424
Ganging Faders on the FaderMaster Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Using the Yamaha 01V/96 or the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Setting Up the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . 425
Initializing the Yamaha 01V/96 or Yamaha 01V . . . . . . . . . . . . . . . . . . . . 426
Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize Control
Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Starting the Avid System with the Yamaha 01V/96 or the
Yamaha 01V Attached . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Operating the Yamaha 01V/96 and Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . 429
Soloing Avid System Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
18
 Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Creating Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Adding an EQ Template to the Audio EQ Tool Fast Menu . . . . . . . . . . . . 442
Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Connecting Voice-Over Recording Hardware . . . . . . . . . . . . . . . . . . . . . . . . . 444
Understanding the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Recording Voice-Over Narration Using Audio Punch-in. . . . . . . . . . . . . . . . . . 448
Monitoring Previously Recorded Tracks While Recording
Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Using Peak Hold While Recording Voice-Over Narration . . . . . . . . . . . . . . . . 451
Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 451
Understanding GPI Trigger Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
GPI Signal Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Example of Linking GPI Actions to Trigger Signals . . . . . . . . . . . . . . . . . . 453
Connecting a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . . 453
Configuring a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . . . . . . . . . . . . . 454
Working with GPI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Creating a GPI Setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Editing a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Deleting a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Displaying Audio Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Chapter 14 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Understanding Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Installing AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . . . . . . . . . . 461
Using an AudioSuite Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Rendering AudioSuite Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Creating New Master Clips with AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . 464

19
 AudioSuite Controls for Creating New Master Clips . . . . . . . . . . . . . . . . . 465
Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins . . . . 467
Using AudioSuite Plug-ins to Create New Master Clips . . . . . . . . . . . . . . 468
Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
AudioSuite Plug-in Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Chorus AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
D-Verb AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Compressor AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Limiter AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Expander-Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Gate AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
DeEsser AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
EQ AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
Flanger AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Invert AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Duplicate AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Delay AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Multi-Tap Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
Normalize AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Gain AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Ping-Pong Delay AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Reverse AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
DC Offset Removal AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Signal Generator AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Time Compression Expansion AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . 495
Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Time Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Non-Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Chapter 15 Exporting Frames, Clips, or Sequences: Advanced . . . . . . . . . . . . . . . 505
Exporting Using Send To Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

20
 Send To DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Send To Digidesign Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Send to DVD Authoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Send to DVD One Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Send to Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Send To Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Send To Third-Party Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Exporting Through OMF Interchange. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . . . . . . . . . . 524
Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Guidelines for Exporting AAF Files to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 527
Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . . 529
Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Exporting As a QuickTime Reference Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Using Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
Exporting As an AVI File (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . . 543
Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . . 545
Exporting as Windows Media (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Exporting Using an Avid Supplied Template (Windows Only) . . . . . . . . . . . . . 545
Exporting Using an Existing Windows Media Profile (Windows Only) . . . . . . . 547
Exporting Using a Custom Profile (Windows Only) . . . . . . . . . . . . . . . . . . . . . 549
Creating a Custom Video Profile (Windows Only). . . . . . . . . . . . . . . . . . . 549
Creating a Custom Audio Profile (Windows Only). . . . . . . . . . . . . . . . . . . 550
Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Exporting As a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Exporting Media to XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Exporting to XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

21
Chapter 16 Generating Output: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Using Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Calibrating the System with Passthrough Signals . . . . . . . . . . . . . . . . . . . . . . 562
Using the Digital Cut Tool: Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Output Mode Resolutions with Progressive Projects . . . . . . . . . . . . . . . . 566
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device. . . . . . . . 567
Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects 568
Selecting Output Formats for 23.976p, 24p, and 25p Projects. . . . . . . . . 568
Selecting the Timecode Format for Output. . . . . . . . . . . . . . . . . . . . . . . . 571
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously
for Downstream Encoding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Indicating the Destination Timecode Rate . . . . . . . . . . . . . . . . . . . . . . . . 573
Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . . . . . . . 575
Understanding DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Delaying the Sequence for a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Using the Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
How Matchback Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Preserving Information in the Vertical Blanking Interval. . . . . . . . . . . . . . . . . . . . . 580
Line Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Displaying and Preserving Vertical Blanking Information . . . . . . . . . . . . . . . . 581
Editing a Sequence with VBI Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Effects of Preserving Vertical Blanking Information on Compressed
Video Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Comparison with VBI on Meridien Systems . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Preserving HD Closed Captioning and Ancillary Data . . . . . . . . . . . . . . . . . . . . . . 586

22
Chapter 17 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . 589
Creating Group Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Full-Monitor Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Quad Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Nine Split Source View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Real-time Playback in MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Limitations on Playback of MultiCamera Media . . . . . . . . . . . . . . . . . . . . . . . . 600
MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Switching Clips with the Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Editing and Playing Back a Linecut in MultiCamera Mode. . . . . . . . . . . . . . . . 602
Using the Add Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Using the Group Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Using the Multi-angle View Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Using Match Frame in MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Chapter 18 Using Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Displaying Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Working with Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Working with Multiple Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Duplicating Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Naming Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Restoring Default Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

23
 Copying Settings Between Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . 620
Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Manipulating Settings by Importing User Profiles or Copying
Files Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Audio Projects Settings: Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Audio Project Settings: Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Audio Project Settings: Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
Capture Settings: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
Capture Settings: DV Options Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
Composer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
Composer Settings: Window Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
Composer Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
Composer Settings: FF/REW Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
Composer Settings: MultiCam Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Correction Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Correction Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
Deck Configuration Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Deck Preferences Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654

24
Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Export Settings: QuickTime Reference Options. . . . . . . . . . . . . . . . . . . . . . . . 659
Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . 662
Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Export Settings: QuickTime Compression Settings . . . . . . . . . . . . . . . . . . . . . 665
Export Settings: HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Export Settings: OMFI, AAF, and AFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Export Settings: AVI (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Export Settings: AVI Video Compression (Windows Only) . . . . . . . . . . . . . . . 674
Export Settings: Windows Media Export Options (Windows Only) . . . . . . . . . 675
Windows Media Legacy Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Existing Windows Media Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Windows Media Options Video Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Custom Profile Audio Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678
Export Settings: Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Export Settings: Graphic Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682
P2 Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Export Settings: XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687
Film and 24P Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687
Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Grid Settings: Coordinates Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Grid Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693
Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Import Settings: Audio Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

25
 Import Settings: XDCAM Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Interface Settings: Appearance Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Interplay Server Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Interplay User Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Keyboard Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707
Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Media Creation Settings: Drive Filtering & Indexing Tab. . . . . . . . . . . . . . . . . 709
Media Creation Settings: Capture, Titles, Import, and
Mixdown & Transcode Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710
Media Creation Settings: Motion Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . 710
Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
Media Creation Settings: Media Type Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 712
Media Services Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713
Mouse Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Safe Colors Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 720
Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721
Sound Card Configuration Settings
(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723
Timeline Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723
Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724
Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726
Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
26
 Video Output Tool Settings: SD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Video Output Tool Settings: HD Tab (Adrenaline Only) . . . . . . . . . . . . . . . . . . 733
Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734
Chapter 19 File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735
Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
Supported Graphics (Image) File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
Import Specifications for Supported Graphics File Formats. . . . . . . . . . . . . . . 738
Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741
Frame Size for Imported Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745
MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746
OMFI Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746
BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748
BWF Information Displayed in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748
Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749
Importing and Syncing BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750
Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751
Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . . . . . . . . . . 752
Chapter 20 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . 755
Compression and Avid Editing Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755
Monitor Display Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Resolution Specifications: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 758
Resolution Specifications: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . 760
Resolution Specifications: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . . 762
Resolution Specifications: Multicam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763
Resolution Specifications: Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . 763
Resolution Specifications: MPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Support for Uncompressed HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765
Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Resolution Groups and Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766

27
 Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767
Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767
Estimated Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Estimated Storage Requirements: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Estimated Storage Requirements: JFIF Interlaced. . . . . . . . . . . . . . . . . . 770
Estimated Storage Requirements: JFIF Progressive . . . . . . . . . . . . . . . . 773
Estimated Storage Requirements: DV . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
Estimated Storage Requirements: MPEG . . . . . . . . . . . . . . . . . . . . . . . . 777
Maximizing Drive Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777
Managing Storage to Improve Playback Performance. . . . . . . . . . . . . . . . . . . . . . 778
Chapter 21 Working in a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779
Working with 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Working with 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Planning a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781
24-fps Film Source, SDTV Transfer, Multiformat Output. . . . . . . . . . . . . . . . . 782
24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output 786
25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output 790
Audio Transfer Options for 24p PAL Projects . . . . . . . . . . . . . . . . . . . . . . . . . 794
Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
Working in a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
23.976-fps Film Transfer or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796
Limitations for 23.976p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803
Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
Viewing Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805
Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805
Video Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
Understanding the Film-to-Tape Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . 808
Transferring 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808
Stage 1: Transferring Film to Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809
Frames Versus Fields. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809
Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . . 809

28
 Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . . . . . . . . . . 810
Maintaining Synchronized Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811
Stage 2: Capturing at 24 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811
Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812
PAL Method 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813
PAL Method 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814
How Avid Editing Applications Store and Display 24p and 25p Media . . . . . . . . . . 815
Displaying Media While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816
Displaying Media During a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816
Film-to-Tape Transfer Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817
Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818
Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818
Additional Film Transfer Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819
Chapter 22 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821
High-Definition Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822
HDTV Workflows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823
Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823
Video-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827
Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829
Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830
Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830
Modifying the Format of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832
Converting a 23.976p NTSC Sequence to 720p/23.976 . . . . . . . . . . . . . . . . . 834
Mixing SD and HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835
Displaying Formats in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
Editing at 60 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
Working with True 24 FPS Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837
Transcoding HD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837
Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838
Working with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838
Understanding HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839
HDV Basic Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840
Capturing and Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840

29
 Capturing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841
Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841
Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842
Playing Back HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842
Rendering and Transcoding HDV Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Long-GOP Splicing for HDV Encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Exporting to an HDV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844
Outputting HDV through Avid DNA Hardware . . . . . . . . . . . . . . . . . . . . . 845
Exporting an HDV Transport Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846
Exporting HDV as Windows Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846
Finishing HDV on DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848
HDV Compatibility Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849
Chapter 23 International Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851
Using a Local Language Operating System
(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851
Choosing a Locale on an English Language Operating System (Windows and
Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852
Non-English Character Support (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . 852
Setting the Language in System Preferences (Macintosh) . . . . . . . . . . . 852
Specifying the Language in the Get Info Dialog Box (Macintosh) . . . . . . 854
Non-English Character Support (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 855
Using Foreign Keyboard Mapping (Windows Only). . . . . . . . . . . . . . . . . . . . . 859
Recommendations and Restrictions for International Character Support . . . . . . . 860
Avid Supports English Plus One Locale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 860
Entering ASCII Characters in Double-Byte Systems. . . . . . . . . . . . . . . . . . . . 860
Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . . . . . . . . . . 860
EDL Manager Does Not Save Diacritical Marks or Chinese Characters. . . . . 861
Traditional Chinese Big 5 Character Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 862
Rebuilding the [Link] File (Windows Only). . . . . . . . . . . . . . . . . . . . . . . 862
Additional Tips and Limitations for International Character Support . . . . . . . . 862
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865

30
Tables

Interface Component Style Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Drive Filtering Default Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Compatible Log Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Avid Log Global Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Avid Log Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Video Level Adjustment Criteria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Function Keys Available When Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
J-K-L Functions for Deck Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Support for Photoshop Layer Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Support for Photoshop Special Layer Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
XDCAM Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Range Menu Items for Explicit Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Range Menu Items for Implicit Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Modifiable Bin Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Modify Command Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Edgecode Types and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Timecode Frame Counts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Bin Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Relink Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Archive to Videotape Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Text Encoding Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
ScriptSync Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
External Fader Controller and Mixer Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Digi 002 and Command|8 Comparison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Audio Punch-In Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
GPI Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
GPI Node Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
AudioSuite Window Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Send To DigiDelivery Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Send To Digidesign Pro Tools Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
31
 Send To Digidesign Pro Tools on Avid Unity Options . . . . . . . . . . . . . . . . . . . . . . . 511
Export Settings Guidelines for AAF Export to Pro Tools . . . . . . . . . . . . . . . . . . . . . 527
Selecting a QuickTime Export Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
XDCAM Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Progressive Project Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . 566
DV 50 and DVCPRO HD Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
23.976p, 24p, and 25p Project Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Audio Play Rates for 24p and 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Audio Play Rates for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Vertical Blanking Information on Avid Editing Systems . . . . . . . . . . . . . . . . . . . . . . 585
Default Locations of Avid Projects Folders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Settings Display Groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Audio Project Settings: Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Audio Project Settings: Input Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Audio Project Settings: Output Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Audio Project Settings: Hardware Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Audio Project Settings: Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Capture Settings: General Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
Capture Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Capture Settings: OMF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
Capture Setting: MXF Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
Capture Settings: DV Options Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Capture Settings: Keys Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
Composer Settings: Window Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
Composer Settings Options (Edit Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
Composer Settings: FF/REW Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
Composer Settings: MultiCam Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648

32
Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Correction Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Deck Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Export Settings: QuickTime Reference Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 659
Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . . . . . 662
QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Export Settings: Avid QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666
Export Settings: HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
Export Settings: DV Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Export Settings Options (AAF, OMFI, and AAF) . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Export Settings: AVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Export Settings: AVI Video Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Windows Media Legacy Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Existing Windows Media Custom Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Windows Media Options Video Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Custom Profile Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678
Export Settings: Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
Export Settings: Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Export Settings: Graphic Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682
P2 Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Export Settings: XDCAM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687
Film and 24P Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687
Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Grid Settings Options (Coordinates Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Grid Settings Options (Display Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693
Import Settings: Image Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Import Setting: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

33
 Import Setting: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Import Settings: Audio Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Import Settings: XDCAM Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Interface Settings: Appearance Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Interplay Server Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Interplay User Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
Media Creation Settings: Drive Filtering & Indexing Tab . . . . . . . . . . . . . . . . . . . . . 709
Media Creation Settings: Capture, Titles, Import, and Mixdown & Transcode Tabs 710
Media Creation Settings: Motion Effects Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710
Media Creation Settings: Render Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
Media Creation Settings: Media Type Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712
Media Services Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713
Mouse Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Safe Colors Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 720
Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721
Sound Card Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Timeline Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723
Timeline Settings Options (Edit Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724
Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Trim Settings: Features Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726
Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
Video Output Tool Settings: SD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Video Output Tool Settings: HD Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
Workspace Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734
Supported Graphics (Image) File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738

34
Graphics Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741
Frame Size for Imported Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745
OMFI File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746
Recommended Field Settings for Two-Field Import and Export . . . . . . . . . . . . . . . 753
Monitor Display Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Resolution Specifications: HD (MXF only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 758
Avid HD Formats and HDCAM Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
Resolution Specifications: JFIF Interlaced (MXF and OMF) . . . . . . . . . . . . . . . . . . 760
Resolution Specifications: JFIF Progressive (MXF and OMF) . . . . . . . . . . . . . . . . 762
Resolution Specifications: Multicam (MXF and OMF). . . . . . . . . . . . . . . . . . . . . . . 763
Resolution Specifications: Digital Video (MXF and OMF). . . . . . . . . . . . . . . . . . . . 764
Resolution Specifications: MPEG (MXF and OMF) . . . . . . . . . . . . . . . . . . . . . . . . 765
Estimated Storage Requirements: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Estimated Storage Requirements: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . . 770
Estimated Storage Requirements: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . . 773
Estimated Storage Requirements: DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
Estimated Storage Requirements: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777
Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809
Ratio of Film to Video with FPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811
Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830
Choices for Modifying Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833
HDV Render and Transcode Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Export to HDV Device Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844
HDV Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849

35
36
 Using This Guide

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

This guide contains all the advanced task-oriented instructions and conceptual information
you need to use the capture, editing, and output features of your Avid application, as well as
information about file format specifications, and other supplementary information. The
Basics Guide for your Avid application is a companion to this Advanced Guide. It contains
all the basic task-oriented instructions and conceptual information you need to get started
using the product. The contents of this guide and of the Basics guide are also available in the
Help. This guide is intended for all users, from beginning to advanced. Unless noted
otherwise, the material in this document applies to the Windows® XP operating system.

Unless noted otherwise, the material in this document applies to the Windows XP and Mac
OS X operating [Link] majority of screen shots in this document were captured on a
Windows XP system, but the information applies to both Windows XP and Mac OS X
systems. Where differences exist, both Windows XP and Mac OS X screen shots are shown.

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

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

n A note provides important related information, reminders,

recommendations, and strong suggestions.

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

w A warning describes an action that could cause you physical harm.

Follow the guidelines in this document or on the unit itself when
handling electrical equipment.

> This symbol indicates menu commands (and subcommands) in the

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

t This symbol indicates a single-step procedure. Multiple arrows in a

list indicate that you perform one of the actions listed.

k This symbol represents the Apple or Command key. Press and hold
the Command key and another key to perform a keyboard shortcut.

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

Italic font Italic font is used to emphasize certain words and to indicate variables.

Courier Bold font Courier Bold font identifies text that you type.

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

38
 If You Need Help

If You Need Help

If you are having trouble using your Avid editing application:
1. Retry the action, carefully following the instructions given for that task in this guide. It
is especially important to check each step of your workflow.
2. Check for the latest information that might have become available after the
documentation was published:
- If the latest information for your Avid product is provided as printed release notes,
they ship with your application and are also available online.
- If the latest information for your Avid product is provided as a ReadMe file, it is
supplied in your Avid application folder as a PDF document ([Link]) and is
also available online.
You should always check online for the most up-to-date ReadMe because the
online version is updated whenever new information becomes available. To
view the online ReadMe, select ReadMe from the Help menu, or visit the
Knowledge Base at [Link]/readme.
3. Check the documentation that came with your Avid application or your hardware for
maintenance or hardware-related issues.
4. Visit the online Knowledge Base at [Link]/onlinesupport. Online services are
available 24 hours per day, 7 days per week. Search this online Knowledge Base to find
answers, to view error messages, to access troubleshooting tips, to download updates,
and to read or join online message-board discussions.

Accessing the Online Library

The Online Library for your Avid editing application contains all the product documentation
in PDF format, including a Master Glossary of all specialized terminology used in the
documentation for Avid products.

Most Avid online libraries also include multimedia content such as tutorials and feature
presentations. This multimedia content is an excellent first resource for learning how to use
your application or for helping you understand a particular feature or workflow.

The Online Library for your Avid editing application is installed along with the application
itself.

n You will need Adobe® Reader® to view the PDF documentation online. You can download
the latest version from the Adobe web site.

39
 Using This Guide

To access the Online Library, do one of the following:

t From your Avid editing application, select Help > Online Library.
t From the Windows desktop, select Start > Programs > Avid > Avid editing application
Online Library.
t Browse to the Online Library folder, and then double-click the MainMenu file.
The Online Library folder is in the same location as the application itself, for example:
(Windows) C:\Program Files\Avid\Avid editing application\Online Library
(Macintosh) Macintosh HD/Applications/Avid editing application/Online Library

How to Order Documentation

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

Avid Educational Services

Avid makes lifelong learning, career advancement, and personal development easy and
convenient. Avid understands that the knowledge you need to differentiate yourself is always
changing, and Avid continually updates course content and offers new training delivery
methods that accommodate your pressured and competitive work environment.

To learn about Avid's new online learning environment, Avid Learning Excellerator
(ALEX), visit [Link]

For information on courses/schedules, training centers, certifications, courseware, and

books, please visit [Link]/training or call Avid Sales at 800-949-AVID
(800-949-2843).

40
 Chapter 1
Working with the Project Window:
Advanced

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.

The following topics describe advanced features of the Project window:

• Working with User Profiles
• Managing Folders and Bins
• Using the Info Display
• Displaying Usage Information
• Customizing the Appearance of the Avid User Interface
• Customizing Your Workspace
• Sharing Bins and Projects in an Avid Unity Environment

For basic information about the project window, see “Working with the Project Window:
Basics” in the Help or the Basics Guide for your Avid editing application.

Working with User Profiles

You can establish different profiles for a single user. User profiles allow you to switch
between settings without having to log out of your system and log back in under a different
user name.

Understanding User Profiles

User profiles allow you to establish separate settings for different editing functions. User
“Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for
“Assistant 1,” “Assistant 2,” and so on.
Chapter 1 Working with the Project Window: Advanced

Each user profile is stored in settings files within a folder, as described in “Understanding
the Avid Projects and Avid Users Folders” in the Help. User profile folders are kept in the
following folder:
• (Windows) drive:\Program Files\Avid\Avid editing application\Avid Users\UserName
• (Macintosh) /Users/Shared/Avid editing application/Avid Users/UserName

You can work with user profiles in the following ways (for step-by-step procedures, see
“Managing User Profiles” on page 43):
• Create new user profiles
• Switch between user profiles
• Return to the original user profile
• Import settings from another user or user profile
• Create a user profile on one system, export it to a server, and then import the same user
profile from another system to the new system.
When you export a user profile, you can select either a Personal or Group profile.
- When you select Personal, the user profile performs an auto-load and an auto-save
every time you open a project. Every time the user profile is updated, it saves the
new profile information. For example, you can create the user profile Jennie on one
system, export it to another location (a server), and then import it to a different
system. Any time you change the Jennie user profile, it updates to the server and
when you open the Jennie user profile on either system, it uses the most updated
Jennie user profile.
- When you select Group, the user profile auto-loads but it does not auto-save.
Changes made to the user profile only affect the system on which the changes were
made. The changes do not update to the server.

n When exporting User Profiles in an Avid Unity™ environment, make sure the workspace
containing the user profile has the same drive letter on all systems.

n Cross-platform (Macintosh to Windows or Windows to Macintosh) user profiles can not be

shared.

• Update a user profile with the Update User Profile option, which lets you add user
settings, such as the Send To settings options, to an existing Settings list.
For example, if you are upgrading to a version of your application that contains the Send
To option from a version that did not have that option, you can choose the Update User
Profile option to make sure the Send To settings templates appear in your Settings list.

42
 Working with User Profiles

Managing User Profiles

The following table describes procedures for managing user profiles.

For more information on user profiles, see “Understanding User Profiles” on page 41.

Task Procedure

To create a user 1. Click the Settings tab in the Project window.

profile:
2. Click the User Profile Selection menu, and select Create User Profile.

Project window title bar

User Profile Selection menu

The Create User Profile dialog box opens.

3. Type a name in the Profile Name text box, and then click OK.
The new user profile appears selected in the menu, and the user profile name
appears in the Project window title bar.

To change user 1. Click the Settings tab in the Project window.

profiles:
2. Click the User Profile Selection menu, and select another user profile.
The new user profile name appears in the Project window title bar.

To return to the 1. Click the Settings tab in the Project window.

original user profile:
2. Clilck the User Profile Selection menu, and select the default user profile.

n If you are using a user profile other than the default and you change to another project, the default user
settings are loaded, even though the Project window still displays your non-default user profile name. You
must reselect the user profile you want to have active.

To import user 1. Click the Settings tab in the Project window.

settings from another
2. Click the User Profile Selection menu, and select Import User or User Profile.
user or user profile:
3. Navigate to the user or user profile you want to import.

43
Chapter 1 Working with the Project Window: Advanced

Task Procedure

To export user 1. Click the Settings tab in the Project window.

settings to another
2. Click the User Profile Selection menu, and select Export User or User Profile.
user or user profile:
3. Select Personal or Group.
4. Navigate to the location where you want to place the user or user profile.
5. Click OK.

To update user 1. Click the Settings tab in the Project window.

profiles:
2. Click the User Profile Selection menu, and select Update User Profiles.
Any settings that have been added to the upgraded version of the application now
appear in the Settings list.

To delete a user 1. Navigate to the Avid Users folder, and then select the user folder you want to
profile from your delete.
desktop:
For information about the location of the Avid folders, see “Using the Avid
Projects and the Avid Users Folders” in the Help.
2. Do one of the following:
t (Windows) Press the Delete key, then click OK in the dialog box that appears.
t (Macintosh) Drag the folder to the Trash.
3. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files
from the system.
4. Close the windows, and restart the Avid application.
The deleted user no longer appears in the Select Project dialog box.

44
 Managing Folders and Bins

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 provides both simplicity and backup
security. You can also manage system memory usage, and specify how often your Avid
editing application saves bins automatically.

Guidelines for Project Organization

Although the specifics can vary depending on your production needs and habits, the basic
principles of project management are as follows:
• 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 follows:
- Create a set of bins for the capture stage.
For example, you can create one bin for each source tape or each day’s worth of
dailies transfers to be captured to avoid slowing the system with large bins and
causing confusion between tapes.
- Create a second set of bins for organizing your project.
For example, you can create a separate bin for each segment of a video project or
each scene of a 24p project, depending on the preferences of the editor.
- Create a third set of bins for the editing stage, including:
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
• (Option) Create additional folders at the desktop level for better organization. For
example, you can create one folder for each capture bin and show cut bin, or a folder to
contain all shot logs to be imported.
• Save these files as templates for future productions of a similar nature.

45
Chapter 1 Working with the Project Window: Advanced

A sample template of bins for a project is shown below.

Project folder

Folders
containing
bin files

Bin files

Settings file
Project file

This hierarchy allows you to have one set of bins available in the Project window during
capture and organizing, and another set of bins available during editing to reduce clutter.

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, and select New Folder.
A new untitled folder appears.
3. Click the untitled folder name in the Bins list and rename it.

Managing Bins and Memory

System memory usage increases depending on how many bins you have open, the number of
sequences in a bin, the number of tools that are open, and the size of a sequence. Using more
memory can slow system performance.

In the Bin tab of the Project window, a memory usage indicator increases and updates as you
open and close bins. Avid recommends that you keep memory usage below 80-85%. If you
exceed the recommended usage, a dialog box opens informing you that your memory usage
is high and recommending that you should close some bins and save your project.
46
 Managing Folders and Bins

If your system is running low on memory and you need to free up memory, you can either
close your bins or use the Clear Memory button. If you close your bins, some of your
memory remains unavailable until you exit the application because the online master clips
remain in memory. The Clear Memory button, however, closes and saves all of your open
bins and clears out any cached data of the online master clips.

To free up memory:
1. Click the Info tab of the Project window.
2. Click the Clear Memory button.
A dialog box opens asking if you want to close and save all opened bins.
3. Click OK.

n This operation deletes cached data for the online master clips only. Memory might also be
used by other parts of the application and will not be reduced by using the Clear Memory
button.

n Bins containing sequences use more memory than bins containing master clips. For bins that
contain a large number of sequences, you can free up memory and still keep your old
sequences. Create an archive bin and move older sequences that you do not use anymore to
the archive bin. Keep the archive bin closed.

Saving Bins Automatically

Your Avid editing application automatically saves changes to your work on a regular basis
during each session. You can modify the frequency of the automatic backups by using the
Bin settings in the Project window Settings list.

When you are working with bins, an asterisk (Windows) or a diamond (Macintosh) appears
before the bin name in the bin’s title bar. The asterisk (Windows) or diamond (Macintosh)
indicates that the changes to the bin have not been saved. After you save the bin, the asterisk
(Windows) or diamond (Macintosh) is removed.

When autosave occurs:

• Any open bins are updated with changes made since the last autosave.
• Copies of these bins are placed in the project’s backup bin folder:
- (Windows) drive:\Program Files\Avid\Avid editing application\Avid Attic folder
- (Macintosh) /Users/Shared/Avid Attic folder

47
Chapter 1 Working with the Project Window: Advanced

The system automatically saves copies of all bins into the Avid Attic folder at regular
intervals for backup. When your work is lost, or when you want to recover an earlier version
of a bin or sequence, you can retrieve files from the Avid Attic folder. The procedure for
recovering bin files from the Avid Attic folder is described in “Retrieving Files from the
Attic Folder” in the Help.

For added security, you can save bins manually — for example, immediately after an
important edit. For more information, see “Saving Bins Manually” in the Help.

To adjust the frequency of automatic saves:

1. In the Project window, click the Settings tab, and then double-click Bin.
The Bin Settings dialog box opens.
2. Type a number in the Auto-Save interval text box.
3. Click OK.

n Setting to zero the maximum number of files stored in the Avid Attic folder as well as the
maximum number of versions of a bin deletes existing files in the project folder in the Avid
Attic folder and prevents any backup bins from being saved. For more information about
backup options, click the Bin Settings dialog box and press F1(Windows) or the Help key
(Macintosh), or see “Bin Settings” on page 635.

Using the Info Display

The Info display in the Project window allows you to view system memory information and
access the Hardware tool.

To open the Info display:

t Click the Info tab in the Project window.

Info tab

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

48
 Using the Info Display

Viewing Memory
You can display system memory information in the Info tab of the Project window.

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

n You can improve the performance of large projects by reducing the number of objects. To do
this, close unused bins, unmount unneeded media drives, consolidate finished elements,
eliminate old material from the project, or divide the project into separate projects. Then
quit and restart your Avid editing application. If performance is still slow, restart your
system.

To display system memory information:

t Click the Info tab in the Project window, and then click the Memory button.
The Memory window opens.

The following table describes the information your Avid editing application displays in the
Memory window:

Item Description

Objects The total number of memory handles currently used by your Avid editing
application. 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 The total number of bytes of RAM (random-access memory).
(Windows) or Total
Mem (Macintosh)

Available physical The amount of RAM available for allocation by the Windows or
memory (Windows) or Macintosh system.
Free Mem (Macintosh)

49
Chapter 1 Working with the Project Window: Advanced

Accessing the Hardware Tool

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

To open the Hardware tool, do one of the following:

t Click the Info tab in the Project window, and then click the Hardware button.
t Select Tools > Hardware.
The Hardware tool opens.

n For more information about the Hardware tool, see “Using the Hardware Tool” on page 87.

Displaying Usage Information

The Statistics feature gathers and reports information on system usage. You can use this
information to support business functions such as resource management.

All statistics are gathered and reported by project. The file that contains this information is
formatted so you can use it as input to software programs such as analysis applications,
spreadsheets, or report generators.

c Do not rely on the Statistics feature for billing or other financial purposes.

To view and update statistics for an open project:

t Click the Usage tab in the Project window.

To print the Statistics file:

t Select File > Print Usage.

50
 Displaying Usage Information

Statistics File Structure and Layout

A new Statistics file is created each time you open the project. The files are stored in a
Statistics folder inside each project folder.

The file name has the following format:

[Link]

where:

Variable Description

yy Indicates the last two digits of the year

mm Indicates the month

dd Indicates the day

HH Indicates the hour

MM Indicates the minutes

SS Indicates the seconds

51
Chapter 1 Working with the Project Window: Advanced

The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a

variety of software programs. Each line in the file is tagged with indicators for identifying
content and data type to assist in programming custom applications. The following figure
shows a sample Statistics file.

52
 Displaying Usage Information

The values in the first column indicate the content of the line:

01 title1
02 title2
03 heading
100 project info
101 Time Project open
102 Capture tool open
104 Capture tool active
105 Captured Media bytes used
106 Rendered Effects bytes used
110 Effects rendering time
111 Title tool open
113 Title tool active
114 Title tool rendering
115 Capture tool capturing
116 Capture tool logging
117 user comments

The values in the second column indicate the type of data in the line:

01 project info
02 time used
03 bytes used
04 text string

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Chapter 1 Working with the Project Window: Advanced

Importing the Statistics File into a Spreadsheet

You can import the Statistics file into a spreadsheet or other program as an ASCII file and
use the application (for example, Microsoft® Excel) to set up the proper format.

To import a Statistics file into Microsoft Excel:

1. Start Microsoft Excel.
2. Select File > Open, and navigate to the Statistics file you want to import.
(Windows only) Make sure All Files (*.*) is selected in the Files of Type list.
3. Click Open.
The Text Import wizard starts.
4. Select Delimited for the Original Data Type, and click Next.
5. Select Comma for Delimiters, and click Next.
6. Select General for Column Data Format.
7. Click Finish.
The statistics file appears in spreadsheet format.

54
 Displaying Usage Information

The following figure is the sample file from the previous section as it appears when you
import it into a spreadsheet.

55
Chapter 1 Working with the Project Window: Advanced

Displaying Disk Space Statistics

To improve system performance, statistics for disk space (captured media and rendered
effects) are not calculated and are not displayed in the Usage window unless you issue a
Console command.

To display disk space statistics in the Usage window:

1. Select Tools > Console.
2. In the command entry text box, type:
toggleStatSpace
3. Press Enter (Windows) or Return (Macintosh).
4. Select File > Load Media Database.

After the media database is loaded, the Usage window displays the number of files and disk
space used for captured media and rendered effects.

To update the display:

t Click the Usage tab in the Project window.

To prevent recalculation:
t Reenter the toggleStatSpace command.

Customizing the Appearance of the Avid User

Interface
The Appearance tab in 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.

For complete reference information on the Interface Settings dialog box, see “Interface
Settings” on page 703.

Changing Interface Component Colors

You can use a color selection grid to change the color of interface components.

n The Settings list has several Interface templates with predefined color schemes. For
information about using the Interface templates, see “Using Interface Appearance
Templates” on page 60.

56
 Customizing the Appearance of the Avid User Interface

To set the color of an interface component:

1. In the Project window, click the Settings tab, and then double-click Interface.
The Interface dialog box opens.
2. Click the Appearance tab.
The Interface components whose colors you can change are listed in the top half of the
Appearance tab, as shown in the following illustration.

Check box

Interface
component list
Color boxes

3. Click in the color box next to the interface component that you want to customize.
A color selection grid opens.
4. Click 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 mark appears in the check box to show that you want your new color attribute for
this component to take effect.

n If you deselect an interface component by clicking the 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.

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Chapter 1 Working with the Project Window: Advanced

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 colors 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 Button and Toolbar Styles

You can control the shading style and depth of buttons and toolbars. You can also change the
shape of buttons and the way buttons are spaced in Monitors and in the Timeline.

To set the style of buttons and toolbars:

1. In the Project window, click the Settings tab, and then double-click Interface.
The Interface dialog box opens.
2. Click the Appearance tab.
The interface component style controls appear in the bottom half of the Appearance tab,
as shown in the following illustration.

3. Select from one or more of the menus, as described in the table following this
procedure.

58
 Customizing the Appearance of the Avid User Interface

4. Do one of the following:

t Click Apply to apply the changes you selected.

n If you click Cancel after you click Apply, your editing application retains the selections 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.

Interface Component Style Controls

Control Description Options Examples

Shading Style Controls the graphic style Convex Convex

used to shade buttons and
Dim Radial
toolbars. Dim Radial
Convex Radial
Bright Radial Convex Radial

Bright Radial

Shading Depth Controls the three- Percentage

dimensional “rounding” of values
the buttons and toolbars
Shading depth 5% Shading depth 50%

Monitor Button Controls the spacing Maximum

Separation between the Monitor
Moderate Maximum button separation
buttons and between the
Timeline Button
Timeline buttons None
Separation
Moderate button separation

No button separation

59
Chapter 1 Working with the Project Window: Advanced

Interface Component Style Controls

Control Description Options Examples

Button Style Controls the shape of Oval

buttons.
Octagonal
Oval Rounded Swoosh
Rounded
Square
Octagonal Square Antique
Swoosh
Antique

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:

t Click to the left of one of the named Interface settings in the Settings list in the Project
window.

The look of your Avid user interface changes.

To return to the default interface:

t Click to the left of the unnamed Interface setting.

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 56.

Changing Font and Point Size

You can change the default font and point sizes of the Project, Bin, Composer, Script, and
Timeline windows. You can vary the 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.

60
 Customizing the Appearance of the Avid User Interface

The following table describes the windows you can change, and where these changes are
saved.

Window Location of Changes

Project Changes the font and point size of the text in the Project window; saved as a
Project setting.

Bin Changes the font and point size of the text in the Bin window; saved as a Bin
setting (not a Bin View setting).

Composer Changes the font and point size of the sequence or source clip name text;
saved as a Composer setting.

Script Changes the font and point size of the text in the Script window; saved as a
Script setting.

Timeline Changes the font and point size of clip text; saved as a Timeline View setting.

To change the font displayed in the Project, Timeline, Composer, Script, or Bin
window:
1. Click the Project, Timeline, Composer, Script, or Bin window to make it active.
2. Select Edit > Set Font.
The Set Font dialog box opens.
3. Click the Font menu, and select a font.

n Any font installed on the Avid system appears in the list. For information on adding fonts to
your system, see the documentation for your operating system.

4. Type another point size for the font in the Size text box.
5. Click OK.
The new font and point size appear in the active window.

When you close the window, the last font and point size applied are saved with the window.

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Chapter 1 Working with the Project Window: Advanced

Customizing Your Workspace

A workspace is the arrangement and size of tool windows displayed in your Avid editing
application. 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 capture you might want to display the Capture tool and Video Input tool
in specific locations. During effects editing, you might want to display the Effect Palette and
Effect Editor in particular locations and sizes. For information on switching between
workspaces, see “Switching Between Workspaces” on page 65.

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

You can select your preference in the Workspace Settings dialog box. For more information,
see “Creating a New Workspace Setting” on page 62.

You can assign up to eight buttons that allow you to switch between user-customized
workspaces. This is useful if there is more than one user accessing the same Avid system.
Each user can assign up to eight workspaces by using the workspace buttons. The buttons
are assigned to the workspaces in the Settings list in 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 list; W2 is assigned to the second workspace that appears in the Settings list;
and so forth. For more information, see “Assigning a Workspace Button” on page 66.

n You cannot assign certain tool windows to a workspace, such as the Hardware tool, the
Communication (Serial) Ports tool, and the Media tool.

Creating a New Workspace Setting

To create a new workspace setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Scroll to the bottom of the Settings list, and select Workspace.
3. Select Edit > Duplicate.
A new workspace setting appears in the Settings list.

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 Customizing Your Workspace

n If you are duplicating a previously named workspace setting, a .1 appears at the end of the
new name.

4. Click to the left of the new workspace you want to set.

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 name column and not the Setting name.

New workspace
Custom name column

b. Type a name for the new custom workspace; (for example, Logging).
c. Press Enter (Windows) or Return (Macintosh).
d. Open the windows and tools with which you want to associate the workspace.
Resize and move the windows to the location you want them to appear on
the monitors.
6. Double-click the custom workspace setting.
The Workspace Settings dialog box opens.
7. Select or deselect the following options, depending on your preference for the behavior
of the workspace:
- Activate Settings Linked By Name: This setting allows you to link other settings
to the workspace. For more information, see “Linking User Settings and
Workspaces” on page 64.
- Continually Update This Workspace: This setting 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 setting saves the workspace in its current
arrangement when you click Save Workspace Now. Future changes to the
arrangement of the tool windows are disregarded.
8. Click OK.

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Linking User Settings and Workspaces

User settings can be linked to a workspace. You can create a customized workspace, 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 Mixer tool and Audio
tool. This workspace can also open a customized Timeline (with enlarged audio tracks and
rubberbanding displays). You can also 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 Settings list in the Project window as the name of the workspace.

To link user settings and a workspace:

1. Create a new workspace setting.
For more information, see “Creating a New Workspace Setting” on page 62.
2. Give the workspace a custom name.
3. Click a setting in the Settings list that you want to link to the new workspace. For
example, click Timeline View. Adjust the Timeline to how you want it displayed
(enlarged tracks, audio waveform, and so forth).
4. Give this Timeline View setting the same name you gave the workspace in step 2.
For information on naming a Timeline view, see “Saving a Customized Timeline View”
in the Help.
5. Double-click another setting, (for example, Audio). Select the new options, (for
example, Default Pan), and close the dialog box.
6. Give this setting the same name you gave the workspace in step 2.

Linked setting

Linked setting

Linked workspace

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 Customizing Your Workspace

7. Double-click the workspace you just created.

The Workspace Settings dialog box opens.
8. Click Activate Settings Linked By Name.
9. Click OK.
All the settings and the new workspace you created are activated.

Switching Between Workspaces

To switch from one workspace to another:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click to the left of the workspace setting you want to use.
A check mark appears next to the workspace.

You can also switch between workspaces by using the workspace buttons. To assign
workspace buttons, see “Assigning a Workspace Button” on page 66.

Deleting a Workspace
To delete a workspace:
1. Select the workspace you want to delete from the Settings 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 list.

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Assigning a Workspace Button

To assign a workspace button:
1. If you want to assign a workspace button to a palette (for example, the Tool palette from
the Fast menu) or the Keyboard, open the palette or Keyboard setting.
2. Select Tools > Command Palette.

W1 button More tab

3. Click the More tab.

4. Select Button to Button Reassignment.
5. Click a workspace button (W1 – W8), and drag the button to a location on another
palette (for example, the Tool palette) or the Keyboard setting.
The workspace button appears in the new location.
The buttons are assigned to the workspaces in the Settings list in 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 list; W2 is assigned to the second workspace that appears in
the Settings list; and so forth.
Your Avid editing application 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).
6. Click the W1 button to display the first workspace that appears in the Settings list.
When you open the windows associated with the first workspace, they open in the
assigned locations.

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 Sharing Bins and Projects in an Avid Unity Environment

Sharing Bins and Projects in an Avid Unity

Environment
The following topics describe how to work in an Avid Unity environment that does not use
an asset manager or Avid Interplay Transfer. If you are using an asset manager or Avid
Interplay Transfer, see the Avid Interplay Administration Guide and the Avid Interplay
Transfer Setup and User’s Guide.

Understanding Avid Unity

Avid Unity MediaNetwork and Avid Unity ISIS allow you to share bins and projects across
the network. When you place your bins and projects on Avid Unity 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 recaptures media in
another bin. At the same time, other users can add audio effects or titles to other bins in the
project.

Each user can perform tasks from his or her own computer. Your Avid editing application
provides a locking mechanism to help you keep track of who is currently working in a bin.
The method allows one user to write to a bin; multiple users can read the files in that 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.

In an Avid Unity environment, your Avid editing application creates and stores projects and
bins on the client’s internal drive. If a user moves or saves these projects and bins to the
workspace, only one client can work on the project at a time. If two or more users are
working simultaneously on the same project, only one user can update the files. Other users
can open and play sequences but cannot make any changes to them.

For information on managing workspaces, see the clients’ Quick Start cards. For details on
Avid Unity, see the Avid Unity MediaNetwork Management Guide or the Avid Unity ISIS
Administration Guide.

Sharing Methods
Before you begin copying or creating bins and projects on an Avid Unity workspace,
determine the sharing method you are using for the project. You can either share bins alone
or you can share bins and projects.

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Shared Bins

When you use shared bins, 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 identifies the shared bins as follows:
• 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.

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). Your Avid editing
application identifies information from each computer using the shared workspace as
follows:
• Creates a project folder for each computer that accesses the project. Your Avid editing
application 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 select New Folder from the Project
Window Fast menu. For more information, see “Managing Folders and Bins” on
page 45.
• 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 your Avid editing application stores in the Unity Attic folder (using the
Bin Settings dialog box).

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 Sharing Bins and Projects in an Avid Unity Environment

The following illustration shows the Project window for a shared project.

Bold bins are locked

for editing but can
be viewed. Computer that
currently has
Project folders for the bin locked
each user

The following illustration shows the contents of a shared workspace at the desktop level.

Shared projects

Shared media files

Unity Attic

Opening a Shared Project

To open an existing project on the shared volume:
1. Start your Avid editing application.
2. In the Select Project dialog box, navigate to the project on Avid Unity.
The Project window opens. For a description of the elements specific to Avid Unity in
the Project window, see “Sharing Methods” on page 67.

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3. 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.

Unlocked bin

Locked bin

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 71.

n The Bin Lock Status button does not appear if the bin is not on Avid Unity.

Working with Locks

Your Avid editing application uses a locking mechanism to help you keep track of who is
currently working in a shared bin. This allows one user to write to a bin; multiple users can
read the files in that bin.

Default Locking Mechanism

The user who opens the bin first gets the lock and obtains write access to the bin. Your Avid
editing application 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.

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.

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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 your Avid editing application 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.
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Bin icon, and select Lock
Project Bin.
An asterisk (Windows) or diamond (Macintosh) 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 select Unlock Project Bin.

n The Lock Project Bin and Unlock Project Bin commands are also available from the Clip
menu.

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 capture, title creation, and
importing. This helps to minimize the problems of modifying a locked bin.
• You cannot drag an item to a locked bin.
• If you drag an item from a locked bin to a writable bin, the Avid 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, your Avid editing application 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 sees the duplicate contents of these bins and resolves the conflicts
by newest modifications (this might not be desirable behavior).

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Try to 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.

Suggestions for Improving Performance When Working with Shared

Bins
The following information is provided to improve performance when working with shared
bins in an Avid Unity environment.
• Do not use the same name for your editing system machine name and your user name.
In fact, do not use the same name for security objects such as machine names, user
names, group names, and domain names. If any two security objects have the same
name, Windows might become confused and sharing might not work properly.
• Do not use the same prefix for machine names in a shared environment. No full name
can be a prefix of another name. If one of the systems has a machine name that is the
full name, and others in the environment have the prefix as part of their machine name,
problems can occur. For example, if an editing system has a machine name ABC and
additional editing systems in the shared environment have machine names ABCnn,
ABCxx, the following problems could occur:
- When the system with the machine name ABC is writing to a directory, the systems
whose machine names have the same prefix (ABCnn and ABCxx) might not be able
to access the directory.
- When the system with the machine name ABC is rendering, systems whose
machine names have the same prefix (ABCnn and ABCxx) might be unable to
launch.
Avid recommends that you do not use a common prefix for machine names. If you
must use a common prefix, make sure all the names are the same length (ABC01,
ABC02, ABC03, etc.).
• Avoid using Windows Explorer to examine, copy, or manipulate shared bin files or
shared project folders or their contents when editors are using those files or folders. If
you do, editors attempting to access those shared bins or projects may experience delays
accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),”
where MESSAGE is replaced by a specific message identifying the action that is being
retried.
If the busy condition persists, and the retries are exhausted, a failure message appears.
When that happens, ensure that Windows Explorer is not being used on the shared bins
you are trying to access, and then try the operation again.

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• When you have an environment where more than five users are sharing bins on Avid
Unity, Avid recommends using an Avid Interplay server in the workgroup environment.
• When an Avid Interplay server is available in an Avid Unity system in the workgroup
environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay
server and the Remote Assets feature to share media. All editing systems in a workgroup
environment that includes an Avid Interplay server must have the Avid Unity client
software installed. The Media Tool might become unreliable if an editor in the Avid
Unity workgroup environment does not have the Avid Unity client software installed.

Shared Bin and Project Limitations

If an editor other than the creator deletes a media file, other editors cannot see that media file
go offline immediately. If an editor tries to play that file, “media file not found” messages
might appear in a monitor window, and access violation errors might occur.

Each editing application maintains a PMR file in its machine name folder inside the OMFI
MediaFiles folder or the Avid MediaFiles folder. The PMR file lists all the online media
files. Every editing application consults all the PMR files in all the machine name folders to
find out which media files are online. Whenever a media file is created, its name is
immediately added to the creating editor application's PMR file, and whenever a media file
is deleted by its creator, its name is immediately removed from the PMR file.

However, if an editing application other than the creator deletes a media file, the PMR file
that contains the deleted file is NOT updated immediately. Once the creating editor
encounters an event that causes its PMR to be updated, then all editing systems know that
the deleted media file has gone offline.

There are several ways to force an editing application to update its PMR. The simplest is to
switch to the desktop and back.

Avid recommends that you institute policies where media files are deleted by the editor who
created them, or if necessary, the deleting editors notify the editor who created the media
files that a deletion has occurred. This editor can then switch to the desktop and back, and all
other editors can see the deleted file go offline.

Shared Bin Lock Icon Limitation

Occasionally, when two editors attempt to open a shared bin at the same time, both editors
get the green lock icon. However, only one editor really has the lock, and that editor's
machine name appears beside the bin name in both Project windows.

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Both editors can modify their copies of the bin, but only the editor that holds the lock, as
indicated in the Project window, can save that bin. The other editor is warned that the bin is
locked but is allowed to save a copy of the changed bin.

Avid recommends that you use the “Save Bin Copy As...” button and continue working.

Drive Filtering in Networked Workflows

The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes
three options:
• Filter by Resolution
• Filter by System Drive
• Filter by Launch Drive

For Symphony Nitris and for current versions of Avid Media Composer and Avid
NewsCutter® products, these three options are selected by default. Some older versions of
Avid Media Composer and Avid NewsCutter® products shipped with Filter by Resolution
enabled, Filter by System Drive disabled, Filter by Launch Drive disabled. This caused
breakages with the networked workflows as media in new projects were being created on the
C: drive instead of the shared storage when using the default Media Creation Settings. To fix
this, all three drive filtering options are enabled by default.

Avid Xpress products and Avid Free DV default to Filtering off because these products
might not have additional drives available, especially if you are working on a laptop.

n Any project brought into a networked workflow that was created with any of the filtering
selections off might have problems with networked media creation, such as “Audio and/or
Video Mixdown” and “SendToPlayback,” because their Media Creation Settings are still
configured for standalone usage.

There are several ways for you to work around this issue. First, adjust the drive filtering
settings when switching environments, either by opening the Media Creation Setting and
switching the drive filtering settings or by creating multiple Media Creation Settings and
switching the active setting whenever you shift environments. If you always work in an
environment that differs from the defaults (for example, an Avid Xpress product always
connected to shared storage), you can create a Media Creation setting that fits your
workflow and add it to your Site Settings so new projects are created with the desired
defaults. For more information, see “Using Site Settings” on page 622.

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 Sharing Bins and Projects in an Avid Unity Environment

The default values for Filter by Resolution, Filter by System Drive, and Filter by Launch
Drive are as follows:

Drive Filtering Default Values

Product Filter By Resolution Filter by System Drive Filter by Launch Drive

Symphony Nitris Yes Yes Yes

Media Composer Yes Yes Yes

products

NewsCutter products Yes Yes Yes

Media Station PT Yes Yes Yes

Avid Xpress Pro No No No

Avid Xpress DV No No No

Free DV No No No

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 Chapter 2
Using Tools

The Tools menu in your Avid editing application provides quick access to essential tools that
you can use in your projects. In addition to the tools available from the Tools menu, you can
also add a controller to your system that you can use as an alternative to your keyboard and
mouse for editing footage. These tools are described in the following sections:
• Using the Tools Menu
• Using the Deck Controller
• Using the Command Palette
• Using the Avid Calculator
• Using the Console Window
• Using the Hardware Tool
• Using External Controllers as Editing Control Surfaces

Using the Tools Menu

You can open any of the most frequently used system tools from the Tools menu.

To open a tool:
t Select Tools > tool name.

Using the Deck Controller

The deck controller provides direct serial or VLXi® V-LAN® control of an Avid-compatible
tape deck at any time during editing. This allows you to cue and screen footage from source
tapes in various edit modes or when recording a digital cut, without opening the
Capture tool.
Chapter 2 Using Tools

To open a deck controller:

t Select Tools > New Deck Controller.

The Avid Deck Manager program is initialized, and a new Deck Controller window opens.

Timecode indicator
Logging controls
Close button
Timecode display
Timecode display
Delete Mark IN

Deck controls Delete Mark OUT

Deck Selection
menu

Tape Name button Mark IN

Eject Clear Memory button
Mark OUT Go To Memory button

Each deck controller includes the following elements:

• The Timecode display provides information about the control status of the tape deck, as
follows:
- If the deck is properly connected and power is on, the deck controller displays
timecode when a tape is mounted.
- If a deck is not properly connected to the system or power is off when you open the
controller, the indicator displays the message “NO DECK.”
- If you turn the deck power off with the deck controller already open, the indicator
displays the message “Power Off.”
- If you switch the deck control to Local on the VTR, the indicator displays the
message “Local.”

n Information on connecting decks and cabling varies depending on the Avid DNA device you
use. See the appropriate “Connecting Peripheral Equipment” topic for your Avid DNA
device in the Help, within the “Using the Avid Adrenaline,” “Using the Avid Mojo,” or
“Using the Avid Mojo SDI” sections.

• The Timecode indicator flashes green during playback or capture to indicate that the
system is receiving valid timecode from the source tape. If the indicator remains unlit,
the system is not receiving timecode.
• The deck controls provide a standard range of playback capabilities, including fast
forward and rewind, stop and play, step backward and step forward, pause, and eject.

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 Using the Command Palette

• The Deck Selection menu allows you to specify a deck with deck control parameters
that you can customize in the Deck Settings dialog box. For more information, see
“Deck Configuration Settings” on page 652.
• The deck controller allows you to associate a tape name with the controller by clicking
the Tape Name button and selecting a tape in the Select Tape dialog box. For more
information, see “Selecting a Source Tape” in the Help.
• Logging controls allow you to log IN and OUT marks while cueing your tape.
For more information on logging, see “Logging Directly into a Bin” on page 112.
Marks you set with the deck controller are temporary and allow you to return to
timecode locations entered in the window while screening and cueing a tape. If the
Capture tool is open, however, timecodes logged in the deck controller also appear in
the Capture tool and can be entered into an open bin.

Using the Command Palette

The Command palette provides a central location for all user-selectable buttons that you can
map to various locations for ease of use. User-selectable buttons allow you to perform a
wide range of commands with a single click of the mouse.

The Command palette organizes buttons by editing function. Tabs are displayed for each
editing function and the buttons that perform those functions are displayed in each tab. The
functions are Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam
(MultiCamera), Other, and More.

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You can use the Command palette to:

• Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable
Buttons” on page 81.
• Map menu commands to various buttons and keys. See “Mapping Menu Commands” on
page 83.
• Directly activate a command. See “Activating Commands from the Command Palette”
on page 84.

n For information about each button in the Command palette, right-click (Windows) or
Ctrl+Shift+click (Macintosh) a button and select What’s This? from the menu.

n For more information on logging with the Capture tool, see “Logging Directly into a Bin”
on page 112.

Understanding Button Mapping

Mapping user-selectable buttons allows you to reconfigure Tool palettes, toolbars, 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 key or the Page Down key revert to the
default key functions when you enter Effect mode. After you exit Effect mode, the keys return
to the mapped function.

The following are a few examples of mapping buttons:

• Subcataloging clips: You can map the Make Subclip button and other clip management
buttons.

Make Subclip Find Bin Add Locator

• Complex layering and effects editing: You can map buttons such as Motion Effect,
Remove Effect, Transition Corner Display, Fade Effect, Render Effect, Cycle
Picture/Sound, Quick Transition, and Grid (which displays Safe Title overlays).

Motion Effect Remove Effect Transition

Corner Display

Fade Effect Render Effect Cycle

Picture/Sound

Quick Transition Grid

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 Using the Command Palette

• MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang
buttons.

Quad Split Swap Cam Bank Gang

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.

For more information on multiple settings, see “Working with Multiple Settings” on
page 617.

Your Avid editing application saves button configurations as follows:

• Changes to the Keyboard palette are saved in the Keyboard settings.
• Changes to the pop-up monitor Tool palette and Tool palette in the Composer window
are saved with the Composer settings.
• Changes to Command palettes in Trim mode are saved with Trim settings.
• Changes to the Tool palette are saved in the Interface settings.

You can change the appearance of the buttons in the Tool palette by using the Interface
settings from the Settings list in the Project window. For more information, see
“Customizing the Appearance of the Avid User Interface” on page 56. You can choose to
identify a button’s function with only an icon or with an icon and letters. For more
information, see “Interface Settings” on page 703.

Mapping User-Selectable Buttons

To map buttons or keys on the keyboard by using the Command palette:
1. Open a window that has a user-selectable button palette by doing one of the following:
t Activate the Playback, Source, or Record monitor in the Composer window.
t Click a Fast Menu button, and drag the Tool palette to open it.
t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu
button, and drag to tear off the Tool palette.
t Open a clip in a pop-up monitor.
t Enter Trim mode in the Composer window.
t Open the Keyboard palette from the Settings list in the Project window.

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Chapter 2 Using Tools

2. Select Tools > Command Palette.

The Command palette opens.
3. Select Button to Button Reassignment at the bottom of the Command palette.
4. Click the tab from which you want to select a user-selectable button.
5. Drag the button from the Command palette to a button location on the other palette.

Using the Blank Button

The Blank button in the Other tab of the Command palette allows you to replace a defined
button with an undefined button. If you do not need a specific button on the Tool palette, you
can replace this button with a Blank button.

For more information on mapping the Blank button to a new location, see “Mapping User-
Selectable Buttons” on page 81.

Mapping Modifier Keys

You can add modifier keys to functions already associated with keys and buttons. The Other
tab in the Command palette contains the following modifier key buttons:

Button Description

(Windows) Add Alt Key button

(Macintosh) Add Control Key button

(Macintosh) Add Option Key button

For example, on a Windows 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
Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.

n After you modify a key or button with a modifier key button, you can use the default function
of the key or button by pressing and holding the appropriate modifier key while pressing the
key, or by pressing and holding the modifier key while clicking the button.

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 Using the Command Palette

Mapping Menu Commands

You can map menu commands displayed in the menus in your Avid editing application menu
bar directly onto any mappable button location or onto the keyboard. 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 mark 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 Activate a monitor in the Composer window.
t Click a Fast Menu button, and drag the Tool palette to open it.
t Open a clip in a pop-up monitor.
t Enter Trim mode in the Composer window.
t Open the Keyboard palette from the Settings list in the Project window.
2. Select Tools > Command Palette.
The Command palette opens.
3. Select Menu to Button Reassignment.
4. Click a target button in the Keyboard palette or other palette (for example, the
Command palette under a monitor).
The pointer changes to a small white menu.
5. Select the menu command you want to map to the target button.
The initials for the menu command appear on the target button.

Menu command
mapped to a button

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Chapter 2 Using Tools

Activating Commands from the Command Palette

You can perform a command function directly from the Command palette. For example, you
can click the Play button in the Command palette to play the material in the Source monitor.

To activate a command from the Command palette:

1. Select Tools > Command Palette.
The Command palette opens.
2. Select Active Palette at the bottom of the Command palette.
3. Click the tab from which you want to select a command function.
4. Click the button in the Command palette for the function you want to perform.

Using the Avid Calculator

The 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.
• Convert timecode durations between 30-fps and 25-fps projects.
• Convert a duration in video to the corresponding length in footage and frames for
measuring 35mm film.

To use the Avid Calculator:

1. Select Tools > Calculator.
The Avid Calculator opens.
2. Click the Format menu, and select a format.
3. Make calculations in one of the following ways:
t Click numbers and functions in the Avid Calculator.
t Enter numbers and functions using the numeric keypad.
t Enter numbers and functions using the top row of numbers on the keyboard.
You do not need to enter leading zeros, colons, or semicolons for timecode.

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 Using the Console Window

To convert your totals at any time to another format:

t Click the Format menu, and select a different frame code or key number format.

n If drop-frame timecode is entered into the calculator while non-drop-frame timecode is

selected in the format menu, the calculator converts the entered timecode to a
non-drop-frame equivalent (and vice-versa).

Using the Console Window

The Console window provides a number of features, including:
• Current system information, including your system ID number
• A log of error messages
• Detailed information about sequence segments in the Timeline or about objects in a bin
• A command to display networked drives for use as media drives
• Information after you capture 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. Select Tools > Console.
The Console window opens.
2. Scroll in the Console window to view your system information and ID.
Your system ID is on a line beginning System ID:

This feature is especially useful for finding the system ID when you need to contact your
Avid Reseller or Avid Customer Support.

Reviewing a Log of Errors

To review errors logged to the Console window:
1. When an error occurs, close the message box and select Tools > Console.
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.

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Chapter 2 Using Tools

Getting Information with the Console

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 clip, segment, or sequence in the Timeline.

To get information with the Console window:

1. Select Tools > Console.
The Console window opens.
2. Select the item about which you want information, for example:
t In the Timeline, move the position indicator to the selected clip or segment.
t In the bin, select an object or Ctrl+click (Windows) or Shift+click (Macintosh)
multiple objects.
3. Select File > Get Bin Info or File > Get Position Info.
Information about the clip appears in the Console window.

Using the Console Window to Access Network Drives

Your Avid editing application can access network drives that you have mapped to your Avid
editing system. Once your network drives are mapped, typing the appropriate console
command displays the mapped drive letter in the appropriate tools in the Avid editing
application.

n For information about mapping dives to your computer, see your Windows or Macintosh
[Link] do not need to use this feature to access Avid Unity shared network
drives.

When the feature is turned on, the mapped drive letter appears in the Target Drive menu.
When you turn the feature off, the mapped drive letter is dimmed. If you quit and restart your
application, the mapped drive letter does not appear in the Target Drive menu.

To make your mapped network drives available:

1. Open the Console window by selecting Tools > Console.
2. In the Console command line, type:
alldrives 1
3. Press Enter (Windows) or Return (Macintosh).
Network drives are now visible in your Avid editing application.

n Typing alldrives in the console window turns this feature on and off. Typing alldrives 2
restores the default behavior where only media drives are available.
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 Using the Hardware Tool

By default, network drives are filtered by resolution when the option Filter Network Drives
Based on Resolution option is selected in the Media Creation settings. For more information,
see “Media Creation Settings” on page 709.

Using the Hardware Tool

The 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 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.

n If your system is connected to an Avid Unity network, you see two drives tabs, Local Drives
and Avid Unity Drives.

• (Windows) The System tab lists the operating system, its version, service pack, and
build, and the physical memory.
• (Macintosh) The System tab lists the operating system, its version, and the physical
memory.

To check the hardware configuration of your Avid system, do one of the following:
t Select Tools > Hardware.
t Click the Info tab in the Project window, and then click Hardware.
The Hardware tool opens.

Using External Controllers as Editing Control

Surfaces
Adding a controller to your Avid system provides an alternative to using the keyboard and
mouse for editing footage. Avid supports the following controllers for this purpose:
• Digidesign Command|8™
• Digidesign Digi 002® (Windows only)

For information about connecting these controllers, see “Connecting Serial and MIDI Port
Devices” in the Help. For information about configuring these controllers and using them as
editing control surfaces, see “Using the Digi 002 and Command|8” on page 407.

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Chapter 3
Logging: Advanced

When you import shot log files or log directly into a bin, you provide your Avid editing
application with frame-accurate clip information used to capture 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 topics provide
advanced information for preparing log information:
• Preparing Log Files for Import
• Understanding Avid Log Specifications
• Creating Avid Logs
• Double-Checking Log Files
• Transferring Bins from MediaLog
• Logging Directly into a Bin
• Setting the Pulldown Phase
• Logging Film Information
• Modifying Clip Information Before Capturing
• Exporting Shot Log Files

For more information, see “Importing Shot Log Files” in the Help or the Basics Guide for
your Avid editing application.
Chapter 3 Logging: Advanced

Preparing Log Files for Import

Log files need to conform to the Avid Log Exchange (ALE) format to be imported into your
Avid editing application. You can use the ALE utility included with your system to quickly
convert shot log files.

The ALE utility allows you to:

• Modify the text in a log file (Windows only).
• Convert log files of different formats to ALE files. See “Compatible Log Formats” on
page 97.
• Convert an ALE file to either an ATN or FLX file.

Any options you set in the ALE utility are saved each time you close 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 [Link] is converted to [Link],
[Link], [Link], and so on. The converted output files are stored in the folder
containing the original input file.

Converting Log Files with Avid Log Exchange (Windows)

To convert a log file to an ALE file:
1. Click the Start button, and select All Programs > Avid > Avid Log Exchange.
The Avid Log Exchange window opens.
2. Do one of the following:
t If the log file is a Final Cut Pro®, Cinema Tools™, or a Tabbed shot log file, select
File > Import > file type.
t If the log file is another file type, such as .flx or .atn, select File > Open.
The Open dialog box opens.
3. Double-click the file you want to convert.
The Import Header Options dialog box opens.
4. Select the information you want to appear in the global settings of the .ale file. The
global settings appear at the top of the .ale file.
5. Click OK.

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 Preparing Log Files for Import

6. Depending on the type of file you are opening, one of the following occurs:
- If the file type is recognized by the ALE utility, the file appears in the Avid Log
Exchange window.
- If the file does not contain the Windows line-ending format, then the Line Endings
dialog box opens. Select an option from the following table.

Option Description

Display & Save Opens the file in the Avid Log Exchange window and changes the file to the
Windows format.

Display Only Opens the file in the Avid Log Exchange window, but does not change the file.

Ignore Displays the file as is without changes.

The file appears in the Avid Log Exchange window.

- If the file type is not recognized, the Select File Type dialog box opens. Select the
type of file you are converting and click OK.
The file appears in the Avid Log Exchange window.

n For specific information on the various file types, see “Compatible Log Formats” on
page 97.

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7. 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 captures all tracks shown in this
column when batch capturing.

n The Track selection only works on non-ALE files being converted to ALE format. When ALE
is the incoming format, Track selection does not work.

8. Select Options > Clean if you want ALE to clean the ALE output file to eliminate
overlapping timecodes for clips. By default, Clean is selected.
When you select Clean, the utility changes the end timecode of a previous event to be
less than that of the following event.
9. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of
events that come earlier in the transfer. Relaxed is not set by default.
For example, if you transfer film footage with a timecode of [Link] and then add
some clips at the end with a timecode of [Link], Relaxed prevents the deleting of
events that come earlier in the transfer. This occurs when you shoot footage across the
midnight hour, the first half of the film has 24 hours, and the second half has 0 hours.

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 Preparing Log Files for Import

10. Select Convert > ALE.

The default output selection is the 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.

11. (Option) Select the original file from the Window menu if you want to convert the file
again using different options.
12. Select File > Close.
If you made changes in the editor, a message box opens.
13. Click Yes.
The converted file is stored in the same folder as the original log file.

Using Drag-and-Drop Conversion for Log Files (Windows)

Use this shortcut to convert files into an ALE file.

n If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use
drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log
Exchange (Windows)” on page 90 to convert files of this type.
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Chapter 3 Logging: Advanced

To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid
Log Exchange (Windows)” on page 90. The current options are used when you perform
drag-and-drop conversion.
2. Create a shortcut for the ALE utility.
3. Open the folder that contains the files you want to convert, positioning the folder so the
Shortcut icon for the ALE utility is visible.
4. Select the files you want to convert.

5. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse
button.
6. Depending on the type of files you are converting, one of the following occurs:
- If the file type is recognized by the ALE utility, a message box opens, indicating the
conversion was successful.
- If the file type is not recognized, the Select File Type dialog box opens. Select the
type of file you are converting and click OK.
A message box opens, indicating the conversion was successful.
- If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file
type for the converted output file and click OK.
A message box opens, indicating the conversion was successful.
7. Click OK to close the message box.
The converted files have the same file names as the original files, except the file name
extension matches the converted file format.
For example, the .ale file name extension is added to the new file names for the Avid
format. The converted files are stored in the folder containing the original log files.

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 Preparing Log Files for Import

Converting Log Files with Avid Log Exchange (Macintosh)

You can use the ALE utility included with your system to quickly convert shot logs that are
created during a film-to-tape transfer.

To convert a log file to an ALE file:

1. Select Go > Applications, open the ALE folder, and double-click the ALE icon.
The Avid Log Exchange dialog box opens.

Files you can convert Files you can generate

Clean option

Track selection

Global Settings
Information

Convert
Convertbutton
button Quit button

2. Select the type of file you want to convert from the Input list.
If you are not sure of the type of file, select the Automatic option. ALE will determine
the type of file based on the file name.

n For a list of supported file types, see Compatible Log Formats.

3. Select the type of file you want to create from the Output list.
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 captures all tracks shown in this column when batch
capturing.

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n The Track selection only works on non ALE files being converted to ALE format. When ALE
is the incoming format, Track selection does not work.

5. Select the option if you want ALE to clean the ALE output file to eliminate overlapping
timecodes for clips.
When you select Clean, the utility changes the end timecode of a previous event to be
less than the following event.
6. If you selected the Clean option, you can also select the Relaxed option to prevent the
deleting of events that come earlier in the transfer. Relaxed is not set by default.
For example, if you transfer film footage with a timecode of [Link] and then add
some clips at the end with a timecode of [Link], Relaxed prevents the deleting of
events that come earlier in the transfer. 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.
7. Select the global settings information, for example, NTSC or PAL, that you want to
appear in the ALE file. Global settings appear at the top of the .ale file.
8. Click the Convert button to open the Select File To Convert dialog box.
9. Open the drive and folder that contain the files you want to convert.
10. Double-click the input file name.
If you selected a file type, ALE converts the file immediately.
If you selected the Automatic option, a message box opens and asks you to confirm the
file type.
11. Click the button for the selected file type.
A message box opens.
12. Do one of the following:
t Click the This File Only button to convert only the file you selected to the format
you selected.
t Click the All Files button to convert all files you select in this session to the format
you selected. If you click All Files, the message boxes will not open the next time
you double-click a file.
ALE 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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 Preparing Log Files for Import

Using Drag-and-Drop Conversion for Log Files (Macintosh)

n If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log file, you cannot
use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log
Exchange (Macintosh)” on page 95) to convert files of this type.

To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid
Log Exchange (Macintosh)” on page 95. The current options are used when you
perform drag-and-drop conversion.
2. Navigate to and then 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 the files you want to convert.
5. Drag the selected files to the Avid Log Exchange icon, and release the mouse button.
The system converts the files to Avid format, adding the .ale file name extension to the
new file names.

Compatible Log Formats

The following table lists the log formats that can be imported directly or converted for
import using Avid Log Exchange (ALE).

Compatible Log Formats

Log Format Requirements File Name Extension

AatonBase Conversion required .atn or .atl

Avid Log Import directly .ale

Cinema Tools Conversion required .txt

CMX EDL Conversion required .cmx

Evertz® Conversion required .ftl

Excalibur Conversion required .ale or .flx

Final Cut Pro Conversion required .txt

FLEx™ Conversion required .flx

Keyscope Conversion required .ksl

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Chapter 3 Logging: Advanced

Compatible Log Formats (Continued)

Log Format Requirements File Name Extension

Log Producer™ Conversion required .llp

Log right Import directly .ale

OSC/R (Macintosh® only) Conversion required .asc

OLE (Windows only) Conversion required .odb

Shotlister Import directly .ale

Tab Delimited Conversion required .txt

Understanding Avid Log Specifications

You can prepare an Avid log on any Windows or Macintosh computer by using a word
processing application or a text editor. You can use the file name extension .txt, but it is not
required.

To ensure accuracy, you must follow the Avid log specifications described in this section.

An Avid log is composed of three sections, in this order:

• Global headings
• Standard and custom column headings
• Data headings

When you create an Avid log, you must follow the order precisely. The tables in these topics
follow this order.

For an example of a simple log file, see “Sample Avid Log” on page 108.

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 Understanding Avid Log Specifications

Avid Log Specifications

The following topics contain tables that show how to enter headings and data to create an
Avid log.

The tables use the following conventions:

• A heading appears in the first column, without angled brackets or square brackets. For
example, FIELD_DELIM is the first global heading.
• A <supported value> is surrounded by angled brackets. <Alternative supported values>
appear underneath, also in angled brackets. You must enter one of these values. For
example, <29.97> is one of the supported values for the FPS heading; to specify that
value, type 29.97.
• A <variable data value> is also surrounded by angled brackets, but it is italicized. For
example, <timecode> is the data entry for the Start heading; type the correct timecode,
in the format [Link] (or 08;19;10;00, for drop-frame timecode).
• [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by standard
brackets.
• A column contains the word “Required” if the heading must be included in the log.
• The final column contains notes about the heading or values.

You can decide not to display a defined heading (including a required heading), except for
Name. Name must always be displayed.

The maximum number of combined global, standard, and custom headings in a log file is 64.

Global Headings

The global headings must come first in an Avid log file, and you must enter one value for
each heading.

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The following table shows the format for the global headings and the supported values for
each heading.

Avid Log Global Headings

GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all
required headings. Other headings are optional but might be necessary for your project. The maximum number
of combined global, standard, and custom headings in a log file is 64.

Heading [Enter] or Required This marks the start of the

[Return] global headings.

FIELD_DELIM [Tab] <TABS> [Enter] or Required Enter TABS to show that the
[Return] file is Tab delimited.

VIDEO_FORMAT [Tab] <NTSC> [Enter] or Required

<PAL> [Return]

FILM_FORMAT [Tab] <16mm> [Enter] or

<35mm,3perf> [Return]
<35mm,4perf>

AUDIO_FORMAT [Tab] <22kHz> [Enter] or Audio sampling rate for

<24kHz> [Return] digitizing. You can override
<44kHz> this for individual clips.
<48kHz>

TAPE [Tab] <tape name> [Enter] or Required Name of the videotape reel
[Return] you are logging. If you omit
this heading, the file name
becomes the global tape
name. You can override this
for individual clips.

FPS [Tab] <23.98> [Enter] or Required Capture rate is 23.98 fps

<24> [Return] (23.978 fps) for NTSC, 24 fps
<25> for NTSC or PAL, 25 fps for
<29.97> PAL, or 29.97 fps for NTSC.

[Enter] or Press Enter (Windows) or

[Return] Return (Macintosh) a second
time after entering the FPS
value. This marks the end of
the global headings.

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 Understanding Avid Log Specifications

Column Headings

The standard column headings appear after the global headings in the Avid log file.

You do not enter the data for a column heading along with the heading. You enter the data
later, in a separate data section.

You must include the five required standard column headings; they are listed first in the
following table.

You can create your own custom column headings. Enter them after the standard headings
(see the last heading in the following table). To create a custom heading, substitute the
custom heading name for <Your_heading>. You can create several custom headings, as long
as the total of global, standard, and custom headings does not exceed 64.

Avid Log Column Headings

COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note
that the first five headings are required. Other headings are optional but might be necessary for your
project. This table lists only the column headings that are relevant to shot log files. Some data, such as
Creation Date, is gathered by the system. The following table does not include headings for such data. The
maximum number of combined global, standard, and custom headings in a log file is 64.

Column [Enter] or Required Indicates the start of the column headings.

[Return]

Name [Tab] Required Heading for clip name.

Tracks [Tab] Required Heading for tracks you select for digitizing.

Start [Tab] Required Heading for video timecode of sync point — the
timecode IN for clip. From address track of video.

End [Tab] Required Heading for timecode OUT for clip. From address track
of video.

Audio [Tab] Heading for the audio resolution (sample rate). If

omitted, the global entry for AUDIO_FORMAT applies.

Auxiliary Ink [Tab] Heading for a second ink number used for the clip.

Auxiliary TC1 [Tab] Heading for auxiliary timecode.

Auxiliary TC2 [Tab] Heading for auxiliary timecode.

Auxiliary TC3 [Tab] Heading for auxiliary timecode.

Auxiliary TC4 [Tab] Heading for auxiliary timecode.

Auxiliary TC5 [Tab] Heading for auxiliary timecode.

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Avid Log Column Headings (Continued)

Camera [Tab] Heading for the camera used to film this clip. This
feature is used in multicamera shoots.

Camroll [Tab] Heading for the camera roll ID containing this clip.

Duration [Tab] Heading for timecode Start to timecode End, the length
of the video clip.

FPS [Tab] Heading for video frames per second rate for digitizing
the individual clip. If omitted, the global entry applies.

Film TC [Tab] Heading for the timecode used on the film.

Ink Number [Tab] Heading for the ink number used for the clip.

KN Duration [Tab] Heading for the length of the clip, expressed in feet and
frames.

KN End [Tab] Heading for the ending key number for the clip.

KN Start [Tab] Heading for the starting key number for the clip.

Labroll [Tab] Heading for the lab roll ID for the clip. Lab rolls are a
combination of several camera rolls.

Perf [Tab] Heading for the film-edge perforations format used for
3-perf projects.

Pullin [Tab] Heading for the telecine pulldown of the first frame of
the clip (pulldown phase). Pullin can have the values A,
B, C, or D.

Pullout [Tab] Heading for the telecine pulldown of the last frame of
the clip (pulldown phase). Pullout can have the values A,
B, C, or D.

Reel # [Tab] Heading for the source reel number.

Scene [Tab] Heading for the scene number of the clip.

Shoot date [Tab] Heading for the date the footage was shot.

Sound TC [Tab] Heading for Nagra timecode, Arri® code, and so on, at
the sync point. Syncs with the Start timecode. Required
if tracking the sync sound. Capture rate can be 25 or 30
fps.

Soundroll [Tab] Heading for sound roll ID for clip.

TC 24 [Tab] Heading for 24-fps timecode.

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 Understanding Avid Log Specifications

Avid Log Column Headings (Continued)

TC 25P [Tab] Heading for 25-fps timecode with pulldown.

TC 25 [Tab] Heading for 25-fps timecode.

TC 30 [Tab] Heading for 30-fps timecode.

Take [Tab] Heading for take ID for clip.

Tape [Tab] Heading for source tape ID for the individual clip. If
omitted, the global entry applies.

DESCRIPT [Tab] Heading for description of clip.

COMMENTS [Tab] Heading for comments about clip.

<Your_heading> [Tab] Add any category of information you want. Add as many
headings as you want, but do not use more than a total of
64 global and column headings in the file. Press the Tab
key between each heading. Do not press the Tab key
after the last heading.

[Enter] or [Enter] or Press [Enter] (Windows) or [Return] (Macintosh) twice

[Return] [Return] (do not press Tab) after the last heading.

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Data Entries

The data entries come after the Custom column headings. The following table shows the
format for entering data. Enter a line of data in this format for every clip. Be sure to start the
data section for each clip with the word Data [Enter] (Windows) or Data [Return]
(Macintosh).

Avid Log Data Headings

DATA HEADINGS: The word Data marks the start of the data for each clip.

Data [Enter] or Required Enter the word Data to mark the start of the logged clip
[Return] entries.

DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so it aligns with its column
heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter
data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data.
Press Enter (Windows) or Return (Macintosh) at the end of each [Link] Avid system supports up to four
audio tracks in imported and exported logs.

<clip name> [Tab] Required Under Name heading. Enter a clip identifier (32 characters
maximum).

<V> [Tab] Required Under Tracks heading. Enter the tracks you want captured
<VA1> for the clip. Enter V for MOS takes. Enter A1, A2, or
<VA2> A1A2 for wild sound.
<VA1A2>
<A1A2>
<A1>
<A2>

<timecode> [Tab] Required Under Start heading. Enter the video timecode for the sync
point, the first frame of the clip. Use colons for
non-drop-frame (for example, [Link]). Use one or
more semicolons for drop-frame (for example,
01;18;00;02).

<timecode> [Tab] Required Under End heading. Enter the video timecode for the last
frame of the clip.

<22kHz> [Tab] Under Audio heading. Enter the audio sampling rate for
<24kHz> this clip only. If omitted, global entry applies.
<44kHz>
<48kHz>

<inknumber> [Tab] Under Auxiliary Ink Number heading. Identify a second

ink number for the start of the clip.

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Avid Log Data Headings (Continued)

<timecode> [Tab] Under Auxiliary TC heading. Enter a Nagra timecode,

Arri code, and so on, for the sync point. Syncs with the
Start timecode.

<camera ID> [Tab] Under Camera heading. Identify the camera, using letters
or numbers. For multicamera shoots.

<camera roll ID> [Tab] Under Camroll heading. Identify the camera roll, using
letters and numbers.

<timecode> [Tab] Under Duration heading. Enter the length of the video
clip, Start to End.

<23.98> [Tab] Under FPS heading. Enter the video capture rate for this
<24> clip only. If omitted, the global entry applies. Use 23.98 fps
<25> (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for
<29.97> PAL, or 29.97 fps for NTSC.

<timecode> [Tab] Under Film TC heading. Identify the timecode used for the
film, usually at 24 fps.

<inknumber> [Tab] Under Ink Number heading. Identify the ink number for
the start of the clip.

<keynumber> [Tab] Under KN Start heading. Identify the complete key

number for the start of the clip, for example, KU 31 2636-
8903&12.

<keynumber> [Tab] Under KN End heading. Identify the key number for the
end of the clip. You need to identify only feet and frames,
for example, 0342&07.

<keynumber> [Tab] Under KN Duration heading. Identify the length of the

clip, in feet and frames.

<lab roll ID> [Tab] Under Labroll heading. Identify the lab roll, using letters
and numbers.

<1> [Tab] Under Perf heading. Edit the perf for this clip only.
<2>
<3>

<A> [Tab] Under Pullin heading. Identify the telecine pulldown of the
<B> first frame of the clip (pulldown phase). NTSC only.
<X> (matchback only)
<C>
<D>

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Avid Log Data Headings (Continued)

<A> [Tab] Under Pullout heading. Identify the telecine pulldown of

<B> the last frame of the clip. NTSC only.
<X> (matchback only)
<C>
<D>

<reel ID> [Tab] Under Reel # heading. Identify the reel, using numbers.

<scene ID> [Tab] Under Scene heading. Identify the scene, using letters and
numbers.

<shoot date> [Tab] Under Shoot Date heading. Identify the date the footage
was shot, in numbers or in letters and numbers.

<timecode> [Tab] Under Sound TC heading. Identify the sound timecode at

the sync point. Syncs with the Start timecode.

<sound roll ID> [Tab] Under Soundroll heading. Identify the sound roll, using
letters and numbers.

<timecode> [Tab] Under TC 24 heading. Identify the start of the clip for 24p
timecode.

<timecode> [Tab] Under TC 25p heading. Identify the start of the clip for 25p
timecode (PAL pulldown).

<timecode> [Tab] Under TC 25 heading. Identify the start of the clip for
25-fps timecode (PAL).

<timecode> [Tab] Under TC 30 heading. Identify the start of the clip for
30-fps timecode.

<take ID> [Tab] Under Take heading. Identify the take, using letters and
numbers.

<source tape ID> [Tab] Under Tape heading. Enter the source videotape ID for this
clip only.

<clip description> [Tab] Under DESCRIPT heading. Describe the clip.

<clip comments> [Tab] Under COMMENTS heading. Comment on the clip.

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 Understanding Avid Log Specifications

Avid Log Data Headings (Continued)

<information> [Tab] Under the headings you created yourself, type the
appropriate information.

[Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the last
entry for the clip.
Do not press Tab after the last entry for the clip.

Enter an additional line of data for each remaining clip.

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Sample Avid Log

This section contains a sample Avid log for an NTSC video project.

Formatting keys (such as [Tab] and [Enter] (Windows) or [Return] (Macintosh)) are shown
in brackets.

Heading [Enter] Windows

FIELD_DELIM [Tab] TABS [Enter]
VIDEO_FORMAT [Tab] NTSC [Enter]
AUDIO_FORMAT [Tab] 44kHz [Enter]
TAPE [Tab] 001 [Enter]
FPS [Tab] 29.97 [Enter]
[Enter]
Column [Enter]
Name [Tab] Tracks [Tab] Start [Tab] End [Enter]
[Enter]
Data [Enter]
CU Josh & Mary [Tab] V [Tab] [Link] [Tab] [Link] [Enter]
CU Josh [Tab] VA1 [Tab] [Link] [Tab] [Link] [Enter]

Heading [Return] Macintosh

FIELD_DELIM [Tab] TABS [Return]

VIDEO_FORMAT [Tab] NTSC [Return]
AUDIO_FORMAT [Tab] 44kHz [Return]
TAPE [Tab] 001 [Return]
FPS [Tab] 29.97 [Return]
[Return]
Column [Return]
Name [Tab] Tracks [Tab] Start [Tab] End [Return]
[Return]
Data [Return]
CU Josh & Mary [Tab] V [Tab] [Link] [Tab] [Link] [Return]
CU Josh [Tab] VA1 [Tab] [Link] [Tab] [Link] [Return]

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Creating Avid Logs

You can use any word processing application or text editor to create Avid logs. However,
you must save the file as a text document (ASCII format).

Windows systems ship with a text editor called WordPad.

To open WordPad:
t Click the Start button, and select All Programs > Accessories > WordPad.

Mac OS® X systems ship with a text editor called TextEdit.

To open Text Edit:

t Select Go > Applications, and double-click TextEdit.

To create a text document in TextEdit:

t Select Format > Make Plain Text.

When logging manually, you should do the following:

• Identify the source tape for each shot.
• Document each clip’s name, start timecode, and end timecode.
• In the case of NTSC transfer tapes for film projects, you must supply pulldown
information in the Pullin column of the bin before you can capture.

This is the minimum information required to capture successfully. You can also add other
information such as comments, auxiliary timecodes, or key numbers for film projects. You
can make a separate log file for each videotape, or log clips from several different videotapes
in one log.

To create an Avid Log by using a word processor or text editor:

1. Enter shot log information according to the specifications described in “Avid Log
Specifications” on page 99.
2. Save your file as a text file in the Save As dialog box. You can use the file name
extension .txt, but it is not required.

c The Avid editing application only accepts text files (ASCII format).

After you double-check the log, import it into your Avid editing application. For more
information, see “Importing Shot Log Files” in the Help.

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Double-Checking Log Files

When importing shot logs for video, your Avid editing application 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 to the Console and does not bring the
clip into the bin. The best way to ensure that clips are not discarded on import is to
double-check the logs for discrepancies in duration and marks.

n Open the Console by selecting Tools > Console. For more information, see “Using the
Console Window” on page 85.

Transferring Bins from MediaLog

The MediaLog program is a standalone application that speeds the process of creating and
importing log information from a Windows or Macintosh computer. MediaLog mirrors the
Avid system interface for creating projects, bins, and clip information in the bin, and
includes serial deck control for logging directly from tape.

n For information on specific MediaLog procedures, see the Avid MediaLog Help.

n The version of MediaLog for your platform is included with your Avid system. To order a
different version of MediaLog, contact your Avid representative.

If you log your source footage by using MediaLog, you can transfer the bins directly to the
Avid system for batch capturing by moving the bin files. You can also import the logs by
using the same procedure as you would for other Avid-compatible log formats, as described
in “Importing Shot Log Files” in the Help.

Transferring Bins (Windows)

To transfer bins from MediaLog:
1. Save the MediaLog bins to a storage device or disk.
If you are using MediaLog for Macintosh, make sure that your Windows system can
mount the storage device or disk correctly.
If your MediaLog folders are available through a server or other networked source, then
locate the MediaLog folder there instead.
2. Attach the storage device from MediaLog to the Avid system, or insert the disk into the
Avid system.

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 Transferring Bins from MediaLog

3. Open the project folder in which you want to store the MediaLog bins.
This folder is usually located in the Avid Projects folder. For information about the
location of the Avid Projects folder, see “Using the Avid Projects and Avid Users
Folders” in the Help.
4. Double-click the My Computer icon and double-click the storage device or disk icon.
5. Ctrl+click the bins in the storage device or disk window, and select Edit > Copy.
6. Click the project folder window, and select Edit > Paste.

Transferring Bins (Macintosh)

To transfer bins from MediaLog:
1. Save the MediaLog bins to a storage device or disk.
If your MediaLog folders are available through a server or other networked source
mounted on your desktop, then locate the MediaLog folder there instead.
2. Quit the Avid application.
3. Open the project folder in which you want to store the MediaLog bins. This folder is
usually located in Macintosh HD/Users/Shared/Avid Projects
4. Attach the storage device from MediaLog to the Avid system, or insert the disk into the
Avid system.
5. Double-click the icon for the storage device or disk.
6. Shift+click the bins in the Directory window and drag them into the project folder.

Associating the Bin with Your Project

To associate the transferred bins with your project:
1. Restart the Avid application and open your project.
2. Associate the imported bins with your project by doing the following:
a. Select File > Open Bin.
b. Locate the new bin by using the Open Bin dialog box.
c. Double-click the bin to open it within your project.
The new bin appears in the Bins list in the Project window.

The bins you have imported contain master clips only with no associated media files. Before
you can view or manipulate these clips, you must create the associated media files by batch
capturing the source material. For information about batch capturing, see “Batch Capturing
from Logged Clips” in the Help.

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Logging Directly into a Bin

You can log clips directly into a bin by using the Capture tool in one of two ways described
in this section:
• Log directly into a bin with an Avid-controlled deck for semiautomated data entry.
• Log manually during or after viewing of footage offline with a non-Avid-controlled
deck or other source.

Tips for Logging Preroll, Logging Timecode, and Naming Tapes

Observe the following important guidelines for preroll, timecode formats, and naming of
tapes when logging prior to capturing.

Logging Preroll

Be sure to leave adequate preroll with continuous timecode prior to IN points when logging
your tapes. The recommended minimum preroll is 2 seconds for Betacam® playback,
5 seconds for 3/4-inch U-matic® playback, and 6 seconds for DV playback.

n You set the default preroll for tape playback by using the Preroll menu in the Deck Settings
dialog box. For more information, see “Deck Settings” on page 652.

Logging Timecode

Within an NTSC project, check the timecode format of each tape (drop-frame versus
non-drop-frame timecode) when you are logging without a tape in the deck. Log drop-frame
timecode by using semicolons (;) between the hours, minutes, seconds, and frames. Log
non-drop-frame timecode with colons (:). You can set the timecode format to use in the Deck
Preferences Settings dialog box. For more information, see “Deck Preferences Settings” on
page 654.

n To change the logged timecode format, select Clip > Modify. For information, see
“Modifying Clip Information Before Capturing” on page 132.

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Naming Tapes

When entering tape names in the Capture tool, consider the following:
• Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include
uppercase and lowercase characters. The maximum length of a name is 32 characters.
• It is possible to have a single tape listed as several different tapes if you alter the case of
the letters. For example, if you type a single name as TAPE, Tape, and tape on three
different occasions, all three names appear. This can cause significant problems in
keeping track of clips when batch capturing, recapturing, and generating an EDL. Select
a case convention and maintain it throughout a project.

n If you want your Avid system to consider master clips as coming from the exact same tape,
you should try to select that tape name from the Select Tape dialog box. If you do not see the
tape you are looking for, but know you have online media from that tape, you should click the
Scan for Tapes button. For more information, see “Logging with Avid-Controlled Decks” on
page 113.

• It is important that you devise a naming scheme for your tapes. For example, tapes with
similar names can be easily sorted and viewed together in a bin. However, it can be
difficult to distinguish among numerous tapes with similar names when trying to locate
a specific tape quickly. Name tapes based upon the amount and complexity of your
source material.
• If you are planning to generate an edit decision list (EDL) for import into an edit
controller for online editing, double-check the controller’s specifications beforehand.
Some edit controllers truncate source tape names to as few as six characters, while
others eliminate characters and truncate to three numbers. Alterations like these at the
EDL stage might cause the system to identify different source tapes with similar names
in the same way, causing you to lose track of source material.

Logging with Avid-Controlled Decks

When you log with a compatible tape deck controlled from within your Avid editing
application, you can automate part of the logging process by using buttons to enter frame-
accurate timecode information from the deck. This method is more accurate than manual
entry because timecodes are transferred directly from tape to the bin.

n For information about connecting a compatible deck to your system, see “Connecting
Peripheral Equipment” in the Help.

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To log clips directly into a bin from an Avid-controlled deck:

1. Make sure the deck is properly connected and turned on.
2. Open the bin where you want to store the clips.
3. Select Tools > Capture.
The Capture tool opens. Playback from the deck is displayed in the Client monitor.

Capture/Log Mode
button
Mark IN button

Channel Selection buttons

Clip Name text box

Clip Comment text box

Timecode display

Deck controls

Deck Selection menu

Source Tape Display button

n If you forget to connect and turn on the power to the deck before opening the Capture tool,
you can reinitialize deck control after turning it on by clicking the Deck Selection menu, and
selecting Check Decks.

4. If the Capture tool is not currently in Log mode, click the Capture/Log Mode button
until the LOG icon appears.

5. Click the Deck Selection menu, and select a deck.

For more information, see “Selecting a Deck in the Capture Tool” in the Help.

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6. Insert your tape into the deck.

The Select Tape dialog box opens.
You can select the option “Show other project’s tapes” to display the tape names and
associated project names for all bins that have been opened in the current session.

New tape name

List of tapes

Show Tapes option

n Because the media file database does not open when you start your Avid editing application,
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.

7. Provide the system with a tape name in one of the following ways:
t Select the name of the tape from the list in the Select Tape dialog box and click OK.
t Click New if the tape is not in the list. A new tape name line appears in the dialog
box. Type the new name and click OK.
The tape name is displayed in the Capture tool.

n For guidelines when naming tapes, see “Naming Tapes” on page 113.

A message that the system is waiting for you to mark an IN point is displayed in the
message bar.

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8. 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 (you can use either the
Mark IN button in the upper left of the Capture tool or the Mark IN button in the
lower right) or press the F4 key. 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 117.

t If you want to cue your source tape to the start or end point: Use the deck
controls in the Capture tool to cue your source tape to the start or end point. Click a
Mark IN button or the Mark OUT button in the lower right of the Capture tool.
t If you want to log using timecode: If the footage starts at a known IN point or ends
at a known OUT point, type the timecode in the text box next to the Mark IN button
or the Mark OUT button. Then enter the mark by pressing the Go to IN button 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.

Mark IN and Log Mark OUT and Log

c For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log
the correct pulldown phase. See “Setting the Pulldown Phase” on page 121 and
“Entering Pulldown Information” on page 126.

9. (Option) Enter a clip name and comment in the corresponding text boxes in the Capture
tool.
10. 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 the F4 key.
The clip is logged into the bin and the deck continues to play.
t If you want to cue the remaining start or end point: Use the deck controls to
locate the start or end point. Set the remaining IN point 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.

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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 [Link]
enter the mark by pressing the Go to IN button or the Go to OUT button, which
scans the tape forward to the mark, or by pressing Enter (Windows) or Return
(Macintosh). To log the clip into the bin, click the Log Clip button in the upper left
of the Capture tool.

The clip name, which is automatically named and numbered by the system, is
highlighted in the bin and ready to be renamed.
11. (Option) Rename the clip by typing a new name in the highlighted area.

n Consider changing the clip name immediately, because it is easy to forget the contents of
each clip if you are logging many clips. You can, if necessary, accept the clip name and
proceed with the logging process and change the clip names in the bin at a later time.

12. Repeat these steps until you have logged all your clips.

n While viewing the footage, you can continuously update your marks on-the-fly by clicking
the Mark IN button or the Mark OUT button repeatedly before entering the second mark.

Pausing the Deck While Logging

If the deck is playing while you log clips, you can direct your Avid editing application to
automatically pause the deck after you set an IN point and an OUT point. While the deck is
paused, you can enter the name and comment for the clip you want to log.

To pause the deck while logging:

1. In the General tab of the Capture Settings dialog box, select the “Pause deck while
logging” option.
2. Set up your deck and the Capture tool as described in “Logging with Avid-Controlled
Decks” on page 113.
3. When you reach the point where you want to start the clip, click the Mark IN button in
the upper left of the Capture 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 of the Capture tool or press the F4 key again. The Mark OUT button
changes to the Log Clip button, and the deck pauses.

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5. Type a clip name and comment in the corresponding text boxes in the Capture tool.
6. Click the Log Clip button or press the F4 key.
Your Avid editing application logs the clip in a bin, and the deck starts playing again.

Using a Memory Mark

You can add a memory mark to a particular location on a tape. You can then use the Go to
Memory button to move through the tape to the marked location.

To use a memory mark for a particular location on a tape:

t Click the Mark Memory button in the Capture tool to mark the location.
t Click the Go to Memory button to move through the tape to the marked location.
t Click the Clear Memory button to clear the memory mark.

You can add one mark per tape. The memory mark is not stored on the tape. When you
remove the tape from the deck and insert another tape into the deck, the mark is cleared.

Go to Memory button
Clear Memory button

Mark Memory button

Logging with Non-Avid-Controlled Decks

You can use the Capture tool to log clips directly into a bin from a source that is not
controlled by your Avid editing application. For example, you can log clips from a deck that
is not connected to the system, or from handwritten or printed log information for a tape that
was previously logged but is not currently available.

n For NTSC projects, when you are logging within the Capture 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.

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 Logging Directly into a Bin

To log clips directly into a bin from a non-Avid-controlled deck:

1. If there is a deck connected to the system, eject the tape from the deck.
2. Double-click Deck Preferences in the Settings list of the Project window.
The Deck Preferences dialog box opens.
3. For NTSC projects, click the “When no tape in deck log as” menu, and select
Non-Drop-Frame or Drop-Frame.
4. Click OK to close the dialog box.
5. Open the bin where you want to store the clips.
6. Select Tools > Capture.
The Capture tool opens.

Capture/Log Mode
button

Channel Selection
buttons

Message bar

Clip Name text box

Clip Comment
text box

Mark IN and OUT

buttons
Timecode
Clear IN and OUT
display
buttons
Deck controls

Deck Selection
menu Clear Memory button

Source Tape Display Mark Memory button Go to Memory button

button

7. Click the Capture/Log Mode button in the Capture tool until the LOG icon appears.

8. Click the Source Tape Display button.

A dialog box opens.
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9. Click Yes to open the Select Tape dialog box.

10. Double-click the name of the tape in the dialog box, or click New and enter the name of
the tape.
11. Click OK.
12. Select the tracks you want to log, using the Channel Selection buttons in the Capture
tool.
13. Type the start timecode in the Mark IN text box.
14. (Option) Enter a clip name and comment in the corresponding text boxes.
15. Type the end timecode in the Mark OUT text box.

c For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log
the correct pulldown phase. See “Setting the Pulldown Phase” on page 121 and
“Entering Pulldown Information” on page 126.

16. Click the Log Clip button.

The clip is logged into the bin. The clip name, which is automatically named and
numbered by the system, is highlighted in the bin and ready to be renamed.
17. (Option) Rename the clip by typing a new name in the highlighted area.

n Consider changing the clip name immediately, because it is easy to forget the contents of
each clip if you are logging many clips. You can, if necessary, accept the clip name and
proceed with the logging process and change the clip names in the bin at a later time.

18. Repeat these steps until you have logged all your clips.

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Setting the Pulldown Phase

If you are logging or capturing 24-fps sources (film-to-tape transfers, media downconverted
from 1080p/24 footage, or both), you can set the pulldown-to-timecode relationship for a
transferred tape in the Film and 24p Settings dialog box.

For information about the pulldown process, see “Transferring 24-fps Film to NTSC Video”
on page 808.

Set
Pulldown
Phase
option

You set this relationship by selecting the pulldown phase (sometimes called the pulldown
frame or pullin frame), which is the video frame at which the master clip starts. The
pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use
the A frame to start the transfer.

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The following illustration shows the relationship between film frames and video frames.

Four film frames Five NTSC video frames (ten fields)

A1 odd
A A
A2 even
B1 odd
B
B2 even
B
B3 odd
X
C1 even
C C2 odd
C
D1 even

D D2 odd
D
D3 even

n This setting is not available in matchback projects. However, you can modify the pulldown
phase after you log it. See “Entering Pulldown Information” on page 126.

The Set Pulldown Phase setting lets you log, batch capture, and capture-on-the-fly more
easily, because the correct pulldown phase of any IN point for a particular tape is
automatically determined. Setting the correct pulldown phase prevents inaccuracies in cut
lists and matchback EDLs. It also prevents incorrectly captured clips that appear to stutter
when played in 24p NTSC projects.

For example, if you set the pulldown phase of [Link] as A (indicating that the A frame
is located at timecodes ending in 0 or 5), any timecode you log calculates its pulldown phase
based on the same sync point, regardless of where you set the IN point. If you use the
Capture tool to log a clip that starts at [Link], your Avid editing application
automatically enters B in the Pullin column of the bin. If you capture on-the-fly starting at
[Link] (a B frame), the system begins to capture at the next A frame, in this case,
[Link].

c The Set Pulldown Phase feature does not work if you capture from a mark IN.

The pulldown-to-timecode relationship might vary from tape to tape, or within the same
tape, depending on how the footage was transferred. If you find that a tape requires a
different pulldown phase, you can change the setting in the Film and 24p Setting dialog box,
or use the Modify Pulldown Phase dialog box before capturing. See “Modifying the
Pulldown Phase Before Capturing” on page 128.

n For information about fixing an incorrectly logged sync point, see “Modifying the Pulldown
Phase After Capturing” on page 179.
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To set the pulldown phase:

1. Determine the correct pulldown phase for [Link] in one of the following ways:
t If you are capturing film-to-tape transfers, check the transfer log.
t If you are capturing tapes that have been downconverted from 1080p/24, check
what pulldown frame was set for [Link] on the deck that performed the
conversion.
t If you still cannot determine the pulldown phase, see “Determining the Pulldown
Phase” on page 127.
2. Double-click Film and 24p in the Settings list of the Project window.
3. Select the option Set Pulldown Phase of Timecode [Link] and then click the menu,
and select the correct pulldown phase (A, B, X, C, D).
4. Click OK.

Logging Film Information

Once you have entered or imported the basic log information into a bin, you might want to
add film-related log information before capturing. This section describes procedures and
formats for adding various film headings.

The following are some important requirements for film-based projects:

• The minimum information required for capturing is the data recorded in the Start and
End video timecode columns, and the pulldown phase for NTSC transfers, which is
noted in the Pullin column (24-fps capture only).
• Each reel of film can be logged as a separate clip, and corresponds to a single master
clip, only if the video transfer of the film reel has continuous pulldown (NTSC format),
and continuous timecode (NTSC and PAL). If the film reels for your project do not meet
this condition, then you must log each take on a reel of film as a separate clip, which
corresponds to a single master clip.
If you log each reel as a separate clip, you can use the F1 and F2 keys to create subclips
for each take. See “Creating Subclips While Capturing” on page 158.
• If you want to produce a cut list, or use film-tape-film-tape for recapturing, you must log
key numbers. You can add key numbers after capturing, before you create the cut list.
• All film and video reference numbers must be in ascending order.

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Displaying Film Columns

To display film columns in the bin:
1. Click the Bin View menu at the bottom of the Bin window, and select Film to display all
the required film column headings.

Bin View menu

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2. To log data under optional headings (such as Ink Number, Auxiliary TC1-Auxiliary
TC5, or Film TC), do the following:
a. Select Bin > Headings.
The Bin Column Selection dialog box opens.
b. Ctrl+click (Windows) or click (Macintosh) the specific headings you want to add.
c. Click OK.

3. You can also track custom information for the job by creating a custom heading. To
create a new heading, type a name that describes the information in the headings bar at
the top of the bin. For more information on customizing bin views, see “Customizing
Bin Views in Text View” on page 213.

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Entering Pulldown Information

To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown
information into the bin. (This information is not required for PAL transfer tapes.) Setting
the correct pulldown phase 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.

n For information about importing a log file, see “Setting the Pulldown Phase” on page 121.

Start timecode Pullin column

(information required for NTSC

If you do not have a transfer log, or if the transfer log is incorrect, you need to add the
information manually. If you log clips by using the Capture tool, the Avid system uses the
A frame as the default pulldown phase. You might need to edit this value.

n For 24p projects, you can set a default pulldown phase in the Film and 24p Settings dialog
box. See “Setting the Pulldown Phase” on page 121 (24p projects only).

n For matchback projects, you need to log key-number information before you can log
pulldown information.

By specifying the pulldown phase in the Pullin column, you accomplish the following:
• You ensure that the clips start with the correct frame for the pulldown. Otherwise, you
might experience inaccuracies in key-number tracking and in the cut lists.
• You indicate where the pulldown fields are located so the Avid system can accurately
eliminate the pulldown fields during the capturing process, leaving you with a
frame-to-frame correspondence between your digital media and the original 24-fps
footage (24p projects only).

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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 “Determining the Pulldown Phase” on
page 127 and “Modifying the Pulldown Phase Before Capturing” on page 128.

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).

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.

n For instructions on determining the pulldown phase for material already captured, see
“Modifying the Pulldown Phase After Capturing” on page 179.

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.
- If the timecode changes from the first to the second field, the fields came from a C
frame.

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The following illustration shows a keypunch on the A frame. Notice where the timecode
changes.

Four film frames Five NTSC video frames (ten fields)

A1 odd
A
A even
A2
Timecode change
B1 odd
B
B2 even
B Timecode change
B3 odd
X
C1 even
Timecode change
C C2 odd
C
D1 even
Timecode change
D D2 odd
D
even
D3

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 from the second to the third field, the fields came from a B
frame.
- If the timecode changes from the first to the second field, the fields came from a D
frame.
5. Enter or edit the information in the Pullin column in the appropriate bin, as described in
“Modifying the Pulldown Phase Before Capturing” on page 128.

Modifying the Pulldown Phase Before Capturing

After you determine the correct pulldown phase (as described in “Determining the Pulldown
Phase” on page 127) you can modify the pulldown phase before capturing in one of the
following ways.

To modify the pulldown phase directly in the Pullin column:

1. Click the Text tab to display all bin information.
2. Click the cell 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).

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To modify the pulldown phase for multiple clips:

1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify.
2. Select Clip > Modify.
3. Click the Modify Options menu, and select Set Pull-in.
4. Select A, B, C, or D.
5. Click OK.
The pullin for all selected clips is changed, based on the pulldown phase 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. Select Clip > Modify Pulldown Phase.
The Modify Pulldown Phase dialog box opens.

3. Click the menu, and select the correct pulldown phase for timecodes ending in 0 or 5.
4. Click OK.
The pulldown phase for each selected clip is changed, based on the pulldown phase you
selected for [Link].
The Pulldown Phase setting also appears in the Film and 24p Settings dialog box (24p
projects only). You can override that setting with the Modify Pulldown Phase dialog
box. The selection in the Film and 24p Settings dialog box remains the same. For more
information, see “Setting the Pulldown Phase” on page 121.

n If you want to modify the pulldown phase after capturing, you must first unlink the clips. See
“Modifying the Pulldown Phase After Capturing” on page 179.

n After you capture 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
[Link] to [Link]. You haven’t lost a frame, just an extra pulldown field.

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Entering Frames-per-Second Rates for PAL Transfers

When you log in advance for PAL film-to-tape transfers, you must log the footage as clips
that have a 25-fps play rate, as listed in the FPS column of the bin. If you want, you can
capture the footage on-the-fly, without logging the clips first. The minimum information
required to capture the footage is the data logged in the Start and End video timecode
columns.

Entering Key Numbers

To add key numbers:
t Highlight the KN Start column, then type the key number for the sync point at the start
of the clip by using one of the following formats:
- Keykode™ Format: Type a two-character manufacturer and film-type code, a six-
digit prefix for identifying the film roll, a four-digit footage count, a two-digit frame
offset, and then press Enter (Windows) or Return (Macintosh).
Your Avid editing application adds a space, hyphen, and either a plus sign (for
35mm projects) or an ampersand (for 16mm projects) to format the number. For
example, in a 35mm project, to enter KJ 23 6892-1234+15, type KJ236892123415.
In a 16mm project, typing the same number results in the code KJ 23 6892-
1234&15.
- Other Formats: Enter other key-number formats in the Ink Number column. Type
up to eight characters for the prefix, up to five characters for the footage count, two
digits as the frame count, and then press Enter (Windows) or Return (Macintosh).
The Avid system automatically calculates the ending key number (KN End), based on
the timecode duration.

c Make sure the correct number appears when you press Enter (Windows) or Return
(Macintosh). For key-number formats other than Keykode, you might need to type the
space, hyphen (-), and plus sign (+) or ampersand (&) to format the number correctly.

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Entering Additional Timecodes (Option)

Consider the following when you enter additional timecodes:
• In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type an auxiliary
timecode that syncs with the video timecode logged in the Start column. You can enter
up to five auxiliary timecodes. Supported timecodes depend on your project: 30-fps for
NTSC (drop-frame or non-drop-frame) and 25-fps for PAL. Use one of the following
formats:
t Enter a two-digit format for hours, minutes, seconds, and frames. You need not
enter a leading zero. (For example, to enter [Link], type 1230200.)
t When working with drop-frame timecode in the NTSC format (not applicable to
PAL), enter a semicolon to indicate drop-frame timecode (for example, to enter
01;23;02;00, type 01;230200).
• In the Sound TC column, enter the Nagra or DAT timecode for the original audio for the
start of the clip. The timecode should sync with the video timecode logged in the Start
column in the bin. Enter the source sound-roll identifier in the Soundroll column.
Supported timecodes depend on your project: 30-fps for NTSC (drop-frame or non-
drop-frame) and 25-fps for PAL. The clip to be captured must contain an audio track.
• In the Film TC column, enter timecode generated by a film camera (using Aaton or Arri
timecode) for tracking the picture at the start of the clip. The film timecode should sync
with the video timecode logged in the Start column. Only 24-fps timecode is supported.
The clip to be captured must contain a video track.
• In the TC24 column, enter timecode for original HDTV sources (1080p/24) or audio
DATs created for PAL feature film productions that use in-camera timecode.

n You can use the Duplicate command to convert timecodes from one format to another. For
more information, see “Duplicating Bin Columns” on page 224.

Entering the Ink Number (Option)

To enter ink numbers:
1. Double-click Film and 24p in the Settings list of the Project window.
The Film and 24p Settings dialog box opens.
2. Make sure the correct options are selected for ink number format and ink number
display, and click OK.

n You can log different ink number formats in the same project as long as you change the ink
number setting to the appropriate format before you log each type. Changing the ink number
setting affects only the next ink numbers you log, not numbers that are already logged.

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3. Return to the bin and enter numbers under the Ink Number heading.
For example, use Keykode format or use a two-digit prefix to identify the roll, a hyphen,
a four- or five-digit footage count, a plus sign, and a two-digit frame count (for example,
AA-00924+00).

Entering Additional Film Data

You can continue to log additional film data into the Labroll, Camroll, Soundroll, Scene, and
Take columns, or into your own custom columns, as necessary. You can include the
information in these columns on the cut lists you create for your edited sequence.

Modifying Clip Information Before Capturing

You can change or modify the information logged in the bin. This is especially useful if you
find that some of the data is incorrect, or if you need to update the information based on
technical needs, such as varying timecode formats or film specifications.

There are two ways to modify clip information before capturing:

• You can modify the information directly by clicking in a column and by entering the
new information one field at a time.
• You can use the Modify command to change selected groups of clips all at once.

For more information, see “Modifying Clip Information” on page 227.

For information on modifying the pulldown phase, see “Entering Pulldown Information” on
page 126.

c Modifying tape names and timecodes affect any key numbers entered for the selected
clips.

Exporting Shot Log Files

You can export a shot log file from your Avid editing application in one of two formats for
making adjustments in a text editor or for importing into another system.

To export a shot log based on clip information in a bin:

1. Open the bin containing the clips you want to export. If necessary, click the Text tab to
display all clip information.
2. Click a Clip icon to select it.

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3. Ctrl+click (Windows) or Shift+click (Macintosh) each additional clip you want to

export.
4. Select File > Export.
The Export As dialog box (Windows) or Destination dialog box (Macintosh) opens with
a default file name in the File name text box (Windows) or Export As text box
(Macintosh), based on the file type.
5. Select the Export setting by doing one of the following:
t If you have previously created an Export setting for exporting shot log files, click
the Export menu, and select the setting. Then, go to step 10.
For information on creating Export settings, see “Customizing Export Setting” in
the Help.
t If you want to review or edit Export settings, go to step 6.
6. Click Options.
The Export Settings dialog box opens.
7. Click the Export As menu, and select one of the following:
t Select Avid Log Exchange to export the selected bin as a shot log file that complies
with ALE specifications. For information about Avid Log Exchange, see “Preparing
Log Files for Import” on page 90.
t Select Tab Delimited to export the selected bin as a tab-delimited ASCII text file.

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

8. To modify an existing setting, select Save.

9. To save the setting with a new name, select Save As and type a name in the dialog box
that opens.
The Export Setting name is added to the list of formats available from the Export dialog
box.
10. Click Save to close the Export As dialog box (Windows) or the Destination dialog box
(Macintosh).
11. (Option) Change the file name. In most cases, keep the default file name extension.
12. Select the destination folder for the file and click Save.
The file is exported and appears at the selected destination.

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To export an entire bin:

1. Ctrl+click selected clips to deselect them, so that nothing is selected in the bin.
2. Select File > Export.
The Export Bin As dialog box opens.
3. Click the Export Bin As menu, select the appropriate option, and click OK.
A shot log of only the master clips in the bin is created.

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Chapter 4
Capturing Media: Advanced

Capturing is the process of creating digital media from videotape or audio input. When you
capture, you convert source material from videotape into master clips that contain reference
information. You also create associated media files that contain the digital audio and video.
The following topics provide advanced information about capturing:
• Advanced Capture Settings
• Understanding Drop-Frame and Non-Drop-Frame Timecode
• Preparing for Audio Input: Advanced
• Preparing for Video Input: Advanced
• Using Function Keys When Capturing
• Special Capture Procedures
• Understanding DV Capture Offset
• Capturing DV Material with Offset
• Delaying Audio
• Live Capture with External Timecode
• Capturing to the Timeline
• Capturing Video Without Pulldown into a 24p NTSC Project
• Remote Play, Capture, and Punch-In
• Relinking Clips by Key Number
• Modifying the Pulldown Phase After Capturing
• DV and HDV Scene Extraction
• Support for Panasonic VariCam

For basic information about capturing, see “Capturing Media: Basics” in the Help or the
Basics Guide for your Avid editing application.

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Advanced Capture Settings

Capture settings include options for capturing, batch capturing, auto capturing, capturing to
multiple media files, DV or HDV scene extraction, and setting key commands. For basic
capture settings, see “Selecting Settings for Capture” in the Help. This section includes
information about advanced capture settings.

For reference information about all settings in the Capture Settings dialog box, see “Capture
Settings” on page 636.

Capturing Across Timecode Breaks

If the tape you are capturing contains breaks in the timecode, there are two settings in the
General tab of the Capture Settings dialog box you can use to capture across the timecode
breaks:
• Preroll method
By default, your Avid editing application uses the Best Available preroll method, see
“Selecting the Preroll Method” on page 137. If you know the timecode contains breaks,
you can select Best Available Control Track.
• Capture across timecode breaks
When you select this option, your Avid editing application begins capturing a new
master clip at each timecode break. Select this option when you are performing an
unattended batch capture or autocapture. Deselect this option if you plan to capture the
entire tape as a single clip by capturing to multiple media files. See “Capturing to
Multiple Media Files” on page 138.

To select settings for capturing across timecode breaks:

1. Double-click Capture in the Settings list of the Project window.
The Capture Settings dialog box opens.
2. Click the General tab.
3. Select the preroll method. See “Selecting the Preroll Method” on page 137.
4. Select the “Capture across timecode breaks” option.
5. Click OK to close the dialog box and apply the options.

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Selecting the Preroll Method

The Preroll Method menu in the General tab of the Capture Settings dialog box allows you
to capture more efficiently when a source tape contains timecode breaks.

To set the preroll method:

1. Double-click Capture in the Settings list of the Project window.
The Capture Settings dialog box opens.
2. Click the General tab.
3. Click the Preroll Method menu, and select a method from the options described in the
following table.
4. Click OK to close the dialog box and apply the options.

Preroll Method Description

Best Available Your Avid editing application 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 returns 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 capture the shot and displays an error message.
Use this method to capture material as automatically as possible. As the system
makes multiple attempts to preroll, this method is slower at times but almost always
performs the preroll without interruption.

Standard Timecode Your Avid editing application 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 capture 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.

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Preroll Method Description

Best Available Control Your Avid editing application uses the control track to determine the preroll point.
Track
• 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 returns 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 capture the shot and displays an error message.
Use this method if you know there are timecode breaks and want to capture material
as automatically as possible. Because the system does not use timecode, it might

Standard Control Track Your Avid editing application uses the control track to determine the preroll point.
If there is a break in the control track, the system stops capturing and displays an
error message.
Use this method if you know the control track is continuous or if you want to
determine if there are breaks in the control track.

Capturing to Multiple Media Files

You can capture video and audio to multiple media files across multiple drives. MXF is
automatically captured to multiple files; OMF is captured to multiple files when you set an
option in the Capture Settings dialog box.

Capturing to multiple media files has 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 capture
long clips continuously; for example, satellite feeds.
• The system makes more efficient use of drive space, particularly when capturing
long clips.

To capture video or audio to multiple OMF media files:

1. Verify that OMF is selected in the Media Type tab of the Media Creation dialog box.
2. Double-click Capture in the Settings list of the Project window.
3. Click the OMF Media Files tab.
4. In the OMF Media Files tab, select the option “Capture to multiple files.”

n For information about other options, see “Capture Settings: OMF Media Files Tab” on
page 640.
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5. Click OK to close the dialog box and apply the options.

6. Select Tools > Capture.
The Capture tool opens.
7. To capture to multiple files across drives, click the Target Drive menu in the Capture
tool, and select Change Group.
The Drive Group dialog box opens.
8. Ctrl+click (Windows) or Shift+click (Macintosh) multiple drives to include in the
capturing 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.

9. Click OK to close the dialog box and apply the changes.

10. Proceed with capturing.

c For media file management purposes, any clip whose media exceeds the 2-GB limit has
more than one media file associated with it.

n For more information on managing media files, see “Managing Media Files: Basics” in the
Help.

General Settings for Capture

The General Settings dialog box (accessed through the Settings list of the Project window)
includes the following options that are relevant to capture.
• Project Type: The top portion of the dialog box displays the project type (NTSC or
PAL) and other useful information such as the type of film used as source media.
• NTSC Has Setup: This option applies to standard NTSC format and is selected by
default. If the source footage is in the NTSC-EIAJ format standard (used primarily in
Japan), deselect NTSC Has Setup.

For information about other settings in the General Settings dialog box, see “General
Settings” on page 690.

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Settings for Film and 24p Projects

The following settings are important when you are capturing video transferred from film or
capturing 24p video. You should specify these settings for film or 24p projects immediately
after you create a new project and before capturing. For information about other film
settings, see “Film and 24P Settings” on page 687.

• Video Pulldown Cadence: allows you to specify how the application handles pulldown
frames:
- Video rate, no pulldown: Select this option when capturing 24-fps footage that was
transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up
the film, and the audio was brought into the Avid system separately at 100 percent
of the actual speed.
- Standard [Link] pulldown: Select this option when capturing 24-fps footage that
was transferred to 30 fps by duplicating frames (pulldown) and the audio is
synchronized to the picture.

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Advanced [Link] pulldown: Select this option when capturing 24-fps footage that was
recorded to 60 fields (NTSC) using Advanced Pulldown and the audio is synchronized
to the [Link] you are capturing sound that has been created during an NTSC film-to-
tape transfer, you need to set the pulldown switch before you begin capturing. See
“Setting the Pulldown Switch” in the Help.
For NTSC projects, you can mix footage transferred with pulldown and footage
transferred without pulldown (video rate). You can also mix sound transferred at 0.99
(with pulldown) and 1.00 (without pulldown).

n For information about film-to-tape transfer methods, see “Film-to-Tape Transfer

Guidelines” on page 817.

• (PAL only) You define the Audio Transfer Rate in the New Project dialog box when
you create a 24p PAL film project. (It is not needed for a 25p PAL project because there
is no film speedup during the transfer.) It is important to keep the audio transfer rate
constant for the project. However, if there is a specific element that you need to capture
at a different rate, you can use the Film and 24p Settings dialog box to change the rate.
The following options are available:
- Film Rate (100%): Select this option when your 24-fps film footage has been
transferred MOS to 25 fps by speeding up the film, and the audio comes in
separately at 100 percent of the actual speed (PAL Method 2).
- Video Rate (100%+): Select this option when your 24-fps film footage has been
transferred to 25 fps by speeding up the film, and the audio is synchronized to the
video picture. This means that the audio speed is increased by 4.1 percent (PAL
Method 1).
For PAL 24p projects, you can mix audio that has been transferred at 4.1 percent
speedup (video rate, PAL Method 1) with audio that has not been transferred (film rate,
PAL Method 2). However, Avid does not recommend this. See “Audio Transfer Options
for 24p PAL Projects” on page 794.

n The Info tab in the Project window allows you to view the audio transfer rate you selected
when you created the project. The actual audio transfer rate might be different from the
display if you used the Film and 24p Settings dialog box to change the audio transfer rate.

• Audio Source Tape TC Rate allows you to specify the digital audiotape (DAT)
timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must
conform to the timecode format on your original DAT tapes. This setting is active when
capturing audio only.
This setting does not appear in 23.976p projects.
• Set Pulldown Phase of Timecode allows you to set a default pulldown phase for a 24p
NTSC project. See “Setting the Pulldown Phase” on page 121.

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Disabling Video Resolutions

To simplify the options for media creation, you can restrict the resolutions available for
capturing, rendering, or importing. To disable resolutions, you need to type the resolutions
into a text file. If you disable resolutions for media creation, you can still play, export, or
perform a digital cut in those resolutions.

To disable resolutions:
1. Select Tools > Media Creation.
The Media Creation dialog box opens.
2. Click one of the tabs that includes a Resolutions menu, and note the exact spelling of
each resolution you want to disable.

3. Open a text file by doing one of the following:

t (Windows) Click the Start menu, and then select All Programs > Accessories >
Notepad.
t (Macintosh) Click Go > Applications, and double-click TextEdit.

n This file must be a plain text file. On a Windows system, use Notepad; do not use Wordpad.
On a Macintosh system, select TextEdit > Preference > Plain Text. Other files might
introduce characters that the application cannot recognize.

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4. Type each resolution you want to disable on a separate line. Do not include OMF® or
MXF.

Windows Macintosh

n The text of the resolution has to exactly match the text in the Media Creation dialog box. If
you want to disable DV 25, for example, you need to type DV 25 411 with DV in capital
letters.

n Do not disable all resolutions supported by the editing application. You need to keep one
resolution available.

5. (Windows) Name and save the file:

a. Select File > Save As.
b. Type DisabledRes in the File Name text box.
c. Navigate to Program Files > Avid > Avid editing application.
d. Click Save and close Notepad.
6. (Macintosh) Name and save the file:
a. Select File > Save As.
b. Type [Link] in the File Name text box.
c. Navigate to Applications > Avid editing application.
d. Click Save and close TextEdit.
7. If a project is open, close the Project window and open the project again.
Your Avid editing application reads the [Link] file when it opens a project and
removes the listed resolutions for all projects and all users.

To enable the resolutions you disabled:

t Navigate to the location of the [Link] file and delete it.

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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 [Link] denotes a frame
that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames.

NTSC video (the video format used mainly in the United States) uses one of two formats:
drop-frame timecode and non-drop-frame timecode. 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, [Link]. 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
[Link] (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. No
frames are actually dropped.

Non-drop-frame
timecode

[Link] [Link] [Link] [Link] [Link]

Drop-frame
timecode

01;00;59;28 01;00;59;29 01;01;00;02 01;01;00;03 01;01;00;04

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.

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You set the default timecode format for logging clips in the Deck Preferences dialog box.
See “Deck Preferences Settings” on page 654. You set the default starting timecode in the
General Settings dialog box. See “General Settings” on page 690. In both cases, you can
select drop or non-drop.

You can change the starting timecode of a sequence or, for NTSC projects, the type of
timecode. See “Changing the Sequence Name and Timecode” in the Help.

Preparing for Audio Input: Advanced

Before capturing, you need to prepare the audio for input. The advanced audio input features
include creating your own tone media, setting analog and microphone input options, and
adjusting the mix, volume, and pan values with the Passthrough Mix tool. These features are
described in this section.

Creating Tone Media

You can create your own tone media as a master clip for editing directly into sequences.

To create tone media:

1. Open a bin.
2. Select Tools > Audio tool.
3. Click the PH (Peak Hold) menu in the Audio tool, and select Create Tone Media.
The Create Tone Media dialog box opens.
4. Set the appropriate calibration tone parameters for the project. You can also use the
default output tone of –20 dB (digital scale) with a 1000-Hz signal.

n If you set the tone media frequency to 0, the system generates random noise. Also, a value of
–777 generates a tone sweep.

5. Select the number of tracks of tone you want to create (up to 8 tracks).
6. Click the menus, and select a target bin for the tone master clip and a target drive for the
tone media file.
7. 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.

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Using the Passthrough Mix Tool

The Passthrough Mix tool allows you to select the mix and adjust the volume and pan values
of the source audio that you monitor. You can adjust the mix, volume, and pan values of
multiple monitored channels, controlling either individual channels manually or several
channels simultaneously by ganging them together.

n The Passthrough Mix tool adjusts monitored audio only and has no effect on the recorded
audio signal. You can adjust volume levels within a clip in the Timeline after you record
audio by using Audio Gain Automation. For information, see “Using the Audio Mixer Tool”
in the Help.

To open the Passthrough Mix tool:

1. Double-click Audio Project in the Settings list of the Project window.
The Audio Project Settings dialog box opens.
2. Click the Input tab.
3. Click the Passthrough Mix Tool button.
The Passthrough Mix tool opens.

n You can also open the Passthrough Mix tool by clicking the Passthrough Mix Tool button in
the Capture tool or the Audio Punch-In tool. For more information, see “Recording Voice-
Over Narration Using Audio Punch-in” on page 448.

Resizing the Passthrough Mix Tool

You can use the Number of Mix Panes button to change the display from 4 tracks to 8 tracks.
When you select 4 tracks, a button appears that allows you to display the first 4 or last 4
enabled tracks. With the tool minimized, you can continue to adjust levels by selecting a
track and typing values by using the numeric keypad on the keyboard or by typing a value in
the Volume Level display.

Monitoring Audio with the Passthrough Mix Tool

When you record, you can monitor the mix, volume, and pan values of audio channels with
the Passthrough Mix tool.

The Passthrough Mix tool adjusts monitored audio only and has no effect on the recorded
audio signal.

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To adjust audio in the Passthrough Mix tool:

1. Double-click Audio Project in the Settings list.
The Audio Project Settings dialog box opens.
2. Click the Input tab.
3. Click the Passthrough Mix Tool button.
The Passthrough Mix tool opens.
4. Switch the Input Mix Mode button to select a type of input:
- Select Stereo Mix to mix audio channels to a stereo pair. Use the Stereo Mix Tracks
menu to specify which stereo pair to use.
- Select Direct Mix to send the input signal to its corresponding output channel.

n In Direct Mix mode, the Pan Value display and pop-up sliders at the bottom of the
Passthrough Mix tool are replaced by Channel Menu buttons.

5. Select the audio channel to be adjusted by doing one of the following:

t Click the Channel Selection button for the appropriate audio channel.
t In Direct Out mode, click the Channel Menu button, and select a channel from the
menu.

n You can select only channels that exist in the source audio.

6. Adjust the volume as needed. You can adjust the volume of multiple channels by
clicking the appropriate Gang button. See “Changing an Audio Level in the Passthrough
Mix Tool” on page 148.
7. Adjust the pan values as needed. See “Adjusting Pan Values in the Passthrough Mix
Tool” on page 148.

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Changing an Audio Level in the Passthrough Mix Tool

To change an audio level value in the audio panel in the Passthrough Mix tool, do one
of the following:
t Click a number along the vertical edge of the Volume Level slider.
t Click the Volume Level slider, and type a value.
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 type 1 and then
want to change the value to 2, press Enter (Windows) or Return (Macintosh) before
typing the 2.
t Click the Volume Level slider, and drag the slider to a new position.
t Click the Volume Level display, and type a value.
t Alt+click the Volume Level slider to reset the value to 0 dB.

Adjusting Pan Values in the Passthrough Mix Tool

To adjust the pan values in the audio panel of the Passthrough Mix tool:
t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new
position.

Pan Value
display Slider

Changing the Audio Hardware Calibration Setting

By default, the Avid editing application is calibrated for analog 0 Volume Unit (VU) to be
digital –20 dBFS, which matches the default calibration of the Avid Adrenaline hardware.

You can use the Audio Project Settings dialog box to change your default audio hardware
calibration if necessary. However, if you change the application’s default, you must
recalibrate your audio hardware to match. If the settings do not match, the analog VU
(volume unit) scale in the Audio tool displays incorrect values, and the 0 VU display appears
in red.

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To change the audio hardware calibration setting:

1. Double-click Audio Project in the Settings list of the Project window.
2. Click the Hardware tab.
3. Click the HW Calibration menu, and select a new default hardware calibration setting:
–14 dBFS, –18 dBFS, or –20 dBFS.
A message box opens.

4. Click OK.
5. Change the calibration of the audio hardware, as described in the following sections.

Calibrating Audio Input Channels

To calibrate input channels for the Avid Adrenaline:

1. Select the desired audio hardware calibration setting, as described in “Changing the
Audio Hardware Calibration Setting” on page 148.
2. Connect a sine wave generator that can produce a 1-kHz tone, +4 dB @ 0 VU to XLR
channel 1 of the Avid Adrenaline.
3. Send a 1-kHz tone into channel 1.
4. In the Input tab of the Audio Project Settings dialog box, select XLR as the Input
source.
5. 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.

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6. Select Calibrate from the PH (Peak Hold) Menu button in the Audio tool.
The Audio tool changes to Calibrate mode: the scales display a range of approximately
2 dB, and the meters indicate levels within this range.

Peak Hold
Menu button

Indicates the hardware

calibration value set in
the Hardware tab in
the Audio Project
Settings dialog box The Volume Unit scale
varies, displaying a custom
reference level setting,
+1 dB above and –1 dB
below.

7. Adjust the channel 1 input level by inserting a screwdriver into the Channel 1 trim pot
(labeled Gain) on the Avid Adrenaline and turning it until the Audio tool’s on-screen
meter reaches 0 VU.
The input channel is now calibrated.
8. Repeat this procedure for each input channel.

To return to the default Audio tool display:

t Click the Peak Hold Menu button, and select Calibrate.

Calibrating Audio Output Channels

If the input channels for the Avid Adrenaline are calibrated correctly, you can use the input
channels to calibrate the output channels.

To calibrate output channels for the Avid Adrenaline:

1. Make sure the audio I/O device is calibrated properly for input. See “Calibrating Audio
Input Channels” on page 149.
2. Connect two output channels to two different input channels. For example, connect
output channels 1 and 2 to input channels 3 and 4.
3. Click the PH (Peak Hold) menu in the Audio tool, and select Set Calibration Tone.
4. Click the In/Out toggle buttons to display I for the channels you are using for input, for
example, 3 and 4. Click the In/Out toggle buttons to display O for the channels you are
calibrating, for example, 1 and 2.
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5. Click the PH menu, and select Calibrate.

6. Click the PH menu, and select Play Calibration Tone.
7. Adjust the Avid Adrenaline trim pots (labeled Gain) on the output channels (1 and 2) to
0 VU, using the meters of the input channels (3 and 4) as your guide.
8. Repeat this procedure for each channel.

Using the Console Window to Check Audio Levels

Once you have played back audio through the Audio tool, you can use the Console window
to view a list of precise information about the peak levels.

To check peak levels in the Console:

1. Select Tools > Audio Tool.
The Audio tool opens.
2. Click the RP (Reset Peak) button to clear the system’s record of the most recent
maximum peaks.
3. Play a sequence or portion of the sequence.
4. After playing back the audio, open the Console window by selecting Tools > Console.
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.

Preparing for Video Input: Advanced

Before capturing, you need to prepare the video for input. The advanced video input features
include limitations when using a consumer deck, video input settings, and saving video
settings.

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Limitation When Using Consumer Decks or Decks Without

Time-Base Correctors
This topic describes some difficulties you might encounter when working with consumer
video decks and tapes (such as VHS) or decks that do not provide time-base correction or
stabilized timing on their outputs. Workarounds are described when available.

Capturing from Unstable Time-Base Sources

The subsystem used in your Avid system is optimized for use with modern, broadcast-
quality VTRs that contain time-base correctors (TBCs). When presented with a stable input,
the subsystem captures that video by using a high-quality, very-low-jitter clock reference.
However, some sources do not include an internal TBC (including various S-Video decks or
composite VHS, 3/4-inch, or Hi8™ decks). In some cases, due either to the deck
performance or the deck performance in conjunction with a particular videotape, the
subsystem will not lock to non-TBC sources. As a result, the image might be unstable or
might have reduced or missing color, or syncing might not be possible at all.

If you select SignalLock > Consumer in the Video Input tool, a wider bandwidth (more
closely tracking time-base) improves the range of syncing capability. In this mode, the video
input levels are set by automatic gain control. Not all of the Video Input tool’s adjustment
sliders will operate, and the video might be slightly softened, but the syncing in most cases is
more reliable and more stable. The overall image quality is not as high as with normal
operation.

n The Video Input tool is not available on all models. If your model does not have the Video
Input tool, the Avid editing application sets the default input options automatically.

If you continue to experience difficulty with a source that does not include an internal TBC,
Avid recommends the video signal be processed through an external TBC for maximum
image quality. For more information on time-base correctors, contact your Avid Reseller.

Green Line in VHS Video

Some VHS tape decks do not output the full 240 lines of video normally included in the
VHS format. As a result, after you capture from a device such as a VCR, a green line might
appear at the bottom of the monitors in your Avid editing application.

This line is at the bottom of the visible area of the picture, and is not seen in a standard
consumer monitor in most cases. If you use the video in a circumstance in which the line is
visible, you can remove it by cropping the bottom edge of the picture.

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Saving Video Input Settings

You can save the settings for an individual tape each time you calibrate bars. Saved settings
are restored each time you select the same tape for recapturing clips.

The following are the Video Input settings that are saved and restored:
• Level adjustments made with the sliders
• Selection status of the SignalLock or 100% Bars options

n Video Input settings do not restore the source format (Composite, Component, S-Video, DV,
or SDI). Instead, the source format you select in the Video Input tool remains the default for
that project until you select another format from within the project. This allows you to
establish a new format on a project basis when moving between systems, or from the offline
to the online phase.

n The Video Input tool is not available on all models. If your model does not have the Video
Input tool, your Avid editing application sets the default input options automatically.

To save the Calibration settings for a tape:

1. After calibrating as described in “Calibrating Video Input” in the Help, click the
Settings menu in the Video Input tool, and select Save As.
The View Name dialog box opens.
2. Accept the default name (matching the tape name), or type a new name for the settings.

c If you do not use a name that matches the tape name, the system does not recall the
setting automatically the next time you load the tape.

3. Click OK.

Whenever you batch capture or select a tape name during capturing, the system recalls the
saved settings as follows:
• The system looks for a Tape setting with the same name as the tape. If the setting exists,
the system recalls it.
• If no matching Tape setting exists, the system looks for a setting labeled “Default” and
loads that setting. For information on customizing this default setting, see “Saving a
Custom Default Setting for the Video Input Tool” on page 154.
• If no matching Tape setting or “Default” setting exists, the Video Input tool is left in its
prior state (with the most recent settings applied during the session).

n Tape settings and the Default setting are Project settings, and are available to the current
project only.

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Saving a Custom Default Setting for the Video Input Tool

You can create a default setting that is recalled by the system whenever you load a new tape
or when there is no Tape setting that matches a loaded tape.

Whenever you mount a new tape that does not have its own setting, the system recalls these
default settings.

n The Video Input tool is not available on all models. If your model does not have the Video
Input tool, your Avid editing application sets the default input options automatically.

To create a customized default Video Input Tool setting:

1. Select Tools > Video Input Tool.
The Video Input tool opens.
2. Adjust the Calibration settings, as described in “Calibrating Video Input” in the Help.
3. Click the Settings menu in the Video Input tool, and select Save As.
The View Name dialog box opens.
4. Type Default, and click OK. (You must use this spelling and initial capitalization.)

Adjusting Video Levels for Tapes Without Color Bars

Color bars are the best way to set the video levels consistently. However, if you have a tape
or series of tapes with no color bars, you might need to adjust levels by using the internal
Waveform and Vectorscope monitors.

n Calibrate your Client monitor before making these adjustments.

The following table describes the criteria for adjusting video levels by eye, without color
bars.

Video Level Adjustment Criteria

Color 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 peak at
around 100 IRE for NTSC-EIAJ or 1.0 V for PAL in the Waveform monitor.

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Video Level Adjustment Criteria (Continued)

Color Criteria

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 in the Vectorscope monitor.

Using Function Keys When Capturing

The following table lists the default Function key mappings that are available when the
Capture tool is active. Capture mode overrides any other functions mapped to these keys.
The table lists the default functions. You can change the functions in the Keys tab of the
Capture Settings dialog box.

c Capturing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use
the F1 or F2 keys for capturing 24-fps film that has been transferred to NTSC video
unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on
page 121.

Function Keys Available When Capturing

Press To

F1 Mark the beginning of the subclip while capturing.

F2 Mark the end of the subclip while capturing.

F3, F5 through F12 Add a locator to the current frame while capturing. Each
Function key adds a different color locator. See “Adding
Locators On-the-Fly” on page 159.

F4 In Capture mode, start the capture process. During

capture, end a comment for a locator.
In Log mode, press once to mark an IN point. Press again
to mark an OUT point to log the clip in the bin.

The Keys tab in the Capture Settings window allows you to customize the commands
mapped to the function keys on your keyboard that are used while capturing.

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n The functions described here apply only in Capture mode. When you are not in Capture
mode, function keys operate with their default mappings. For more information on using
function keys as keyboard shortcut keys, see ¨Shortcuts¨ in the Help.

To change function key commands for capturing media:

1. Double-click Capture in the Settings tab in the Project window, and click the Keys tab.
2. Click the key you want to map, and then select the new function from the menu.

n The Start Capture function is not included in the menu. F4 always starts capture. You can
map an additional function to F4 to use after capture starts; End Locator Entry is the
default.

3. Click OK.

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Special Capture Procedures

This section describes several optional procedures you can use during the capture process.

Logging Errors to the Console Window

The Console window is useful for logging errors that occur during the capture process.

To open the Console window:

t Select Tools > Console.

n For more information about the Console, see “Using the Console Window” on page 85.

Consider the following when selecting whether to log errors to the Console during capture:
• If the option “Log errors to the console and continue capturing” is selected on the Batch
tab of the Capture Settings dialog box, when you batch capture and the system
encounters an error, it aborts the clip, enters error comments into the Console, and
continues capturing the next clip.
• If the option “Log errors to the console and continue capturing” is not selected, a
message appears and the system pauses if an error occurs while capturing. If this
happens, do the following:
a. Click Try Again to retry the operation. The clip might capture successfully.
b. If the clip does not capture the second time you try, the error message appears again.
Click Next Clip to bypass the clip that caused the error, and continue batch
capturing any remaining clips, or click Abort to cancel the entire batch capturing
process.

Note all errors, messages, and steps you have taken. Try to troubleshoot the problem on your
own, or contact Avid Customer Support.

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Creating Subclips While Capturing

Subclips are marked sections of a longer master clip you can view and edit like any other
object in a bin. This section describes two methods for creating subclips while capturing: by
creating subclips on-the-fly and by creating timed subclips. The maximum number of
subclips you can generate while capturing a clip is 100.

n For information about creating subclips after capturing, see “Creating Subclips” in the
Help.

When subclips are created in 24p or 25p projects, they are always created as “hard” subclips.
This means you cannot trim past the edges of the subclip when adjusting transitions and
edits. Hard subclips prevent film-tracking information errors for editing and cut lists.

To create a subclip on-the-fly:

1. Start capturing.
2. At the point where you want the subclip to begin, press the F1 key.
This highlights the subclip IN point.
3. While you capture, you can type a name for the subclip. Press the Tab key to type
comments about the clip.
4. When you want the subclip to end, press the F2 key.
This highlights the subclip OUT point.

n You can press the F2 key repeatedly as you search for the end point of the subclip. The
system accepts the last occurrence as the end point. You can also press the F1 key at any
time before pressing F2 again to remove the previous subclip marks and to start a new
subclip IN point.

The subclip appears in the target bin when you stop capturing.
When capture is complete, a number appears between the subclip indicators to show the
number of subclips created.

c For NTSC film-to-tape transfers, you must log the correct pulldown phase before you
create subclips. For more information, see “Setting the Pulldown Phase” on page 121.

n If your Avid editing system is an asset manager client in an OMF workgroup, and you are
capturing with shared volume segmentation (“chunking”) enabled, see your Avid Unity
documentation for details on the capture procedure.

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n If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you
cannot create subclips while capturing media using the Capture tool. However, you can use
the Frame Chase editing feature when capturing media from a supported external device
using Avid Interplay Transfer. For more information about using Frame Chase editing, see
“Using Frame Chase Editing” in Avid Interplay Best Practices.

Creating Timed Subclips While Capturing

You can capture a subclip of a preset duration. The Keys tab in the Capture Settings window
allows you to specify the duration of a subclip that is automatically created when you press a
function key mapped to the Timed Subclip button. IN and OUT points are created at
predetermined intervals before and after the point you mark in the source media by pressing
the Timed Subclip button.

For information on mapping capture functions to function keys, see “Using Function Keys
When Capturing” on page 155.

To set the duration of a timed subclip:

1. Double-click Capture in the Settings tab in the Project window, and click the Keys tab.
The Keys tab in the Capture Settings window appears.
2. Enter the time in minutes and seconds to be used by the timed subclip in the Before
mark (M:SS) and the After mark (M:SS) text boxes.
3. Click OK.

To create a timed subclip:

1. Start capturing.
2. At the point where you want to start a timed subclip, press the mapped function key.
This highlights the subclip IN and OUT points, and the subclip is created automatically.
3. While the system is capturing, you can type a name for the subclip. Press the Tab key to
type comments about the clip.

Adding Locators On-the-Fly

Locators mark a single frame within a clip or sequence so you can attach a note or find the
frame at a later time. This section describes a shortcut method of adding locators on-the-fly
while capturing. When the Capture tool is active, eight colored locators are mapped to eight
Function keys on the keyboard: F5–F12. Also, the End Locator Entry key is mapped to F4.
The locators override any other functions mapped to these keys.

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To add a locator to a frame while capturing:

1. Start capturing.
2. Watch the playback of the footage in the monitor, and press one of the locator keys
(F5–F12) when you see the shot or frame with which you want to associate a locator.
A default name and number for the locator appear in the Name text box in the Capture
tool.
3. While you capture, you can add comments for the locator. Press the Tab key to move the
cursor to the Comments text box, and type your comment.
4. When you finish adding your comment for the locator, press the F4 key (End Locator
Entry).
The Name and Cmnt (Comment) text boxes revert to association with the master clip or
the subclip being captured.

Locator comments appear in the Locators window. To see the locator comments, open the
Locators window as described in “Viewing Locators in the Locators Window” on page 336.

n If your Avid editing system is an asset manager client in an OMF workgroup, and you are
capturing with shared volume segmentation (“chunking”) enabled, see your Avid Unity
documentation for details on the capture procedure.

n If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you
cannot create locators while capturing media using the Capture tool. However, you can use
the Frame Chase editing feature when capturing media from a supported external device
using Avid Interplay Transfer. For more information about using Frame Chase editing, see
“Using Frame Chase Editing” in Avid Interplay Best Practices.

For more information about locators, see “Using Locators” on page 331.

Naming a New Tape from the Keyboard

You can name a new tape without taking your hands off the keyboard.

To create a new tape name by using a keystroke in Capture mode:

1. Select Tools > Capture.
The Capture 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 opens.

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3. Press Ctrl+N (Windows) or k+N (Macintosh).

A new tape name text box opens.
4. Type the new tape name.
5. Press Enter (Windows) or Return (Macintosh) to register the tape name.
6. Press Enter (Windows) or Return (Macintosh) or click OK to close the Select Tape
dialog box.

Controlling Decks from the Keyboard

You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and
Deck Controller window.

The J-K-L keys work the same as they do in the Source and Record monitors. See “Playing
Footage with the J-K-L Keys (Three-Button Play)” on page 242, as shown in the following
table.

J-K-L Functions for Deck Control

Press To

K Stop the deck.

L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.

J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal
speed.

K+L Shuttle the deck at 0.25x normal speed.

J+K Shuttle the deck at –0.25x normal speed.

The following restrictions apply:

• The Capture 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 can no longer control decks with those
keys.

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Mapping the Record Button

You can map the Record button from the Play tab in the Command palette to a key on the
keyboard. This allows you to start capturing by pressing a key.

n The Record button works for either the Capture tool or the Audio Punch-In tool, depending
on which tool is active.

For more information on mapping buttons, see “Understanding Button Mapping” on

page 80.

Ejecting Tapes with a Button or Key

By clicking the 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 by using a button:

1. Select Tools > Command Palette.
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 81.

Returning to the 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 return to
where you were in the list of tape names the last time; this should help you find the next tape
you need.

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Understanding DV Capture Offset

DV capture offset allows you to offset the incoming DV stream against the timecode
assigned to each frame during capturing. This offset is only used in a transcoder
configuration or in configurations where the DV stream does not encode timecode into the
incoming DV frames. DV capture offset was primarily designed for configurations where an
RS-422 controller is used to control a DV device and the DV stream is captured over a
FireWire cable.

DV Data Transcoder

Avid application
Analog data

RS-422 controller
Analog deck

RS-422 Controls a DV Device Configuration

The DV capture offset can also be used in a configuration where the DV stream is captured
over a FireWire cable, but the timecode of the master clip is not received through an RS-422
controller. When you adjust the DV capture offset in this configuration, results could vary,
depending on the number of devices involved. See the following figure.

DV data
Avid application DV device

FireWire Configuration Without Timecode

n A configuration in which FireWire control is used to control a DV device and the DV stream
is captured does not use this offset. The following figure shows this configuration, where the
DV frames contain the encoded timecode.

FireWire controller
Avid application DV device
DV data

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FireWire Configuration with Encoded Timecode

The range of DV capture offset in the Avid application is from –6 to 24 frames with the
default value set to 0. To use DV capture offset, perform several captures with the DV
capture offset set to 0. Note the first frame of the master clip for each clip. If the first frame
of the master clip is not as expected, the DV capture offset should be adjusted to account for
this variation.

For example, The following figure represents a RS-422-controlled capture where the
timecode for capture comes in through an RS-422 controller. The first frame of the master
clip is the sixth frame from the IN point on the tape.

Tape IN point

Tape frames

Master clip frames

Capture with No Offset

To adjust for this device behavior, set the DV capture offset to –6 frames. The result should
be a frame-accurate capture. However, the results are dependent on device behavior. If the
device behavior for sending streams across a FireWire cable is inconsistent, frame-accurate
results on capture will also be inconsistent. See the following figure.

Tape IN point

Tape frames

Master clip frames

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Capturing DV Material with Offset

To offset the sequence for capture:
1. Click the Settings tab in the Project window.
2. Double-click Deck Preferences.
3. Determine the approximate offset, and then enter the offset in the Capture Offset
(frames) text box.
4. Click OK.
The delay is reflected in the DV Capture Offset box in the Capture tool.
5. Capture your material.
See “Capturing from a Mark IN to a Mark OUT” and “Capturing On-the-Fly” in the
Help.
6. Repeat this process until you achieve the appropriate offset.

Delaying Audio
Sometimes the source from which you are capturing provides an audio signal that is one or
more frames ahead of the video. For example, the Panasonic AG-DVX100 DV camcorder
always records audio one frame ahead of the video. Also, the use of a timebase corrector
(TBC) or other video processing devices on your input signal might introduce fixed frame
delays of video.

n If the input signal is not DV when you choose your IN point, the audio that lines up with the
IN point should remain in sync with the captured media. The video is what shifts in the
captured media. If the input signal is a DV signal however, then the audio shifts.

If the audio you are capturing is always at a fixed offset ahead of the video, use the Delay
Audio feature to correct this problem and produce a master clip with correct A/V sync.

To offset your audio:

1. Prepare for capturing audio. See “Capturing Media: Basics” and “Preparing for Audio
Input” in the Help.
2. Select Tools > Capture.
3. Select the number of offset frames from the Delay audio menu.
4. Capture your material.
5. Play the captured media to verify that the audio and video are in sync.

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Live Capture with External Timecode

LTC (longitudinal or linear timecode) from an external source allows production facilities to
capture from multiple sources at the same time 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 Avid Adrenaline hardware.

External timecode is especially useful for live events, dramatic multicamera shows, and
video material coming in on routers that do not support timecode through normal RS-422
communication. You can start editing immediately after the shooting without waiting to
capture from the backup reference tapes.

If you are capturing 24p film however, the pulldown phase needs to be accounted for. This
allows for 24p capture to have the same behavior as a video rate. What you select in the Set
Pulldown Phase of Timecode (A, B, X, C, or D) in the Film and 24p Settings window
determines what type of pulldown the system uses during the 24p capture.

n Only non-drop-frame timecode is supported with the Pulldown Phase of Timecode option.

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 capture. Capturing stops when the external timecode
matches the OUT point.

To prepare for capturing with external timecode:

1. If capturing 24p film, in the Film and 24p settings dialog box, select Set Pulldown Phase
of Timecode [Link].
2. Select a pulldown cadence that matches the pulldown cadence of the incoming signal.

n For more information, see “Setting the Pulldown Phase” on page 121.

3. Click OK.
4. Select Tools > Capture.
The Capture tool opens.

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5. Click the Toggle Source button until the No Deck icon appears.

Toggle Source button with No Deck icon

6. Click the TC Source menu, and select LTC Input.

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
Capture tool automatically switches to internal timecode. If the LTC input is
reactivated, the Capture tool switches back to LTC input.

n LTC is only available with Avid Adrenaline products. If you do not have an Avid Adrenaline
attached to your system, the LTC Input option is grayed out.

7. Capture by using any of the techniques described in “Capturing Media:Basics” in the

Help.

n If you notice your captured material is consistently one or more frames off, use the “Latency
for external timecode mode” option in the Capture Settings dialog box to fix the problem.
See “Capture Settings” on page 636.

n You can log an event ahead of time and it automatically starts recording that signal when the
internal clock or external LTC arrives at that timecode. For example, log a clip at
[Link] to[Link] sometime before 2:00 pm. The capture starts at 2:00 pm and
ends at 2:30.

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Capturing to the Timeline

You can capture 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 capture to the Timeline:

1. Prepare for capturing.
See “Capturing Media:Basics” in the Help.
2. Set options in the Capture Settings dialog box:
a. Click the Settings tab in the Project window.
b. In the Settings list, double-click Capture.
The Capture Settings dialog box opens.
c. Click the Edit tab.
d. Select the “Enable edit to timeline (splice, overwrite)” option.
e. Set the handle length (the amount of footage you want to capture before and after
the IN and OUT points of the clips).
f. Click OK.
3. Load a sequence into the Record monitor.
4. (Option) Patch tracks you are capturing (source tracks) to the tracks in your sequence
(record tracks). See “Patching When Capturing to the Timeline” on page 169.
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 you want to capture by using the Capture tool logging
controls. For a description of the controls, see “Logging with Avid-Controlled Decks”
on page 113.
7. (Option) Mark an OUT point based on the following:
t If you are recording to the middle of a sequence in the Timeline, mark both IN and
OUT points for frame accuracy.
t If you are recording to the end of a sequence, you can mark just an IN point and
then mark the OUT point later on-the-fly.

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8. Click the yellow Splice-in button or the red Overwrite button in the Capture tool to
select the type of edit.

Splice-in button
Record
button Overwrite button

9. Click the Record button to begin recording.

10. If you did not mark the OUT point in advance, click the Record button again when the
footage reaches the appropriate frame.
If you already marked an OUT point, recording stops automatically.

When capturing ends, the clip appears in place in the sequence, and a master clip appears in
the bin.

Patching When Capturing to the Timeline

By default, the tracks you selected for capturing (V1, A1, A2, and so on) are edited to the
corresponding tracks in the Timeline. You can patch the captured footage to any track in the
Timeline.

To patch tracks when capturing to the Timeline:

1. In the Capture tool, click and hold the Track Selector button for the track (video or
audio) you want to patch.
2. From the menu, select the track to which you want to patch the captured footage.

For example, if you want to capture video footage to track V2, click and hold the red V
button in the Capture tool and select V2 from the menu. The Track Selector panel in the
Timeline displays the resulting patch.

The result is
Select the track
displayed in
to patch.
the Timeline.

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n You can also patch tracks in the Timeline in the same way you patch tracks when editing
from the Source monitor. See “Patching Tracks” in the Help.

n Only tracks that are enabled in the Timeline are available for patching. Other tracks appear
dimmed in the menu.

Capturing Video Without Pulldown into a 24p

NTSC Project
Film-to-tape transfers that were made without using pulldown can be captured directly into a
24p project. This feature is useful when special effects are generated on a frame-to-frame
basis to tape, and need to be integrated into a 24p project.

Before capturing the footage, click the Film to Video Transfer menu in the Film and 24p
Setting dialog box, and select Video Rate. The Film-to-Video Transfer setting allows you to
specify the type of film-to-tape transfer you are capturing. For more information, see
“Settings for Film and 24p Projects” on page 140.

n For normal 24-frame capture, click the Film to Video Transfer menu in the Film and 24p
Settings dialog box, and select Pulldown.

Remote Play, Capture, and Punch-In

The Remote Play and Capture feature allows you to use an external edit controller with an
Avid editing system. Remote Play and Capture covers three basic functions:
• Remote Capture controls the capturing of media into an Avid editing application while
using an edit controller. Remote Capture allows you to record and stop.
• Remote Play controls sequences loaded in the Record monitor and played back through
an edit controller to the edit room, along with other sources. Remote Play allows you to
cue, play, and stop.
• Remote Punch-In controls the recording of audio into the Avid editing system while
using an external edit controller. You can use Remote Punch-In to cue, play, record, and
stop.

External capture control is included in the Remote Play and Capture feature. When you
select Remote Capture or Remote Punch-In in the Remote Play and Capture Settings dialog
box, the Avid editing system performs like a VTR and waits for an external controller to
operate the capture functions.

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n You must be in Deck Offline mode to use Remote Capture. For information on Deck Offline
mode, see “Capturing from a Non-Avid-Controlled Deck” in the Help.

To use Remote Play and Capture, you must connect a supported controller (any controller
that uses Sony® serial control protocol) to the system by using a special Avid 9-pin VTR
emulation cable and a serial adapter.

n If a message appears stating that the Avid Serial Driver is not installed for Remote Play and
Capture, make sure the correct serial driver is installed on your system. If you are running
Avid Media Browse™ and using the Remote Play and Capture option, you need to run the
Avid editor with the Microsoft driver. If you are running the Avid editor (without Avid Media
Browse), the Avid serial driver should be installed. See “Avid Serial Driver and Remote Play
and Capture (Windows Only)” on page 176 for information on how to install the serial
drivers.

Selecting Remote Play and Capture Settings

To open the Remote Play and Capture Settings dialog box:
1. Double-click Remote Play and Capture in the Settings list.
The Remote Play and Capture Settings dialog box opens.

2. Click the Mode menu, and select Remote Play, Remote Capture, or Remote Punch-In.

For information about each option, see “Remote Play and Capture Settings” in the Help.

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Enabling Remote Capture

Before you enable Remote Play and Capture, be sure the controller is properly connected.

To enable Remote Capture:

1. Double-click Communication (Serial) Ports in the Settings list of the Project window.
The Communication (Serial) Ports tool opens.
2. Select Remote Play and Capture > port.
3. Close the Communication (Serial) Ports tool.
The system saves the setting as a Site setting, effective for all projects.
4. Double-click Remote Play and Capture in the Settings list of the Project window.
The Remote Play and Capture Settings dialog box opens.
5. Select Mode > Remote Capture.
6. Select Device Code > device.
7. Specify the time (measured in frames) it takes the deck to start playing from a cued
position in the Runup area.
8. Select Special > Remote Play and Capture when you are ready to capture.
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 Source/Record monitor to indicate
that Remote Play and Capture is active.

n The Remote Play and Capture command behaves like a Local/Remote switch on a playback
device, with the VTR in Local mode by default when you start the system.

9. Select Tools > Capture.

The Capture tool opens.
10. Select the tracks onto which you want to capture by clicking the Channel Selection
buttons.
11. Choose Bin > bin.
12. Click the Toggle Source button until the Deck Offline icon appears.

13. Control capturing from the controller.

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Enabling Remote Play

Remote Play allows you to control sequences through an edit controller. You can play, cue,
and stop your sequence from the edit controller.

To enable Remote Play:

1. Double-click Remote Play and Capture in the Settings list of the Project window.
The Remote Play and Capture Settings dialog box opens.
2. Select Mode > Remote Play.
3. Select Device Code > device.

n Avid recommends that you do not inhibit preloading under normal circumstances. For more
information about the inhibit preloading option, see “Remote Play and Capture Settings” in
the Help.

4. Select Special > Remote Play and Capture when you are ready to use the system for
playing.
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 Source/Record monitor to indicate
that Remote Play and Capture is active.

n The Remote Play and Capture command behaves like a Local/Remote switch on a playback
device, with VTR in Local mode by default when you start the system.

5. With a sequence loaded in the Record monitor, use the Play, Cue, and Stop buttons on
the edit controller to control the sequence.

n At this time, fast-forward, rewind, and shuttle and jog are not enabled from the edit
controller.

Setting up Your System for Remote Punch-In

Before you enable Remote Punch-In, you need to make sure the controller is properly
connected. The only qualified controller for Remote Punch-In is the Colin Broad SR-4
Serial Remote, and you must set the following options on the SR-4 controller:
• 049 — Send Record In and Out to Machine set to 1=Yes
• 065 — Locate Type set to 0=Locate
• 077 — Extended Status Request set to 1=Off
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In addition, all devices controlled by the SR-4 must be genlocked, and your Avid editing
system must be configured as the Master device on the SR-4. For more information on
configuring the Colin Broad SR-4 Serial Remote, see the documentation for your controller.

To record audio using Remote Punch-In:

1. Double-click Communication (Serial) Ports in the Settings list of the Project window.
The Communication (Serial) Ports tool opens.

2. Click the Remote Play and Capture menu, and select the appropriate port.
3. Close the Communication (Serial) Ports tool.
The system saves the setting as a Site setting, effective for all projects.
4. Double-click Remote Play and Capture in the Settings list of the Project window.
The Remote Play and Capture Settings dialog box opens.

5. Select Mode > Remote Punch-In.

6. Click the Device Code menu, and select the appropriate device.
7. (Option) Specify other settings as described in “Remote Play and Capture Settings” on
page 715.
8. Click OK.

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9. Select Clip > Remote Play and Capture when you are ready to use the system for
capturing.
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 Source/Record monitor to indicate
that Remote Play and Capture is active.

n The Remote Play and Capture command behaves like a Local/Remote switch on a playback
device, with the VTR in Local mode by default when you start the system.

10. Select Tools > Audio Punch-In.

The Audio Punch-In tool opens.

Input
Channels
buttons

n Some of the features in the Audio Punch-In tool — such as the preroll and postroll options —
do not appear when you open the tool in Remote Play and Capture mode.

11. Select the tracks you want to record to by clicking the Input Channels buttons.
12. Load a sequence in the Source monitor.
13. Using the controls on the external controller, set an IN point in the Timeline.

n Setting an OUT point is optional.

n If you set the IN point at the first frame of the sequence, you must add filler to the start of the
sequence equal to the amount of preroll. This allows the system to sync lock the Avid editing
application to the external controller.

14. Control recording from the controller.

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n Remote Punch-In does not use preroll or postroll settings, and it does not initiate a loop
playback or audition playback prior to recording. Remote Punch-In begins recording audio
to the selected channels as soon as you start the record operation.

Avid Serial Driver and Remote Play and Capture (Windows Only)
When your Windows installation occurs, two serial drivers are installed: [Link] and
[Link]. When an Avid editing application is installed, two additional serial drivers are
installed: [Link] and [Link]. When you run the Avid editing system, the
Avid drivers are used. However, if you are using Avid Media Browse and Remote Play and
Capture, you need to change the system’s serial driver to the Microsoft drivers. The steps
below explain how to choose a serial driver for your application.

To install or change the system’s serial driver:

1. Quit the Avid editing application.
2. Right-click the My Computer icon, and then choose Manage.
The Computer Management window opens.
3. Click Device Manager in the left pane.
4. Expand the Ports (COM & LPT) by clicking the plus sign (+) in the right pane.
5. Double-click the Communications Port you are using.
The Communications Port Properties dialog box opens.
6. Click the Driver tab.
7. Click the Update Driver button.
The Hardware Upgrade Wizard opens.
8. Select “Install from a list or specific location (Advanced),” and then click Next.
9. Select “Don’t search. I will choose the driver to install,” and then click Next.
10. Select the appropriate driver:
t Select the Microsoft driver when using Avid Media Browse
t Select the Avid Serial driver when using an Avid editing application.
11. Click Next, and then click Finish.
12. Restart your system.

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Relinking Clips by Key Number

The film-tape-film-tape (FTFT) relinking feature lets you re-create an offline,
film-originated sequence as a final finished sequence by using the key numbers of the
original film footage. During the offline stage, you capture and edit footage that was
transferred to tape through a one-light or best-light telecine transfer (FT). During the
finishing stage, you batch capture, relink by key number, and edit footage that was
transferred through a second timed, color-corrected telecine transfer (FT). Alternatively, if
you are finishing a sequence in an online suite and need only an EDL, you do not need to
batch capture the footage. Just import the new shot log, relink to the offline items, and then
create the EDL.

Relinking by key number eliminates the need for the telecine transfer facility to match the
timecode and pulldown of the second transfer to the timecode of the first transfer.

n For more information about relinking, see “Relinking Media Files” on page 269.

To relink clips by key number:

1. After you have finished editing the offline sequence, use the FilmScribe™ application to
create a pull list of the clips used in the sequence. (For information on using FilmScribe,
see the FilmScribe documentation.)
2. Have the telecine facility use the pull list to pull selects from the original negative and to
transfer picture-only footage by using a timed, color-corrected telecine process. You do
not need to transfer audio again. The telecine facility supplies a new shot log file along
with the transfer tape.
3. In your original project, create a new bin.
4. Duplicate the edited offline sequence and move it to the new bin.
At this point, the duplicate sequence is still linked to the original media.

c Duplicate your sequence before relinking. If you relink to the original sequence, you
will lose your links to the original media.

5. Process the new log file through ALE and import it into the bin that holds the duplicated
sequence. (For more information, see “Preparing Log Files for Import” on page 90 and
“Setting the Pulldown Phase” on page 121.)
6. (Option) Batch capture the clips imported from the new log file. Select 1:1 or another
high-quality resolution. (For more information, see “Batch Capturing from Logged
Clips” in the Help.)
7. Select the duplicated sequence and the new clips.

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8. Select Clip > Relink.

The Relink dialog box opens.

9. Select Relink > Key Number [KN Start] - picture only.

10. Select the “Relink all non-master clips to selected online items” option.
11. (Option) If you did not batch capture the original clips, select the “Allow relinking to
offline items” option.
12. In most cases, select the “Relink only to media from the current project” option.
Deselect this option if you know the new clips were captured with a different project
name. Also, if the sequence does not relink to the new clips, try deselecting the option
and relinking again.
13. Click OK.
The new clips are linked to the sequence.
If you duplicated the offline sequence, the offline sequence is still linked to the original
clips. If you did not duplicate the sequence, you relink it to the original clips.

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To relink a sequence to the original clips:

1. Duplicate the sequence.
2. Create a new bin and move the sequence to the bin.
3. Locate the original clips. Look for a bin with the original clips, or use the Media tool to
locate the original clips.

n For information on the Media tool, see “Using the Media Tool” in the Help.

4. Copy the clips to the bin that contains the duplicated sequence.
5. Select the sequence and the original clips.
6. Relink the clips by key number.

Modifying the Pulldown Phase After Capturing

If you have captured film-originated clips (NTSC transfer only) that seem to stutter, the
problem could be an incorrectly logged pulldown phase. The pulldown phase is the video
frame at which the master clip starts: A, B, X, C, or D. You log this pulldown phase in the
“Pullin” column of a bin. To solve the problem, you need to determine the correct pulldown
cadence of the frame, modify the clip information, and recapture the clip.

n You can also determine the correct pulldown phase from the original tape. See “Entering
Pulldown Information” on page 126.

To check for an incorrect pullin frame:

1. Look for a section of the clip that includes a series of frames with motion.
2. Step through the clip frame by frame (using the Step buttons or another method) and
look for two frames that have no movement.
If the pattern is two frames of movement followed by two frames of no movement, the
pullin is incorrect.

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To determine the correct pullin frame, use one of the following approaches:
t If the source footage includes burn-in code with the pulldown phase, go to the start of
the clip and look for the pulldown for the first frame.
t If you want to maintain the start timecode for each clip, review the original tape field by
field, using the procedure described in “Entering Pulldown Information” on page 126.
t If you do not need to maintain the start timecode:
a. Step through the clip frame by frame (using the Step buttons or another method).
Look for two frames that are identical (no movement).
b. Think of these frames as frames B and X of a four-frame series.

No movement

A B X D Incorrect sequence

A B C D Correct sequence

Step backward (either one frame from the B frame or two frames from the X frame)
to locate the correct A frame. Note the last digit of its timecode. Timecode for all A
frames in the clip will start either with this digit or this digit plus 5. For example, if
the A frame has the timecode [Link], timecode for all A frames in the clip ends
in either 0 or 5.
c. Compare these digits with the last digit of the start timecode (first frame) of the clip
to determine the correct pullin. For example, if the A frame ends in 0 or 5, and the
start timecode ends in 4, the pullin is D.
d. If the pullin for the clip is the X frame, you need to modify the timecode to produce
a number you can associate with a pullin. For example, if the A frame ends in 0 or 5,
and the start timecode ends in 2, the pullin falls on the X frame and you need to
modify the timecode along with the pullin. Move forward one frame to create a start
timecode ending in 3. Then you can change the pullin to C.

c When you change the timecode of a clip, you lose the key number of the clip and need
to enter it in the bin, adjusting it to match any changes to the timecode.

After you determine the pullin frame, modify the clip information as follows.

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To modify the clip information:

1. In a bin, select the clip you want to modify and press the Delete key.
The Delete dialog box appears.
2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).”
3. (Windows only) Select the resolutions to delete.
4. Click OK.
The original media file is deleted.
5. 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.
6. 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 Capturing” on page 128.

With the new clip information in the bin, batch capture the clip. See “Batch Capturing Clips”
in the Help. If the pulldown phase is accurate, the clip should play smoothly, with no
repeated frames.

n This method might not work for some clips that start with either an A frame or a D frame. If,
after you modify the clip as described previously, the clip still stutters, modify the clip again.
This time, if the pullin is A, change it to D. If the pullin is D, change it to A.

DV and HDV Scene Extraction

While you are capturing DV or HDV footage, the DV and HDV Scene Extraction feature
allows you to generate subclips and locators automatically, based on time-of-day (TOD)
information contained in the DV or HDV format.

Discontinuities in the DV or HDV TOD metadata indicate each place in a master clip or
subclip where a new take was initiated on a DV or HDV camera. Using this feature, you can
capture an entire DV or HDV tape as a single master clip and have the system automatically
locate all the takes for you, eliminating the need to manually log.

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You can perform a DV Scene Extraction in two ways and an HDV Scene Extraction one
way:
• Set up the DV or HDV Scene Extraction option before capturing. When capturing is
performed, subclips and locator marks appear in the bin.
• Perform DV Scene Extraction after capturing. Select those clips in the bin for which you
want to generate subclips and locator marks.

Consider the following:

• You can perform DV Scene Extraction on any existing clip or subclip in a bin that has
TOD information breaks.
• DVCPRO format does not provide TOD metadata; you cannot use DV or HDV Scene
Extraction with DVCPRO format.
• DV or HDV Scene Extraction does not work on non-DV or audio-only clips.

Setting Up DV and HDV Scene Extraction Before Capturing

To set up DV and HDV Scene Extraction before capturing:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Double-click Capture Settings.
The Capture Settings dialog box opens.
3. Click the DV&HDV Options tab.
4. Select DV or HDV Scene Extraction, depending on your type of project.
5. Select one of the following options:
- Add Locators: Creates locator marks where the TOD information breaks occur
while capturing.
- Create Subclips: Creates subclips where the TOD information breaks occur while
capturing.
- Both: Creates subclips and locator marks where the TOD information breaks occur
while capturing.
6. Click OK.
7. Select Tools > Capture and then click the Record button.
When capturing has finished, subclips are created with the same source clip name and
the file name extension .sub.01 where TOD information breaks occurred. Locator marks
appear in the master clip where TOD information breaks occurred.

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Setting Up DV Scene Extraction After Capturing

You can use DV Scene Extraction with systems that include the DV/MPEG option. DV
Scene Extraction after capturing is not available with HDV media.

To set up DV Scene Extraction after capturing:

1. Open a bin.
2. Click the clip for which you want to create subclips or locator marks. Ctrl+click
(Windows) or Shift+click (Macintosh) to select multiple clips.
3. Select Bin > DV Scene Extraction.
The Capture Settings dialog box opens.
4. Click the DV Options tab.
5. Select DV Scene Extraction.
6. Select one of the following options:
- Add Locators: Creates locator marks where the TOD information breaks occur
while capturing.
- Create Subclips: Creates subclips where the TOD information breaks occur while
capturing.
- Both: Creates subclips and locator marks where the TOD information breaks occur
while capturing.
7. If you have chosen to create subclips, select the bin where you want these subclips
stored.

n To cancel the process, press Ctrl+period (Windows) or Command+period (Macintosh).

8. Click OK.
In the bin, subclips are created with the same source clip name and the file name
extension .sub.01 where TOD information breaks occurred. Locator marks appear in the
master clip where TOD information breaks occurred.
If you select a DVCPRO, a non-DV, or an audio-only clip, an error message appears,
informing you that an incompatible clip was selected. These clips are bypassed during
the DV Scene Extraction process.

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Support for Panasonic VariCam

The following procedure applies when capturing from tape via the Panasonic AJ-HD1200A
camera.

The Panasonic VariCam® is a camera that allows the recording of frames rates between 1fps
and 60fps. For example, material captured at 24 frames per second and played back at 24
frames per second will have no speed change, but the same action captured at 48 frames per
second and played back at 24 frames per second will result in playback that is slowed down
50% (a 50% slo-mo).

The 720p format is always recording to a progressive 60 (59.94) frame tape format. The
different frame rates are achieved by selecting the desired frame rate and the camera flags
the “true” frames within the 60 frame sequence. When these flags are detected by the Avid
editing system, only those frames are captured and stored to disk. When played back at the
project’s frame rate, either a slow motion or fast motion will result.

n Note, if you capture audio, it will be out of sync.

To use the VariCam camera with the Avid editing application:

1. Connect the VariCam camera through a 1394 (FireWire) port on your computer.
2. Select a 720p project format.
3. Do one of the following:
- Click the DNA and 1394 button above the Timeline so that 1394 is displayed.
- Select Special > Device > IEEE 1394.
4. Either select or deselect the “Preserve VariCam Frames” option in the Capture tool:
If deselected (the default), the capture will observe the flags in the video stream and
only capture those frames. This type of capture will result in a slow motion or fast
motion depending on original recording speed.
If selected, every frame is captured (all 60 frames), essentially ignoring the flagged
frames.

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Importing Files: Advanced

When you import files, the system converts them into objects in a bin. You can manipulate
and edit these objects as you would any other clip or sequence. Any corresponding media
files are stored on a target drive that you specify.

The following topics provide advanced information on how to import files:

• Importing Photoshop Graphics
• Importing Media from XDCAM Devices
• Importing Editcam Files
• Importing Sequences from Pro Tools through Interplay

For basic information about importing, see “Importing Files: Basics” in the Help or the
Basics Guide for your Avid editing application.

Importing Photoshop Graphics

You can import both single-layer and multilayered graphics created in Adobe® Photoshop®.
If you import multilayered graphics, you can preserve the original layers, and then edit them
individually in your Avid editing application.

n Your Avid editing application supports graphics created in the following modes: RGB 8-
bits/channel, RGB 16-bits/channel, and grayscale, including alpha channels. For more
information, see “Import Specifications for Supported Graphics File Formats” on page 738.
An alpha channel must be straight; the application does not properly import premultiplied
alphas.
Chapter 5 Importing Files: Advanced

Importing Single-Layer Photoshop Graphics

A single-layer graphic is a graphic file that was created on a single layer or a layered graphic
that was flattened in Photoshop. Avid editing applications import 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 editing
application creates a matte key.
• If the graphic uses a background color, the Avid editing application creates a master
clip.

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” in the Help.

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 Photoshop Files” on page 191. 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.

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.

n You can import multilayered graphics created in Photoshop v6.0 or later.

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Example of Multilayered Photoshop Graphics Import

A typical multilayered Photoshop graphic might consist of a collage of still images over a
background image, with a layer of text. Each image is on its own layer in the Photoshop file
(with the background image on the lowest layer), and the text is also on its own layer. The
goal is to edit the collage into a sequence, building it up one image at a time, and then add
the text. The following illustration shows the graphics and layers in Photoshop.

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Your Avid editing application imports each layer as an individual matte key with alpha
channel. In this example, the graphic uses a background image, so the system creates the
background image as a master clip. (If the graphic used a transparent background, the
background layer would be imported as a matte key.)

The following illustration shows the layers as they appear in a bin.

During the import, your Avid editing application 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.

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You can then edit the tracks to build up to the full collage.

Support for Multilayered Photoshop Graphics Import

You should be aware of the following requirements for multilayered graphics import and
details of how your Avid editing application handles the import:
• 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.
For information on support for layer options and types, see the following tables.
For information on preserving layer effects during import, see “Preserving Layer Effects
in Multilayered Photoshop Graphics” on page 191.

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Support for Photoshop Layer Options

Layer Option Supported Notes

Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the
layer into another layer that does not use a special blending mode. Only
normal mode is supported.

Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You
can adjust opacity levels with the Foreground Level control in the Effect
Editor.

Layer Group Partial Layer grouping is ignored. All layers, including grouped layers, are imported
as individual layers. To preserve a clipping group, merge the grouped layers
into the base layer.

Layer Set Partial All layers within a set are imported as individual layers.

Layer/Set Mask No Layer and set masks are ignored. To preserve a layer mask, apply it to the
layer. To preserve a set 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.

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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Preserving Layer Effects in Multilayered Photoshop Graphics

Some layer options in Photoshop are not supported for import into your Avid editing
application. See “Support for Multilayered Photoshop Graphics Import” on page 189. For
example, a title with a Drop Shadow and an Outer Glow effect would not keep these effects
when imported.

To preserve the effects in these layers, merge them in Photoshop (as described in the
Photoshop documentation) and then import the file.

You can also preserve layer effects and the original structure of the file by importing the file
in two stages:
1. For the first import, click Select Layers and select all layers except the layers that
contain layer effects.
2. For the second import, open Photoshop, hide the layers you’ve already imported, and
show the layers that contain layer effects. During the import, click Flattened Image. The
resulting image contains only the layers that contain layer effects.

Importing Multilayered Photoshop Files

To import a multilayered Photoshop file:

1. Prepare the Photoshop graphic for import.
For more information, see “Support for Multilayered Photoshop Graphics Import” on
page 189 and “Preserving Layer Effects in Multilayered Photoshop Graphics” on
page 191.
2. Follow the standard instructions for importing a graphic, as described in “Importing
Files” in the Help. To create the matte correctly, you need to click the Options button
and select Alpha: Invert Existing.
3. After you select one or more files and click Open, a message box opens.
t If you select a single file, and the number of layers does not exceed the number of
tracks supported by your Avid application, the following message box opens.

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t If you select a single file, and the number of layers exceeds the number of tracks
supported, the following message box opens.

t If you select multiple files, the following message box opens.

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, your Avid editing 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 selection applies to all
files you selected for import.
t Click Flattened Image if you want to import the graphic as a single matte key or
clip. Your Avid editing application flattens the file by combining the layers. This
selection applies to all files you selected for import.

n Hidden layers are not combined in the flattened image. Make sure all layers 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 186.

t Click Select Layers if you want to select which layers to preserve.

The Select Layers dialog box opens. 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.

Your Avid editing application displays messages as it creates media for each layer. At the
end of the process, the objects are displayed in the bin you selected.

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Importing Media from XDCAM Devices

Sony’s XDCAM™ decks and camcorders use an optical disc with a capacity of up to 23.3
GB to store recorded media. The XDCAM devices can record media in high-resolution
MPEG IMX™, DVCAM™, and XDCAM HD formats. At the same time, XDCAM devices
create corresponding low-resolution proxy media (MPEG-4). This allows you to work with
the proxy media in an off-line editing session and then later conform the proxy media to the
corresponding high-resolution media.

The following table lists the formats and resolutions available when you work with XDCAM
media:

XDCAM Resolutions

Number of Audio Channels

Format/Resolution (maximum)

XDCAM HD (1080i/59.94, 1080i/50, 8

1080p/23.976):
XDCAM HD 17.5 Mbits
XDCAM HD 25 Mbits
XDCAM HD 35 Mbits
HDV 1080i (25 Mbits CBR)

DVCAM: 4
DV 25 411 (NTSC and PAL)
DV 25 420 (PAL)

MPEG IMX: (NTSC and PAL) 8

MPEG 30
MPEG 40
MPEG 50

MPEG-4 (proxy media) 4 or 8

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Working with XDCAM media entails the following general steps:

1. Connecting the XDCAM device to your system and configuring your settings.
2. Importing the proxy media.
3. Editing the proxy media.
4. Using the Import function or the Batch Import function to import DVCAM or MPEG
IMX media, and then conforming the proxy media with the high-resolution media.
5. Editing and finishing the sequence.

Connecting the XDCAM Device

You use an IEEE-compliant 1394 ([Link]) port on your computer to connect the XDCAM
device to your system. The XDCAM interface is configured to use the SBP2 protocol so you
can access the XDCAM device as a disk volume on your system.

n The 1394 port on your computer must be on a bus separate from the one used by the Avid
DNA hardware.

You can have multiple XDCAM devices connected to your system at any one time. Each
device appears as a separate optical drive, similar to a CD-ROM or DVD-ROM drive. The
drive’s volume label carries an XDCAM identifier — for example, XDCAM (E:).

To use the XDCAM device with your Avid editing application, you need to install the
appropriate device driver included with the Sony XDCAM deck or camera. For more
information on connecting and configuring your XDCAM device, see the documentation
that came with your Sony product.

Working with XDCAM HD Media

Your Avid editing application supports import of both proxy and high-resolution XDCAM
HD media.

XDCAM HD media, like other XDCAM media, is imported at the data rate at which it was
recorded in one of the following resolutions:
• XDCAM HD HQ (17.5 mb/sec)
• XDCAM HD HQ (25 mb/sec)
• XDCAM HD HQ (35 mb/sec)

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However, when you create new media (create a title, render effects, transcode, and so on),
you need to select a different resolution. The choice of resolutions is based on the project
format. For example, in a 1080i/59.94 project, your can create media as DNxHD 220x,
DNxHD 220, or DNxHD 145.

You can play XDCAM HD media to a Client monitor or output a digital cut as Best
Performance (yellow/yellow) or Draft Quality (yellow/green). However, to play or output as
Full Quality (green/green), you must transcode the XDCAM HD media to a DNxHD
resolution or another compatible resolution.

Playing XDCAM Media on an Avid Symphony

Due to the design of the Nitris hardware, playback of XDCAM media on an Avid Symphony
Nitris editor causes dropped frames. To allow for full performance playback, you should
transcode the XDCAM media into DNxHD media to play the video on your Avid Symphony
system. Use the following workflow to play XDCAM media on your Symphony editor.

To play XDCAM media on an Avid Symphony system:

1. Import your XDCAM media as described in “Exporting Media to XDCAM Devices” in
the Help.
2. Transcode the XDCAM media into DNxHD media by selecting DNxHD from the
Target Video Resolution menu. See “Using the Transcode Command” in the Help for
specific steps.
3. Edit your media.
4. Perform your output as you normally would. If you want to transfer the media back to
XDCAM, follow the instructions in “Exporting to XDCAM” in the Help and select the
appropriate XDCAM video format.

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Setting the XDCAM Import Options

You set the default options for importing XDCAM media in the XDCAM tab of the Import
Settings dialog box.

You can use these settings to override the selections made in the Select Files to Import dialog
box or to set default behavior for importing XDCAM media. For more information on
Import Settings, see “Import Settings: XDCAM Tab” in the Help. You can also view this
information by clicking the dialog box and pressing the F1 key.

Importing XDCAM Media

XDCAM devices store media as MXF OP1a interleaved files. The Avid editing application,
does not use these files directly; instead, you must first import the media. The import process
creates new video and audio MXF media files consisting of one video track and up to eight
audio tracks.

n Low-resolution proxy media have the same number of audio tracks as the high-resolution
formats.

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There are several ways to import XDCAM media:

• You can automatically import all proxy media when you load a disc in your XDCAM
device. See “Automatically Importing Proxy Media” on page 198.
• You can manually import all proxy media on all discs currently loaded on your system.
See “Importing All Proxy Media from an XDCAM Disc” on page 199.
• You can copy the proxy media files to a separate location (for example, to a folder
copied on an FTP site), transfer them to a local drive or removable disc (for example, a
CD-ROM), and import the proxy media without directly accessing the XDCAM device.
See “Copying XDCAM Proxy Media to a Local Drive or a Server” on page 200.
• You can import proxy media, high-resolution media, or both using the Import function.
See “Manually Importing XDCAM Media from the XDCAM Disc” on page 201.

For some workflows, you might want to import the proxy media first so you can start
editing. Once you create your sequence, you can use the batch import function to import
only those portions of the high-resolution clips needed for your sequence.

For other workflows, you might want to import the proxy media to an editing workstation,
and then separately import the high-resolution media either to another workstation or to an
Avid Unity server using Avid Interplay Transfer. Your Avid editing application maintains the
connection between the proxy media and the high-resolution media, so you can relink the
edited clips at any time to the high-resolution master clips in a shared storage environment.

n When you relink proxy media to high-resolution media, do not select Specific Resolution as
the Relink Method option. Instead, select either Highest Quality or Most Compressed.

The import process for XDCAM media differs from the standard import in that you can
import XDCAM media only at the native resolution of the XDCAM media (for information
on XDCAM resolutions, see “Importing Media from XDCAM Devices” on page 193).

Audio for high-resolution XDCAM media is imported at a sample rate of 48 kHz. If the
sample rate for your project is different (for example, 44.1 kHz), you need to change the
sample rate for the XDCAM audio before you can monitor it in the Timeline or export the
media as a sequence. For information on changing the sample rate, see “Changing the
Sample Rate” in the Help.

XDCAM cameras record proxy audio at a sample rate of 8 kHz. When you import proxy
media, you can choose to change (upconvert) the sample rate to your project rate. This might
slow the import process a bit, but it greatly improves playback of audio tracks.

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Automatically Importing Proxy Media

You can use this method to automate the process of importing proxy media from your
XDCAM device to your Avid editing application.

To import proxy media from an XDCAM device:

1. Double-click Import in the Settings list.
The Import Settings dialog box opens.

2. Click the XDCAM tab.

3. Select Automatically Import Proxies when disk is inserted.
4. Click OK.
5. Open the bin in which you want to store the imported files.

n If you do not select a bin, or if you have more than one bin open, a dialog box opens and
directs you to select from a list of open bins or to create a new bin.

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6. Insert a disc into your XDCAM device.

The Import XDCAM Proxy from drive: dialog box opens.

Single/Dual
Drives button

7. Type a name in the Disk Label text box.

n Your Avid editing application uses the disk label for operations such as Batch Import, where
you are prompted to insert a specific XDCAM disc that holds the files you want to import. A
disk label is required in order to import XDCAM media.

8. Click the Single/Dual Drives button, and select a destination drive for the imported file
from the menu.
9. Click Import.
When your application finishes importing the files, the clips appear in the selected bin.

n Your Avid editing application imports XDCAM media at the native resolution of the media
on the XDCAM disc. Your application ignores other resolution settings — for example, in the
Select Files to Import dialog box.

You can repeat this procedure for each XDCAM disc that holds media you want to import.

Importing All Proxy Media from an XDCAM Disc

You can use this method when you want to import all of the proxy media stored on your disc,
but you have not opted to import the proxy media automatically. If you want to import only
some of the files on your disc, use the procedure described in “Manually Importing
XDCAM Media from the XDCAM Disc” on page 201.

n For information on setting the XDCAM import to start automatically, see “Automatically
Importing Proxy Media” on page 198.

To import all proxy media from a disc:

1. Open the bin in which you want to store the imported files, and select it to make it the
active bin.
2. Insert a disc into your XDCAM device.

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3. Select File > Import XDCAM Proxy.

The Import XDCAM Proxy from drive: dialog box opens.

Single/Dual
Drives button

4. Type a name in the Disk Label text box.

n Your Avid editing application uses the disk label for operations such as Batch Import, where
you are prompted to insert a specific XDCAM disc that holds the files you want to import. A
disk label is required in order to import XDCAM media.

5. Click the Single/Dual Drives button, and select a destination drive for the imported file
from the menu.
6. Click Import.
When your application finishes importing the files, the clips appear in the selected bin.

n Your Avid editing application imports XDCAM media at the native resolution of the media
on the XDCAM disc. Your application ignores other resolution settings — for example, in the
Select Files to Import dialog box.

You can repeat this procedure for each XDCAM disc that holds media you want to import.

Copying XDCAM Proxy Media to a Local Drive or a Server

You might want to import proxy media when the XDCAM device is not available. For
example, if you want an editor to start editing the XDCAM footage while the actual
XDCAM disc is at another location, you can transfer the proxy media files to an FTP server.
The files then can be downloaded from the server, and an editor can import the proxy media
and begin editing. Later, you can relink the proxy media to the high-resolution media, or use
the batch import function to import the high-resolution media for final editing and finishing.

When you copy the XDCAM media files from the XDCAM device to another system or to a
removable drive, you need to copy only the Sub folder (for proxy media) or the Clip folder
(for high-resolution media).

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A possible workflow for importing XDCAM proxy media from a non-XDCAM drive uses
the following steps:
1. Copy the proxy folder (Sub) from an XDCAM device to an FTP server.
2. Download the files to a local drive.
3. Import the proxy media to an Avid editing application from a local drive just as you
would from an XDCAM disc, and then begin editing. See “Manually Importing
XDCAM Media from the XDCAM Disc” on page 201.
4. When the XDCAM disc is available, either import or batch import the high-resolution
media to finish editing. See “Importing Files” in the Help or “Batch Importing High-
Resolution Media” on page 205.

Manually Importing XDCAM Media from the XDCAM Disc

You can use the standard Import function to import XDCAM media into your Avid
application. You set the default XDCAM import options in the XDCAM tab of the Import
Settings dialog box. For more information on import options, see “Import Settings: XDCAM
Tab” in the Help.

You can import files by doing one of the following:

• Using the Import function
• Using the drag and drop method of importing files
For more information, see “Importing Files” in the Help and “Using the Drag-and-Drop
Method to Import Files” in the Help)

n Your Avid editing application imports XDCAM media at the native resolution of the media
on the XDCAM disc. Your application ignores other resolution settings — for example, in the
Select Files to Import dialog box.

The MXF media files are located in the following directories on your XDCAM disc:
• High-resolution media — XDCAM drive:\Clip
• Proxy media — XDCAM drive:\Sub

Importing Essence Marks as Locators

Sony XDCAM products use Essence Marks to store metadata about media clips. Essence
Marks, which can be set manually or automatically, allow XDCAM cameras to mark events
such as clip start points or audio clipping. You can use Essence Marks for sorting and
searching clips stored on XDCAM discs. For a description of Essence Marks, see your Sony
documentation.

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You can import Essence Marks as locators when you import either proxy media or high-
resolution media. The locators appear in the master clips created by importing XDCAM
media, and you can view them in the Source/Record monitor, in the Timeline, and in the
Locators window. For information on using locator information as you edit, see “Using
Locators” on page 331.

To import Essence Marks as locators:

1. Double-click Import in the Settings list.
The Import Settings dialog box opens.

2. Click the XDCAM tab.

3. Select Import Essence Marks as locators.
4. Click OK.

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Editing the Proxy Media

When you import the proxy media files to a bin, new master clips are created that you can
edit in the Timeline just like any other clip. You can mix the clips in the Timeline with any
supported NTSC or PAL resolutions, add effects or titles, or perform any other editing
function available in your Avid editing application.

XDCAM proxy media is single-field resolution media. For the best performance during
playback, select Draft Quality or Best Performance from the Video Quality Menu in the
Timeline. For more information, see “Optimizing Your Playback Performance” in the Help.

You can improve playback further by using 8-bit processing for your video display. See
“Video Display Settings” on page 722.

To set the playback options for XDCAM media:

1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Video Quality menu button,
and select Draft Quality (yellow/green) or Best Performance (yellow/yellow).
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Video Quality menu button,
and select Video Display Settings.

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The Video Display Settings dialog box opens.

10-bit
Playback

3. Deselect 10-bit Playback.

4. Click OK.

n Some effects, such as IllusionFX and FluidMotion effects, do not play back in real time when
you have Draft Quality selected. For these effects, you must also select the Progressive
Source button in the Effect Editor before rendering.

You can also perform emergency play-to-air operations of the proxy media as a normal
export, as a Send to Playback operation, or as a digital cut.

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Batch Importing High-Resolution Media

Once you finish editing your sequence using proxy media, you can replace the
low-resolution media in the sequence with the corresponding high-resolution media by using
the Batch Import command. The Batch Import command allows you to reimport the
high-resolution DVCAM, MPEG IMX, or XDCAM HD files while automatically linking
the new imported material with the sequences and master clips created with the low-
resolution MPEG-4 media. If you are batch importing media for an edited sequence, the
import operation copies only those portions of the high-resolution master clip needed by the
sequence, not the whole clip. If you are batch importing master clips, the import process
copies entire clips.

n The Disk Label column in the bin headings displays the XDCAM disk labels created when
you imported the XDCAM media. For information on displaying bin columns, see “Bin
Column Headings” on page 237. If necessary, you can use the Modify command to change
the name in the Disk Label column.

You can also import the high-resolution media files separately. Since importing
high-resolution master clips requires more storage, time, and bandwidth than batch
importing only the necessary parts of clips, you might want to import the master clips to
another workstation or to another system in a shared storage environment — for example, to
an Avid Unity server. Once the high-resolution media is imported, you can use the Relink
command to move between the proxy media and the high-resolution media. For more
information about relinking media, see “Editing and Finishing High-Resolution Media” on
page 208 and “Relinking Media Files” on page 269.

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To batch import high-resolution XDCAM media:

1. Double-click Import in the Settings list.
The Import Settings dialog box opens.

2. Click the XDCAM tab.

3. Select Batch Import High-resolution Video.
4. Click the Handle Length text box and type the number of additional frames you want to
import at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects. The default is
30 frames.
5. Click OK.
6. Open the bin, and select the sequences or master clips created with proxy media that you
want to replace with high-resolution media.
7. Insert a disc into your XDCAM device.

n If your source media is stored on multiple XDCAM discs, and you have multiple XDCAM
devices, you can insert all the discs at the same time.

8. Select Clip > Batch Import.

A message box opens.

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9. Click the All Clips button.

The Batch Import dialog box opens.

Single/Dual
Drives button

Video Drive
and Audio
Drive menus

n Your Avid editing application imports XDCAM media using the native resolution of the
XDCAM files.

10. Click the Video Drive and Audio Drive menus, and select a destination drive or drives
for all the media files.
You can separate video and audio onto different drives.
11. Click Import.
The high-resolution files are imported. If the source media is stored on more than one
disc and not all discs are currently attached to your system, the system prompts you to
insert additional discs as needed.

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Editing and Finishing High-Resolution Media

Once you have imported the high-resolution media, you can play back and edit your
sequence with full resolution and in real time using the standard Avid editing functions. You
can also send the sequence to a broadcast playback server using Avid Interplay Transfer.

As you edit your sequence, you can move between the proxy media and the high-resolution
media by relinking your clips with the corresponding media files. When you relink proxy
media to the high-resolution media, select one of the following Relink Method options:
- Highest Quality
- Most Compressed

n Do not select Specific Resolution as the Relink Method.

This allows the audio tracks to relink to the appropriate audio files. For more information
about the Relink command, see “Relinking Media Files” on page 269.

Importing Editcam Files

You can import clips recorded with Ikegami® 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) Select File > Mount All.
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 your Avid editing application.
2. Open a bin.
3. Select File > Import.
A dialog box opens.
4. , Click the Files of Type menu (Windows) or the Show menu (Macintosh), select
CamCutter, and then select the CamCutter bin by doing the following:
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 [Link] contains clips that were discarded by the Editcam operator. These clips are
generally not imported.
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5. Ignore the field specifying video resolution to be imported.

6. Ignore the field regarding video and audio drive selection.
7. Proceed with the import operation.
A dialog box opens, asking you to identify the drives that contain the media files.
8. Select the FieldPak drive letters (Windows) or volume names (Macintosh) as
appropriate.

n If the drive or volume is not listed, go back to step 1 and follow the procedure again.

9. Complete the import process.

Your Avid editing application creates entries in the selected bin that reference the clips on
the FieldPak.

For more information on importing files, see “Importing Files: Basics” in the Help.

Note the following restrictions:

• The CamCutter clips are not copied onto a media drive. Your Avid editing application’s
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, see “Rendering Effects” in the Help.
t Consolidate the sequence to a valid media drive, see “Consolidating Media” in the
Help.
t Import the CamCutter clips as OMFI files. This effectively copies the clips to a
media drive. See “Import Settings” on page 693.

For additional information regarding Editcam, CamCutter technology, and how these
systems operate with nonlinear editors, see the Web site [Link].

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Importing Sequences from Pro Tools through

Interplay
You can import a sequence you have worked on in Pro Tools back into your Avid editing
application. You need to have checked the sequence into Interplay from Pro Tools.

To import a sequence from Pro Tools:

1. Open the Interplay Window and navigate to the location of the checked-in sequence.
2. Click the sequence and drag it into your bin.
The editing application checks out the sequence and imports the sequence and the
related files into the bin. For more information, see “Using Pro Tools and Interplay” in
Avid Interplay Best Practices.

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Working with Bins: Advanced

Your Avid editing application provides powerful database tools for organizing and managing
your captured material. You can view bins in four different display views. You can rename,
sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or
whole bins.

The following topics provide advanced information on working with bins:

• Advanced Bin Procedures
• Using Text View: Advanced
• Working with Restricted Material
• Printing Bins
• Preparing Digital Bars and Tone
• Importing Color Bars and Other Test Patterns
• Creating Leader

For basic information about bins, see “Working with Bins: Basics” in the Help or the Basics
Guide for your Avid editing application.
Chapter 6 Working with Bins: Advanced

Advanced Bin Procedures

You can use several advanced procedures in any of the bin display views for manipulating
clips in the bin. They include using audio timecode, setting the bin display, displaying
custom bin views, assigning colors, and sifting clips and sequences.
• Selecting Sources Used by an Object

Film Scene Workflow

During the organizing phase, common practice on film productions is to organize the
captured clips according to scene. This helps to simplify the work environment for the editor
and keeps crowded bins to a minimum.

Organize scene bins according to the following basic workflow:

1. Create one bin for each scene by using the procedures described in “Creating a New
Bin” in the Help.
2. Gather clips according to scene using one of the following optional procedures:
t Copy clips for each scene from the capture bins into the appropriate scene bin,
using procedures described in “Copying Clips and Sequences” in the Help.
t Duplicate the clips and then move the duplicates into the appropriate scene bin,
using procedures described in “Duplicating Clips and Sequences” in the Help.
3. Proceed to sort, sift, and organize the clips within each scene bin, according to the
editor’s preferences.

It is good practice to copy or duplicate clips as you reorganize them in bins. As a result, the
original source clips will remain in the appropriate dailies bin if you ever need to recapture
according to source tape.

Displaying Custom Bin Views

When a bin is in Text view, the Bin View menu appears to the right of the Fast Menu button.
Use the Bin View menu (Text view only) to select different bin views. Bins have three
default views that are automatically installed:
• Custom view: Allows you to create and save customized views. The only required
column heading is the Name heading, which is displayed by default. You can customize
the view by adding, hiding, or rearranging column headings.
• Film view: Has film-related column headings, including key number, ink number,
pullin, and so on. If you are working on a non-film-related project and select the Film
view, only the non-film-related columns is displayed.

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• Statistics view: Uses the standard statistical column headings derived from information
established during capture, such as start and end timecodes, duration, resolution, and
so on.

Text tab

Bin View menu

Bin Fast Menu button

If you import a log file from your telecine transfer, most of this information is placed in the
bin when you import the log. If you do not have a film log, you can enter this information
manually by highlighting the field in the bin and typing the information.

For more information on bin column headings, see “Bin Column Headings” on page 239.

Customizing Bin Views in Text View

You can create and save customized bin views that you can easily access from the Bin View
menu. You can customize the bin view by resizing the Bin window and adding, hiding, or
rearranging bin columns. The only required column heading is Name, and it 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 select Statistics view or Film view.
• Add or hide columns of information to create customized Statistics or Film views. They
are saved as additional view settings in numerical order: for example, Statistics.1,
Statistics.2, and so on, unless you select 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 214.

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 list in the Project window.

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Saving a Custom Bin View

Any time you add, hide, or delete a column, the bin view name changes to an italic name
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 bin view:

1. Open a bin and click the Text tab.
2. Add or hide columns according to preference.
The bin view name becomes italic.
For information on adding, hiding, and deleting bin columns, see “Using Text View:
Advanced” on page 223.
3. Click the Bin View menu, and select Save as.
The View Name dialog box opens.
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 list appears.
2. Double-click the custom bin view you want to change.
The Bin View dialog box opens.
3. Select and deselect the columns you want to see.
4. Click OK.

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. You
can display source colors in bins and in the Timeline. For information on displaying source
colors in the Timeline, see “Displaying Local and Source Colors in the Timeline” on
page 364.

n Clip colors assigned to sequences, groups, motion effects, and title clips do not appear in the
Timeline.

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To add a Color column to a bin:

1. With a bin in Text view, select Bin > Headings.
The Bin Column Selection dialog box opens.
2. Click (Windows) or click (Macintosh) Color in the list.
3. Click OK.
The Color column appears in the bin. By default, a new column appears as the last
column in the bin. To move the Color column, select the Color column heading and drag
it to the left.

To assign a color to a clip, subclip, sequence, or effect clip in a bin:

1. With a bin in Brief or Text view, select the bin objects to which you want to assign a
color.
2. Do one of the following:
t Select Edit > Set Clip Color > color.
t Select Edit > Set Clip Color > Pick, and then select a color from the Windows Color
dialog box or the Macintosh Colors panel.

n After you assign a custom color, the color appears as Other in the Set Clip Color submenu.

t (Text view only) Click in the Color column and select a color from the menu.
t (Text view only) Alt+click (Windows) or Option+click (Macintosh) in the Color
column in the bin, and then select one of the colors.
When you Alt+click or Option+click in the Color column, the menu of colors that
appears is limited to the colors you are currently using in the [Link] color appears in
the Color column (Text view only) and on the clip icon.

Sifting Clips and Sequences

When you sift clips and sequences, the bin displays only those clips and sequences 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 Custom Sift dialog box provides
six levels of criteria.

You can also sift on a timecode (or keycode) number within a specific range. For more
information, see “Sifting Timecodes or Keycode Ranges” on page 217.

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To sift clips or sequences:

1. Select Bin > Custom Sift.
The Custom Sift dialog box opens.

Column or Range to
Criterion menu Text to Find text box Search menu

2. Click the Criterion menu, and select 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 exact name of the color (using uppercase and
lowercase letters) in the text box.
4. Click the Column or Range to Search menu, and select 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 or sequences that meet your criteria remain in the bin, with the word
“sifted” added 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.

To view the entire bin:

t Select Bin > Show Unsifted.

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To view the sifted bin:

t Select Bin > Show Sifted.

The word “sifted” appears in parentheses after the bin name when you view the bin in its
sifted state.

Sifting Timecodes or Keycode Ranges

You can sift on a timecode (or keycode) number within a specific range. For example, you
can sift for all the clips that start before and end after a particular timecode.

Before custom sift

For example, type [Link] in the Text to Find text box in the Custom Sift dialog
box, click the Column or Range to Search menu, and select Start to End Range.

After custom sift

The clips that

encompass the
timecode number
[Link]

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Some column pairs explicitly define a range, for example, Start and End or Mark IN and
Mark OUT. Other columns define the beginning of a range, and the end of the range is
determined by the Duration column. For example, Auxiliary TC1 implies a range that begins
at the value in the Auxiliary TC1 column and ends at that value plus the value in the
Duration column.

If you display any column in the bin that is associated with ranges, either explicit or implicit,
the corresponding range menu item appears in the Column or Range to Search menu in the
Custom Sift dialog box. For example, if you choose to display the Start column and the
Auxiliary TC1 column in the bin, the Start to End Range and Auxiliary TC1 Range menu
choices will appear in the Column or Range to Search menu.

When specifying a timecode or keycode number, you do not need to enter colons or
semicolons, and you can omit the leading zero. For example, you can type 3172000 as a
timecode number.

Keycodes contain letters, numbers, and a dash before the feet and frames; for example, KJ23
6892-0345+13. When sifting on a keycode number, you have to enter only the numbers after
the dash (the actual counter portion). Any information before the dash is ignored. If you do
enter characters before the dash, they must match the corresponding characters in the bin
column exactly.

The following table lists all columns associated with explicit ranges and their corresponding
menu choices.

Range Menu Items for Explicit Ranges

Column or Range to Search

Bin Column (Explicit Ranges) Menu Item

Start, End Start to End Range

Mark In, Mark Out Mark In to Out Range

KN Start, KN End KN Start to End Range

KN Mark In, KN Mark Out KN Mark In to Out Range

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The following table lists all columns associated with implicit ranges and their corresponding
menu choices. The Duration column determines the end of these ranges.

Range Menu Items for Implicit Ranges

Column or Range to Search

Bin Column (Implicit Ranges) Menu Item

Film TC Film TC Range

Sound TC Sound TC Range

Auxiliary TC1 Auxiliary TC1 Range

Auxiliary TC2 Auxiliary TC2 Range

Auxiliary TC3 Auxiliary TC3 Range

Auxiliary TC4 Auxiliary TC4 Range

Auxiliary TC5 Auxiliary TC5 Range

Ink Number Ink Number Range

Auxiliary Ink Auxiliary Ink Range

To sift for a timecode or keycode number within a specific range:

1. Select Bin > Custom Sift.
The Custom Sift dialog box opens.
2. Type the timecode (or keycode) number for the range in which you want to sift.
3. Click the Column or Range to Search menu, and select a range; for example, Start to
End Range or Mark In to Out Range.
The criterion “contain” appears in the Criterion menu. If you try to change this criterion,
no information appears in the Column or Range to Search menu.
4. Click OK.
The bin displays those clips that encompass the timecode (or keycode) number that you
entered.

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Locking and Unlocking Items in a Bin

You can lock any items in a bin — including source clips, master clips, subclips, and
sequences — to prevent deletion. When you lock clips in a 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) additional clips, if necessary.
2. Select Clip > Lock Bin Selection.
A Lock icon appears for each locked clip in the Lock column of the bin in Text view.

Lock icons

n If the Lock column is not displayed, you might have hidden that column. For information on
hiding and restoring bin columns, see “Manipulating Bin Columns” on page 223.

To unlock previously locked items:

1. Select the items in the bin.
2. Select Clip > Unlock Bin Selection.

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.

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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 captured.

To identify offline items, do one of the following:

t Select Bin > Select Offline Items.
t Click the Bin Fast Menu button, and then select Select Offline Items.
The bin highlights all items that are missing media files.

n To identify offline items in the Timeline, see “Highlighting Offline Media Clips” in the Help.

Selecting Media Relatives for an Object

When you identify the media relatives of a selected clip or sequence, your Avid editing
application 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 selected clip or sequence.
2. Open any other bins that might contain the media relatives that you want to find.
3. Resize and position the bins so that you can see their contents.
Text view is the best display for viewing as many objects as possible.
4. Select the clip or sequence, and select Bin > Select Media Relatives.
The system highlights all related objects in all open bins.

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n You can also use the Media tool to look at the captured video and audio data files stored on
your media drives. For more information on the Media tool, see “Using the Media Tool” in
the Help.

Selecting Sources Used by an Object

Use the Select Sources command to identify all the sources used by a particular object. For
example, if you select a sequence as the object, use the Select Sources command to identify
every master clip, subclip, tape, and media file that is a source for that sequence.

To identify sources for a clip or sequence:

1. Select one or more objects in a bin.
2. Select Bin > Select Sources.
All sources for the selected objects in all open bins are highlighted.

Selecting Unreferenced Clips

When you select unreferenced clips, your Avid editing application highlights all clips not
currently referenced by clips or sequences that are in the open bins. Any master clips,
subclips, or effect clips you edited into sequences in the bins are not highlighted.

n The Select Unreferenced Clips command is useful for finding unused footage or media.

To identify 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. Select Bin > Select Unreferenced Clips.
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.

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Using Text View: Advanced

Text view provides the most complete view of clip information. It uses database columns
that you can rearrange and customize to suit your needs.

Manipulating Bin Columns

Use the following procedures to move, align, and delete columns in a bin.

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 remaining after you move or rearrange columns.

Deleting a statistical column is the same as hiding the column; you can restore the column at
any time by using the Bin Column Selection dialog box. When you delete a custom
column, however, you must re-create the column.

For information on selecting column headings to display or hide them in the bin, see “Using
Text View” in the Help.

You can also duplicate columns, add customized columns, and change the heading name of
columns in a bin, as described in the following procedures.

To move a text column in a bin:

1. Click the heading of the column that you want to move.
The entire column is selected.
2. Drag the column to the position you want, and release the mouse button.
The column appears in the new position, and columns to the right are moved to make
room.

To align bin columns:

t Select Bin > Align to Columns.

To delete a column:
1. Click the column heading in a bin.
2. Do one of the following:
t Select Edit > Delete.
t Press the Delete key.
The column disappears from the view, and surrounding columns close to fill the space.

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Duplicating Bin Columns

You can duplicate existing columns containing timecode information into 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. Select Edit > Duplicate.
The Select dialog box opens.
3. Select a column name from the list.
The column must contain the same type of data for the copy to occur. For example, you
can copy start timecodes to the Auxiliary TC column, but you cannot copy timecodes to
the Pullin column.
4. Click OK.
The column of information appears in the column you designated.

When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P, or TC 30), the values
for master clips and subclips are converted to the appropriate timecode. For more
information, see “Displaying Timecodes in a 24p or 25p Project” on page 237.

Adding Customized Columns to a Bin

In addition to the standard column headings, 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 a maximum of 14 characters, including spaces.
This places the pointer in the data box, beside the first clip in the bin.
4. Select Bin > Align to Columns 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.

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Changing a Custom Bin Column Heading

You can change the heading name of custom columns only. You cannot change any of the
standard column headings.

To change the name of a custom column:

1. Press and hold the Alt key (Windows) or Option key (Macintosh), and click the heading
to highlight it.
2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).

Tracking Frames Based on File Name

Bins can display a digital file name for each frame in addition to key numbers, ink numbers,
and other reference numbers. Tracking frames with the frame number is useful when using
the film scanning process where each frame is an independent file. It is also useful when
working with effects and animation processes that are dependent on a frame-based counting
scheme. You can include the frame number when generating a cut list using FilmScribe.

The naming and counting scheme consists of a prefix (8 character maximum), separated by a
dash (-), and followed by 6 characters that count as total frames. For example, FXS32v01-
000001 identifies the first frame of a series of frames that belong to an FX shot for Scene 32
version 1. As the FX shot progresses during the creative process, the version number
increases.

n To compensate for offsets, you can subtract the number of header and information frames
from 999999 when entering the frame number. For example, if the first frame of picture is 1
and there are 8 frames of header and identification frames you would enter FXS32v01-
999993 for the frame number.

To display the frame count numbers in a bin and cut list:

1. In the Film and 24p Settings dialog box of the Avid editing application, select Frame
Count from the “Ink Number Default Edge Type” option or the “Auxiliary Ink Default
Edge Type” option.
2. In a bin, select Ink Number or Auxiliary Ink from the Bin Headings dialog box.
The Ink Number and Auxiliary Ink columns display the frame count numbers in the bin.
3. Open the bin in FilmScribe and choose Ink Number or Aux Ink options. Then generate
the cut list.
The cut list includes the frame count numbers.

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To display the frame count numbers above the Source or Record monitors in the Avid
editing application:
1. Follow the steps for displaying the frame count numbers in a bin.
2. From the Tracking Information Menu above the monitor, select either Ink Number or
Aux Ink.

Managing Clip Information in Text View

You can manage clip information in bin columns in several ways. These methods include
moving information between whole columns, copying information between cells, and
modifying clip data.

Moving Within Column Cells

You can use the keyboard shortcuts described in the following table to move from cell to cell
in bin columns:

Shortcut Description

Tab Moves 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 Moves the pointer left 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.

(Windows) Enter Enters any new information typed in the cell and moves the pointer down
(on main keyboard) to the cell in the next row. You can continue to press Enter to scroll down
the column until the last cell in the column is highlighted. The next time
you press Enter, the first cell in the column is highlighted.

(Windows) Shift+Enter Move the pointer up to the cell in the previous row. You can continue to
(on main keyboard) press Shift+Enter until the cell in the top row is highlighted. The next
time you press Shift+Enter, the cell in the last row is highlighted.

(Macintosh) Return Enters any new information typed in the cell and moves the pointer down
to the cell in the next row. You can continue to press Return to scroll
down the column until the last cell in the column is highlighted. The next
time you press Return, the first cell in the column is highlighted.

(Macintosh) Move the pointer up to the cell in the previous row. You can continue to
Shift+Return press Shift+Return until the cell in the top row is highlighted. The next
time you press Shift+Return, the cell in the last row is highlighted.

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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.
• You cannot modify some data after capture because changes would prevent you from
playing back and editing the material successfully.
• You cannot change sequence data 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 the Sequence
Name and Timecode” in the Help.

You can modify data in two ways:

• Modify some data directly for master clips, subclips, and other objects stored in a bin.
See “Modifying Data Directly” on page 227.
• Use the Modify command to change specific information for master clips only. See
“Using the Modify Command to Modify Data” on page 231.

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 while logging and prior to capture. After the
footage is captured, however, you can directly modify information only in selected headings,
with restrictions, as shown in the following table.

Modifiable Bin 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.

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Modifiable Bin Headings (Continued)

Heading Restrictions

Mark OUT Altering the mark OUT also alters the IN to OUT duration. This replaces
any previous mark.

Cadence Ctrl+click and choose from the menu. All clips with the same tape name
will change according to what is selected.

Color No restrictions.

Color Framing Must be according to tape specifications. See “Tracking Color Frame
Shifts” on page 378.

Comments No restrictions.

Auxiliary timecodes, 1–5 No restrictions.

Journalist No restrictions.

Production No restrictions.

KN (Key Number) Start Only for 24p projects, 25p projects, and matchback projects. Altering the
starting key number also alters the KN End to maintain the duration. This
can cause discrepancies with any auxiliary timecode information that you
entered manually.

Pullin Only for 24p projects and matchback projects. You can only alter pullin
data imported from a telecine-generated list directly before capturing or
after unlinking. See “Modifying the Pulldown Phase Before Capturing”
on page 128. (NTSC only)
You can directly modify the pullin for sequence; see “Changing the
Default Pulldown Phase for Sequences” on page 575.

Start No restrictions.

Shoot Date No restrictions.

Soundroll You can modify after you enter a Soundroll.

Take No restrictions.

TapeID No restrictions.

TC 24 No restrictions.

TC 25 No restrictions.

TC 25PD No restrictions.

TC 30 No restrictions.

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Modifiable Bin Headings (Continued)

Heading Restrictions

TC 30NP No restrictions.

c Modifying tape names and timecodes affects any key numbers entered for the selected
clips.

To modify the clip data directly in a bin:

1. Click the Text tab in the bin to enter Text view.
2. Click the cell that you want to modify. Select only one item at a time. In the following
example, the timecode data is highlighted.

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).

Using the Modify Command to Modify Data

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, 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 are not altered in this way. In addition, you can perform modifications that only
alter the end timecodes or the tracks before capture, as described in the following table.

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Modify Command Options

Type of Modification Options Description

Set Timecode Drop/ Drop, Non-drop Changes the timecode format between drop-frame and
Non-drop non-drop-frame. Setting must match the timecode
format of the tape.

Set Timecode By Field Start or End Changes either the start or end timecode. Only start
timecodes are altered after capture.

Hour, Minutes, Seconds, Allows you to enter custom timecode.

Frames

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 capture.

Timecode text box 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 capture.

Timecode text box Allows you to enter custom decremental timecode.

Set Key Number Key Number text box Allows you to enter a custom generic key number.
Generic (Prefix) Only for 24p, 25p, and matchback projects.

Set Pullin A, B, C, or D Selects the pulldown phase to match to the timecode

entry (24p and matchback projects only). For more
information, see “Setting the Pulldown Phase” on
page 121.
After capturing, the clip must be unlinked. See
“Modifying the Pulldown Phase Before Capturing” on
page 128.

Set Tracks V, A1, A2, A3, A4, A5, Changes the clip’s configuration of tracks (film
A6, A7, and A8 track projects only). The clip must be unlinked. See
selector buttons “Unlinking Media Files” on page 277.

Set Source None Opens the Select Tape dialog box. Selects another
source tape name for the clips that should match the
original source tape name.

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Modify Command Options (Continued)

Type of Modification Options Description

Set Disk Label Set label Allows you to change the name assigned to an
XDCAM disk. For more information, see “Importing
Media from XDCAM Devices” on page 193.

Set Format Compatible formats Allows you to change the format of a sequence. The
choice of formats is limited to the compatible frame
rate of the current sequence. This option is useful if
you are working with downconverted HD material in
an offline/online workflow. For more information, see
“Modifying the Format of a Sequence” on page 832
and “Converting a 23.976p NTSC Sequence to
720p/23.976” on page 834.

To modify selected data using the Modify command:

1. Open the bin and click the Text tab.
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. Select Clip > Modify.
The Modify dialog box opens.
4. Click the Modify Options menu, and select an option.

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5. Select an option or type information into the text boxes (timecode values, for example)
when they appear.
6. Click OK.
The modification takes effect.

Copying Information Between Columns

To copy column information to another column:

1. Select the column that you want to copy.
2. Select Edit > Duplicate.
The Select dialog box opens, prompting you to target a column for the data.
3. Select the target column for the data, and click OK.

Copying Information from Another Cell in a Custom Column

To copy information from another cell in a custom column:

1. Press and hold the Alt key (Windows) or Option key (Macintosh) while you click in the
destination cell to reveal a menu of all items entered in that column.
2. Select the text from the menu.
The text appears in the cell.

Selecting a Film Gauge

The film gauge consists of the film size and either the number of perfs per frame (for 35mm
and 65mm) or the number of frames per foot (for 16mm). You specify the gauge in any of
the film-gauge columns (Aux Ink Film, Ink Film, and Master Film).

n You cannot modify the KN Film column.

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To specify the gauge of the film:

t Ctrl+click the cell, and then select one of the following film sizes and perf count or
frame count:
- 35mm, 4 perf
- 35mm, 2 perf
- 35mm, 3 perf
- 35mm, 8 perf
- 16mm, 40 perf
- 16mm, 20 perf
- 65mm, 15 perf (used in IMAX® films)
- 65mm, 10 perf
- 65mm, 8 perf
- 65mm, 5 perf
- VistaVision®

Tracking 3-Perf Counts

You can track 3-perf counts in film projects. The perf value is an extension of the key
number, and appears in the KN Start, Ink Number, and Aux Ink Number bin columns. A
sample key number might be as follows:
KJ 12 1234-3456-10.3

The “.3” at the end of the key number represents the perf value.

To specify the perf value:

t Enter 1, 2, or 3 in the appropriate bin column cell.

Selecting an Edgecode Type

There is one edgecode per foot of film. You enter an edgecode type for a particular place on
the film in any of the edgecode-type bin columns (Aux Ink Edge, Ink Edge, Master Edge).

Select the appropriate edgecode type for a clip so you can track frames in the Timecode
window, above the Source/Record monitor, or in FilmScribe.

To select an edgecode type:

t Ctrl+click the cell, and then select the edgecode type that matches the edgecodes on the
film.

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The following table describes the edgecode types and the appropriate format for each.

Edgecode Types and Formats

Edgecode Type Edgecode Format Sample Edgecode

Key Number XX NNNNNN NNNN+NN (Film type Film ID KL 43 5146-0152+00

Feet on film+Frame in foot)

Edgecode (4 count) NNN-NNNN+NN (Identifier-Feet on film+Frame in foot) 103-9025+03

Edgecode (5 count) NNN-NNNNN+NN (Identifier-Feet on film+Frame in foot) 203-09025+03

Frames NNNNN 45678

Sorting Clips in Text View

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, or a multilevel sort.

You can also sort clips by color if you have assigned colors to the clips. For more
information, see “Assigning Colors to Bin Objects” on page 214.

n You can automatically sort clips and sequences in Text view only. If you need to view sorted
clips in Script or Frame view, sort them in Text view first and then return to Script or Frame
view.

If you want to sort clips in a customized order in Text view, you must first rearrange the clips
in Script view, and then return to Text view. For information about Script view, see
“Rearranging Clips in Script View” in the Help.

To sort clips in ascending or descending order:

1. With a bin in Text view, click the heading of the column that you want to use as the
criterion.
The column is highlighted.
2. Do one of the following:
t To sort in ascending order, select Bin > Sort.
t To sort in descending order, press and hold the Alt key (Windows) or Option key
(Macintosh) while you select Bin > Sort Reversed.

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 Select Bin > Sort Again with no column selected.

This step is especially useful after you have added new clips to a sorted bin.

To perform a multilevel sort using the information in the bins:

1. With a bin in Text view, arrange the columns in the bin to establish the primary column.
The column that appears farthest to the left in the bin has higher sort priority.
2. Select the columns you want to contribute to the sort criterion.
3. Select Bin > Sort.
The objects in the bin are sorted.

To sort clips by color:

1. Click the Color column heading in the bin.
2. Select Bin > Sort.
The objects in the bin are sorted by color.

n Colors are sorted by hue, saturation, and value.

Displaying Timecodes in a 24p or 25p Project

When you are working with 24p and 25p projects (PAL with pulldown), you can add
timecode columns to bins or the Media tool to enter and display starting timecodes in several
timecode formats for master clips, subclips, and sequences.

n For information on displaying timecodes in the Timeline and the Tracking Information
display, see “Displaying Timecode Tracks in the Timeline” on page 320 and “Displaying
Tracking Information” in the Help.

After you add a timecode column (TC 24, TC 25, TC 25P, TC 30, or TC 30NP) to a bin, you
can use the Duplicate command to convert the values for master clips and subclips to the
appropriate timecode for that column.

For example, when working with a 24p NTSC project, if you duplicate the Start column
values to one of the timecode columns and the Start column contains a master clip with the
timecode [Link], the timecode is converted to the timecode of that column.

n The TC1 track in the Timeline represents the timecode of the project in which you are
working. For example, when you are working in a 24p NTSC project, the TC1 track displays
the same timecode as the TC 30 track.

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Frame Counting for Timecodes

The following table shows the frame count for each timecode. The timecodes are listed as 24
for 24 fps, 25 for 25 fps, 25P for 25 PAL with pulldown, 30 for 30 fps (the count skips six
frames to fit 30 frames into 24 fps), 30NP for 30 fps with no pulldown, and 60 for 60 fps.

Timecode Frame Counts

Timecode Frames

24 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 00

25 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

25P 00 01 02 03 04 05 06 07 08 09 10 11 13 14 15 16 17 18 19 20 21 22 23 24 00

30 00 01 03 04 05 06 08 09 10 11 13 14 15 16 18 19 20 21 23 24 25 26 28 29 00

30NP 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Adding Timecode Columns to a Bin or the Media Tool

To add timecode columns to a bin or to the Media tool:

1. Select Bin > Headings.
The Bin Column Selection dialog box opens.
2. Ctrl+click (Windows) or click (Macintosh) the timecode columns you want to display.
3. Click OK.
The timecode columns appear in the bin or the Media tool.

Adding Timecode Values to the Timecode Columns

To add timecode values to the timecode columns:

1. Open a bin or the Media tool.
2. Add the Start column and the timecode column with the format you want to use.
3. Select the Start column.
4. Select Edit > Duplicate.
The Select dialog box opens.
5. Select the timecode heading from the list.
6. Click OK.
The values for master clips, subclips, and sequences in the Start column are converted to
the appropriate timecode format and entered into the column you selected.
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Bin Column Headings

You can select individual or multiple headings to be displayed or hidden in a bin. For a
procedure on how to select column headings, see “Manipulating Bin Columns” in the Help.

Your Avid editing application provides the ability to track multiple film gauges within a bin
and within a sequence. Bin column headings allow you to display detailed information about
edgecodes, film gauges, and source information such as scanned file type, color lookup
table, resource location, and so on.

If you are working in an Interplay environment, the list of bin column headings include
audio sample rates and video resolutions. Select from these headings to display multiple
sample rates and resolutions in the bin. For more information, see “MultiRez Bin Headings”
in the Help.

The following table describes the bin column headings. Some of the columns allow you to
enter or modify the information.

n This table includes all bin column headings available in Avid editing applications. The
columns that appear depend on the model of your Avid editing application project in which
you are working.

Bin Column Headings

Heading Description

Name Heading does not appear as a column selection, but it always appears in the bin. The
column contains the name of the clip or sequence (you can rename a clip or sequence
after it has been captured).

Audio Bit Depth Audio bit depth used when you work with audio files: 16 bit or 24 bit.

Audio Format Audio format of master clips (AIFF-C, SD II, or WAVE).

Audio SR Audio resolution (sample rate).

Aux TC 24 Original HDTV sources (1080p/24) or audio DATs created for PAL feature film
productions that use in-camera timecode.

AuxInk Dur Length of the clip, expressed in the auxiliary ink number. You cannot modify this
number.

AuxInk Edge Type of edgecode used in the auxiliary ink number. Ctrl+click the cell, and then select
the type of edgecode. See “Selecting an Edgecode Type” on page 235.

AuxInk End Ending auxiliary ink number for the clip. You cannot modify this number.

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Bin Column Headings (Continued)

Heading Description

AuxInk Film Film gauge for the auxiliary ink number. Ctrl+click the cell, and then select the gauge.
See “Selecting a Film Gauge” on page 234.

Auxiliary Ink Auxiliary ink format settings allow you to display an additional type of ink number.
This lets you track additional types of film information for different film gauges. Used
for 24p projects, 25p projects, and matchback projects only. Auxiliary Ink is the starting
frame for the clip.

Auxiliary TC1 through You can enter an auxiliary timecode, such as Aaton® or Arri, or another timecode for
TC5 editing film or audio timecode for film. (Not restricted to film projects.)

CFPS Captured frames per second.

Cadence Type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project.

Camera Camera used to film this clip. This feature is used in multicamera shoots.

Camroll Camera roll containing this clip. Used for 24p projects, 25p projects, and matchback
projects only.

Color Color of the bin objects for organizing the objects.

Creation Date Date and time the clip was logged or captured.

Disk Label For XDCAM media, this heading displays the user-supplied disk label created when the
media file was imported. For other media, the heading displays the disk label of the
drive from which the clip was imported. For more information, see “Importing Media
from XDCAM Devices” on page 193.

DPX Frame-counting field for Digital Picture Exchange, a SMPTE standard describing
frames scanned from film. The format is the following: a descriptor of up to
32 alphanumeric characters, followed by a hyphen (-), followed by a six-digit frame
count, for example, DPXChildDocu-023657.

Drive Last known drive on which the media for that master clip existed.

Duration Length of the clip.

End Timecode of the clip’s tail frame.

FPS Play rate: the number of frames to be displayed each second. The default is 29.97 for
NTSC and 25 for PAL for video. The play rate can also be 24 or 23.98.

Film TC Timecode used on film. Used for 24p and 25p projects only.

Format The format of a clip or sequence as determined by the project type, such as 30i NTSC
or 1080i/[Link] is especially useful if you have both SD and HD clips in the same
bin.

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Bin Column Headings (Continued)

Heading Description

Frame Displays the same frame that is displayed when you select Frame view for the bin. See
“Using Frame View” in the Help.

n It can take longer for the screen to display frames than text. Therefore, working
with frames can slow down the work that you do with bins.

IN-OUT Length of the marked segment, if any.

Ink Dur Length of the clip, expressed in ink number. Used for 24p projects, 25p projects, and
matchback projects only. You cannot modify this number.

Ink Edge Type of edgecode used in the ink number. Ctrl+click the cell, and then select the type of
edgecode. See “Selecting an Edgecode Type” on page 235.

Ink End Ending ink number for the clip. You cannot modify this number.

Ink Film Film gauge for the ink number. Ctrl+click the cell, and then select the gauge. See
“Selecting a Film Gauge” on page 234.

Ink Number Ink number for the clip. Used for 24p projects, 25p projects, and matchback projects
only.

Journalist First and last name of a person associated with the clip. Metadata imported from a P2
file.

KN Dur Length of the clip, expressed in feet and frames.

KN End Ending key number for the clip.

KN Film Key number film gauge. Ctrl+click the cell, and then select the gauge. See “Selecting a
Film Gauge” on page 234.

KN IN-OUT Mark IN and Mark OUT key number for the clip.

KN Mark IN Key number for the IN point, if you set one for the clip.

KN Mark OUT Key number for the OUT point, if you set one for the clip.

KN Start Starting key number for the clip.

LUT File name of the color look-up table used for the series of clips or frames.

Labroll Labroll containing the clip.

Lock Specifies whether the clip is locked against deletion.

Mark IN Timecode for the IN point, if you set one for the clip.

Mark OUT Timecode for the OUT point, if you set one for the clip.

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Bin Column Headings (Continued)

Heading Description

Master Dur Length of the final master sequence, expressed in feet and frames. You cannot modify
this number.

Master Edge Type of edgecode used in the final master sequence. Ctrl+click the cell, and then select
the type of edgecode. See “Selecting an Edgecode Type” on page 235.

Master End Ending key number for the final master sequence. You cannot modify this number.

Master Film Gauge of the final master sequence. Ctrl+click the cell, and then select the gauge. See
“Selecting a Film Gauge” on page 234.

Master Start Starting key number of the final master sequence.

Modified Date Date and time a sequence was last edited or changed.

Offline Track names for any media files that are offline.

Perf Film edge perforations format used for 3-perf projects. Used for projects brought
forward from earlier releases only; now superseded by the film size and perf options
available in Ink Film, AuxInk Film, KN Film, and Master Film.

Production Name of the production associated with the clip. Metadata imported from a P2 file.

Project Project under which the media was originally captured.

Pullin Telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the
values A, B, X (matchback only), C, or D. Used for 24p projects and matchback
projects only. (NTSC only)

Pullout Telecine pulldown of the last frame of the clip. Pullout can have the values A, B, X
(matchback only), C, or D. Used for 24p projects and matchback projects only. (NTSC
only)

Reel # Source reel number.

Scene Scene number of the clip.

Shoot date Date the footage was shot.

Slip Number and direction of perfs for subclips (audio clips only).

Sound TC Timecode for audio.

Soundroll Sound roll this clip came from.

Start Timecode of the clip’s head frame.

TC 24 24-fps timecode.

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Bin Column Headings (Continued)

Heading Description

TC 25 25-fps timecode, no pulldown.

TC 25PD 25-fps timecode with PAL pulldown.

TC 30 30-fps timecode with 2:3 pulldown.

TC 30NP 30-fps timecode with no pulldown (frames 00 through 29).

Take Take number of the scene.

Tape Source tape name.

TapeID Tape ID number.

Tracks All tracks used by this media object.

Transfer Frame-counting field for sources that have been prepped for transfer. The format is the
following: a descriptor of up to 32 alphanumeric characters, followed by a hyphen (-),
followed by a six-digit frame count, for example, TransferChildDocu-023657.

UNC Path Universal Naming Convention that specifies the location of resources on a server. The
location you enter becomes a hyperlink to that location. Ctrl+click the cell, and then
type the location.

VFX Frame-counting field for visual effects. The format is the following: a descriptor of up
to 32 alphanumeric characters, followed by a hyphen (-), followed by a six-digit frame
count, for example, FXChildDocu-023657.

VFX Reel Source reel identification for the FX shot.

VITC Vertical interval timecode.

Video Resolution under which the media for that clip was captured.

Video File Format Clip video format (OMF, AAF, MXF, or none).

Working with Restricted Material

Broadcast facilities sometimes need to manage digital rights by restricting the use of
footage. You can mark restrictions on clips in Avid Interplay Assist. When you bring marked
footage into your Avid editing application, you can see the restriction marker on the clip
icons in the bin, and you are warned about the restriction before you display or output that
footage. You can also use Avid Interplay Access to search the database for material that
contains restrictions.

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You are also warned about the restriction when you display the restricted material in the
monitor and when you try to perform a digital cut, send the material to playback, or export it.
You can choose to continue, and you can view the reason for the restriction in the
Restrictions tool. You can change restriction comments in Interplay Assist and then view
them in the editing application.

Displaying or Outputting Restricted Material

The clip icon of any clip that contains restricted material displays the Restricted marker.

Restricted
marker

When you first open a restricted clip or load a sequence containing restricted clips, a
warning message box opens.

The warning appears every time you perform this operation (that is, opening or displaying a
clip) on restricted material in this session, not just on the present clip.

The same warning appears when you try to do any of the following:
• Perform a digital cut
• Send the sequence to playback
• Export

If you are sending more than one clip to export, the message box lists all the clip names that
contain restricted material.

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If you know that you are allowed to use all restricted material in the current project and can
safely ignore the warning for this particular operation, you can continue with your editing or
output task.

To ignore the warning for the rest of the editing session and continue with editing or
output:
t Click the “Don’t warn again” button.
You no longer see restriction warnings for the current clip or any other clip in this
editing session. When you quit your Avid editing application and then open it, you see
the warning again the first time you try to display or output restricted material.

n Clicking “Don’t warn again” in the warning message box stops the warning from appearing
again only for the current operation in the current editing session. For example, if you click
it after displaying a clip in the Source monitor, you can load additional restricted clips
without seeing the message. If you select those clips for Export, however, you see the
warning again.

Disassociating Restrictions
The restriction is tied to the source tape name and timecode. You might disassociate the
restriction from the clip if you change those values in the bin. For more information about
bins, see “Working with Bins: Basics” in the Help.

Viewing Restriction Comments

You can view the reason particular material is restricted.

To view Restriction comments, do one of the following:

t Click the View Restrictions button in the warning message box when it opens.
t Select Tools > Restrictions.
The Restriction window opens. It displays the name of each restricted clip, its head
frame, and a description. The description contains the comments associated with the
restriction that you entered in Avid Interplay Assist. For more information, see the Avid
Interplay Assist documentation.

Comments
from Logger
about
restriction

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Changing Restriction Comments

You can change the comments for a particular range of material in Avid Interplay Assist
while your Avid editing application is open.

To see changes in Restriction comments while you are editing:

1. Change the comments in Avid Interplay Assist. For more information, see the Avid
Interplay Assist documentation.
2. In the editing application, select Tools > Remote Assets.
3. Navigate to the changed clip, and drag it into the bin again.
The changes appear in the Restriction window.

Searching the Database for Restrictions

You can use extended search capabilities to search for restrictions in Avid Interplay Access.
For general information about searching in Interplay Access, see the Avid Interplay Access
User’s Guide.

The following table lists the Avid Interplay restriction attribute name, its description, and the
values you can enter for it when specifying an extended search.

Attribute Name Description Values

DRM Digital Rights Management, the cover title for the • Has DRM
use of restrictions.
• Does not have DRM

Printing Bins
You can print entire bins or individual frames.

To print entire bins:

1. Make sure your printer is correctly set up. See your printer documentation, the Windows
or Macintosh documentation, or your system administrator.
2. Click the Brief tab (Brief View), Text tab (Text View), Script tab (Script View), or
Frame tab (Frame View) of the bin to select the view you want to print.
3. Select File > Page Setup.
The Page Setup dialog box opens, reflecting the specific options for your printer.
4. Select the appropriate options from the Page Setup dialog box.

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5. Click OK (Windows) or click Print (Macintosh).

6. Select File > Print Bin.
The Print dialog box opens, reflecting the specific options for your printer.
7. Select the Print options.
8. Click OK (Windows) or Print (Macintosh).
The system prints the active bin.

To print a single frame of a clip or sequence:

1. Load a clip or sequence into the Source or Record monitor.
2. Select the frame you want to print.
3. Select File > Print Frame.
The Print dialog box opens.
4. Select the Print options.
5. Click OK (Windows) or Print (Macintosh).
The system prints the frame currently displayed in the active monitor.

Preparing Digital Bars and Tone

If you expect to output your final sequence as a digital cut that requires calibration before
playback (a digital cut that will be broadcast, for example), in most cases you will need a
clip of color bars. You can add the clip to the front of the sequence, or you can output the
clip separately as an assemble or insert edit onto tape during recording of a digital cut.

There are several ways to acquire a clip of bars, each with different advantages:
• Record bars and tone from a house generator. This method requires the least effort
with good results because you record high-quality bars and tone simultaneously, with a
minimum of calibration. Not all facilities, however, have a house generator.
• Record bars and tone from a videotape. This method allows you to record bars and
tone simultaneously, but you must calibrate carefully to ensure accuracy. In addition, the
final clip reflects the quality of the source tape recording.
• Record bars from an external color bar generator. This method provides good
results, but you must have a color bar generator available, and you must rearrange your
system inputs to attach the generator. In addition, you must acquire tone separately and
sync it with bars within your Avid editing application.

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• Import a file of bars. This method provides the highest quality results because the
source image is already digital. If the file is accurate, the quality of the clip is ensured.
You must, however, acquire tone separately and sync it with bars within your Avid
editing application. For more information, see “Importing Color Bars and Other Test
Patterns” on page 248.

Importing Color Bars and Other Test Patterns

Avid editing applications supply files for color bars and other test patterns. You can import
8-bit PICT files or 16-bit TIFF files.

To import a test pattern from a file:

1. Open an existing bin, or create a new one for the test pattern.
2. Select the destination bin.
3. Select File > Import.
The Select Files to Import dialog box opens.
4. Do one of the following:
- (Windows) Click the Files of Type menu, and select Graphic Files.
- (Macintosh) Click the Show menu, and select Graphic Documents.
5. Use the Look in menu (Windows) or the From menu (Macintosh) to locate the folder
containing the test pattern file. Test pattern files are located in the following folder:
- (Windows) drive:\Program Files\Avid\Avid editing application
\SupportingFiles\Test_Patterns
- (Macintosh) Macintosh HD/Applications/Avid editing application/
SupportingFiles/Test_Patterns
6. Select a test pattern file from the File browser (Windows) or Source File list (Macintosh)
for importing:
- 8-bit PICT files are located at the top level of the Test_Patterns folder.
- 16-bit TIFF files are located in the HD_720p, HD_1080i, SD_NTSC, and SD_PAL
folders.
The file name appears in the File Name text box (Windows) or the Go to text box
(Macintosh).
7. Click Options to adjust the Import settings.
The Import Settings dialog box opens.

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 Creating Leader

8. Click the Image tab, and select the following options:

a. Select 601/709, non-square from the Aspect Ratio, Pixel Aspect area.
b. Select 601/709 from the Color Levels area.
c. Click OK to save the settings and close the dialog box.
9. Click Open. The clip for the imported file appears in the selected bin.
When you import SMPTE_Bars.pct, the file 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 Record 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, capture them back into the system from the tape.
10. Create a clip of tone media using the Audio tool. For more information, see “Using the
Audio Tool” in the Help.

n Match the resolution of the tone to the audio resolution of the sequence.

11. Load the new color bars clip into the Source monitor, and create a subclip of appropriate
length for use in sequences (1 minute is a common standard).
12. Select the new subclip, Ctrl+click (Windows) or Shift+click (Macintosh) the audio clip
containing the tone, and select Bin > AutoSync.
A new subclip containing bars and tone appears in the bin.
13. Rename the clip as necessary.

Creating Leader
Film editors traditionally use standard head and tail leaders for cueing and syncing material.
You can use digital leaders in your Avid editing application to mark the beginning and
ending of tracks and to help you maintain sync, as described in “Managing Sync with
Multiple Tracks” on page 353. You can create your own leader for video or film. Whatever
you choose for specifications, 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 “Creating and Editing Titles” in the Help.
2. (Option) Type a title onto the screen that says Tail Leader or Head Leader.
3. Name this clip Head Leader or Tail Leader when you save the title.
4. Create a subclip from an appropriate length of the clip, according to your chosen
specifications.
5. (Option) Mark a sync frame in the subclip as follows:
a. Load the clip into the Source monitor.
b. Find an appropriate sync point, and add a locator.
For more information, see “Using Locators” on page 331.
c. (Option) Double-click the locator in the Source monitor to add a sync point notation
that appears on the monitor.

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 captured tone into the Source monitor.
2. Create a subclip according to your chosen specifications.
3. Name this new subclip Head Leader or Tail Leader.
4. Load this subclip into the Source monitor.
5. Prepare the sound levels for leader without a sync point (no audio pop) by opening the
Audio Mixer tool and bringing the audio level all the way down for the entire clip.

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6. Prepare the sound levels for leader that include a sync point (audio pop) by doing the
following:
a. Find the appropriate sync point.
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.
For information on placing add edits, see “Adding an Edit (Match Framing)” on
page 372.
b. Move the position indicator before the first add edit, and open the Audio Mixer tool.
c. Bring the audio level all the way down.
d. Move the position indicator after the second add edit, and use the Audio Mixer tool
to bring the level all the way down.

After 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 7
Managing Media Files: Advanced

When you capture footage, the system creates digital media files for the video and audio
tracks on the media drives attached to your system. Bin tools allow you to organize the clips
that reference the media files. In addition, your Avid editing application provides tools and
features for directly managing media files for storage and playback efficiency, for backup,
and for transfer between systems.

The following topics provide advanced information on managing media files:

• Using Panasonic DVCPRO P2 Equipment
• Finding a Related Media File
• Relinking Media Files
• Unlinking Media Files
• Using Videotapes for Archiving and Restoring Media Files

For basic information about managing media, see “Managing Media Files: Basics” in the
Basics Guide for your Avid editing application.

Using Panasonic DVCPRO P2 Equipment

Panasonic’s DVCPRO® P2 equipment records DV, DVCPRO, and DVCPRO 50 media on
compact, solid-state memory cards (P2 cards). Avid editing applications support editing of
media directly from these memory cards, without the need to capture. You can also write
your sequence back to the P2 card. The result is a streamlined workflow that is particularly
efficient in news-gathering organizations.
Chapter 7 Managing Media Files: Advanced

Panasonic P2 Formats
Avid editing applications support the following resolutions, captured by Panasonic P2
equipment at frame rates of 30i NTSC and 25i PAL:

Panasonic Format Avid Format Number of Audio Channels

DV DV 25 411 (NTSC) 2
DV 25 420 (PAL)

DVCPRO DV 25 411 (NTSC and 2

PAL)

DVCPRO HD 720p 4
1080i

DVCPRO 50 DV 50 (NTSC and PAL) 4

Avid editing applications support one video track and up to four tracks of 48 kHz, 16-bit
audio, the maximum you can record on Panasonic P2 equipment.

P2 Files and Folders

Panasonic P2 video and audio media is recorded in MXF format, one of the two media file
formats you can use in Avid editing applications. Each P2 card stores MXF files in two
folders:
• drive: Contents\Audio
• drive: Contents\Video

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The following illustration shows examples of the MXF audio and video files contained in the
Audio and Video folders.

Audio folder

Four audio tracks

for a single clip

Video folder

Corresponding
video track

Panasonic P2 devices write individual MXF audio and video media files for each track of
each clip. For example, a P2 clip that includes one track of video and four tracks of audio is
stored on the P2 card as five individual media files. Within the Avid editing application the
five media files are represented as a single clip with audio and video.

Workflow for Editing with P2 Media

The main steps in preparing to edit with media created on Panasonic P2 equipment are:
1. Install the appropriate Panasonic P2 drivers.
2. Mount one or more P2 cards (up to five).
3. Update the drive list.
4. Do one of the following:
t Import the master clips directly from the P2 card, with or without the media.
t Drag the master clips from the Media tool to a bin.
5. Use the master clips to edit and output a sequence.
6. Write the clip or sequence back to the P2 card.

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A typical workflow is as follows:

1. Import the P2 clips from a P2 card or any device where the P2 contents are stored by
selecting File > Import P2 > Clips to Bin.
The P2 master clip information loads into a bin. This is useful because it is only the clip
metadata and it effectively allows you to browse the card contents directly without
having to copy the media itself.
2. (Option) Rename the clips to help with organizing your material.
3. Transfer the media to dedicated storage: select the clips you want and import the media
for them by selecting File > Import P2 > Media.
The media imports to the destination you set in the Media Creation dialog box.
4. Remove the P2 card or drive.

The following topics provide more information on these steps.

Installing the Panasonic P2 Drivers

Before you can use Panasonic P2 equipment, you need to load the appropriate drivers. These
drivers are included on a CD that is packaged with your Panasonic P2 equipment.

To install Panasonic P2 drivers:

t Follow the instructions included with your P2 equipment.

Preparing to Mount P2 Cards as Drives

You can mount P2 cards as drives on your desktop and use the files without importing them
or capturing them through the Capture tool. To your Avid editing application, these mounted
cards function as individual media drives.

n P2 cards can function as media drives even though the MXF files are not contained in an
Avid MediaFiles folder.

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After installing the appropriate Panasonic driver, you can mount the cards as drives from any
of these devices:
• PCMCIA card slot: Notebook computers typically include a PCMCIA card slot that will
accept individual P2 cards.
• P2 drive: Panasonic offers P2 card-reading peripherals such as the AJ-PCD10 memory
card drive. You can connect this drive, or card reader through a USB port, or you can
install it as an internal drive on a desktop PC. This card reader provides access to five P2
cards at one time.
• P2 camera or deck: Panasonic cameras and decks, such as the AJ-SPD850, provide
access to P2 cards through a USB port.

Before mounting P2 cards as drives on a Macintosh system, you need to set write-protection
on the cards.

To set write-protection for P2 cards (Macintosh only):

t Slide the switch on a card to the write-protected position, so that an orange tab is
showing.

Before using a P2 card reader with a Windows system, you need to set Autoplay options.

To set up a P2 card reader for the first time (Windows only):

1. Make sure your Avid editing application is not running.
2. Make sure the appropriate driver is installed. See “Installing the Panasonic P2 Drivers”
on page 256.
3. Connect the card reader to a USB port.
4. Insert a P2 card into each slot.
Each P2 card is displayed as a single lettered drive on the Windows desktop.
5. Open the Windows Explorer, right-click a drive letter, and select Autoplay from the
menu.
6. In the Autoplay dialog box, select “Take no action” and then “Always do the selected
action.”
7. Repeat the last two steps for each drive letter associated with the reader.

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Mounting P2 Cards as Drives

n If you don’t have enough cards to fill all the slots, you can reuse a card in multiple slots to
perform the following drive letter setup.

To mount one or more P2 cards as drives:

1. Make sure your Avid editing application is not running.
2. Make sure the appropriate driver is installed. See “Installing the Panasonic P2 Drivers”
on page 256.
3. Connect the card reader, camera, or deck to a USB port.
4. Set write-protection on P2 cards (Macintosh) or set up the P2 card reader (Windows).
See “Preparing to Mount P2 Cards as Drives” on page 256.
5. Insert one or more P2 cards (up to five).
On the Windows desktop, each P2 card is displayed as a single lettered drive on the
Windows desktop.
On the Macintosh desktop, each card appears as a single drive with the label “No
Name.”
6. Start your Avid editing application and open a project.
7. Select File > Mount All to update the list of mounted drives.

n (Windows only) Some card slots of the P2 drive might require drive letters that have already
been assigned to existing network drives. If your computer does not display all five card
slots as drives, reassign the network drives or restart your system.

Copying P2 Files to a FireWire or Network Drive

After you mount the P2 drives, you have the option of copying the P2 media to a FireWire
drive or a network drive and then ejecting the card. You might find it convenient to copy
several P2 cards to other drives so the cards can be reused quickly. Your editing application
supports P2 copies as though they were actual P2 cards.

You can connect a FireWire drive, for example, and store the contents of several P2 cards on
it so you can keep using the cards in the camera.

n You can work with media on a P2 card or work with media on another drive, but you cannot
work with media that is stored in both places simultaneously. To avoid the problem, eject the
P2 card after you have copied the P2 files to the other drive.

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To copy the P2 cards to another drive:

1. On the drive, set up a folder for each P2 card you want to copy.
2. Give each folder a unique name that identifies the P2 card; the name does not have to be
the same as the actual P2 card name.
3. Navigate to the actual P2 card and select the Contents folder.
4. Do one of the following:
t Copy and paste the Contents folder to the folder on the other drive.
t Click the Contents folder and drag it to the folder on the other drive.
5. Eject the P2 card.

Copying P2 Files to a Local Media Drive

After you mount the drives, you have the additional option of copying the media to a local
media drive and then ejecting the card.

n You can work with media on a P2 card or work with media on local storage, but you cannot
work with media that is stored in both places simultaneously. To avoid the problem, eject the
P2 card after you have copied the P2 media files to a local media drive.

To copy media to a local media drive:

1. Mount the P2 cards as drives. See “Mounting P2 Cards as Drives” on page 258.
2. On the desktop, navigate to the Video folder on the P2 drive.
3. Select the media files you want to copy.
4. Copy the files to the following folder on the local media drive:
drive:\Avid MediaFiles\MXF\1

n Avid recommends that you use the Copy function to copy files from the P2 drive. Do not use
the Move function. On some systems you might have a problem deleting the files that you
have moved.

5. Repeat the process for files in the Audio folder.

Use the same folder for both video and audio media.
6. When you are finished transferring the files, eject the P2 card.
If you want to delete files on the P2 card, see “Deleting P2 Clips” on page 268.

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Changing P2 Cards in the Card Reader

You can change (“hot-swap”) cards while you are working in your Avid editing application.

To change one or more cards in the P2 card reader:

1. Select File > Unmount.
2. Click the All button, then click the Unmount button.
3. Remove the old card or cards and insert the new ones.
4. Select File > Mount All.

Importing P2 Clips and Media Directly from a P2 Card

or a Copy of a P2 Card

P2 media files include information (metadata) that lets them appear as master clips in an
Avid editing application session. You can import the P2 clips directly from a P2 card or a
copy of a P2 card on another drive into a bin in your editing application. You can also import
the media associated with the clips if you want to reuse the P2 card, for example, if you want
to capture additional material onto the card in a camera. For more information about copying
P2 cards to another drive, see “Copying P2 Files to a FireWire or Network Drive” on
page 258.

To import P2 clips directly from a P2 card or a copy of a P2 card on any accessible

drive:
1. Open the bin into which you want to import the master clips and make sure it is the
active window.
2. Select File > Import P2 > Clips to Bin.
The Browse for Folder dialog box opens.
3. Navigate to the P2 volume:
t Navigate to the actual P2 card.
t If you copied the card to another drive, navigate to that drive and then to the folder
that contains the Contents folder.

c Do not navigate into the Contents folder or into other folders in the volume. The
editing application navigates into the folders for you.

n The Import P2 option imports all the clips on the card. To import only selected clips, see
“Dragging P2 Master Clips from the Media Tool to a Bin” on page 261.

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4. Click OK.
A progress box appears as the clips import. When the import is complete, the clips
appear in the active bin. You can play and edit the clips; the media resides on the P2
card. If you leave the application and then restart it, you see the clips in the bin, but the
media is offline. You need to import the clips again to continue working with them.

To import media from a P2 card:

1. Open the bin into which you want to import the clips and make sure it is the active
window.
2. Select the objects for which you want to import media. You can select master clips,
sequences, or a combination.
3. Select File > Import P2 > Media.
4. Follow steps 3 and 4 in the preceding procedure.
The editing application imports the media to your system according to your Media
Creation settings.

Dragging P2 Master Clips from the Media Tool to a Bin

You can also drag P2 master clips from the Media tool to a bin. You can select particular
clips to bring into the bin.

To drag P2 master clips from the Media tool to a bin:

1. Create a project or open an existing project.
2. Create one or more bins.

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3. Select Tools > Media Tool.

The Media Tool Display dialog box opens.

Windows

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On Macintosh systems, drives are identified individually as NO NAME, NO NAME 1,

and so on.

Macintosh

4. Select the following options:

a. In the Media Drives list, select one or more P2 drives.
b. Click the Current Project button.
c. Select Master Clips, deselect Precompute Clips, and deselect Media Files.

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5. Click OK.
The Media tool displays the clips contained on the drives you selected.

n If you do not see any media clips, update the mounted drives and media database again by
selecting File > Mount All and File > Refresh Media Directories. You might also need to
restart the application.

6. Select the clips you want to use.

7. Drag them into an appropriate bin.

You can now use the master clips in your project.

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Working with Spanned Clips

Spanned clips are clips that extend from one P2 card to another. You can work with spanned
clips in your Avid editing application.

The following illustration shows how clips can span multiple P2 cards.

P2 Card 1

P2 Card 2
Clip 1

P2 Card 3

Clip 2

P2 Card 4
Clip 3

P2 Card 5

Clip 4

When you are working with spanned clips, consider the following:
• If you remove a card that contains a spanned clip, for example Card 2 in the above
example, and you try to play Clip 1, it plays until it reaches the portion of the clip that
resides on Card 2. The Media Offline slide appears until you reach the media on Card 3.
Avid recommends that you do not place another card in the removed card’s place unless
you remove all the cards that contain the spanned clip (P1 and P3 in this example).
• Cards containing spanned and unspanned master clips can be mixed. However, if a card
containing a chunk of a spanned clip is ejected and another card is inserted, the master
clips in the newly inserted card are not visible in the Media Tool but the media files are
visible. You can work around this by removing all the cards containing chunks of the
spanned clip and performing a File > Unmount followed by a File > Mount All. All the
master clips will be visible.

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• P2-spanned media covers multiple drives, but the bin displays only one drive letter. The
drive letter in the bin might be any of the drives, but is usually the highest lettered drive
where the media exists.
• If necessary, copy all spanned clips to another drive to ensure a clip’s integrity before
swapping out the P2 cards.

Sharing P2 Clips and Sequences

If you are working in an Avid Unity workgroup environment, you can share sequences that
contain P2 clips in an Avid Unity workspace. However, you can share P2 clips only if you
transcode or consolidate them to a workspace.
• In an MXF workgroup, you can either consolidate or transcode P2 clips to a workspace.
If you transcode, you must transcode P2 MXF files to another MXF resolution.
• In an OMF workgroup, you must transcode P2 clips to a workspace. You must transcode
P2 MXF files to OMF files.

Consolidating or transcoding clips to an Avid Unity workspace automatically checks all

related metadata into the asset manager, making the clips readily accessible to other users.

For more information on workgroup support, see the Avid Interplay Help.

n Some card slots of the P2 drive might require drive letters that have already been assigned
to existing network drives. If your computer does not display all five card slots as drives,
reassign the network drives or restart your system.

Exporting Your Clip or Sequence to a P2 Card

If you have a P2 card writer, you can export a clip or sequence to your P2 card. The writer
can be a P2 device or a camera enabled for P2 writing. You can export to one card or to more
than one.

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To export a a clip or a sequence to a P2 card:

1. Make sure your system is connected to a writable P2 device.

n If you are connected to more than one P2 device, make sure only one is turned on. If more
than one device is turned on, you cannot control which device you export to.

2. Select the clip or the sequence in the bin.

3. Select Output > Export to Device > P2.
The P2 Export Settings dialog box opens.

4. Select options as described in “P2 Export Settings” on page 686.

n If you are not connected to a P2 device or camera, the options are not available.

5. (Option) If you are connected to a P2 device and it does not appear in the P2 Device list,
select File > Mount All to update the list of mounted drives.
6. Click Save.
A progress window opens, and the orange light on the P2 card flashes indicating that the
card is being written to. If you have more than one card in the device, the application
writes to the first one in the list. If your sequence is larger than the space available on
that card, the application fills the first card and then writes to the next card.

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Deleting P2 Clips
When you are working in your Avid editing application, you can delete P2 master clips, but
you cannot delete media files that reside on P2 drives. Your Avid application treats P2 files
as read-only devices.

To delete files from a P2 drive:

1. Quit your Avid editing application.
2. Make sure the write-protect switch on the P2 card is set to allow writing.
3. On the desktop, navigate to the P2 drive.
4. Select the files you want to delete and press the Delete key.

n You can also delete files or reformat the card by using the Panasonic P2 Viewer, which is
available as a free download from Panasonic.

In your Avid editing application, you can delete P2 master clips and media files the same
way you delete other master clips and media files. However, you might not be able to delete
P2 files that you moved rather than copied. If you cannot delete P2 master clips and media
files, first unlock the clips, as described in the following procedure, and then delete them.

To delete P2 files on a local drive when working in the Avid editing application:
1. In a bin, select the clips you want to delete.
2. (Option) Right-click and select Unlock Bin Selection.
3. Press the Delete key.
The Delete dialog box opens.
4. Select Delete master clips and Delete associated media files.
5. Click OK.

Finding a Related Media File

The Reveal File command allows you to select a clip in a bin and automatically open its
related media file. This command is useful if you want to delete, move, or label the
media file.

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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. Select File > Reveal File.
The system searches all available drives, opens Windows Explorer or the folder
(Macintosh), and highlights related media files.

Related media files

(Windows only) If more than one file is related to the clip, a message box asks if you
want to see the next file. If you click OK, you need to bring the Explorer window
forward by pressing and holding the Alt key while pressing the Tab key until you select
the OMFI MediaFiles folder or the Avid MediaFiles folder.

Relinking Media Files

Sometimes, 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.

n In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-
master clips (subclips and sequences). For more information, see “Using the Relink Dialog
Box in an Avid Interplay Environment” in the Help.

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When you select subclips or sequences and select 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 or to source tapes with compatible
rates, and you can relink based on resolution. The system compares information such as
source tape name, timecode information, and channels captured. 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 master clips, subclips, or sequences:

1. Select the unlinked object or objects in the bin.
2. Select Clip > Relink.
The Relink dialog box opens.

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3. Select options as described in “Relink Options” on page 271.

You can display Help for the dialog box by pressing F1 (Windows) or the Help key
(Macintosh).
4. Click OK.
The system searches the selected media drives, and relinks clips and sequences if
possible.

The system disregards audio sample rate when matching media files.

n To maintain the original capture settings for a subclip or sequence, use the Batch Capture
command; do not use the Relink command.

Relink Options

The following table describes the options for the Relink dialog box.

Relink Dialog Box Options

Option Suboption Description

Relink by • Source Timecode and Tape

• Key Number (KN Start) - picture only

Relink offline non-master Relinks subclips and sequences to the master clips that
clips to any online items contain the same material.

Relink all non-master clips Relinks related subclips or sequences to the highlighted
to selected online items clip in the bin. When you select this option, the
suboptions are available.

Allow relinking to Relinks to clips that are offline.

n
offline items
When you select “Allow relinking to offline items,”
all available drives are searched regardless of the
setting for “Relink to media on volume.”

Allow relinking to Relinks SD clips to HD clips within an HD project or

source tapes with relinks HD clips to SD clips within an SD project. See
compatible rates “Relinking Clips to a New Project Format” on page 273.

Relink offline master clips to Relinks master clips to media files that share similar
online media files database information.

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Relink Dialog Box Options (Continued)

Option Suboption Description

Video Relink Parameters

Relink Method • Most Recent: Relinks to the most recently created
clip. This option is selected by default.
• Highest Quality: Relinks to the highest quality clip;
for online work.
• Most Compressed: Relinks to the most compressed
clip; for offline work.
• Specific Resolution: Relinks to clips of a specific
resolution

Relink if quality If you select Specific Resolution as a relink method, this

menu allows you to select one of three options. See
“Relinking by Resolution” on page 274.

Relink to Media on Volume • All Available Drives: Searches across all media
drives that are online
• A specific drive volume: Relinks to media on a
specific media drive

Unlink If you select Specific Resolution as a relink method, this

option changes based on your choice in the “Relink if
quality” menu. See “Relinking by Resolution” on
page 274.

Create new sequences Leaves existing sequences alone and relinks only to
copies with .relinked appended to their names. This
option is selected by default.

Relink only to media from Restricts relinking to the current project.

the current project

Match case when comparing Makes tape name search case sensitive.
tape names

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Relinking Clips to a New Project Format

You can use the Relink command to connect clips or sequences created in one project format
to clips created in a new project format. This is helpful when you are offline editing in a
standard-definition (SD) project and conforming the project in a high-definition (HD)
project.

For example, you are editing a sequence in an NTSC 24p sequence. You then change the
project format to 1080p/24, see “Changing the Project Format” on page 830, and modify the
sequence. See “Modifying the Format of a Sequence” on page 832. A new sequence is
created with the master clips appearing offline. If the HD media is already captured (as in a
shared storage environment), you can use the command “Allow relinking to source tapes
with compatible rates,” to link to the HD media.

You can also use this command to link to clips logged without media. Then you can batch
capture the final HD media.

The following table gives project formats that have compatible rates:

SD project format HD project format

NTSC 23.976p 720p/23.976

1080p/23.976

NTSC 24p 1080p/24p

PAL 24p 1080p/24

PAL 25p 1080p/25

PAL 25i 1080i/50

NTSC 30i 1080i/59.94

720p/59.94

n You cannot relink clips if the project format does not match the clip format. For example, if
you have unlinked SD clips in an HD project and try to relink the SD clips, nothing happens.
You need to switch the project format to a compatible HD format in the Format tab of the
Project window. The same holds true for unlinked HD clips in an SD project.

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To relink selected master clips and subclips to a new project format:

1. Select the clips and sequence targeted for relinking.
2. Select Clip > Relink.
The Relink dialog box opens.
3. Select “Relink all non-master clips to selected online items” to relink related subclips or
sequences to the highlighted clip in the bin.
4. Select “Allow relinking to source tapes with compatible rates.”
5. Click OK.
In an HD project, the SD clips in your sequence are now linked to HD media.
In an SD project, the HD clips in the your sequence are now linked to SD media.

Relinking by Resolution
You can relink to clips of a specific resolution.

n In an Avid Interplay environment, you can use dynamic relinking to easily switch between
resolutions. For more information, see “Using MultiRez and Dynamic Relinking” in the
Help.

To relink a clip by resolution:

1. Select the unlinked object or objects in the bin.
2. Select Clip > Relink.
The Relink dialog box opens.
3. Select Relink Method > Specific Resolution.
4. Select an option from the “Relink if quality” menu, as described in the following table.
When you select an option from the “Relink if quality” menu, the text of the Unlink
button changes, as shown in the following table. The button is selected by default.

“Relink if quality” Menu option Dependent option

Is greater than or equal to resolution Unlink lower quality media

Is equal to resolution Unlink media that is not resolution

Is less than or equal to resolution Unlink higher quality media

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5. Select the Unlink option.

If you are working in an offline resolution and want to capture in a higher resolution,
select Unlink to ensure that you recapture all the media at the higher resolution. You can
check for offline media in the Timeline by selecting Timeline Fast menu > Clip Color >
Offline, which displays offline clips in red.
6. Select a resolution from the Resolution menu.
The default resolution is determined by the current Media Creation setting for Capture.
See “Media Creation Settings” on page 709. If you select a different resolution in the
Relink dialog box, the Media Creation setting does not change.
7. Select other Relink options as described in “Relinking Media Files” on page 269.
8. Click OK.
The system searches the selected media drives, and relinks clips and sequences if
possible.

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. Select Clip > Relink.
The Relink dialog box opens.
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. Click the “Relink to media on volume” menu, and select an option:
t Select All Available Drives to search across all media drives that are online.
t Select a specific drive volume if you know the location of the media or if you want
to relink 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.

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Relinking Consolidated Clips

If the appropriate media exists online, you can reconnect consolidated clips, subclips, or
sequences to the new or old media files.

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 by 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 277.
2. Select Clip > Relink.
The Relink dialog box opens.
3. Select “Relink offline master clips to online media files” to relink master clips to media
files that share similar database information.
4. Click the “Relink to media on volume” menu, and select a specific drive volume that
contains the original media files.
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 captured
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.

For example, if you have a project that requires sharing work between two different sites,
you can capture 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.

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Unlinking Media Files

You 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. Ctrl+Shift+right-click the clips.
3. Select Unlink.
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 by 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 capturing the new
source material.

For example, if you are working with multicamera material, you can capture one reel,
duplicate the clips several times, unlink the duplicated clips, and rename their source tapes
to batch capture the remaining reels.

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 that you can reedit the sequence after you restore it.

n The archive to videotape process is not available with progressive media projects.

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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 then you
save the project files. For information about saving the project files, see “Backing Up Your
Project Information” in the Help. You can reconstruct your project with the archived files
and your source tapes.

n The media files experience generation loss when the media is archived and restored because
the target videotape format might include some compression.

The archiving process divides the archive into multiple archive sequences based on the
lengths of the available videotapes. 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
recaptured. However, the handles for transition effects are included in the archive file. The
final sequence can be linked to the recaptured media to recreate the project.

Each archived master clip is stamped with the archive tape name and archive timecodes
during the restore process. The original source information on the master clips remains
unchanged.

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Archiving Media Files

Before archiving your media files to videotape, you must stripe the record tapes (record
black and timecode for approximately 15 seconds after the bars and tone on the tape). For
information about preparing record tapes, see “Preparing Record Tapes” in the Help.

To archive a video project’s media files:

1. Set up the Digital Cut tool as follows:
a. Select Output > Digital Cut.
The Digital Cut tool opens.
b. Click the Deck Selection menu, and select a deck.
c. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified.
d. (Option) Select the Custom Preroll option, and select the number of seconds to
indicate how many seconds the tape will roll 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 appropriate duplicate sequences and clips to the Archive bin.
5. Select the clips and sequences to archive from the Archive bin by doing one of the
following:
t Select Edit > Select All to select all the clips and sequences in the bin.
t Ctrl+click (Windows) or Shift+click (Macintosh) to select specific clips or
sequences.

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6. Select Clip > Archive to Videotape.

The Archive to Videotape dialog box opens.

7. Select the appropriate options.

“Archive to Videotape Options” on page 281 describes the options listed in the Archive
to Videotape dialog box. You can display Help for the dialog box by pressing F1
(Windows) or the Help key (Macintosh).

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 opens.

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The Archive Length area displays the calculated length of time required for archiving
the media files. The archiving process might require more time than indicated because
individual clips are not divided between tapes.
9. Under 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.

n The archiving process uses the tapes in the order listed in the Tape Lengths dialog box. For
example, if you type 10 in the 120 Minutes text box and 5 in the 60 Minutes text box, when
you start the archive your Avid editing application prompts you for each of the ten 120-
minute tapes before using the five 60-minute tapes.

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 is 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. The tapes are requested in the order that
they appear in the Tape Lengths dialog box.
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 storage device. For more
information, see “Backing Up Your Project Information” in the Help.

After archiving 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 archiving of media files for
the selected sequences and clips.

To access the Archive to Videotape dialog box:

t Select Clip > Archive to Videotape.

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The following table describes the Archive to Videotape options.

Archive to Videotape Options

Option Description

Archive Name Type a name for the archive in the Archive Name text box. ProjectArchive is
the default name. The archive name is numbered incrementally beginning
with 001 to indicate the order of the tapes.

Start Timecode Type 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 [Link].
For Subclips and Sequences:

Use handles Select this option, and in the Handle Length text box type the number of
additional frames you want to archive at the heads and tails of the new master
clips. This option provides enough overlap for trimming and adding transition
effects.

Archive entire master clips Select this option if you want to archive entire master clips.
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.

Restoring an Archive from Videotape

Restoring an archive from videotape is similar to performing a batch capture. The archiving
process creates new master clips for sequences. During the restore process, 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 restoring an archive, any links to the original master clips are broken, and only the
sequence and its new master clips are linked to the newly captured media files.

To restore an archive from videotape:

1. Copy the project files to the Avid Projects folder.
For information about the location of the Avid Projects folder, see “Managing the Avid
Projects and Avid Users Folders” in the Help.
2. Open the project in your Avid editing application.
3. Open the archived bin.

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4. Select Tools > Capture, and set the following options in the Capture tool:
a. Click the Deck Selection menu, and select a deck.
b. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified.
c. Click the Res (Resolution) menu, and select a resolution.
d. Click the Target Drive menu, and select a drive volume.
e. Make sure the audio sample rate is set correctly. See “Selecting the Audio Sample
Rate” in the Help.

n For more information about setting up the Capture tool, see “Setting Up the Capture Tool”
in the Help.

5. Select the archived sequences, original sequences, and original clips.

n If you select only the archived sequences, the media is restored during the restore process,
but the 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 restore process. Repeating the restore
process relinks only the selected items to the new media files.

6. Select Clip > Restore from Videotape.

The Restore from Videotape dialog box opens.
7. (Option) If you are repeating the restore process, select “Restore only those items for
which media is currently unavailable.” Otherwise, deselect this option.
8. Click OK.
The Capture tool becomes the active window.
9. Follow the instructions displayed in the message boxes to complete the restore process.
Your Avid editing application recaptures the archived sequences and clips, and relinks
the selected clips and sequences to the new master clips.
10. Batch import any graphics and render all non-real-time effects. For information about
batch import, see “Reimporting Files” in the Help.

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Chapter 8
Script-Based Editing

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. The script-based
editing feature in your Avid editing application 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 topics provide information about working with script-based editing:
• 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
Chapter 8 Script-Based Editing

Lined Script Basics

The 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/2 33B/3 33C/1 33C/2

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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 example in “Lined Script Basics” on page 286:
• 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 — for example, in a sitcom shoot — 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 your Avid editing 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 — for example, by the assistant editor — using the notes of the continuity person.
The following is an example of the script shown in “Lined Script Basics” on page 286,
prepared and lined using script integration.

Toolbar
Slates

Takes tabs

Takes

Off-screen
indicator

Color indicator
Script mark

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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 are 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 captured by using methods described in
“Creating a New Project” in the Help.
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. The
assistant can also use the ScriptSync™ feature to automatically place script marks.
4. The editor uses the fully prepared Script window to edit the program.

Using Script Integration in Video Projects

Script integration is 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.

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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.

All possible B-roll shots are ready to be loaded

Narration track is synced to the script.
and cued. Color indicates preferred shots.

Music cuts
are linked to
appropriate
sections of
the script.

Script Window Basics

This 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 291. These
parameters can also be changed manually.

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 Script Window Basics

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. The Script menu
commands are described throughout this chapter.

To open the Script Settings dialog box:

t Double-click Script in the Settings list in the Project window.

See “Script Settings” on page 721 for a list of the Script Settings options.

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 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 is lost.

To import a new script:

1. Place the file in a directory that is available to your Avid editing system in one of the
following ways:
t Transport the file on removeable media, and copy it to your hard drive.
t Place the file in a network location that you can access from your Avid editing
system.
2. Click the Bins tab in the Project window of your Avid editing application.
The Bins list appears.
3. Select File > New Script.
The Open dialog box opens.

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4. Locate the file and double-click it, or select the file and click Open.
- A script bin appears in the Bins list in the Project window.
- The script, with its original layout, appears in the Script window.

5. Change the name of the script bin by clicking the title in the Bins list in the Project
window, and typing a new name.

Selecting Text Encoding for Scripts

You can specify the text encoding of the script. This ensures that diacritical marks and
multibyte character sets appear correctly in your script.

To select text encoding:

t Select Script > Text Encoding, and then select the text encoding for the script as
described in the following table.

Text Encoding Options

Option Description

None No encoding is specified; the system default is used. Select this option
when the text was created on a system with the same system character
set you are currently using. Use this option for non-Latin-based
encoding where UTF-8 was not used.

Mac (MacRoman) Select this option when the script was created on a Macintosh system
using the MacRoman character set. This is the default encoding on
Macintosh systems for plain text using the Latin character set.

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Text Encoding Options (Continued)

Option Description

PC (Latin-1) Select this option when the script was created on a Window-based
system using the Latin-1 character set. This is the default encoding on
Windows-based systems for plain text using the Latin character set.

UTF-8 Select this option when the script was created using the Unicode UTF-8
character set.

n Non-native characters might not display correctly even if they are encoded in UTF-8. Even
though the text is encoded correctly, the ability to display non-native characters is limited at
this time.

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 selecting File > Save Script.
• 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 selecting File > Save a Script Copy As.
• Script window files are saved in the project folder along with bins, and backup copies
are stored automatically in the Avid Attic folder.

n When you save a Script window, the saved file is given an .avc file name extension.

• You can select File > Open Bin to open existing Script window (.avc) files and add them
to the Other Bins folder in the Bins list in the Project window.
• You can select File > New Script to open a new script (.txt) file and add it to the Bins list
in the Project window.
• You can select File > Close to close Script windows.

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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 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 Page Up key to move one screen at a time.
• Press the Home or End key to move to the beginning or end of the script.
• Press the Up Arrow or 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 299.

Adjusting the Script Margins

You can resize a Script window at any time to show more script or to enlarge the right
margin by dragging 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. Select Script > Left Margin.
The Left Margin dialog box opens.
2. Type a new margin size (in pixels) in the text box, and click OK.
The Script window reflects the new setting.

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 Manipulating Script Text

Manipulating Script Text

After 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.

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. Select Edit > Set Font.
The Set Font dialog box opens.
2. Click the Font menu, and select a new font. The menu includes all fonts currently
installed in the system.
3. Type a new font size in 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 304.

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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.

Selected
lines are
highlighted

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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.

Lasso a portion of
script to select it.

Release the mouse button when you finish lassoing the selected lines. The text is
highlighted.
t Click the first line of the selection, and then Shift+click the last line. The entire block of
text is highlighted.
t Press Ctrl+A (Windows) or Command+A (Macintosh) to select all the text and takes.

n You can also extend a selection by pressing the Shift key and clicking a line of text preceding
or following the current selection.

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Cutting, Copying, and Pasting Script

You can cut, copy, and paste text in the script 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 operations in the Script window.

To cut or copy lines of script and then paste them:

1. Select the lines.
2. Select Edit > Cut or Edit > Copy.
3. Select the line below the location where you want to insert the text.
4. Select Edit > Paste.
If you selected only one line at the insertion point, a message box asks if you want to
replace the selected line.

n If you selected more than one line at the insertion point, no message box opens. When you
select Edit > Paste, 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.

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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. Select Edit > Cut.

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 Script

Script 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 page or scene
numbers, or you can conduct a full-text search.

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 321.

Using Page and Scene Numbers

When you add page and scene numbers to the Script window, you gain the ability to search
for them during preparation of the script and during editing. You can customize page and
scene numbering by adding, changing, and moving the numbers as necessary.

Adding a Page or Scene Number

To add a page or scene number:

1. Select the line of the script at the beginning of the scene or page.
2. Click the Add Scene or the Add Page button in the Script window toolbar, or select
Script > Add Scene or Script > Add Page.
A dialog box opens.

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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.

New page number

New scene
number

Scene/page
status bar

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
continues throughout the script until you mark another line as the beginning of a new
scene or page.

Changing a Page or Scene 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 page or scene number:

1. Select the beginning line of the scene or page.
2. Do one of the following:
t Click the Add Scene or Add Page button in the Script window toolbar.
t Select Script > Add Scene or Script > Add Page.
A dialog box opens.
3. Type a new number for the scene or page, and click OK.
4. If the renumbering affects page or scene numbers that precede or follow the current
change, then repeat these steps as necessary.

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Deleting a Page or Scene Number

To delete a page or scene number:

1. Select the first line of the scene or page.

n You can also delete all page or scene 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 opens.
3. Select the options for Delete scene(s) or Delete page break(s) as appropriate, and click
OK.
The numbering is deleted from the Script window.

Searching for a Page or Scene Number

Once you have added scene and page numbers, you can search for them quickly during
editing.

To search for a page or scene number:

1. Select Script > Go To Page or Script > Go To Scene.

n You can also click in the page or scene display in the status bar at the bottom of the Script
window.

The Go To Scene/Page dialog box opens.

2. Type the number of the scene or page, and click OK.
The Script window scrolls to the page or scene, 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, select Edit > Find.
The Find dialog box opens.
2. Type the text you are looking for.
3. Select one of the optional search parameters, when appropriate:
t If you do not want the search to be case sensitive, select Ignore Case.
t If you do not want the search to highlight instances where your text is part of
another word, select Whole Word.
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4. Click OK.
The first occurrence of the text is highlighted in the Script window.
5. Select Edit > Find Again to search for the next occurrence of the text.

Linking Clips to the Script

You can link clips to the script by hand, or you can use the ScriptSync feature to
automatically link clips to the script. For more information about ScriptSync, see “Marking
with ScriptSync” on page 316.

To 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.
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 224.
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.

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Drag a clip or several clips to

the highlighted text.

A slate frame appears above the text, with one or more of the takes covering the scene as
lines.

The slate
appears.

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.

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Interpolating Position for Script Integration

Interpolate 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 monitor. The position indicator in the Source 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 monitor.

To set Interpolate Position:

t Select Script > Interpolate Position.

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 291.

Manipulating Slates
Once 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.

n Selecting multiple slates is especially useful when you are adding or deleting color or off-
screen dialog indicators across takes, as described in “Manipulating Takes” on page 308.

Resizing Slates
You can resize the slates the same way you resize frames in the bin in Frame view.

To enlarge the slates:

t Select Edit > Enlarge Frame.

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To reduce the slates:

t Select Edit > Reduce Frame.

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 295.

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 will remain on screen as long
as the take lines to which it is linked remain on screen.

To hold slates on screen:

t Select Script > Hold Slates Onscreen.

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. For more information, see
“Script Settings Options” on page 291.

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
deselecting Show Frames in the Script Settings dialog box. See “Script Settings Options” on
page 291.

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To hide the slate frames:

t Select Script > Show Frames.
The check mark to left of the command is removed, indicating Show Frames is disabled.
The Script window shows only the clip names for the takes.

To restore the frames:

t Select Script > 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 Select Script > Show All Takes.
The check mark to left of the command is removed, indicating Show All Takes is
disabled.

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The Script window shows only the first take in each nonactive slate.

A single take
is shown.

To display all the takes:

t Select Script > 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 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 Command 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 311.

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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 captured 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 302.

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 opens.
3. Select Delete Takes, and click OK.
The slate and all its takes are deleted from the script.

Manipulating Takes
Script 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, indicating that the
take is active.
t Double-click any line in the take to select the take and load it into a monitor.
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.

n Selecting multiple takes is especially useful when you add or delete color or off-screen
dialog indicators. See “Using Color Indicators” on page 312 and “Indicating Off-Screen
Dialog” on page 311.

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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 region different from the
existing slate. See “Adjusting Take Lines” on page 311.

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 309.

To delete one or more takes:

1. Select the takes in the Script window.
2. Press the Delete key.
The Delete dialog box opens.
3. Select Delete Takes, and click OK.
The takes are deleted.

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Displaying Take Numbers

To display the take numbers in the tab of each take:
t Type the numbers in the Take column of the source bin for the clips.

Numbers in the Take column

appear in the tabs for each take.

Changing the Representative Frame for a Take

To change the representative frame that appears in the slate for a take:
1. Select 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 monitor:
t Double-click any Takes tab.

To load multiple takes into the Source monitor:

t Select multiple takes, and then double-click any take you selected.

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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 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 plays 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 Command 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 Command 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.

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.

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n You must select the range of the script that contains the off-screen dialog before enabling 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

To apply color to takes:

1. Select Script > Color > color.
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 enabling
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.

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Using Script Marks

Script marks allow you to synchronize individual lines of script with matching points in
captured 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 in several ways:

• One take at a time: see “Placing Script Marks Manually” on page 313.
• In a playback loop in real time: see “Using Real-Time Screening and Marking” on
page 315.
• Automatically using ScriptSync: “Marking with ScriptSync” on page 316.

Placing Script Marks Manually

To place script marks manually:
1. Map the Add Script Mark button from the Other tab in the Command palette to a
user-customizable palette or to the Keyboard palette.
2. Double-click in the Script window at the intersection of a take and the line of dialog that
you want to mark.

Intersection of
take and line
of dialog

The take is selected in the slate, the selected line of the dialog is highlighted, and the clip
loads into the Source monitor.

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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.
4. When the playback reaches the selected 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.

The script mark

appears.

5. Repeat these steps to add more script marks.

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Using Real-Time 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 real-time 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 monitor, and the clip begins to play.

Several takes
are selected for
automated playback.

Current playback is
highlighted in green.

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.

n You can scroll through the Script window without affecting playback.

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4. Continue to mark additional sync points using one of the following methods:
t Click a line that already contains a mark 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 is 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.

To stop the playback loop:

t Press the space bar.

Marking with ScriptSync

ScriptSync uses phonetic-indexing technology from Nexidia™ to analyze the audio portion
of a clip and match it to lines of the script text.

To add script marks with ScriptSync:

1. Select one or more takes that include audio.
2. Double-click any line in the take to select the take and load it into a monitor.

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3. Select Script > ScriptSync.

The ScriptSync dialog box opens.

4. Select options as described in the following table.

ScriptSync Options

Option Description

Language Select the language of your script (this setting is for both the audio and
the text).

n Depending on the language you select, the Acoustic model used by

Nexidia changes; the models are Broadcast and Telephony. Only one
model applies per language. Broadcast has a higher resolution and can
be more accurate than Telephony in some cases. The Broadcast model is
used for North American English, Dutch, Latin American Spanish, and
Modern Standard Arabic.

Tracks Select the audio tracks you want as input to ScriptSync.

Skip lines that only contain Select this option if lines that contain only all-capital letters are not part of the
CAPITAL letters spoken dialog. Dramatic scripts often use all-capital letters to identify the
speaker or for scene descriptions.

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ScriptSync Options (Continued)

Option Description

Skip text in parentheses ‘()’ or Select this option if parenthetical expressions in your script are not spoken.
brackets ‘[]’

Skip text before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For
example, select this option if your script uses the convention of placing a
character’s name before a colon when the character begins to speak.

Skip lines indented less than Select this option if action is indented less than dialog in your script. If you
dialog select this option, also type the number of characters that dialog is indented in
the Dialog Indent (characters) text box, or click the Select Dialog button, select
a line of dialog from the Script so the application can automatically infer the
correct number of characters, and then click OK.

Overwrite existing marks Select this option if the take you are syncing already contains script marks and
you want ScriptSync to update those marks.

Sync between first and last Select this option to restrict ScriptSync to analyze only the script between the
mark lines of text and the media specified by the first and last script marks in a take.
If there is only one mark in the take, ScriptSync analyzes the script from the
text and the media specified from the first mark to the end of the take and
media. This can be useful if there is non-dialog talking on the audio clip that
you want to exclude from the syncing process.

n If you select this option and the last script mark in the take is not at the
end of the take, ScriptSync operates only until the last mark in the text.

5. Click OK.
The syncing process starts. A thermometer tracks the progress.
6. (Option) Press Ctrl+. (period) to cancel the process after it has started.

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When ScriptSync finishes, your take includes a script mark for every line of text the
application found in the audio.

7. Check through the marks. If ScriptSync missed any, add them manually as described in
“Placing Script Marks Manually” on page 313.

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 Double-click the script mark at the line of dialog that you want to cue.
The take is loaded into the Source 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 to control playback.

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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.

To move a script mark:

1. Press the Ctrl key (Windows) or the Command 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 313.

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 opens.
3. Select Delete 1 mark(s), and click OK.
The mark is deleted.

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Finding Clips and Script

After 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.
Your Avid editing application 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

Using the Script window in combination with the Single Mark Editing feature, you can edit
in a highly streamlined manner. For information about the Single Mark Editing feature, see
the Help.

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.
• The Single Mark Editing option is selected in the Edit tab of the Composer Settings
dialog box. This option allows you to skip several steps by performing edits on-the-fly
while playing back clips (without marking OUT points). For more information, see
“Single-Mark Editing” in the Help.

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 to load it into the Source 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.
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.

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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.

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 is 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 are not loaded into the Script window. Instead, you can perform a video
mixdown and load the resulting master clips. For more information, see the Help.
• 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.

The Script window provides a visual, interactive look at the content of the original script
against the elements in the final piece.

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Sequences cannot be loaded into the Script window. Alternatively, you can perform a video
mixdown and load the resulting master clips instead. For more information, see “Performing
a Video Mixdown” in the Help.

All alternative takes are Matching colors indicate takes You can mix down alternative
available for viewing and used in the preferred cut as well cuts to form master clips and
comparing. as alternative cuts. place them next to the script.

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 Chapter 9
Viewing and Marking Footage:
Advanced

Before making your first edit, you can review your footage, add locators and comments to
clips, mark IN to OUT points, and 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.

The following topics describe advanced techniques for playing back, viewing, and
subcataloging clips:
• Displaying the Info Window
• Displaying Timecode in the Timecode Window
• Adjusting the Play Delay Offset
• Using the Tool Palette
• Playing Selected Clips in a Loop
• Using Locators

For basic information about viewing and marking footage, see “Viewing and Marking
Footage: Basics” in the Help or the Basics Guide for your Avid editing application.

Displaying the Info Window

The Info window displays statistical information about clips and sequences. You can open
the Info window from the Source monitor, the Record monitor, a pop-up monitor, a bin, or a
Script window. The Info window updates the information automatically.

You can cut, copy, and paste information from the Info window anytime, but you cannot edit
or change any information within the window.

n If no clip or sequence is loaded in the Source monitor or Record monitor, the Info window is
not available.
Chapter 9 Viewing and Marking Footage: Advanced

To display information from the Record monitor:

1. Do one of the following:
t Move the pointer to the gray area above the Overwrite button.
t Place the mouse pointer in the gray area to the right of the Clip icon.
2. Press and hold the mouse button.
The Info window opens. Only fields with data are displayed.
3. Drag the window to a new location to leave the window open.

To display information from the Source monitor:

1. Move the pointer to the gray area above the Splice-in button.
2. Press and hold the mouse button.
The Info window opens. Only fields with data are displayed.
3. Drag the window to a new location to leave it open.

To display information from a pop-up monitor:

1. Move the pointer to the left part of the top gray area.
2. Press and hold the mouse button.
The Info window opens. Only fields with data are displayed.
3. Drag the window to a new location to leave it open.

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To display information from a bin:

1. Do one of the following:
t Press and hold the mouse button over the Clip icon in the bin.
t Press Ctrl+Alt and click the clip for which you want to display information.
The Info window opens. Only fields with data are displayed.
2. Drag the window to a new location to leave it open.

For information on displaying clip or sequence information from the Script window, see
“Displaying Clip and Sequence Information in a Script Window” on page 294.

To copy text from the Info window:

1. Select the information you want to copy.
2. Press Ctrl+C (Windows) or Command+C (Macintosh) to copy the information.
3. Place and click the mouse pointer where you want to paste the information, and press
Ctrl+V (Windows) or Command+V (Macintosh).

Displaying Timecode in the Timecode Window

Each monitor has two lines available to display timecode as described in “Displaying
Tracking Information” in the Help. In addition, the Timecode window allows you to display
up to 48 lines of timecode in a separate window.

When you are working with a 24p or 25p project, you can display additional timecode
information in the Timecode window. The output format timecodes TC 24, TC 25, TC 25P,
and TC 30 are available from the Timecode menu, as are the source timecodes for clips and
subclips.

n You need to add the timecode track to the clip or sequence before the timecode tracking
formats appear in the Timecode menu. For more information, see Displaying Timecodes in a
24p or 25p Project.

When displaying TC 30 source or M 30 timecodes, the pulldown phase for NTSC reference
is displayed.

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To set a timecode display:

1. Select Tools > Timecode Window.
The Timecode window opens.
2. Click anywhere in the Timecode window, and select an option.

Timecode menu

The window displays the timecode you have chosen. The Timecode menu contains the
same options as the Tracking Information menu. For a description of the Timecode
options, see “Displaying Tracking Information” in the Help.
3. To add an additional line of timecode, click Add Line, then click the new line and select
an option.
4. To change the size of the font displayed in the Timecode window, select Size > font size.
5. Click the Close button to close the Timecode window.

Adjusting the Play Delay Offset

Your Avid editing application uses a combination of hardware to provide for full audio and
video playback capabilities. The use of an OHCI (Open Host Controller Interface) or a 1394
card to input and output DV signals along with the output to a computer’s desktop monitor
and consumer audio chip could present playback sync issues.

If you do have 1394 selected from the Device menu, the Desktop Play Delay option allows
you to adjust the offset between audio and video playback on the Avid system.

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 Using the Tool Palette

With a camera or transcoder connected to your system, when you play a sequence in the
Timeline and the Composer (desktop) monitor plays back video and audio ahead of the
camera or transcoder, you can adjust this offset. Playback on the Composer monitor can be
delayed by the number of frames chosen as an offset so that the video and audio play
simultaneously to the camera or transcoder and the Composer monitor.

To adjust the offset:

1. In the Project window, click the Settings tab.
The Settings list appears.
2. Double-click Video Display.
The Video Display Settings dialog box opens.
3. Click the Desktop Play Delay slider to increase or decrease the amount of frame offset.
You might need to readjust the frames a few times to find the correct offset.

Using the Tool Palette

The Tool palette provides additional buttons for editing and navigating with your Avid
editing application. The Tool palette buttons can appear with or without labels, and you can
“tear off” the Tool palette to display it in another screen location.

You can also map other functions and buttons to the Tool palette for easy access. See “Using
the Command Palette” on page 79.

To use the Tool palette:

1. Click the Fast Menu button in the Composer window or on a pop-up monitor.
The Tool palette opens.

2. Click a button in the Tool palette.

Your Avid editing application performs the function associated with the button.

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To leave the Tool palette open and move it to another location:

1. Click the Fast Menu button in the Composer window or on a pop-up monitor.
2. Click the location where you want the Tool palette to be displayed.

n If a subset of the buttons appears in the Tool palette, click the lower right corner and drag it
to the right and down to reveal the full Tool palette.

To view the names of the buttons in the Tool palette:

t Move the pointer over a button.
The name of the button appears in a ToolTip box.

To display labels on the Tool palette buttons:

1. In the Project window, double-click the Interface Setting.
The Interface Setting dialog box appears.
2. Select Show Labels in Tool Palette.
3. Click OK.
Labels appear on the buttons under the icons.

Playing Selected Clips in a Loop

You can view several clips one after another in a continuous loop by selecting Bin > Loop
Selected Clips. This feature is useful if you want to view several versions of the same scene.
While playing the loop, you can jump to the next clip by pressing the Tab key or jump to the
previous clip by pressing Shift+Tab.

To play several clips in a continuous loop:

1. Select the clips in the bin that you want to play in a loop.
2. Select Bin > Loop Selected Clips.
The clips begin playing in the Source monitor from the IN point to the OUT point.
3. Press the space bar to stop the play loop.

If you want to play the clips from start to end, press the Alt key (Windows) or the Option key
(Macintosh) while performing this procedure.

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Using Locators
Locators are a type of electronic bookmark. They allow you to find and identify specific
frames during editing. Keywords that you enter in the comments attached to a locator allow
you to use standard Find procedures to call up the clips quickly. You can display information
about the locators using the Locators window. For more information about the Locators
window, see “Using the Locators Window” on page 335.

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.

You can map Add Locator buttons, as described in “Understanding Button Mapping” on
page 80.

Ways to Use Locators

The following table describes some possible uses for locators and the Locators window:

Use Description

Color correction Use locators to mark clips or specify frames that require color correction,
notations noting the specific correction to perform if someone else does the job.

Visual track Use locators at matching points in synchronized audio and video tracks
alignments so that if the tracks lose sync, you can visually realign the locators in the
Timeline to restore sync. For more information on sync, see “Managing
Sync with Multiple Tracks” on page 353.

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 quickly
call up the shots using basic Find procedures.

Replace markers Use locators to mark filler segments with comments to identify the items
that should replace the filler.

Semi-permanent IN or Use locators with the Mark Locators button to put multiple sets of
OUT points locators on a long clip, and so on.

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Use Description

Add comments for Use locators to add comments to sequence clips to appear in lists that
EDLs you create, such as an EDL or cut list.

Viewing reviewer Use the Locators window to view reviewer comments and the specific
comments frame. See “Using the Locators Window” on page 335.

Print a list of reviewer Use the Locators window to print a list of changes or comments that you
comments can distribute to other people in the production. See “Using the Locators
Window” on page 335.

Import and export Import or export locators from one sequence or clip into another
locators sequence or clip. See “Exporting and Importing Locators” on page 338.

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.

Locator displayed
in the monitor, the
position bar, and
the Timeline

You can add locators to your source material while you are in an editing session, as
described in “Adding Locators While Editing” on page 332.

Adding Locators While Editing

To add locators and comments while in an editing session:
1. Load a clip or sequence.
2. (Option) Select a specific track by using the Track Selector panel.
See “Using the Track Selector Panel” in the Help.
3. Cue to the frame, and click an Add Locator button. The Add Locator buttons are in the
More tab of the Command palette.
The Locator edit entry window opens. The locator name, color, frame, and track
information appear.

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The following illustration shows the Locator edit entry window.

Comment area

Click to open the

Locators window.

n By default, the locator name is the user name logged onto your system. You can change this
by typing a new name in the Name text box.

4. Type your comments in the comment area of the Locator edit entry window.
5. Change the color from the Color menu or change the locator name.
6. To save your information, click OK, or press the Enter (Windows) or Return
(Macintosh) key.
The information is stored with the marked frame.
The locator oval appears in the Timeline, in the position bar, and at the bottom of the
frame in the monitor.

Finding Locators
To quickly go to a frame with a locator while editing:
t Search for a particular comment by selecting Edit > Find.

Editing Locator Information

You can open the Locator edit entry window directly from a monitor, from the position
indicator bar, or from the Locators window. In the Locator edit entry window, you can
change the color of a locator, the locator name, or the text of the comment associated with a
locator.

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To edit Locator information in the Locator edit entry window:

1. Do one of the following:
t Click the oval Locator icon in the Source or Record monitor.
t Double-click the locator in the position indicator bar.
t In the Locators window, right-click (Windows) or Ctrl+Shift+click (Macintosh) a
locator item, and then select Edit Locator.
The Locator edit entry window opens.
2. Do one or more of the following:
t Select from the Color menu to change the color of the Locator icon.
t Type a new locator name.
t Enter new text or update the current text comment.
3. Click OK.

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 tab of the Project window.
The Composer Settings dialog box opens.
2. Click the Edit tab.
3. Select Copy Source Locators.
4. Click OK.

Marking an Area Using Locators

You can mark the area between two locators by using the Mark Locator button.

To mark the area between two locators:

1. Move the position indicator between two locators.
2. Click the Mark Locators button in the Edit tab of the Command palette.
The area between the two locators is selected.

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Moving to the Previous or Next Locator

You can move to a frame marked by a locator by using the Go to Previous Locator button or
the Go to Next Locator button.

To move to the previous locator:

t Click the Go to Previous Locator button in the Move tab of the Command palette.

To move to the next locator:

t Click the Go to Next Locator button in the Move tab of the Command palette.

Deleting Locators
You can delete locators using the Delete key, or the Locators window.

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.

n To delete locators using the Locators window, see “Working in the Locators Window” on
page 336.

Using the Locators Window

The Locators window allows you to quickly add comments, go to locator marks, copy and
paste locators, export and import locators, 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.

You can use the Locators window to:

• Go to the locator in the sequence or clip.
• Find frame, timecode, and footage information about each locator.
• Modify and sort the display.
• Display frames for easy visual reference.
• Change the color of the Locator icons.
• Delete a single locator or multiple locators.
• Export locators to send out as a review and approval file.
• Print the Locators window.
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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.
• Copy and paste locators from one clip or sequence to another.

The following illustration shows a Locators window with three locators.

Viewing Locators in the Locators Window

To view locators in the Locators window:

1. Load the sequence containing the locators.
2. Do one of the following:
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Source or Record
monitor and select Locators.
t Select Tools > Locators.

n The Locators window is monitor specific. If you have selected the Source monitor, the
Locators window displays the locators for the clip in the Source monitor. If you have
selected the Record monitor, the Locators window displays the locators for the sequence in
the Record monitor.

Working in the Locators Window

The following table describes a number of basic procedures that you can perform while in
the Locators window, allowing you to select locators, go to the frame marked by a locator,
display locator frames or additional information, sort locators, change locator column
widths, change locator colors, and delete locators.

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Using the Locators window, you can also:

• Export and import locators. For more information, see “Exporting and Importing
Locators” on page 338.
• Copy and paste locators. For more information, see “Copying and Pasting Locators
Using the Locators Window” on page 339.
• Print the contents of the Locators window. For more information, see “Printing the
Contents of the Locators Window” on page 341.

Task Procedure

To select a locator item: t Click anywhere in the locator item’s row except in the Comment
column.

To browse through the list of t Press the Up Arrow and Down Arrow keys.
locator items:

To go to the frame marked by a t Do one of the following:

locator item:
Double-click the locator in the Locators window.
Right-click (Windows) or Ctrl+Shift+click (Macintosh) the locator,
and select Jump to Locator.

To display the frame associated t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select
with a locator: Show Images.

To display a timecode column, a t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select

footage column, or a frame Display > Frame Number, Timecode, or Footage.
number column in the Locators
window:

To display XML and Trigger t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select
columns: Show MetaSync.

To sort locators: 1. Click the heading of the column that you want to sort.
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select
Sort Column (to sort in ascending order) or Reverse Sort Column (to
sort in descending order).

To change column widths: 1. Click the heading of the column that you want to resize.
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select
Enlarge Column or Reduce Column.

To change the color of a Locator t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the locator
icon: icon, select Change Locator Color, and select a color.

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Task Procedure

To delete locators: 1. Click a locator item, or Ctrl+click (Windows) or Shift+click

(Macintosh) multiple locator items.
2. Press the Delete key.

Exporting and Importing Locators

You can export locators from a sequence or a clip. A text (.txt) file is created when you
export the locator and a tab-delimited file displays all the information about the locator. You
can then send the text file to those who need to review and give feedback about the sequence
or clip. They can place additional comments in the text file and send it back for you to
reimport the locator comments back into your sequence.

n You can also import the text file into a spreadsheet program, such as Excel.

You can also use the Locators window to import locators back into your sequence.

For information about creating or editing a locators text file, see “Creating a Locator Text
(.txt) File” on page 339.

To export locators:
1. From the Locators window, right-click (Windows) or Ctrl+Shift+click (Macintosh) and
select Export Locators.
A dialog box opens, asking if you want to export only the selected locators or export all
locators.
2. Click All or Selected.
The Choose location for Exported Locators dialog box opens.
3. Type a file name and click Save.
The locator is saved as a text file (.txt).

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To import locators.
1. With a sequence loaded in the Record monitor, right-click (Windows) or
Ctrl+Shift+click (Macintosh) and select Locators.
2. From the Locators window, right-click (Windows) or Ctrl+Shift+click (Macintosh) and
select Import Locators.
The Import dialog box opens.
3. Select the tab-delimited file containing the locators you want to import, and then click
Open.

n Another way to import a locator file is to select the tab-delimited locator file and drag it into
the Locators window.

Creating a Locator Text (.txt) File

You can create a Locator text file if you don’t have access to an Avid system. This allows
you to make timecode-specific comments offline and give them to an editor to import into a
sequence. The Locator text file is a tab-delimited file which must be created with certain
parameters. This file can be edited in a text editor application or in a spreadsheet program.
The Locator text file can be exported from or imported into the Locators window. See
“Exporting and Importing Locators” on page 338.

To add comments or information into the Locator text file:

t Type each line of the file using the following syntax:
Name<tab>Frame<tab>Track<tab>Color<tab>Comment
- These fields are required and must be in the order specified.
- Enter the color names as follows: red, green, blue, cyan, magenta,
yellow, black, white
- Enter the track names as follows: V1, V2, V3, etc, A1, A2, TC1
The following lines are examples:
John<tab>203<tab>V1<tab>red<tab>Correct tint
Mary<tab>354<tab>A1<tab>blue<tab>Add voice-over

Copying and Pasting Locators Using the Locators Window

You can use the Locators window to copy a single locator or multiple locators and then paste
them into another clip or a sequence. The copied locator is placed in the same frame position
when it is pasted into the new clip. If the frame position does not exist in the new clip, then
the paste does not occur.

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To copy locators from a clip and paste them into a new clip using the Locators
window:
1. Select the locators in 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. Do one of the following:
t Select Edit > Copy.
t Press Ctrl+C (Windows) or k+C (Macintosh).
3. Load a new clip in the Source monitor.
4. Click the Locator window and do one of the following:
t Select Edit > Paste.
t Press Ctrl+V (Windows) or k+V (Macintosh).
The locator is pasted into the new clip.

To copy locators from a clip and paste them into a sequence using the Locators
window:
1. Select the locators in 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. Do one of the following:
t Select Edit > Copy.
t Press Ctrl+C (Windows) or k+C (Macintosh).
3. Load a sequence into the Record monitor or into the Timeline.
4. Click the Locator window and do one of the following:
t Select Edit > Paste.
t Press Ctrl+V (Windows) or k+V (Macintosh).
The locator is pasted into the sequence.

You can also use a text editor to cut and paste locators in the Locators window. This allows
you to move locators easily between clips, sequences, tracks, or different users on your
system.

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To copy and paste locators using the Locators window and a text editor:
1. Select the locators in 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. Do one of the following:
t Select Edit > Copy.
t Press Ctrl+C (Windows) or k+C (Macintosh).
3. Open a text editor application, and paste the selection into the document.
The locator information displays in the text document.

Timecode, clip data, color, locator identification, and comments are all associated with a
locator entry. You can edit the entries before pasting them into a new clip or sequence using
the Locators window, or you can save the locator information as a text file and distribute it as
needed.

Printing the Contents of the Locators Window

You can print the complete contents or the current view of the Locators window.

n If you select Show Images to display the frame associated with each locator and you want to
print the frames, you must use the procedure for printing the current view of the Locators
window. Printing the complete contents does not print the frames.

To print the current view of the Locators window:

1. Make sure your printer is correctly set up.
2. Expand the view of the Locators window to display the information you want to print.
3. Select File > Page Setup.
The Page Setup dialog box opens, reflecting the specific options for your printer.
4. Select the Page Setup options.
5. Click OK.
6. Select File > Print.
The Print dialog box opens, reflecting the specific options for your printer.
7. Select the Print options.
8. Click OK (Windows) or Print (Macintosh).
The system prints the current view of locator information.

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To print the complete contents of the Locators window:

1. Make sure your printer is correctly set up.
2. Click the Locators window to make it active.
3. Press Ctrl+Alt+P (Windows) or Command+Option+P (Macintosh) to place the locator
information in the Console window.
4. Select Tools > Console.
The Console window opens.
5. Select File > Page Setup.
The Page Setup dialog box opens, reflecting the specific options for your printer.
6. Select the Page Setup options.
7. Click OK.
8. Select File > Print.
The Print dialog box opens, reflecting the specific options for your printer.
9. Select the Print options.
10. Click OK (Windows) or Print (Macintosh).
The system prints the locator information displayed the Console window.

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Chapter 10
Creating and Editing Sequences:
Advanced

After you have viewed and marked your clips or created subclips, you are ready to create a
sequence.

The following topics describe advanced procedures that you use when creating and editing
sequences:
• User Preferences for Creating Tracks
• Using Phantom Marks
• Adding Comments to Sequence Clips
• Playback Performance Tips
• Playing a Limited Duration of a Sequence
• Autosyncing Clips
• Using the AutoSequence Command
• Resyncing Subframe Audio
• Managing Sync with Multiple Tracks
• Ganging Footage in Monitors
• Using Sync Point Editing
• Synchronizing Metadata Using MetaSync

For basic information about editing, see “Creating and Editing Sequences: Basics” in the
Basics Guide for your Avid editing application.

For information on editing with remote assets in an Avid Interplay environment, including
editing with in-progress clips captured using Frame Chase capture capabilities, see “Editing
with Remote Assets” in the Help.
Chapter 10 Creating and Editing Sequences: Advanced

User Preferences for Creating Tracks

Your Avid editing application provides two options in the Edit tab of the Composer Settings
dialog box that help automate the way tracks are created and enabled as you edit. You can
adjust these settings in advance, based on personal preference.

For information on opening and changing settings, see “Using the Settings List” in the Help.

The default settings are:

• Auto-create New Tracks: Whenever you edit new source material from the Source
monitor, the system automatically creates any new tracks in the sequence that match
enabled tracks on the source side.
• Auto-enable Source Tracks: Whenever you load new source material into the Source
monitor, the system automatically enables all existing source tracks.

Alternatively, you can do the following:

• Deselect the Auto-create New Tracks option to have the existing tracks in the sequence
remain the same when you edit in new source material. This allows you to create new
tracks selectively as you edit, which is often preferable at the more advanced stages of a
project.
• Deselect the Auto-enable Source Tracks option to leave the tracks of newly loaded
material in whatever state they were in when they were last loaded. This allows you to
turn on the source tracks more selectively as you edit, which is often preferable at the
more advanced stages of a project.

Using Phantom Marks

Phantom marks provide visual guidance when editing according to the three-mark rules. For
information on editing using three marks, see “Editing Additional Clips into the Sequence”
in the Help.

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 Using Phantom Marks

To enable phantom marks:

1. Double-click Composer in the Settings list of the Project window.
The Composer Settings dialog box opens.
2. Select the Phantom Marks option in the Edit tab.
3. Click OK.

When you enable phantom marks, the system displays blue mark IN or mark OUT icons in
the position bars below both the Source monitor and the Record monitor. These phantom
marks can indicate one, two, or sometimes three edit points calculated by the system to
complete an edit. The following are sample scenarios.

Setting One Mark

In this example, you set only the mark IN on the source side. By default, the system uses the
location of the position indicator as the mark IN for the sequence and calculates both OUT
points based on the length of the source clip.

One mark IN Three phantom marks

You can see the system calculations instantly and can make the edit after setting just one
mark, when appropriate.

Adding a Second Mark

If you decide that a mark OUT is required — to shorten the source clip, for example — then
the system recalculates and displays new phantom marks.

Additional mark OUT New phantom marks

Phantom marks can help you see the results of marks you set before you complete the edit
and are especially useful when doing Sync Point Editing or other complicated replace edits
in which two or more marks are calculated automatically.

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Adding Comments to Sequence Clips

You can add comments to sequence clips. These comments also appear in the Timeline or in
lists that you create, such as an EDL or a cut list. Comments can include instructions for
color correction or for adjusting an effect.

To add comments to the clips in a sequence:

1. Click one of the Segment Mode buttons (located below the Timeline), and highlight the
clip to which you want to add a comment in the Timeline.

2. Click the Clip Name menu above the monitor, and select Add Comments.
The Comments dialog box opens.
3. Type your comments in the text box, and click OK.
4. Click one of the Segment Mode buttons again to leave Segment mode.

To display comments in the Timeline:

t Click the Timeline Fast menu button, and select Clip Text.

Playback Performance Tips

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 system memory 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 49. If this number is large, 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 Unmounting
Drives” in the Help. You can remount the drives at any time by selecting File >
Mount All.
• When displaying real-time effects, adjust the video quality as described in “Optimizing
Your Playback Performance” in the Help.
• 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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Playing a Limited Duration of a Sequence

Long sequences with many effects can be time-consuming to work with in the Timeline.
Working with a shorter sequence can save time. The Play Length Toggle feature allows you
to switch between playing the entire sequence and playing a limited duration centered
around the current position of the sequence. When you use the Play Length Toggle feature,
the Play button and Play Length Toggle button change to white.

To play a limited duration of a sequence:

1. Map the Play Length Toggle button from the Play tab of the Command palette, for
example, to a monitor toolbar button.
For information about mapping buttons, see “Understanding Button Mapping” on
page 80.
2. Move the position indicator to the location where you want to start playing the
sequence.
3. Click the Play Length Toggle button.
The Play button and the Play Length Toggle button change to white, indicating the Play
Length Toggle feature is active.
4. Click the Play button.
The sequence plays for the default Play Length, which is 1 minute.
5. To set the Play Length back to play the entire sequence, click the Play Length Toggle
button again.

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Autosyncing Clips
When you capture footage that includes both audio and video, your Avid editing application
automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio
and video clips that are captured 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 captured simultaneously.

Sync break displayed in

the Timeline

n For more information on tracking sync breaks, see “Displaying Sync Breaks” in the Help.

Understanding Autosyncing
Autosyncing is often used for 24p and 25p projects in which picture and sound were
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 a user-defined IN point or OUT
point relationship that you establish with marks. For example, you can use the slate as a
common visual and audio reference for autosyncing the clips.

Use the following guidelines when autosyncing:

• You can autosync audio clips with video clips only. To link two or more video clips or
audio clips, use the Grouping option described in “Understanding Grouping and
Multigrouping Clips” on page 589.
• 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. When you autosync using this method, the whole clip is
taken into the subclip.
• If you are autosyncing clips of different lengths, the longer clip is truncated to the length
of the shorter clip; video clips override audio clips.
• 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.

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Creating an Autosynced Subclip

To create an autosynced subclip:
1. Highlight the two clips in the bin.
2. Select Bin > AutoSync.
The Sync Selection dialog box opens.
3. Select an option, based on the following:
- Film TC/Sound TC, if you are syncing clips with matching film and sound
timecode recorded in the field. This option appears dimmed if you are not working
on a 24p or 25p project.
- 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. Select an Auxiliary TC, 1 through 5, from the menu.
4. Click OK.
The subclip is created and named by default after the video clip with the file name
extension .sync.n, where n is the incremental number of subclips created with the same
name.

You can change the name according to preference. You can load an autosynced subclip into
the Source monitor and immediately edit it into a sequence.

Using the AutoSequence Command

AutoSequence is used with 24p and 25p projects in which picture and sound are captured
separately. AutoSequence allows you to add audio to the original videotape if it was
transferred without sound.

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Understanding AutoSequence
You can use the AutoSync command to create synchronized subclips of the video and audio.
You can then use AutoSequence to build a sequence with timecode that matches your
original videotape.

n For information and procedures for Autosync, see “Autosyncing Clips” on page 348.

To establish syncing with the original videotape, filler is added where gaps in audio exist in
the sequence. After you finish editing the audio, use the Digital Cut command to output only
the audio onto the original videotape. The videotape now has synchronized audio and video
for viewing.

If you do not use AutoSync and the video clip timecode does not match the audio clip
timecode, you should select only video clips when you use AutoSequence. You can then add
audio to the sequence and sync the audio with the video by using the Splice-in and
Overwrite functions.

Use the following guidelines when creating a synchronized sequence:

• Your original videotape must have continuous timecode.
• Use only master clips, subclips, autosynced subclips, and/or group clips to create the
synchronized sequence.
• If you select two unrelated clips with overlapping timecodes, a message box indicates
you cannot do this operation. If the clips are related (for example, one clip is a subclip of
the other master clip), then one of the clips is selected automatically.
• Any points in the clips are removed and ignored. A message box opens, providing you
with a choice to continue and remove the points or to cancel the operation.
• Synchronized sequences are named from the Tape Name column.

Adding Audio to Original Videotape Using AutoSequence

To add audio to your original videotape:
1. Create synchronized subclips from the videotape’s master clips and your audio clips by
using the AutoSync command.
2. Open the bins that contain the autosynced subclips.
3. Select the subclips that you want to include in the sequence.
4. Select Bin > AutoSequence.
A synchronized sequence is created that contains the clips you selected.
The new sequence appears in the Record monitor and in the Timeline. The sequence is
also placed in the bin with the same name as the videotape.
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5. Edit the audio tracks.

6. Record a digital cut of the audio directly onto the original videotape when you finish
editing the sequence.

c Make sure the video tracks are not enabled when you begin recording a digital cut.

n You can build a sequence without filler by pressing and holding the Alt key (Windows) or
Option key (Macintosh) while you select Bin > AutoSequence.

Resyncing Subframe Audio

When you are working with a 24p or 25p project (35mm, 4-perf or 35mm, 3-perf only), you
can adjust the sync between the audio and video portions of subclips at the subframe or
perforation level (1/4-frame adjustments for 4-perf and 1/3-frame adjustment for 3-perf) for
more exact sync.

Understanding Subframe Resyncing

When you perform a subframe resync, you can obtain a closer relationship between audio
samples and film frames than the relationship established in the film-to-tape transfer
process. For example, when a film lab punches the correct clapsticks frame to match the
audio clap, during telecine transfer, the process of aligning the sync points is inexact. As a
result, true sync might be off by one or more perforations.

The following conditions apply to resyncing at the perforation level:

• You can adjust the sync between a single video and a single audio track within subclips
only. Use the subclips created:
- When you autosync
- Manually from master clips in preparation for editing
- From an imported shot log
- During capturing
- From imported audio media (OMFI, AIFF-C, or WAVE format), master clips
generated by AudioSuite plug-ins, or tone generator media
• You cannot slip at the perforation level of the imported QuickTime audio media.
• You cannot slip at the perforation level of the audio clips from Media Composer
Adrenaline. You must import the audio media as a new clip.

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n The batch import process does not create new clips; therefore, slipping at the perforation
level is not available when you batch import audio clips from Avid application versions
earlier than v10.5.3.

• You cannot slip beyond the duration boundaries of the source master clip.
• The sync adjustments you make are referenced in any cut list you output for any
sequence that uses the adjusted subclip.
• The number of perfs you slip appears in the Slip column of the project bin when the Slip
heading is selected for display in the bin.

Resyncing Audio for a Selected Subclip

To resync audio for a selected subclip:
1. Load the subclip into the Source monitor.
2. Use one of the audio scrub techniques described in “Using Audio Scrub” in the Help to
locate the closing slate frame.
3. Turn on the Audio Waveform display by clicking the Timeline Fast Menu button and
selecting Audio Data > Energy Plot or Sample Plot.
4. Click the Toggle Source/Record in Timeline button in the Timeline toolbar to display a
Timeline for the subclip.
5. Zoom in on the area of the subclip that contains the audio slate frame as follows:
a. Click the Timeline Fast Menu button, and select Zoom In.
b. Draw a box around the slate-frame area.
6. Move the audio sync either backward or forward in 1-perf increments by clicking the
Slip Left One Perf or Slip Right One Perf button.
Each click of the perf button performs the sync adjustment.
7. Play the subclip in the Source monitor to evaluate your sync adjustment. Repeat the
steps above to further adjust the sync, up to eight perfs in either direction.

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8. Use the resynced clip to edit into the sequence.

n If you find a subframe sync problem within an edited sequence, be sure to correct the audio
sync in the original subclip used in the edit. The sequence is then updated. For sync
problems with 16mm format, the telecine facility must correct the problem.

Move the black

segment using
Extract/Splice-in.

Managing Suncy

Managing Sync with Multiple Tracks

Displaying 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. The techniques include using the Sync Lock feature, syncing with tail
leader, syncing with locators, and using add edits

Using Sync Lock

The Sync Lock feature allows you to maintain sync among several tracks while adding,
moving, trimming, or removing material 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.

Sync Lock icon

Sync Lock All button

You activate sync locking by clicking a 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.

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There are several unique aspects to sync locking:

• In Segment mode, sync locking is controlled by the Segment Drag Sync Locks option in
the Edit tab of the Timeline Settings dialog box and the Sync Lock icons in the
Timeline. For more information on sync locking tracks in Segment mode, see
“Maintaining Sync in Segment Mode” in the Help.
• In Trim mode, sync locking applies only to single-roller trims because dual-roller trims
do not break sync. For more information on sync locking tracks in Trim mode, see
“Maintaining Sync While Trimming” on page 386.
• 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 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 249.

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.

Tail leaders out of sync

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To eliminate a sync break when the leaders do not line up:

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.

Mark Clip allows you to

measure the break.

3. Find the point at which the sync was lost.

4. Add or remove frames by using the appropriate edit function, as described in “Fixing
Sync Breaks” in the Help.
As a quick fix, you can enter Segment mode by clicking the Extract/Splice-in (yellow arrow)
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.

Move the black

segment using
Extract/Splice-in.

Syncing with Locators

Like tail leaders, you can add locators to material in the Timeline to track and adjust breaks
in sync between any number of tracks. You can place locators anywhere in the sequence and
you can add specific notes.

For more information on using locators, see “Using Locators” on page 331.

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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 all tracks where you want the locators to appear.
3. Click an Add Locator button.
The system adds a locator to the enabled tracks in the Timeline and in the Record
monitor.

Locators in sync

Focus button

To add a note that appears in the Record monitor whenever you park on the locator
frame (such as Music sync or Sound Effect sync):
1. Double-click the locator in the Record monitor.
2. Type your comments in the comment entry area of the Locator window.

To determine if sync is broken after an edit:

t Return to the segment that contains the locators and click the Focus button.
If the locators are not lined up, the sync is broken.

You can use the Find procedure to go to a locator quickly with text. For more information,
see “Finding Frames, Clips, and Bins” in the Help.

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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.

To restore sync:
1. Find the point at which the sync was lost.
2. Add or remove frames by using the appropriate edit function, as described in “Fixing
Sync Breaks” in the Help.

Using Add Edit When Trimming

When trimming with several audio tracks in sync, you can use the Add Edit button 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.

n You can also add an edit to filler. For more information, see “Adding Edits to Filler Clips”
on page 373.

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.
The system adds a transition at the location of your position indicator in the Timeline.

Add edits in black

3. Select the transition and trim (be sure to select all the synced tracks).
As you trim, frames are added or removed from the additional tracks as well.
4. When you are finished trimming, remove the add edits from the sync tracks by selecting
Clip > Remove Match Frame Edits.

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Ganging Footage in Monitors

The Gang function does not combine tracks into a synced relationship but locks monitors in
sync so that you can move through footage in two or more monitors simultaneously. This
function is convenient for viewing and marking the sequence and source material
simultaneously, based on syncing of the position indicators in each monitor.

You can gang the Source monitor and any number of pop-up monitors with the Record
monitor. For instance, before editing them into a sequence, you can gang a music track in a
pop-up monitor, source footage in the Source monitor, and a sequence in the Record
monitor. Then you can view the footage, adjust the sync points, and mark them before
completing the edit.

To gang footage in monitors:

1. Load a sequence into the Record monitor.
2. Load one or more clips into the Source monitor and pop-up monitors.
3. Click the Gang button for each monitor that you want to synchronize (the Record
monitor is always ganged).
The button changes to green when the function is enabled.

n The Gang button appears by default in the second row of buttons below the monitors and in
the second row of information above the Source and Record monitors.

4. View the footage in any of the monitors using standard playback methods.
As you move through footage in one monitor, the footage in all other monitors freezes.
The footage is updated when the play stops. Simultaneous full-motion playback is not
possible, although sync is maintained at all times.

Using Sync Point Editing

Sync Point editing allows you to overwrite material onto your sequence in such a way that a
particular point in the source material is in sync with a particular point in the sequence. For
example, you can sync an action in the source video with an audio event, such as a musical
beat in the Record monitor, and then edit it so that the action occurs on the beat.

Like a replace edit, Sync Point editing uses the relative location of the position indicator in
both the source and record material as the sync point. Sync Point editing, however,
determines the duration of the new edit according to marks that you set, as opposed to a
replace edit, which uses the head-to-tail frame duration already established in the Timeline.
You can apply these marks across multiple tracks when marking a sequence. This allows you
to add overlap cuts.
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 Using Sync Point Editing

Sync Point Editing requires two pieces of information:

• Sync points: These are the points where the synchronized relationship between the
source and record material is established.
• Duration of the relationship: This is determined by the positions of the head and tail
frames (and sometimes by the position indicator). Both marks are in one monitor, or one
mark is in one monitor and the other mark is in the other monitor. The duration of the
material being edited into the sequence is sufficient for the size of the edit.

To perform a sync point edit:

1. Load a clip or sequence into the Source monitor.
2. Load a sequence into the Record monitor.
3. Mark the material in one of the following ways:
t Mark the IN and OUT points in either the Source or Record monitor, leaving the
opposite monitor clear of marks.
t Mark an IN or OUT point in the Source monitor, or an IN or OUT point in the
Record monitor. For example, if you marked an IN point in the Source monitor,
mark the OUT point in the Record monitor.
4. Move the source position indicator to the sync frame in the clip. This establishes the
source sync point.
5. Move the record position indicator to the sync frame in the sequence.
6. Select Sync Point Editing (Overwrites) in the Edit tab of the Composer Settings dialog
box or select Special > Sync Point Editing.
The orange mark on the Overwrite button signals Sync Point Editing is active.
7. Select the source and record tracks for this edit. Click the Overwrite button.
The sync point edit is completed.

To turn off Sync Point Editing, do one of the following:

t Deselect Sync Point Editing (Overwrites) in the Edit tab of the Composer Settings
dialog box.
t Deselect Special > Sync Point Editing.

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Synchronizing Metadata Using MetaSync

Avid MetaSync gives editors the tools to synchronize metadata with traditional video and
audio content. With MetaSync, you can insert pointers to metadata directly into the Timeline
and easily modify the timing and duration of the enhanced material. The metadata, in turn,
point to additional content, such as files from a scriptwriting program, closed captioning,
HTML files, database records, machine controls, or remote commands. Other applications
can then process this additional content for final production and distribution, opening new
opportunities for content creation in the emerging areas of ITV (interactive television),
DVD, broadband, and converging media.

For more information, see “MetaSync Overview” in the Help.

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Using the Timeline: Advanced

Your Avid editing application represents each edit and effect in a graphical timeline structure
to help you track and manipulate the elements of your sequence. The Timeline continuously
updates as you work, displaying an extensive array of icons and information that you can
customize in various ways. 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 following topics provide advanced information on using the Timeline:

• Timeline Views: Advanced
• Navigating in the Timeline: Advanced
• Using Advanced Timeline Techniques
• Adding an Edit (Match Framing)
• Detecting Duplicate Frames
• Adjusting Handle Length in Dupe Detection
• Tracking Color Frame Shifts
• Finding Black Holes and Flash Frames
• Printing the Timeline

For basic information about the timeline, see “Using the Timeline: Basics” in the Help or the
Basics Guide for your Avid editing application.
Chapter 11 Using the Timeline: Advanced

Timeline Views: Advanced

You can customize your view of the Timeline to display a variety of information about your
sequences and clips. This allows you to set up a Timeline view that works more efficiently
for you.

Displaying the Timeline Top Toolbar

You can display a top toolbar in the Timeline for easy access to editing buttons. You can also
map additional buttons to the Timeline top toolbar. For information about mapping buttons,
see “Mapping User-Selectable Buttons” on page 81.

You can choose to show or hide the Timeline top toolbar.

To show the Timeline top toolbar:

1. In the Project window, double-click the Timeline Setting.
The Timeline Settings dialog box opens.
2. Select Show Toolbar in the Display tab.
3. Click OK.

To hide the Timeline top toolbar:

t Deselect Show Toolbar, and then click OK.

Displaying Timecode Tracks in the Timeline

When you are working with 24p or 25p projects (PAL with pulldown), you can display
separate tracks for 24, 25, 25P, and 30 timecodes in the Timeline. You can also display an
edgecode track in the Timeline. By default, the Timeline displays all the tracks. You can hide
the timecode tracks by deselecting them in the Show Track submenu of the Timeline
Fast menu.

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To customize the tracks to be displayed in the Timeline:

t Click the Timeline Fast Menu button, and select Show Track > tracks.

n The TC1 track represents the timecode of the project in which you are working. For example,
when you are working in a 24p NTSC project, the TC1 track displays the same timecode as
the TC30 track.

Assigning Local Colors to Clips in the Timeline

You can assign local colors to clips in the Timeline to indicate clips that should be grouped
together.

To assign a local clip color:

1. Click one of the Segment Mode buttons, and select a clip.

2. Click the Timeline Fast Menu button, and select Clip Color > Local.

A check mark indicates that Local is active.

3. Select Edit > Set Local Clip Color > color.
4. Click the Segment button.
The assigned local color appears in the clip in the Timeline.
For information on how to assign colors to mixed-format clips in the Timeline, see
“Highlighting Clips in a Mixed-Format Timeline” in the Help.

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Displaying Local and Source Colors in the Timeline

You can display source colors and local colors for clips in the Timeline. Source colors are
assigned to clips in bins and local colors are assigned to clips in the Timeline. By default, the
Timeline is set to display no colors.

n Displaying source colors and local colors overrides any track color assigned from the
Timeline Fast menu.

To display source colors in the Timeline:

t Click the Timeline Fast Menu button, and select Clip Color > Source.
The source colors assigned to clips in the bin appear in the Timeline.

n Clip colors assigned to sequences, groups, motion effects, and title clips do not appear as
source colors in the Timeline.

To display local colors in the Timeline:

t Click the Timeline Fast Menu button, and select Clip Color > Local.
The local colors assigned to clips appear in the Timeline.

n If both Source and Local are selected in the Clip Color submenu, the local color overrides
the source color.

Changing the Timeline Background Color

To change the background color of the Timeline:
1. Deselect all the tracks in the Timeline.
2. Click the Timeline Fast Menu button, and select Background Color > color.

n The Background Color command appears only when all tracks are deselected.

Changing the Timeline Track Color

To change the color of the selected tracks in the Timeline:
1. Click in the Timeline to activate it.
2. Select the tracks whose color you want to change.
3. Click the Timeline Fast Menu button, and select Track Color > color.

If you want to choose a custom color for the tracks, press the Alt key (Windows) or Option
key (Macintosh) while performing this procedure. When you release the mouse button on
the color palette, the Windows Color dialog box or the Macintosh Colors panel opens.

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Showing Locators in the Timeline

When you add locators to a sequence, the locators are displayed in the Timeline. You can
modify which locators are displayed in the Timeline by selecting Show Locators from the
Timeline Fast menu. When you select a color from the Show Locators submenu, only
locators of that color appear in the Timeline. You can select All from the Show Locators
submenu to display all the locators, or you can select None to prevent any locators from
being displayed in the Timeline.

n Show Locators affects only how the locator icons are displayed in the Timeline. The locators
are not affected.

To change the display of locators in the Timeline:

1. Load a sequence that contains locators into the Record monitor.
2. Click the Timeline Fast Menu button, select Show Locators, and then select the colors of
the locators you want to display in the Timeline.
The Timeline displays only those locators with the colors you selected.

Navigating in the Timeline: Advanced

The Timeline window provides various controls for quickly moving through a sequence and
adjusting your view of details displayed in the tracks while editing.

Using the Full-Screen Timeline

As an alternative to constantly scrolling through the Timeline window or resizing tracks to
get a view of the material, you can resize the Timeline window to full-screen display. You
can also enlarge the tracks to view complex audio or video layers in greater vertical detail.

A Timeline with reduced tracks wraps around to show more of the sequence. As you reduce
tracks in a full-screen Timeline, the sequence wraps around, allowing you to examine a long
sequence in greater horizontal detail.

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To resize the Timeline window:

t Click the Resize box at the lower right corner of the window, and drag it.
t (Macintosh only) Click the Maximize button in the top right corner of the window.
The Timeline expands to full-screen size.

Resize box

To restore a resized Timeline window to its default position:

t Click the Timeline and select Windows > Home.

To control whether the Timeline wraps around in the Timeline window:

t Click the Timeline Fast Menu button, and select Wrap Around.

To enlarge tracks:
t Select the tracks, and press Ctrl+L (Windows) or k+L (Macintosh).

To reduce tracks:
t Select the tracks, and press Ctrl+K (Windows) or k+K (Macintosh).

You can also continue to work in Source/Record mode by resizing the Timeline window so
that it overlaps the Composer window.

You can click in either window to activate it and bring it forward at any time, or you can
click in the title bar of the Timeline window and drag it to the Bin monitor to place each
window in its own monitor.

n If the Timeline or Composer window is hidden behind another window, select the window
again from the Tools menu.

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Displaying Source Material in the Timeline

The Toggle Source/Record in Timeline button allows you to view multitrack source material
quickly in the Timeline for selecting and marking specific tracks.

By default, the Timeline displays only the available tracks for source material.

When you click the button to display the source material, both the button and the position
indicator turn green to indicate that you are viewing source material.

Source tracks

Button and position

indicator change to
green.

Toggle Source/Record in Timeline button

This feature is particularly useful when you are editing with a sequence or subclip created
from a sequence; you can also use it to look at the contents of any source clip in a Timeline
display.

n Heads and Tails view is disabled when you are displaying material from the Source monitor.

IN to OUT Highlighting in the Timeline

When you mark a sequence with IN to OUT points, the system indicates the selection by
highlighting the marked region in the Timeline. Only selected tracks are highlighted.

All tracks selected Highlighted region

This visual guide helps you monitor track and segment selection more carefully when
mixing or applying effects across multiple tracks and segments.

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To turn the highlighting feature on and off:

t Select the Show Marked Region option in the Display tab of the Timeline Settings
dialog box.

IN point OUT point

Using Advanced Timeline Techniques

There are several advanced techniques for displaying and editing in the Timeline that you
can use in any combination, including:
• Bin Editing into the Timeline
• Bin Editing Directly into a Sequence Using the Keyboard
• Editing with the Film Track
• Editing in Heads or Heads Tails View
• Performing a Quick Edit Using the Top and Tail Commands

Bin Editing into the Timeline

You can use Segment mode to edit clips directly from a bin into the sequence in the
Timeline. Bin editing allows you to bypass the process of loading clips into the monitor,
setting marks, and clicking the Splice-in button or Overwrite button.

For information on editing multiple clips directly from the bin into the Record monitor, see
“Creating an Instant Rough Cut” in the Help.

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To perform a direct 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” in the Help. Otherwise, the entire
clip is edited into the sequence.
2. Click one of the Segment Mode buttons:
- Lift/Overwrite (red) acts as an overwrite edit, causing the clip to overwrite material
of the same length in the sequence while maintaining the same duration of the
sequence.
- Extract/Splice-in (yellow) acts as a splice 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.
The pointer changes to the selected Segment mode icon, and the interface changes to the
four-frame monitor display. As you drag, a white outline of the clip indicates the
segment position.
4. When you find the right placement for the clip, release the mouse button.
The Timeline reflects the new edit.

n After the edit is completed, you remain in Segment mode until you click the active Segment
Mode button again to deactivate it.

Bin Editing Directly into a Sequence Using the Keyboard

Bin editing allows you to bypass the process of loading clips into the monitor, setting marks,
and clicking the Splice-in button or 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. Double-click Bin in the Settings list in the Project window.
b. Select the “Enable edit from bin (Splice, Overwrite)” option.
c. Click OK.
2. Mark an IN or OUT point in the Timeline, or move the position indicator to the location
where you want the clip to appear.
3. Select a clip in the bin.
The entire clip is edited into the sequence, unless you have marked IN and OUT points.

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4. Do one of the following:

t Press the V key to perform a splice-in edit, which inserts the clip into the sequence
and moves existing material down, lengthening the total duration of the sequence.
t 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.

Editing with the Film Track

You can use the film track to examine each frame of the sequence in a linear display, much
as you would when looking at a strand of film on a flatbed or workbench. Unlike your view
of the footage in the monitors, that display one frame at a time, the film track within the
Timeline allows you to compare individual frames side by side within a range of frames.

To display the film track:

t Click the Timeline Fast Menu button, and select Show Track > Film.

A row of film frames appears at the top of the Timeline. The film track displays as many
representative frames as possible within the window.

Film track

To adjust your view of the Timeline quickly for frame-by-frame viewing and editing:
t Click the Timeline Fast Menu button, and select Show Every Frame.

n The film track displays frames for the topmost video track only. You cannot display more
than one film track at a time.

To quickly view more frames as you scroll:

t Drag the resize box in the lower right corner of the Timeline for a full-screen view. You
can reduce the size of Timeline tracks to wrap the sequence around several times.
As you continue to scroll, each strand of the Timeline wraparound is updated.

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Editing in Heads or Heads Tails View

While in the early stages of editing a project, you can rearrange clips in the sequence
visually by using Heads view or Heads Tails view. These display formats are useful for
rearranging simple straight-cut edits.

c If you rearrange a split edit (in which the audio extends beyond the video, or the
reverse), the system cuts all tracks to the same edit point. To rearrange split edits or
edits on multiple video tracks, or to move audio and video separately, use the Segment
Mode editing techniques described in “Using Segment Mode” in the Help.

To edit in Heads view or Heads Tails view:

1. Click the Track buttons to select the tracks to be edited.
2. Click the Timeline Fast Menu button, and select View Type > Heads or Heads Tails.
The Timeline changes to one of the following displays.

Head frame for each clip

Heads view

Head and tail frames for each clip

Heads Tails view

3. Press and hold the Alt key (Windows) or Option key (Macintosh), click the frames
representing the clip you want to move, and drag the clip to its new position. The
sequence is rearranged to match the changes you made.

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Performing a Quick 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 in the Edit tab of the Command palette to extract footage from the start
of the clip or segment to the position indicator. This action is equivalent to the T-R-X
keyboard command sequence: Mark Clip, Mark OUT, Extract.
Use the Tail button in the Edit tab of the Command palette to extract footage from the
position indicator to the end of the clip or segment. This action is equivalent to the T-E-X
keyboard command sequence: Mark Clip, Mark IN, Extract.

For information about how the Mark Clip button works, see “Marking an Entire Clip or
Segment” in the Help.

To edit using the Top and Tail commands:

1. Load a sequence into a monitor.
2. Select the track or tracks you want to edit, and deselect all other tracks.
3. Move the position indicator to the location where you want to perform an edit.
4. Do one of the following:
t Click the Top button to extract footage from the start of the clip or segment to the
position indicator.
t Click the Tail button to extract footage from the position indicator to the end of the
clip or segment.

Adding an Edit (Match Framing)

The Add Edit function places an artificial edit point between 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.

Add edit placed between frames

1 2 3 4 5 6 7

Footage plays back continuously.

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 Adding an Edit (Match Framing)

This form of edit is also known as a match frame. In traditional analog editing, match
framing accomplishes specific tasks, such as creating a dissolve between two clips. In Avid
editing applications, however, Add Edits (or match frames) function differently. Use match
frames primarily to divide and isolate portions of a clip or sequence to modify that portion
without affecting the rest of the footage. You can also add edits to filler segments to maintain
sync while trimming. Once you make the adjustment, playback of the clip is no longer
seamless because the two portions of the clip are different.

You can add an edit to a single audio or video track, or you can place the Add Edit across
several tracks at once.

The Add Edit button appears in the Edit tab of the Command palette. Depending on the
model of your Avid editing application and your button mappings, it might appear in other
locations such as the Tool palette or the Timeline top toolbar. You can also map the Add Edit
button to a custom location. For information about mapping buttons, see “Mapping User-
Selectable Buttons” on page 81.

To add a match-frame edit:

1. Move the position indicator to the selected frame.
2. Select the tracks where you want to add the edit.
3. Click the Add Edit button.
The edit appears in the sequence with an equal sign to indicate a match frame.

Equal sign indicates a match frame.

n By default, the match-frame indicator is white. If a change in level occurs, the match-frame
indicator changes to red.

Adding Edits to Filler Clips

You can add an edit to all tracks with filler, regardless of the track selection.

To add an edit to filler clips at the position indicator:

1. Move the position indicator to the selected frame.
2. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button.
The edit appears on all tracks with filler in the sequence at the position indicator.

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Removing Match-Frame Edits

If you make a mistake when adding an edit, or if you have finished performing edit functions
with multiple Add Edits and want to remove them, you can remove all Add Edits in the
entire sequence or within a selected portion of the sequence.

You can also remove individual match frames by using the Undo command, or by selecting
them in Trim mode and pressing the Delete key. For more information on Trim mode, see
“Undoing or Redoing Edits” and “Working in Trim Mode: Basics” in the Help.

To remove match-frame edits:

1. Select the entire sequence or a portion of it as follows:
t Select the entire sequence by removing any IN and OUT points.
t 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.
2. Select the tracks from which you want to remove the edits.
3. Select Clip > Remove Match Frame Edits.
Your Avid editing application removes the edits.

c You cannot remove match-frame edits between segments in which segment effects and
audio pan or volume adjustments have been applied.

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 while editing so that you can eliminate or
manage the requirements of an online dupe reel.

n The Dupe Detection feature works only for track V1.

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. You can use any of the Trim Mode options to remove the
duplicate frames, if necessary.

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 Detecting Duplicate Frames

The colored bars that distinguish duplicate frames in the sequence are automatically drawn
above the frames in the Timeline, as shown.

Two duplicate frames marked above the clip

by the automatic Dupe Detection option

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.

To activate Dupe Detection:

t Click the Timeline Fast Menu button, and select Dupe Detection.

Dupe Detection is instantaneous and retroactive; if duplicate frames already exist in your
sequence, the colored bars appear immediately. As you edit, your Avid editing application
shows duplicate frames as they occur.

n You can change the handle size used by Dupe Detection in the Edit tab of the Timeline
Settings dialog box. For more information, see “Adjusting Handle Length in Dupe
Detection” on page 376.

c Your Avid editing application might mark a special effect optical (such as a blowup) as
a duplicate frame. Double-check your sequence for this possibility before deleting
frames.

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Adjusting Handle Length in Dupe Detection

You change handle length information for the display of dupes in the Timeline.

There are two methods:

• In 35mm film editing (using the single-strand method), one extra frame, known as the
safety frame, provides tabs for the negative cutter to use when cutting two segments of
film together. However, this frame is always lost during the negative conform.

35mm conforming: Preparing for a cut

Frames A and C
Splice is made here. Safety frame
can still be used
in a sequence,
but frame B is cut
in the middle.
A B C

• In 16mm film editing (using the multiple-strand method), labs sometimes use the
zero-frame cutting method to avoid seeing each splice in a 35mm blowup print. In this
method, the negative is conformed along with the handles so that the cuts appear as soft
frame handles rather than jumps in the resulting 35mm blowup.

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 Adjusting Handle Length in Dupe Detection

Different labs have different standards depending on the equipment used; usually, a
minimum of four frame handles is needed.

16mm conforming: Zero-frame cutting method Segments of sequence

Transition Handles

Adding specific handle lengths to dupes (as they appear both in the sequence and in film
lists) has the following advantages:
• In 35mm single-strand conforming: Editors can better track duplicate frames and
provide the negative cutter with more than one safety frame to avoid losing specific
frames.
• In 16mm multiple-strand conforming: For labs using the zero-frame cutting method,
editors can track the number of handles during editing according to the specific
standards of a particular lab.

To adjust handle lengths in Dupe Detection:

1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens.
2. Click the Dupe Detection Handles menu in the Edit tab, and select the number of handle
frames. The typical 35mm safety frame setting is 0.5 frame (amounting to a 1-frame
total with both sides of a cut).
3. Click OK.
The selected value is applied to the head and tail of every event.

When you enable Dupe Detection during editing, the handles are added to the colored dupe
indicators that appear in the Timeline.

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Tracking Color Frame Shifts

If you are preparing for an online edit using 1-inch reel-to-reel sources, you can enable the
Color Framing options to track and correct instances where an edit cuts between the four
fields (two frames) required to create a complete NTSC color sync signal phase (or eight
fields — four frames — required for PAL).

When Color Framing is enabled, green bars appear above the Overwrite and Splice-in
buttons (Source and Record monitors) or above the position bar which blink whenever a
color sync signal is interrupted by an edit. The blinking lights indicate that color framing is
out of phase at the edit transition.

Green color-frame phase bars Start Frame color phase indicator

blink during an interruption.
End Frame color phase indicator

To enable color-frame tracking while editing:

1. Double-click Composer in the Settings list in the Project window.
The Composer Settings dialog box opens.
2. Click the Color Framing menu in the Edit tab, and select the appropriate option:
t For NTSC video, select 4-field.
t For PAL video, select 8-field.
3. Click OK to complete the setting selection.

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To correct color-frame interruption as you edit:

1. Note any edits that cause the green lights to blink. You can adjust the edits now or place
locators to return to these edits and correct them later.
2. To adjust the edit, enter Trim mode.
In Trim mode, your Avid editing application displays small green boxes at the top
corners of adjacent frames. When the color sync signals are in phase, the boxes are
aligned horizontally.

Color-framing boxes

Incoming frame Outgoing frame

Boxes are out of alignment when

color-sync signal is out of phase.

3. Trim one frame at a time on one side of the transition or the other until the green boxes
are aligned and the color-frame phase bars stop blinking.

If you are careful about color framing while editing, you will not need to think about it when
assembling your master tape. If you ignore color framing during the edit session, you might
have to make adjustments during online editing if your edits interrupted any color-frame
fields in the sequence.

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Finding Black Holes and Flash Frames

You can use the Find Black Holes and Find Flash Frames commands to help you quickly
find parts of your sequence that you might want to delete from the final sequence:

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, fewer than 10 frames.

To find black holes:

1. Click the Timeline to activate it.
2. Select the tracks you want to search.
3. Move the position indicator to the beginning of the sequence or before the part of the
sequence you want to search.
4. Select Clip > Find Black Holes.
The position indicator moves to the first segment that contains filler. You can then edit
or delete the filler, if necessary.

To find the next segment that contains filler:

t Select Clip > Find Black Holes again.

To find flash frames:

1. Set the maximum frame length that you want to detect:
a. In the Project window, double-click the Timeline Setting.
The Timeline Settings dialog box opens.
b. Click the Edit tab.
c. In the option Find Flash Frames Shorter Than, type the maximum number of frames
you want to detect. The default is 10, which indicates the system will detect clips
with 9 or fewer frames.
d. Click OK.
2. Click the Timeline to activate it.
3. Select the tracks you want to search.
4. Move the position indicator to the beginning of the sequence or before the part of the
sequence you want to search.
5. Select Clip > Find Flash Frames.
The position indicator moves to the first flash frame.

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To find the next flash frame:

t Select Clip > Find Flash Frames again.

Printing the Timeline

To print the Timeline:
1. Click the Timeline to activate it.
2. Select File > Print Timeline.
The Print dialog box opens.

n The name of the printer and details of the dialog box will vary, depending on your facility.

3. Select the Print options.

4. Click OK (Windows) or Print (Macintosh).
Your Avid editing application prints the current view of the Timeline. You can also use
the Print Timeline command to print the Timeline in Heads view or in Heads Tails view.

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Working in Trim Mode: Advanced

After creating a rough version of a sequence, 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 topics provide advanced information on trim mode:

• Creating Overlap Edits
• Extending an Edit
• Maintaining Sync While Trimming
• Slipping or Sliding Segments
• Using the Transition Corner Display

For basic information about trimming, see “Working with Trim Mode: Basics” in the Help.

Creating Overlap Edits

You 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.

Audio overlap example

Before trimming V1 Clip A Clip B Clip C
A1
A2

After trimming V1 Clip A Clip B Clip C

A1
A2
Clip B audio is extended. Clip C audio is trimmed in.
Chapter 12 Working in Trim Mode: Advanced

To create an overlap edit:

1. Perform a straight-cut edit between two clips, including audio and video tracks:
- If the timing of the video edit is crucial, mark edit points according to video.
- 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 track, but not on both:
- 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.
- 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.

You can also create an overlap edit for an audio track by using the Audio Mark buttons. See
“Marking Audio Clips” on page 253.

Extending an Edit
Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks. An
extend edit allows you to quickly create a split edit without entering Trim mode. It also
allows you to establish the exact frame that you want to trim to by using the position
indicator. (When 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.

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 Extending an Edit

To perform an extend edit:

1. Select the tracks you want to extend.

n To extend multiple tracks, all the tracks must have the same edit point in the Timeline.
Otherwise, you must extend the tracks separately.

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 the trim point is after the edit, mark an OUT point.

n If you are extending the edit to an OUT point, remove any IN points that might be on the
track. Otherwise, the extend edit goes in the wrong direction.

Audio track is selected for extending backward.

Mark IN

3. Click the Extend button.

The Extend button appears in the Trim tab of the Command palette. You can map the
Extend button to a custom location. For information on the Command palette and button
mapping, see “Understanding Button Mapping” in the Help.
The adjustment appears in the Timeline.

Video track is extended backward.

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Maintaining Sync While Trimming

Because single-roller (A-side or B-side) trims shorten or lengthen the duration of the track
being trimmed, any relationships that exist with other tracks downstream of the trim are
thrown out of sync. Trim mode has 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 to the track while trimming.
• You can sync lock tracks that maintain a synchronized relationship.

n Because dual-roller trims do not cause sync breaks, you can add black only while
performing single-roller trims.

Adding Black When 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. Your Avid editing application
adds a black segment to fill the duration of trimmed frames.

To add black filler while trimming:

1. Click the Trim Mode button to enter Trim mode.
2. Select the transition.
3. Deselect Sync Lock for the tracks to which you want to add black filler.
4. Press and hold the Alt (Windows) or Ctrl (Macintosh) key while dragging the A-side or
B-side trim roller.

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A black segment is added without changing the duration of sequence.

Trimming without adding black No black is added and sync

breaks appear in the Timeline.

Adding black while trimming Black fills the trim duration and
sync is maintained.

After you have added 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” in the
Help.

Trimming with Sync-Locked Tracks

You can sync lock tracks to maintain a synchronized relationship when you perform a
single-roller trim.

Single-roller A-side trim

Sync Lock icon
A1
Before
A2
trimming
A3

Maintains the relationship

After A1
trimming A2
A3

n Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller
trims do not cause sync breaks.

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To trim with sync-locked tracks:

1. Sync lock the tracks as follows:
t Click the Sync Lock button in the Track Selector panel for the track you want to
keep in sync. The Sync Lock icon appears.
t Click the Sync Lock All button to switch sync lock on and off for all tracks.

Sync Lock icon

Sync Lock All button

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 action might split
one or more of the segments at the sync point established by the position indicator,
leaving filler.
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.

n Slip and slide trims are not protected for sync. Select all synced tracks for simultaneous
slipping or sliding to avoid sync breaks.

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Slipping or Sliding Segments

Slip and slide procedures are two unique Trim mode techniques that allow you to make
frame-accurate adjustments to a selected segment. They do not affect the overall duration of
the sequence or the sync relationships between multiple tracks.

Slip or Slide trimming allows you to do the following:

• Slip or slide the video and audio segments together.
• Slip or slide a single segment of video or audio independently from the rest of the
segment.
• Slip segments in Source/Record mode by using the Slip Left or Slip Right buttons.

The type of trim you perform (slip or slide) determines which frames are updated, as
follows:
• In slip trimming, the two inner monitors for 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.

Surrounding material Slip 1 frame to the right.

remains fixed.

Before slip 1 2 3 4

Frames

After slip 2 3 4 5

• In slide trimming, the two outer monitors for the outgoing (A-side) and incoming
(B-side) frames change because the clip remains fixed while the footage before and after
it is trimmed.

Surrounding material Slide 1 frame to the right.

is selected.

Before slide 1 2 3 4 1 2 3 4

Frames

After slide 1 2 3 4 5 2 3 4

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Selecting Segments for Slip or Slide Trimming

To select segments for slip or slide trimming by dragging a lasso:
1. In Source/Record mode, select a segment for slipping or sliding.
2. Enter Trim mode by dragging a lasso from right to left around a segment (two or more
transitions).
You enter slip trim by default.
3. To switch to slide trim, press and hold the Shift+Alt keys (Windows) or Option key
(Macintosh) while dragging the lasso from right to left.

IN OUT

To select segments on a lower track:

4. Press and hold the Alt key (Windows) or Option key (Macintosh) while dragging a lasso
around the segment.
5. To switch to slide trim, press the Alt key (Windows) or Option key (Macintosh) and
double-click the segment.

You can also select two or more contiguous segments within a track for slipping or sliding
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.

To select segments for slip or slide trimming in Trim mode:

1. Double-click a segment to select it for slip trimming.
2. Top select a segment for slide trimming, press Alt key (Windows) or Option key
(Macintosh) and double-click the segment.

To switch back to slip trimming:

t Press the Ctrl key (Windows) or Command key (Macintosh) and double-click the
segment.

To select two or more segments on different tracks for simultaneous slip or slide
trimming, do one of the following:
t In Trim mode, press Shift and select the head and tail of a segment for slipping.
t In Trim mode, press Shift and select the outgoing tail frame of the preceding segment
and the incoming head frame of the following segment in a sequence for sliding.
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 Slipping or Sliding Segments

The Four-Frame Slip/Slide Display

Once you select the clips for slipping or sliding, the Trim mode interface changes to a
four-frame display.

Outgoing and Incoming video (or A- and B-side)

Tail and head frames of the selected clip

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Performing the Slip or Slide Trim

To slip or slide a shot:
1. After selecting the segments, as described in “Selecting Segments for Slip or Slide
Trimming” on page 390, do one of the following:
t Click any roller in the Timeline, drag the selected material to the left or right, and
release the mouse button.
t Use the numeric keypad to enter specific frame-count or timecode values, and press
Enter.
t Use the trim keys or buttons to shift the selection by 1-frame or 10-frame (8-frame
for 24p) increments.
t Use the J-K-L keys.
2. Monitor the progress of the trim by using the monitors, the Trim counters, and the
Timeline.
When you reach the end of available material while slipping a shot, the trim stops.
Similarly, when you reach the next transition while sliding a shot along a track, the trim
stops. A red bracket at the transition indicates the limit. After completing the initial
slide, you can perform another slide in the same direction.
3. When you finish, exit Slip mode or Slide mode by doing one of the following:
t Click another transition for trimming.
t Click either the Source/Record Mode or the Effect Mode button to exit Trim mode.
t Click the Trim Mode button on the Tool palette.
t Press the Escape key.

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Slipping Shots in Source/Record Mode

You can also use the Slip Left and Slip Right buttons to slip a shot in Source/Record mode.

n The Slip Left and Slip Right buttons do not appear on the interface or keyboard by default.
You must map them from the Trim tab in the Command palette to use this procedure.

To slip a shot in Source/Record mode:

1. Select the tracks for the clips to be slipped.
2. Move the position indicator within the shot that you want to slip.
3. Slip the shot by doing one of the following:
t Click the Slip Left button to slip the shot one frame left (revealing later material
from the source clip).
t Click the Slip Right button to slip the shot one frame right (revealing earlier
material from the source clip).
t Alt+click (Windows) or Option+click (Macintosh) the Slip Left or Slip Right button
to trim 10 frames (8 frames for 24p) at a time.

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Using the Transition Corner Display

The Transition Corner Display is a Trim mode interface that shows six frames you can use as
reference points when trimming a transition effect.

Transition Corner
Display button

Frames on which the The two frames between which Frames on which the
transition effect starts a cut point defines the transition transition effect ends

Use the Transition Corner Display to trim the transition effect’s start frames, end frames, and
duration in timecode or feet+frames (for 24p and 25p projects). As you trim the transition
effect, you can see the corresponding frame adjustments in all six monitors simultaneously.

c The Transition Corner Display is applicable only to the trimming of transition effects
(for example, dissolves, wipes, picture-in-picture, and so on). It is not designed for
trimming key, image, or segment effects.

n The Transition Corner Display feature is only available when you are in Big Trim mode. To
ensure that you enter Big Trim mode when you click the Trim Mode button, select “Never
use Small Trim mode” in the Features tab of the Trim Settings dialog box. For more
information, see “Trim Settings: Features Tab” on page 725.

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 Using the Transition Corner Display

To trim a transition using the Transition Corner Display:

1. Select a transition effect for trimming by doing one of the following:
t Lasso the effect in the Timeline from right to left.
t Click the Trim Mode button to enter Trim mode, and click in the transition in the
Timeline.
t Use the Go to Transition buttons to enter Trim mode, and step through transitions
until you highlight the transition you want.
2. Click the Transition Corner Display button.
The button changes to green, and the display is enabled.

n To use this button, you must display two rows of buttons in the Composer window or map the
button to a palette or a keyboard key. For more information, see “Using the Command
Palette” on page 79.

3. Trim the transition effect by clicking the outgoing or incoming frame you want to trim,
and then position your pointer on the rollers and drag the transition backward or
forward. Press and hold the Alt key (Windows) or Option key (Macintosh) to roll
forward or backward slowly one frame at a time.
4. To review your edit, click the Play Loop button.

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Chapter 13
Working with Audio: Advanced

You edit audio by using many of the same techniques and tools you use to edit video,
including Source/Record mode, Segment mode, and Trim mode functions. Your Avid
system also provides several unique features that facilitate audio editing, such as audio
scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between
speakers. In addition, you can adjust the high, low, and midrange frequency ranges of
segments by using the Audio Equalization (EQ) tool.

You can also transfer files to Pro Tools through Avid Interplay, work on them there, and then
import them back into the Avid editing application. For more information, see “Using Pro
Tools and Interplay” in Avid Interplay Best Practices.

The following topics provide advanced information on working with audio:

• Audio Gain Staging and an Audio Editing Workflow
• Using External Fader Controllers
• Configuring USB-to-MIDI Software for External Controllers
• Using the Digi 002 and Command|8
• Using the FaderMaster Pro and MCS-3000X
• Using the Yamaha 01V/96 or the Yamaha 01V
• Using the Audio EQ Tool
• Recording Voice-Over Narration Using Audio Punch-in
• Using a GPI Device with the Audio Punch-In Tool
• Displaying Audio Formats in Bins

For basic information about audio, see “Working with Audio: Basics” in the Help or the
Basics Guide for your Avid editing application.
Chapter 13 Working with Audio: Advanced

Audio Gain Staging and an Audio Editing Workflow

You can adjust the volume or gain of an audio clip at several points during an editing
session. For example, you can adjust volume using the Audio Mixer tool in Clip Gain mode
and Automation Gain and Pan mode. Also, the EQ tool and many of the AudioSuite plug-in
effects allow you to modify the volume of the clip. When you can adjust the volume in a
signal chain at several points, the process is referred to as audio gain staging. This section
describes the audio gain staging model used by Avid editing applications. It also describes a
basic workflow for taking advantage of the gain staging.

You can set audio volume levels with the Audio Mixer tool. When the Audio Mixer tool is in
Clip Gain mode, values set by the volume level sliders are referred to as system clip gain
values. When the Audio Mixer tool is in Automation Gain and Pan mode, values set by the
Audio Mixer tool 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.

Audio Effect
Clip Gain Automation Gain
Processing

1. Adjust overall volume. 2. Apply effects. 3. Fine-tune volume.

This workflow allows you to apply effects to an audio clip in a way that is similar to the
signal flow in a mixing console.

In this workflow, clip gain is like a trim level, where you can lower (attenuate) or increase
(amplify) the levels of a clip before applying any other effects. For example, when importing
a sound file from an audio CD, you notice when the level of the clip is very high and close to
clipping (distortion). If you add an EQ effect to raise the level of the bass, the audio starts to
distort. To solve this problem, you can use clip gain to lower the signal level. Then you can
adjust the bass in the EQ tool without distorting the audio.

For example, you have copied an audio file from a CD-ROM and you want to equalize the
audio, but the overall volume is too loud. To lower volume, do the following:
1. Use the Audio Mixer tool in Clip Gain mode to lower the overall volume.
2. Apply an EQ effect and any other audio effects.
3. Use the Audio Mixer tool in Automation Gain and Pan mode to fine-tune the volume of
different sections of the audio in the sequence.

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This workflow also applies to using AudioSuite plug-ins because some AudioSuite plug-ins
affect the level of the audio. Often, if you use clip gain to raise or lower the level before you
apply an audio effect, you can achieve higher quality results.

In this workflow, the Audio Mixer tool in Automation Gain and Pan mode acts like the level
faders on a console for final mixing of the audio material.

Rendering and Unrendering Order for Audio Effects

The following illustration shows the order that the system uses to process audio effects. You
can also think of this as the audio gain staging.

Automation Gain and Pan Audio Mixer tool in Automation Gain and Pan mode (real-time)

Audio Fade/Dissolve Quick Dissolve button (real-time, can be rendered)

EQ EQ tool (real-time, can be rendered)

AudioSuite plug-ins AudioSuite tool (non-real-time, must be rendered)

Render order Clip Gain and Pan Audio Mixer tool in Clip Gain mode (real-time)

The preceding illustration demonstrates how the render order fits into the audio workflow.
Changing an audio effect unrenders any audio effect above it in the render order but does not
affect audio effects below it in the render order. For example, if you have a clip that contains
clip gain, an AudioSuite plug-in effect, and automation gain, and you change the automation
gain, the system does not unrender the AudioSuite plug-in effect. This fits into the workflow
because automation gain is used for finishing the audio levels. You need to hear how changes
in the automation gain affect the rendered effects. You could add, render, and modify EQ and
audio dissolves on the same clip and you still would not unrender the AudioSuite plug-in
effect.

However, if you change the clip gain on the same clip, the system unrenders the AudioSuite
plug-in. This also fits into the workflow because, when you reset the level of the clip, you
need to reprocess any effects applied to the clip.

n If you have an AudioSuite plug-in and an Audio EQ effect applied to the same effect, only the
Audio EQ effect icon is displayed. The AudioSuite plug-in still applies even though the icon
is not visible.

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Viewing Clip Gain and Automation Gain Values

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 and automation gain values:
1. Click the Timeline Fast Menu button
2. Select Audio Data.
3. Select Auto Gain, Clip Gain, or both.

n You can also view automation pan values by selecting Auto Pan from the Timeline Fast
menu. You cannot display Auto Gain and Auto Pan values at the same time in the Timeline.

Bypassing Existing Volume Settings

You can instruct your Avid editing application to ignore the volume settings established with
the Audio Mixer 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 Mixer tool.

t Click the Clip Gain button in the Effects Bypass panel in the Effects tab of the Audio
Project Settings window. See “Audio Project Settings: Effects Tab” on page 634.

The volume controls disappear.

To restore the previous settings:

t Click the Bypass button or the Clip Gain button again.

About Adjusting Volume While Playing a Clip Gain Effect

You can use the Audio Loop Play button to change the volume on an existing Clip Gain
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 81.

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 Audio Gain Staging and an Audio Editing Workflow

You can do the following while your Avid editing application plays the loop:
• Adjust audio effects.
• Use the Peak Hold 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 “Understanding the Audio Tool” in the Help.
For information on improving response time, see “Improving Response Time When
Adjusting Volume” on page 402.

n For additional ways to change the volume while playing an Audio Mix effect, see “Recording
Automation Gain or Automation Pan Information” in the Help.

Adjusting Volume While Playing a Clip Gain Effect

To adjust volume while playing a Clip Gain effect:

1. Do one of the following:
t Select an existing Clip Gain 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 Mixer tool.
Your Avid editing application 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 shortest segment on
the selected audio track at 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.
4. Click the Audio Loop Play button to stop.
Your Avid editing application automatically saves your changes as part of a Clip Gain
effect.

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Improving Response Time When Adjusting Volume

If there is no Clip Gain 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 Clip Gain effect, you might not hear the
results immediately. It takes a few seconds for your Avid editing application 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.

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.

Using External Fader Controllers

Your Avid editing application supports the following external fader controllers or mixers as
control surfaces or for Automation Gain and Automation Pan recording.
• Digi 002 (Windows only) and Command|8. These units support touch-sensitive flying
faders. While recording automation gain, the faders automatically move. Touch
sensitivity means that you can grab a fader and move it during an automation gain
recording to quickly punch in a small change in volume. Each track has a separate pan
control knob that you can use for automation pan recording.
You can also use these units as control surfaces for other parts of your Avid editing
application. Besides basic functions such as Play, Stop, and Rewind, you can map
buttons and menu items to the different buttons on the control surface.

n The Digi 002 and Command|8 are the only controllers that can be used as control surfaces
to control other parts of the application.

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 Using External Fader Controllers

For more information, see “Using the Digi 002 and Command|8” on page 407.
• JL Cooper MCS-3000X MIDI automation controller. This unit supports touch-sensitive
flying faders. This controller is emulated by the JL Cooper FaderMaster 4/100 and by
the Zaxcom Cameo SV.
• JL Cooper FaderMaster Pro MIDI automation controller. This low-cost unit allows you
to make fine adjustments to audio clips. This unit does not support flying faders, which
means that the faders don’t move automatically as you record audio gain information
and they must be zeroed manually prior to recording. For information on setting the
faders manually, see “Interpreting Position Indicator Lights” in the Help.
For more information, see “Using the FaderMaster Pro and MCS-3000X” on page 422.
• Yamaha® 01V/96 and Yamaha 01V digital mixing console. These units are full-feature
digital mixers that also support Audio Gain Automation with flying faders. These faders
are not touch-sensitive. Your Avid editing application uses the MIDI controller portion
of the Yamaha 01V/96 or the Yamaha 01V mixer for automation gain control.
For more information, see “Using the Yamaha 01V/96 or the Yamaha 01V” on
page 425.

n The JL Cooper controllers and Yamaha mixing consoles do not support automation pan
recording.

n An external fader controller or mixer is optional. It is not required to perform automation

gain or automation pan recording.

The following table compares the external fader controllers and mixers.

External Fader Controller and Mixer Features

Digi 002 and FaderMaster Yamaha 01V/96 and

Feature Command|8 Pro MCS-3000X Yamaha 01V

Control surface for Yes No No No

transport controls and
other functions

Provides audio play, Digi 002 only No No No

input, and output

Record automation gain Yes Yes Yes Yes

Record automation pan Yes No No No

Flying faders Yes No Yes Yes

Touch-sensitive faders Yes No Yes No

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External Fader Controller and Mixer Features (Continued)

Digi 002 and FaderMaster Yamaha 01V/96 and

Feature Command|8 Pro MCS-3000X Yamaha 01V

Solo/mute Yes Yes Yes Yes

n Solo works only if

you don’t use the
unit for audio
mixing at the same
time

Supports audio mixing No No No Yes

n The Digi 002 can

be used as a
standalone audio
mixer but not at
the same time as it
is being used as
an automation
gain or
automation pan
controller or
control surface.

Latch mode (also Yes No Yes No

known as Snap mode)

Number of steps of 1024 128 1024 256

accuracy

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 Using External Fader Controllers

The following list provides additional information on touch sensitivity and automatically
stopping recording:
• Touch sensitivity: As soon as you touch a moving fader on the Digi 002, Command|8,
or MCS-3000X, the unit passes control of the fader to you. For more information, see
“Using the Latch Mode Feature on the Digi 002 and Command|8” on page 417 or
“MCS-3000X Buttons” on page 423.
On the Yamaha 01V/96 or on the Yamaha 01V, you must press the fader’s On button to
gain control of a moving fader. For a description of how to control the faders on the
Yamaha 01V/96 and the Yamaha 01V, see “Operating the Yamaha 01V/96 and Yamaha
01V” on page 429.
• Latch mode: In Latch mode (also known as Snap mode), the fader controller
automatically stops recording as soon as you release the fader. When you release the
fader, it resumes following the volume information in the Timeline. For more
information, see “Using the Latch Mode Feature on the Digi 002 and Command|8” on
page 417 and “Using the Snap Mode Feature on the MCS-3000X” on page 424.

For more information on using these external fader controllers or mixers, see “Recording
Automation Gain or Automation Pan Information” in the Help.

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.

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 lit. This indicates that the slider on the fader controller matches
the current volume in the Timeline. For more information, see “Position Indicator
Lights” in the Help.

n On the Digi 002, Command|8, MCS-3000X, Yamaha 01V, and Yamaha 01V/96, 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 “Using an External Fader
Controller or Mixer to Record Automation Gain” on page 406.
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Adjusting the Pan of Individual Keyframes

To edit the pan values for individual keyframes using a Digi 002 or Command|8:
1. Click an audio gain keyframe.
2. Activate the track on the Digi 002 or Command|8.
3. Move the corresponding pan knob to adjust the pan for the keyframe.
Your Avid editing application displays the values in the Pan Value display for the
corresponding track in the Audio Mixer tool.

n The position indicator lights do not apply to automation pan.

For information on connecting a fader controller or mixer, see “Using an External Fader
Controller or Mixer to Record Automation Gain” on page 406.

Using an External Fader Controller or Mixer to Record Automation

Gain
To record audio gain information using an external fader controller or mixer:
1. Attach the fader controller or mixer to your system.
For more information, see “Connecting Serial and MIDI Port Devices” in the Help.
The position indicator lights change to blue when the fader controller or mixer is on and
correctly attached to the system.

Position
indicator
lights

2. Move the blue position indicator to the section of audio that you want to adjust and mark
IN to OUT points.
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.

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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 Digi 002, MCS-3000X, and Command|8: 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 and Yamaha 01V/96: When you want to start recording volume
information, click the fader’s On button and move the fader.

n If the Yamaha 01V fader or the Yamaha 01V/96 fader is not moving, you can move it without
first clicking the On [Link] more information, see “Operating the Yamaha 01V/96 and
Yamaha 01V” on page 429.

n When you record over previously recorded audio volume keyframes, the MCS-3000X, the
Yamaha 01V, and the Yamaha 01V/96 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, click the Audio Mixer Tool Fast Menu button,
and select Filter Automation Gain on Track — In/Out. (Click the Track Selection button
for a track to enable Filter Automation.)

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 Digi 002 and Command|8

You can use the Command|8 as a control surface for your Avid editing application as well as
a controller for automation gain and automation pan recording.

On Windows systems only, you can use the Digi 002 as an audio input and output device for
your Avid editing application. You can also make use of its control surface capabilities and
use it as a controller for live mix mode and for automation gain and automation pan
recording.

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n Although the Digi 002 works with Digidesign Pro Tools on the Macintosh operating system,
you cannot use it with an Avid video editing application on a Macintosh system.

The following table compares some of the features of the Digi 002 and Command|8.

Digi 002 and Command|8 Comparison

Feature Digi 002 Command|8

Connection type FireWire USB

Use as an audio device for Avid editing application Yes No

(play, record, output)

Works with Avid editors on Mac OS® X for controlling No Yes

automation gain and as a control surface

Control surface for Avid editing application Yes, when used as an Yes
audio I/O device

Control surface for automation gain and automation pan Yes, when used as an Yes
recording audio I/O device

The following topics provide more information on using the Digi 002 or Command|8:

Using the Digi 002 with Avid DNA Hardware (Windows Only)
Windows systems with Avid DNA hardware (Avid Adrenaline, Avid Mojo, or Avid Mojo
SDI) can use the Digi 002 as an external audio device. This means you can use the Digi 002
to play, record, and output audio.

n You can also use the Digi 002 as a standalone mixer. However, you cannot use the Digi 002
as a mixer while you are using it as the audio input and output device for your Avid editing
application.

When the Digi 002 is attached to the Avid editing system, all of its audio input and output
connections are live. However, the Avid DNA and Digi 002 remain as two separate audio
sub-systems. They are not combined to increase the number of available audio channels.
Audio I/O works as follows:
• The system creates a list of input options based on the audio devices that are present. For
example, Digi 002 analog, Digi 002 S/PDIF, and Avid DNA analog.
• For output, all 8 channels are played to the Digi 002 and the Adrenaline hardware
simultaneously.

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 Using the Digi 002 and Command|8

You might need to make additional cable connections between the Digi 002 and your Avid
DNA hardware in order to maintain sync between audio and video. When the sync cable is
connected correctly between the Digi 002 and your Avid DNA hardware, your Avid editing
application displays a green 002 in the Timeline top toolbar. The following table describes
this connection for each Avid DNA device:

Avid DNA Device Audio/Video Sync Connection

Avid Adrenaline Connect one end of an RCA cable to the RCA S/PDIF connector on the
Avid Adrenaline, and connect the other end to the S/PDIF input on the
Digi 002. This allows the Digi 002 to maintain S/PDIF clock signals and
receive video sync from the Adrenaline and the optional blackburst
generator.
(Option) Connect a black burst generator to the Ref connector on the
Avid Adrenaline.

n Avid recommends using a black burst generator when performing

an audio-only capture.

Avid Mojo Connect one end of an RCA cable to the analog audio output connectors
labeled Clk on the Avid Mojo (white audio output) and connect the other
end to the S/PDIF input on the Digi 002. This allows the Digi 002 to
receive video sync from the Avid Mojo and the optional blackburst
generator.
(Option) Connect a blackburst generator to the Ref connector on the Avid
Mojo.

n Avid recommends using a blackburst generator when you are

performing an audio-only capture.

Avid Mojo SDI Connect one end of a BNC-to-RCA cable to the Word-clock and S/PDIF
Out BNC connector (black cable) on the video output cable from the
Avid Mojo SDI. Connect the other end of the BNC-to-RCA cable to the
S/PDIF input on the Digi 002. This allows the Digi 002 to receive video
sync from the Avid Mojo SDI and the optional blackburst generator.
(Option) Connect a blackburst generator to the Ref connector (black
cable) on the video input cable to the Avid Mojo SDI.

n Avid recommends using a blackburst generator when you are

performing an audio-only capture.

For more information on connecting the Digi 002 hardware to your Avid DNA hardware and
on audio and video synchronization, see “Using the Avid Adrenaline,” “Using the Avid
Mojo,” or “Using the Avid Mojo SDI” in the Help.

n You cannot hear the results of audio scrubbing when the Digi 002 is attached to the Avid
Adrenaline system.
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Using the Command|8 with Your Avid Editing System

The Command|8 is primarily a control surface. It can be used for controlling aspects of the
user interface as well as for automation gain and automation pan recording. The Command|8
can be used by all the Avid editing applications that use Avid DNA hardware.

The following describes some of the analog audio features of the Command|8 that can be
used by Avid editing applications:
• The Command|8 has two stereo inputs, one stereo output, and a headphone jack.
• You can use the stereo inputs as follows:
- Avid Adrenaline users can connect channel 1 and 2 from the Adrenaline hardware
to the first stereo pair input and connect channels 3 and 4 to the second pair. Then
you can switch between the two inputs.
- Avid Mojo or Mojo SDI users can connect the audio outputs to one stereo input pair

Configuring the Digi 002 or Command|8

Before you configure your Digi 002 or Command|8 with your Avid editing application,
install and configure the device as described in the documentation that comes with the Digi
002 or Command|8.

n The Digi 002 or Command|8 must be turned on before you start your Avid editing
application. If you start the application when the controller is turned off, you must exit the
application, turn the controller on, and then start the Avid editing application.

To set the correct ports in the Controller Settings dialog box.

1. Connect the Digi 002 or Command|8 to your Avid editing system and turn on the unit.
2. Start your Avid editing application.
3. Click the Settings tab in the Project window.
4. Double-click Controller Settings.
The Controller Settings dialog box opens. The Controller menu, Port menu, and Edit
Settings button apply to the control surface. For Windows systems, you can use either a
Digi 002 or a Command|[Link] Macintosh systems, you can use a Command|8. The Gain
Controller Port applies to any controller that you connect for automation gain or
automation pan recording.

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 Using the Digi 002 and Command|8

5. From the Controller menu, select one of the following:

- Digidesign 002 (Windows only)
- Digidesign Command|8
6. From the Port menu, select one of the following:
- Windows - “Digi 002 Control Port” or “C|8 Surface”
- Macintosh - Digidesign Inc, Command|8 Port 1
7. From the Gain Controller Port menu, select a controller for automation gain or
automation pan recording.
The Gain Controller Port menu displays all COM or MIDI ports that are available on the
system.
8. (Option) Click Edit Settings to view or modify the button assignments.

Mapping Buttons and Menu Commands

You can map the buttons in the Digidesign 002 Controller Settings dialog box to buttons on
the Command palette and to menu commands.

To display the dialog box for mapping buttons and menu commands:
t Click the Edit Settings button in the Controller Settings dialog box.
The Digidesign 002 Controller Settings or Digidesign Command|8 Controller Settings
dialog box opens.

The following illustration shows both the Digidesign 002 Controller Settings dialog box and
the layout on the Digi 002 itself. Compare the two layouts to see which buttons are
mappable using the Digidesign 002 Controller Settings dialog box.

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Console View Display Controls and Foot Switch

Open Command Palette button Keyboard Modifier switches Transport and Navigation controls

Mic/Line/Inst
Monitor Section
Input controls
Console/channel
view section Status indicators and
(contains a pan Display controls
knob for each
track)

Transport and
Keyboard Navigational controls
Modifier
switches

Fader Section

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 Using the Digi 002 and Command|8

The following illustration shows the Digidesign Command|8 Controller Settings dialog box
as well as the layout on the Command|8 itself. Compare the two illustrations to see which
buttons are mappable using the Digidesign Command|8 Controller Settings dialog box.

Console
View Display Controls
and Foot Switch

Transport and
Navigation
controls

Open Command Palette button Keyboard Modifier switches

Mic/Line/Inst Input controls

Console/channel
view section

Keyboard
Modifier Monitor Section
switches
Status indicators and
Display controls

Transport and
Navigational controls

The Console/channel
Fader Section
view section contains a
pan knob for each track
a

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Button Layouts on the Digi 002 and Command|8

The buttons on the Digi 002 and Command|8 can have different functions if you press the
Shift, Control, Option, or Command keys. You can either use the keyboard or press one of
the Keyboard Modifier switches on the controller surface.

Button on Controller Macintosh key Windows key

Shift Shift Shift

Control Control Control

Option Option Alt

Command Command NA

To view the different button settings on the Controller Settings dialog box:
t Press the Shift, Control, Option, or Command key while viewing the Digidesign
Command|8 Controller Settings dialog box.

You can change the Keyboard Modifier switches by selecting a new button from the
appropriate menu in the Keyboard Modifiers area.

Each Controller Settings dialog box has an Open Command Palette button. Use the standard
techniques for mapping buttons and menu selections from the Avid interface to the buttons
on the control surface. For more information, see “Mapping User-Selectable Buttons” on
page 81 and “Mapping Menu Commands” on page 83.

To map a menu command to a button on a Controller Settings dialog box:

1. Click the Settings tab on the Project window.
2. Double-click Controller Settings.
The Controller Settings dialog box opens.
3. Choose either Digidesign 002 or Digidesign Command|8 from the Controller menu.
4. Click Edit Settings.
The Digidesign 002 Controller Settings dialog box or Digidesign Command|8
Controller Settings dialog box opens.
5. Click Open Command Palette.
The Command palette opens.
6. Click Menu to Button Reassignment on the Command palette.
As you move the mouse over a button, the cursor changes to a menu icon.

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 Using the Digi 002 and Command|8

7. Click the button on the dialog box that you want to change.
The system highlights the button.
8. Select a menu command. For example, select Tools > Audio Punch-In.
The system maps the menu command to the button.
9. When you finish mapping menu commands, click Active Palette on the Command
palette or Button to Button Reassignment to map buttons.
10. When you finish mapping menu commands and buttons and you want to save your
changes, click OK.
The Digidesign 002 Controller Settings dialog box or the Digidesign Command|8
Controller Settings dialog box closes and the Controller Settings dialog box appears.
11. Click OK.
The system makes the new button assignments.

c The assignments do not take effect until you click OK in both dialog boxes.

Using Buttons to Change Focus in the Avid Editing Application Interface

Many buttons perform different functions depending on which window in the Avid interface
is active (has focus). For example, if the Timeline is active, pressing Play plays the sequence
in the Timeline. If a bin is in Frame view and a clip is selected, pressing Play plays the
footage in the clip.

To ensure that you perform the correct operation when you press a button on the control
surface, you can map some buttons to menu commands that give focus to a particular
window or tool. For example, on the Digi 002, the F5 key is mapped to Tools > Timeline by
default. Pressing the F5 button on the Digi 002 puts focus on the Timeline.

n To see the function of a mapped button, hold the cursor over the button to view the tooltip.

n You cannot assign a function to the F1 key on a Command|8. The F1 key is a local function
on the device.

c Do not press the Standalone button on the Digi 002 while you are using it as a control
surface for your Avid editing application. This puts the controller in Standalone mode
and closes the FireWire connection. To use the controller again, you must exit the
application, power cycle the controller, and then relaunch your Avid editing
application.

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Using a Foot Pedal as a Foot Switch

The Digi 002 and Command|8 each have a connection on the back for a foot pedal. The
system accepts any “normally open” foot pedal. For example, you can use a standard
normally-open sustain pedal for an electronic keyboard.

You can assign any button or menu item to the foot pedal. By default, the system assigns the
foot pedal to the Record button on the Audio Punch-In tool. You could also assign the foot
pedal to the Shift key function.

Switching Between the Digi 002 and Command|8

The button mappings for the Digi 002 carry over to the Command|8. The button-mapping
dialog boxes for the Digi 002 and Command|8 are set up differently to match the layout of
the controllers, but the same settings are used for both controllers.

There are several buttons on the Command|8 that are not on the Digi 002:
• Mon 0
• Default
• MemLock

These buttons appear in the Digidesign Command|8 Controller Settings dialog box and do
not appear in the Digidesign 002 Controller Settings dialog box.

Using a Digi 002 or Command|8 to Record Automation Pan

To record automation pan information using a Command|8:
1. Attach the Digi 002 or Command|8 to your system. See “Configuring the Digi 002 or
Command|8” on page 410.
The position indicator lights change to blue when the fader controller or mixer is on and
correctly attached to the system.

Position
indicator
lights

2. Click the Timeline Fast Menu button and select Audio Data > Auto Pan.
3. Move the blue position indicator to the section of audio that you want to adjust and mark
IN to OUT points.
4. Set Preroll and Postroll values, if necessary.
5. Click the Record button to start recording your actions.

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 Using the Digi 002 and Command|8

6. Listen to the audio and turn the pan knob for the track.
The system displays the values in the Pan Value display for the corresponding track in
the Audio Mixer tool.
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, click the Audio Mixer Tool Fast Menu button,
and select Filter Automation Pan on Track — In/Out. (Click the Track Selection button
for a track to enable Filter Automation.)

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
pan changes.

Using the Latch Mode Feature on the Digi 002 and Command|8
The Digi 002 and Command|8 have a Latch Mode button for each track that allows you to
easily punch-in and punch-out small sections of automation gain information. The Channel
View buttons on the Digi 002 are used as the Latch Mode buttons. These buttons are directly
above the display on the Digi 002. On the Command|8, the Latch Mode buttons are directly
below the display. The first two buttons are labeled EQ and Dynamics.

When a fader is not in Latch Mode, it automatically stops recording as soon as you release
the fader. When you release the fader, it begins moving again as it follows the volume
information in the Timeline.

n The light inside the Latch mode button is on when a fader is not in Latch mode.

To use Latch Mode:

1. Click the Latch Mode button for the appropriate tracks on the controller. You can click
the button before or during a recording session.
2. Set IN and OUT points, and click the Record button. The system begins playing the
section and the faders move accordingly.
3. When you want to make an adjustment, grab the fader and move it to change the
volume. The system immediately begins recording.
4. When you are finished adjusting the section, release the fader. The system stops
recording (but keeps playing) and the fader snaps back to the level that is in the
Timeline.

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When the track is in Latch mode, the system continues to record audio volume information
after you release the fader. Press the Latch Mode button to stop recording and snap the
button back to its current Timeline position.

Configuring USB-to-MIDI Software for External

Controllers
Once you have connected a fader controller to your Avid editing system, you can install
USB-to-MIDI software and configure the software to recognize your fader controller.

For information on connecting a fader controller, see “Connecting Serial and MIDI Port
Devices” in the Help.

The term fader controller applies to the following third-party controllers:

• JL Cooper FaderMaster Pro MIDI automation controller
• JL Cooper MCS-3000X MIDI automation controller
• Yamaha 01V/96 or Yamaha 01V digital mixing console

Avid supports the MIDIMAN™ MIDISPORT™ 2x2 USB-to-MIDI converter.

c To reduce traffic on the USB, connect the USB-to-MIDI converter only if you need to
use the JL Cooper FaderMaster Pro, JL Cooper MCS-3000X, Yamaha 01V/96, or
Yamaha 01V fader box.

Installing USB-to-MIDI Software (Windows)

To install the MIDISPORT 2x2 driver software:
1. Make sure the MIDISPORT 2x2 USB-to-MIDI converter is not connected to the system.
When you are ready to load the drivers, you will use a USB connector to connect the
MIDISPORT 2x2 USB-to-MIDI converter to your Avid system.
2. Download the latest MIDISPORT 2x2 drivers from the following Web site:
[Link].
The system downloads a compressed, executable file.
3. Double-click the downloaded file to uncompress the driver files to a storage device or to
a folder on your Avid system.
4. Double-click the [Link] file included with the downloaded files. This file contains
the instructions for loading the drivers.

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5. To initiate the driver installation, use a USB connector to connect the MIDISPORT 2x2
USB-to-MIDI converter to the system. You do not need to connect the external fader to
the MIDISPORT 2x2 device.
The system automatically detects that a new device has been connected and opens the
Found New Hardware Wizard dialog box.
6. Follow the instructions in the [Link] file.

n If you uncompressed the files to a folder on your system, two drivers might appear in the list.
Choose either one.

Installing USB-to-MIDI Software (Macintosh)

n The Mac OS X operating system contains automatic support for USB-to MIDI devices.

To install the MIDISport 2x2 driver software:

1. Download the latest MIDISPORT 2x2 drivers from the following Web site:
[Link].
The system downloads a compressed, executable file.
2. Double-click the downloaded file to uncompress the driver files to a floppy disk or to a
folder on your Avid system.
3. Double-click the installer file.
4. Follow the on-screen instructions to load the software.

Testing the Fader Connections

To test the external fader controller connections:
1. Connect all MIDI hardware devices.
For more information, see “Connecting Serial and MIDI Port Devices” in the Help.

n MIDI port A is the default port used by the Avid system. To change the port configuration,
see “Switching Between MIDI Connections on the USB-to-MIDI Converter” on page 421.

2. Move the sliders on the fader controller, and confirm that the MIDI IN LED indicator on
the USB-to-MIDI converter turns on and off appropriately.
The USB LED indicator pulses — this is expected behavior.
3. Start your Avid editing application, and open the Project window.
4. Click the Settings tab and double-click Controller Settings.
The Controller Settings dialog box opens.

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5. Choose the appropriate port for the device from the Gain Controller menu.
6. Click OK.
7. Select Tools > Audio Mixer.
8. Do one of the following:
t Click and hold the Audio Mixer Mode button and select Automation Mode from the
menu.
t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings
to the Automation Mode setting.
9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders.
If the external fader controller is connected and the system is using the correct MIDI
port, then the Audio Mixer tool displays the following:
- At least one of the position indicator lights is on (blue).

Position
indicator
lights

- The Recording Status Light changes to gold.

10. If the lights do not change to blue, see “Troubleshooting the MIDI Connections” on
page 421.
11. To disable the hardware calibration, click the Audio Mixer Tool Fast Menu button, and
select Calibrate Hardware Sliders.
The Recording Status Light changes to black.
12. Move the sliders on the external fader controller.
The corresponding sliders move in the Audio Mixer tool.

Now you are ready to use the fader controller with your Avid editing application. For more
information on using the Audio Mixer tool, see “Understanding Automation Gain and Pan”
in the Help.

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 Configuring USB-to-MIDI Software for External Controllers

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

If you need to switch to a different MIDI port connection, change the hardware connections
and then make the appropriate change in the Controller Settings dialog box.

To change the MIDI port connection in your Avid editing application:

1. Click the Settings tab in the Project window.
2. Double-click Controller Settings.
The Controller Settings dialog box opens.
3. Select the correct MIDI port from the Gain Controller menu.
4. Click OK.
5. Select Tools > Audio Mixer.
6. Do one of the following:
t Click and hold the Audio Mixer Mode button and select Automation Mode from the
menu.
t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings
to the Automation Mode setting.
If the fader or mixer is on and correctly configured, the indicator lights on the Audio
Mixer tool should change to blue. If the lights do not change to blue, see
“Troubleshooting the MIDI Connections” on page 421.

Troubleshooting the MIDI Connections

Do the following if the Audio Mixer tool does not respond to the external fader
controller:
1. Make sure the MIDI hardware devices are connected.
For more information, see “Connecting Serial and MIDI Port Devices” in the Help.
2. Make sure the MIDISport driver software is installed. See “Installing USB-to-MIDI
Software (Windows)” on page 418 and “Installing USB-to-MIDI Software
(Macintosh)” on page 419.
3. Check that the MIDI cable connections are correct. Check that the cables are connected
from Out to In and from In to Out.
4. Check the Controller Settings dialog box in the Settings list of the Project window.
Verify that the correct Gain Controller port is selected.

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5. (Macintosh only) Use the Apple System Profiler to check whether the system is
recognizing the MIDI device:
a. Select Apple P menu > About This Mac.
b. Click More Information.
The Apple System Profiler opens.
c. Click the Devices and Volumes tab.
The USB Information portion of the display identifies the USB devices that the
system recognizes. The system might not display the name of each device, but the
number of USB devices should match the number of devices you have connected to
the system.

Using the FaderMaster Pro and MCS-3000X

The setup procedure is similar for both units. To connect and initialize the fader controllers,
see “Connecting Serial and MIDI Port Devices” in the Help.

c For the MCS-3000X to recognize the Avid application software, you must set the rear
DIP switch #4 down (ON).

To set the correct port in the Controller Settings:

1. Start your Avid editing application.
2. Click the Settings tab in the Project window.
3. Double-click Controller Settings.
4. In the Gain Controller Port menu, select the port that corresponds to the FaderMaster
Pro or MCS-3000X.
5. Click OK.

To test the external fader controller:

1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
2. Do one of the following:
t Click and hold the Audio Mixer Mode button and select Automation Mode from the
menu.
t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings
to the Automation Mode setting.

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 Using the FaderMaster Pro and MCS-3000X

3. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders.
The box changes to blue.
4. Check the color of the position indicator lights. If the external fader controller is
connected, at least one of the lights should be on (blue). If the external fader controller is
not connected properly, the lights will probably appear gray.

Position
indicator
lights

5. Move the faders on the external fader controller.

The corresponding fader should move in the Audio Mixer tool.

n An external fader controller is optional. It is not required to perform Automation gain

recording.

MCS-3000X Buttons
There are four rows of unlabeled buttons at the top of the MCS-3000X fader controller.

The following illustration labels each row of buttons:

Select

Snap Mode

Solo

Mute

• Select buttons: The green light next to the Select button for a track is on when you are
recording Audio Gain Automation on the track. The green light is off when you are
listening to the volume level in the Timeline.
If the track is in Snap mode, as soon as you touch the fader, the Select button light turns
on to indicate that you are recording. When you release the fader, the Select button light
turns off and the fader begins moving with the Timeline volume.

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When the track is not in Snap mode, as soon as you touch the fader, the Select button
light turns on to indicate that you are recording. However, when you release the fader,
the Select button light stays on, indicating that you are still recording. To stop recording,
press the Select button.
• Snap Mode buttons: For information on these buttons, see “Using the Snap Mode
Feature on the MCS-3000X” on page 424.
• Solo buttons: These buttons solo the selected tracks.
• Mute buttons: These buttons mute the selected tracks.

Using the Snap Mode Feature on the MCS-3000X

The MCS-3000X has a Snap Mode button (Snap mode is also known as Latch mode) for
each track that allows you to easily punch-in and punch-out small sections of automation
gain information. The second row from the top contains the Snap Mode buttons. For more
information on button locations, see “MCS-3000X Buttons” on page 423.

In Snap mode, the fader automatically stops recording as soon as you release the fader. In
addition, the fader continues to display the volume information in the Timeline.

To use Snap mode:

1. Click the Snap Mode button for the appropriate tracks on the external fader controller.
You can click the button before or during a recording session.
2. Set IN and OUT points, and click the Record button. The system begins playing the
section and the faders move accordingly.
3. When you want to make an adjustment, grab the fader and move it to change the
volume. The system immediately begins recording.
4. When you are finished adjusting the section, release the fader. The system stops
recording (but keeps playing) and the fader snaps back to the level that is in the
Timeline.

When the track is not in Snap mode, the system continues to record audio volume
information after you release the fader. Press the Select button (top row) to stop recording
and snap the button back to its current Timeline position.

The green light next to the Select button for a track is on when you are recording automation
gain on the track. The green light is off when you are listening to the volume level in the
Timeline.

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

Ganging Faders on the FaderMaster Pro

You can use the features available on the FaderMaster Pro to gang faders. When the faders
for two tracks are ganged, the fader sends identical volume messages for both tracks when
you move one fader. This can be useful when you have stereo tracks.

The ganged faders do not move together physically. For information on ganging the faders,
see the FaderMaster Pro user’s manual.

If you have two stereo tracks and want to gang faders 1 and 2 to respond to movement
on fader 1:
1. On the FaderMaster Pro, press the PROG button to light the Fader LED.
2. Press the Group button, and move fader 2 until 1 is displayed.
3. Press the PROG button to turn off the Fader LED.

Now, when you move fader 1, your Avid editing application will receive identical volume
information for fader 2.

To turn off the group feature, repeat steps 1 to 3, but assign fader 2 to 0.

n You cannot gang faders on the Digi 002, the MCS-3000X fader controller, the Yamaha
01V/96 mixer, or the Yamaha 01V mixer.

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

Your Avid editing application supports the Yamaha 01V/96 or Yamaha 01V digital mixing
console. The Yamaha 01V/96 and the Yamaha 01V are fully functional digital audio mixers
that also support automation gain recording.

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

This section describes how to set up the Yamaha 01V/96 or Yamaha 01V digital mixer.

For instructions on connecting the Yamaha 01V/96 or Yamaha 01V to your Avid system, see
“Connecting the Yamaha 01V/96 Mixer” in the Help.

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Initializing the Yamaha 01V/96 or Yamaha 01V

This section describes how to initialize the Yamaha 01V/96 or Yamaha 01V digital mixer.
These procedures should have to be done only once and repeated only if the mixer’s
operational parameters have been manually changed to settings that are incompatible with
your Avid editing application.

You should perform these procedures when you first set up the unit. You might also find it
necessary to perform the steps if the unit stops working correctly with your Avid editing
application. Because you can carry out a wide variety of mixing tasks with the Yamaha
01V/96 and the Yamaha 01V, it is possible that some changes you make to the unit might
cause it to stop working with your Avid editing application. If this happens, use the
following procedures to reinitialize the mixer to the factory defaults.

To return to factory defaults for the Yamaha 01V:

1. Turn on the mixer while pressing and holding the red Memory button.

Memory button

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

CURSOR
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10

20 20 20 20 20 20 20 20 20 20 20 20 20 20 20

+1/inc button
ENTER

1 2 3 4 5 6 7 8 9 10 11 12 13/14 15/16 STEREO

17 18 19 20 21 22 23 24 MASTER

The LCD panel displays a message asking if you want to reset the system.
2. Answer yes by pressing the +1/inc button.

To return to factory defaults for the Yamaha 01V/96:

1. Turn on the mixer while pressing and holding the STORE button.
2. The LCD panel displays a message asking if you want to Initialize or Password reset.
3. Select Initialize, and press Enter.

Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize Control Messages

After you initialize the mixer, you must configure it to receive and transmit control
messages. The Yamaha 01V/96 and Yamaha 01V can both receive MIDI messages. The
Yamaha 01V can also be controlled via a serial port and must be configured to receive serial
control messages if you are using a serial connection. The Yamaha 01V/96 can receive USB
control messages.

n Configure the mixer whether you are using a USB connection or a MIDI connection.
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 Using the Yamaha 01V/96 or the Yamaha 01V

To configure the Yamaha 01V/96 or Yamaha 01V to recognize MIDI control messages:
1. Press the MIDI button.
The system displays the first pane of the MIDI Options window.
2. Set the following controls in the MIDI Options window:
- Set Control Change TX to ON.
- Set Control Change RX to ON.
3. Set Port to MIDI.

To reconfigure the Yamaha 01V to recognize serial control messages:

1. Press the MIDI button.
The system displays the first pane of the MIDI Options window.
2. Set the following controls in the MIDI Options window:
- Set Control Change TX to ON.
- Set Control Change RX to ON.
3. Set Port to PC-2.

To configure the Yamaha 01V/96 to recognize USB control messages:

1. Press the DIO/Setup button repeatedly until the MIDI/TO HOST SETUP pane appears.
The system displays the first pane of the MIDI Options window.
2. Set the following controls in the USB Options window:
a. Set RX Port to USB 1.
b. Set TX Port to USB 1.
3. (Windows only) Do the following to load the driver:
a. Insert the Studio Manager CD-ROM before plugging in the board.
b. Plug the board into a USB port and allow the Plug & Play to install the MIDI driver.
c. Start your Avid editing application, and in the Controller Settings dialog box, select
the YAMAHA USB IN 0-1 port.
4. (Macintosh only):
a. For the most up-to-date driver, download and install the Generic USB Driver for
Mac OS X from [Link].
b. Start the Avid editor, and in the Controller Settings tool, select Port 1 from the Gain
Controller Port menu.

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

Yamaha 01V Attached
To set the correct port in the Controller Settings:
1. Start your Avid editing application.
2. From the Project window, click the Settings tab.
3. Double-click Controller Settings.
4. From the Gain Controller Port menu, select one of the following:
For Windows:
- In-A-USB MidiSport 2x2 for MIDI
- YAMAHA USB IN 0-1 for USB (01V/96 only)
- COM portnumber for Serial (01V only)
For Macintosh:
- M-Audio MidiSport Port A for MIDI
- YAMAHA USB Device Port 1 for USB
- Other values depend on the serial interface you are using. For example, for a
Keyspan USB/Serial adapter, the value is USA28xb2p1.1

When you start your Avid system with the Yamaha 01V/96 or the Yamaha 01V attached, you
can use the faders for mixing audio channels or for performing automation gain recording.
Use the following buttons to switch between audio mixing and gain recording:

Buttons Yamaha 01V Yamaha 01V/96

Channel buttons for audio Home 1 - 16 channel

mixing 17 - 32 channel

Gain editing buttons for Option I/O Master

automation gain recording

n The Yamaha 01V supports a digital I/O option that uses channels 17 through 24. If you
intend to use the digital I/O option, you should move the digital I/O option to channels 1
through 8 by using the Swap mode. You can access Swap mode from pane 5 of the OPTION
I/O screen. For more information, see the Yamaha documentation.

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

Operating the Yamaha 01V/96 and Yamaha 01V

The following procedures explain how to access the Yamaha 01V/96 or 01V for audio
mixing and how to perform automation gain recording.

To access the faders for audio mixing (channels 1–16):

t Press the Home (Yamaha 01V) or 1-16 or 17-32 (Yamaha 01V/96) button.
When the button is lit, you can use the faders for audio mixing.

For information on audio mixing, see the Yamaha 01V/96 or the Yamaha 01V
documentation.

To record automation gain information:

1. Select Tools > Audio Mixer.
2. Do one of the following:
t Click and hold the Audio Mixer Mode button and select Automation Mode from the
menu.
t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings
to the Automation Mode setting.
1. Press the Option I/O (Yamaha 01V) or Master (Yamaha 01V/96) button.
The faders move into the correct position for recording automation gain.
2. When recording automation gain, use the On button on each channel to switch between
Timeline control of audio gain to user control of audio gain.
You can punch-in and punch-out of gain recording as many times as you want.

n The Automation Gain window must be in 8-channel mode and you need to have 8 tracks of
audio to use all 8 faders of the Yamaha 01V/96.

The Yamaha 01V/96 and the Yamaha 01V faders are not touch sensitive in the same way as
the JL Cooper MCS-3000X MIDI fader controller. As soon as you touch a moving fader on
the MCS-3000X, the unit passes control of the fader to you. On the Yamaha 01V/96 or the
Yamaha 01V, you must press the fader’s On button to gain control of a moving fader.

n If a fader is not moving, you can move the fader to take control without pressing the On
button.

c If you attempt to catch a moving fader, the mixer will try to control the fader. Press the
On button to take control of the fader.

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Soloing Avid System Channels

If you are not using the Yamaha 01V/96 or the Yamaha 01V to mix the audio outputs from
the Avid system, you can use the Solo button on the Yamaha 01V/96 or the Yamaha 01V to
solo audio channels during automation gain recording.

To enable Solo mode:

1. Press the MIDI button.
The mixer displays pane 1 of the MIDI Options window in the LCD display.
2. Set the following controls in the MIDI Options window:
- Set Param Change TX to ON.
- Set Param Change RX to ON.

n If Solo mode is on when you are mixing audio, it interferes with the normal operation of the
mixing board functions. If the audio outputs from your Avid system are connected to the
Yamaha 01V, leave the Param Change TX and Param Change RX controls set to OFF.

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 Using the Audio EQ Tool

Using the Audio EQ Tool

The 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 Select Tools > Audio EQ.
t If one of the Audio tools is already open, click the Effect Mode Selector menu, and
select EQ.
The Audio EQ tool opens.

Render Effect button Fast Menu button

Audio Loop Play button Effect icon

Effect Mode Selector menu Display/Hide EQ Graph button

Track Selection Menu button Enable/Disable EQ Effect button

Bypass RT EQ button
EQ Parameter display

Low shelf

3-band controls
Parametric midrange

High shelf

EQ Range slider

EQ Parameter graph

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Audio EQ Tool Features

This section describes the basic buttons and menus on the Audio EQ tool as well as the
EQ-specific items on the tool.

Basic EQ Tool Features

The following table describes the buttons that appear along the top portion of the Audio EQ
tool:

Button Description

Effect Mode Selector Allows you to select among the Audio EQ, Audio Mixer, and
AudioSuite Plug-In tools.

Audio Loop Play 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 using this button, see “About Adjusting
Volume While Playing a Clip Gain Effect” on page 400.

Render Effect 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 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 441.

Track Selection Menu Allows you to choose which tracks are enabled for the EQ effect.
When you select 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 EG Graph Allows you to display or hide the Parametric Curve display.

Bypass RT EQ Allows you to instruct the system to ignore all the EQ effects. This
button is also available in the Automation Gain tool and the Output tab
in the Audio Project Settings dialog box. If you select this feature in
one place, it is selected in the others as well.

Enable/Disable EQ Effect 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. For more information, see
“Low Shelf Example” on page 439.
• 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. For more information,
see “Small Octave Range Example” on page 440.
• 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 IN button 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 Ignore EQ option turns off all EQ effects for the sequence. Rendered EQ effects still
play correctly.

When you apply Audio EQ effects, consider the following:

• Apply Audio EQ to entire segments only. You cannot isolate portions of a segment for
an Audio EQ effect by using IN to OUT points. You must use add edits (match frames)
to mark off a smaller segment.
• 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.

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The following illustration shows the Audio EQ tool with the frequency response curve
displayed and identifies the related areas of the tool.

EQ Parameter display
Bandwidth around the center point of
the parametric curve – 1/4 octave
(narrow) or 2 octaves (wide)
Current values of the EQ
parameters

Turnover point where low

Turnover point where high shelf
shelf curve starts moving
curve starts moving back toward 0
back toward 0

Center point of the

parametric midrange
curve
High shelf
0 line

Low shelf Parametric midrange

The Audio EQ tool allows you to emphasize or de-emphasize audio frequencies. The height
of the curve in the bottom pane shows the amount of emphasis or de-emphasis (also called
boost or cut) that is being applied. The range is from +15 dB to –20 dB.

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.
3. (Option) Mark a range of audio segments by adding IN to OUT points in the track.
4. Select Tools > Audio EQ.

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5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track
to be adjusted.

Track Selection
Menu button

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.
Values are cumulative until you press Enter (Windows) or Return (Macintosh). For
example, if you want to enter the value 12, simply 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 select Set EQ to apply the adjustments
to the track. The command works as follows on the selected tracks:
- IN and OUT points: Apply the EQ effect to selected tracks between the points.
- An IN point (no OUT point): Apply the EQ effect to full clips from the IN point to
the end of selected tracks.
- 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 441.

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For example, the following illustration shows a segment with one EQ effect applied to
Audio Clip 2 in track A1. If you select Set EQ In/Out, the current EQ effect is also
applied to Audio Clip 1 and Audio Clip 3 on track A1.

Before Set EQ In/Out

After Set EQ In/Out – EQ effect is added to Audio Clip 1 and Audio Clip 3.

If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes
the EQ settings on all clips within the IN to OUT range. For example, because there is
no EQ setting on Audio Clip 3 in the following example, Set EQ In/Out deletes the EQ
effect from Audio Clip 1 and Audio Clip 2.

Before Set EQ In/Out

After Set EQ In/Out – EQ effect is deleted from Audio Clip 1 and Audio Clip 2.

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 to 9 until you are satisfied with the EQ adjustments.

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Saving Audio EQ Effects

Your Avid editing application 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.

EQ effect icon in a bin

EQ effect in the Timeline

To save EQ settings in a bin:

t Drag the effect icon in the Audio EQ tool to a bin.

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 “Working with Effect Templates” in the
Help.

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Removing Audio EQ Effects

To remove an Audio EQ effect:
1. Move the position indicator to the effect in an active track.
2. Do one of the following:
t In Source/Record mode, click the Remove Effect button.
t In Trim or Effect mode, press the Delete key.

You can also use the commands from the Audio EQ Tool Fast menu.

Audio EQ Examples
The following examples show 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

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 simply
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

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.

To isolate the frequency:

1. Use the ¼-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.

Use the EQ Range slider to

move the center point of the
parametric curve and locate
a specific frequency.

To locate a specific frequency and either emphasize or deemphasize it:

• Use the ¼-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.

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Using Audio EQ Templates

Your Avid editing application 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 on the Audio EQ tool. You can also add your own custom EQ templates to the Fast
menu.

The Fast menu on 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.

Applying an EQ Template

To apply an EQ template from the Audio EQ Tool Fast menu:

1. Move the position indicator to the audio clip in the Timeline.
2. Click the Audio EQ Tool Fast Menu button, and select the template.
Your Avid editing application places the EQ effect on the audio clip.

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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, select
Tools > Console.

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.
Your Avid editing application 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 Audio EQ Tool Fast Menu

Your Avid editing application stores predefined EQ templates in a special bin named
Site_EQs_Bin.avb. You can add your own EQ templates to the Audio EQ Tool Fast menu by
storing your EQ templates in the same bin as the predefined templates.

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To add an EQ template to Site_EQs_Bin:

1. Open the bin containing your EQ templates.
2. Select File > Open Bin.
A dialog box opens.
3. Navigate to the bin named Site_EQs_Bin.avb in one of the following locations:
(Windows) drive:\Program Files\Avid\Avid editing application\
SupportingFiles\Site_Effects
(Macintosh) Macintosh HD/Applications/Avid editing application/
SupportingFiles/Site_Effects
4. Double-click the Site_EQs_Bin.avb file.
The Site_EQs_Bin window opens.
5. Drag one of your EQ templates into the Site_EQs_Bin window.
6. Name the template by clicking the text and typing a name.
7. Close the bin.

n Your Avid editing application does not save the effect to the bin until you close the bin.

8. 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.

Audio Loop Play button

Use the same procedure as described in “About Adjusting Volume While Playing a Clip
Gain Effect” on page 400.

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.

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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.
t Use IN and OUT points to choose a narrow interval to adjust.

Recording Voice-Over Narration

You can use the Audio Punch-in tool to record audio directly into the Timeline for voice-
over narration.

Recording voice-over narration directly into your Avid editing application saves you the
extra steps of recording the narration to tape first, capturing the narration audio to your Avid
system, and then editing the audio clip into the sequence.

Audio punch-in allows you to record audio directly into the Timeline for voice-over
narration.

The following topics provide more information on recording voice-over narration:

• Connecting Voice-Over Recording Hardware
• Understanding the Audio Punch-In Tool
• Recording Voice-Over Narration Using Audio Punch-in

Connecting Voice-Over Recording Hardware

Before you can record voice-over narration, 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 system.
• Connect a microphone to a microphone preamplifier, and connect the preamplifier to the
audio interface I/O device on your Avid system.

For information on connecting the hardware, see “Using the Avid Adrenaline,” “Using the
Avid Mojo,” or “Using the Avid Mojo SDI” in the Help.

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Understanding the Audio Punch-In Tool

You can use the Audio Punch-in tool to record voice-over narration directly into the
Timeline.

You can “rehearse” the voice-over while listening to the sequence. The voice-over is not
recorded while you are rehearsing. You can continue to rehearse until you get it right. While
recording, you can watch and listen to the sequence and hear the playback of edited sound
tracks.

This topic describes the features of the Audio Punch-in tool and several typical scenarios for
its use.

Audio Punch-in Tool Features

The following illustration shows the features of the Audio Punch-In tool. The following
table describes the features of the tool.

Record button Stop button

Play In/Out button Go to Mark IN button

Cancel button Passthrough Mix Tool button

Audio Tool button Preroll and Postroll text boxes

Handles text box

Input Source menu

Input Channels Timeline Track menus

buttons

Target Drive menu

Target Bin menu

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Audio Punch-In Tool Features

Feature Description

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 while 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 recording stops.

Go to Mark IN button Moves the position indicator to the IN point. If there is no IN point, your Avid
editing application goes to where the position indicator was previously located or
to the start of the sequence.

Cancel button Stops a recording without saving the recorded data.

Audio Tool button Opens the Audio tool so you can monitor and adjust the audio levels during
recording.

Passthrough Mix Tool Opens the Passthrough Mix tool so you can monitor the audio levels during
button recording.

Preroll text box Allows you to provide an audiovisual cue before the recording begins. Your Avid
editing application backs up the position indicator for the prescribed number of
seconds. You can hear the audio during preroll.
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 audiovisual cue after the recording ends
as that provided by the Preroll text box before the recording begins.

Handles text box Instructs your Avid editing application to record audio at the beginning and end
of the clip. This allows you to perform trim edits on the audio.
This feature applies only when you start recording with the Record button. You
can record real-time punch-in only until the end of the handle.

Input Channels button Identify the channels on the audio hardware that are used for recording. Click the
appropriate button to select the channel. The button changes to pink when it is
selected. Alt+click (Windows) or Option+click (Macintosh) the button to display
a menu and select another channel.

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Audio Punch-In Tool Features (Continued)

Feature Description

n The selected input channels are not used for playback. Do not select the same channels as mix output on
the Audio Mixer tool.

Input Source menu Includes several optional sources for audio input, depending on your system and
audio board.

n To view the audio input sources available on your system, see the Input Source menu in the Input tab in
the Audio Project Settings dialog box.

Timeline Track menus Allow you to specify where your Avid editing application places the audio in the
Timeline. Select either New Track or an existing track. When you select an
existing track, your Avid editing application overwrites the audio on that track
and silences that portion during playback.

Target Drive menu Allows you to choose a target drive.

Target Bin menu Allows you to choose a target bin.

Audio Punch-in Tool Scenarios

You can punch-in audio in several ways:

• Scenario 1 – Set only an OUT point. The 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 recording.
• 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 is recorded.
Repeat 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.

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Recording Voice-Over Narration Using Audio Punch-in

The steps below are general guidelines for recording audio punch-ins, regardless of your
scenario. You should determine when to add the IN and OUT points, when to use the Play
In/Out button, and when to use the Record button, based on your needs. For more
information, see the scenarios described in “Understanding the Audio Punch-In Tool” on
page 445.

n When performing an audio punch-in, the video resolution is dropped a quarter-frame due to
bandwidth limitations.

To use the Audio Punch-In tool:

1. Load a sequence into the Timeline.
2. Select Tools > Audio Punch-In.
The Audio Punch-In tool opens.

Record button

Play In/Out button

Stop button

Input Source menu

Input Channels Timeline Track

buttons menus

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.

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4. Click the Timeline Track menus, and select either New Track or an existing track to
specify where your Avid editing application places the audio voice-over in the Timeline.
You can replace part (or all) of an existing track, or you can create a new track for the
voice-over.

IN point OUT point

5. (Option) Set IN and OUT points in the Timeline to specify the part of the sequence to
which you want to add narration.
6. 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.
7. 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 in the Audio tool becomes an I and
changes to orange.
8. 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.
9. Click the Stop button, or press the space bar to stop play and recording.
Your Avid editing application automatically names the voice-over and saves it as an
audio clip. You can change the clip name as you would for any other clip. The position
indicator stops to get ready for your next voice-over.

n To go to the IN point at any time, click the Go to Mark IN button.

n Your Avid editing application creates one master clip, regardless of how many punch-ins you
perform.

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The following illustrations show the results of adding a voice-over.

Voice-over adding a new track

Voice-over replacing a portion of a track

n Three Undo functions 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.

To cancel an audio punch-in at any time:

t Click the Cancel button, or press the Esc or the period (.) key.

Monitoring Previously Recorded Tracks While Recording

Voice-Over Narration
You can monitor previously recorded audio tracks while you record a voice-over narration.

To monitor other audio tracks:

1. Select Tools > Audio Tool.
The Audio tool opens.
2. Click the Output Options menu, and select Mono.
3. Record your voice-over as described in “Recording Voice-Over Narration Using
Audio Punch-in” on page 448.
4. As you record, monitor the previously recorded audio tracks along with your current
recording from the meters in the Audio tool and from the sound on the speakers.

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Using Peak Hold While Recording Voice-Over Narration

Peak Hold allows you to customize the meter displays, and sets and plays back the internal
calibration tone. You can use Peak Hold while recording a punch-in as follows:
• Use the Peak Hold 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 about Peak Hold, see “Using the Audio Tool” in the Help.

Using a GPI Device with the Audio Punch-In Tool

Your Avid editing application 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 your Avid editing application sends GPI trigger signals. For more
information, see “Understanding GPI Trigger Signals” on page 452.
• 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 453.
• Configure the V-LAN VLXi deck controller and the GPI. For more information, see
“Configuring a V-LAN VLXi Controller and GPI” on page 454.
• Create GPI settings for your specific needs. For more information, see “Working with
GPI Settings” on page 454.

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Understanding GPI Trigger Signals

Your Avid editing application sends three different GPI trigger signals under the following
circumstances:

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 Stop button in the Audio Punch-In tool
changes to blue).

Record Out Recording with the Audio Punch-In tool begins.

Stop Out Playback stops.

For more information on using the Audio Punch-In tool, see “Recording Voice-Over
Narration Using Audio Punch-in” on page 448.

GPI Signal Sequences

GPI signal sequences differ, depending on whether or not you are using the Audoi Punch-In
tool with preroll and postroll.

When you use the Audio Punch-In tool without any preroll or postroll, the following occurs:
• Record Out is sent when recording begins.
• Stop Out is sent when recording (and playback) ends.

When you use the Audio Punch-In tool with preroll and postroll, the following occurs:
• Play Out is sent when preroll begins (the position indicator begins moving in the
Timeline, and the Play In/Out button in the Audio Punch-In tool blinks green).
• Record Out is sent when recording begins (the Record button in the Audio Punch-In
tool blinks red).
• Play Out is sent when recording ends and postroll begins (the Stop button in the Audio
Punch-In tool changes to blue).
• Stop Out is sent when postroll ends (the position indicator stops moving).

n Record Out and Play Out repeat if you perform additional recordings.

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Example of Linking GPI Actions to Trigger Signals

You can configure the GPI to respond to each signal sent by your Avid editing application in
a specific manner. For a simple indicator light, you might create a GPI setting linking the
Record Out signal from your Avid editing application to the GPI Set action (to turn the light
on) and a setting linking the Stop Out signal from your Avid editing application to the GPI
Reset action (to turn the light off).

For information on GPI actions, see “Working with GPI Settings” on page 454.

If you are 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 454.

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.

GPI terminals (for connections

to external hardware)

IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT

SERIAL LAN CF
VLXi-GT GPI AC

1 2 3 4 5 6

Terminator (required when

V-LAN connection cable length is more than
50 feet [15.24 meters])

TIMECODE A TIMECODE B
SERIAL PARALLEL REF SERIAL A SERIAL B LAN CF
V-LAN VLXi IN OUT IN OUT
AC

controller VLX TRANSMITTER VLX 2R DUAL RECEIVER

VLXi transmitter
serial input

Serial cable to serial port connector on Avid system, or

Note: All cables are to serial port connector on a USB-to-serial adapter
customer supplied.

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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.

Configuring a V-LAN VLXi Controller and GPI

Once you have connected a V-LAN VLXi controller and VLXi-GT GPI 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. For more information on creating settings, see
“Working with GPI Settings” on page 454.

To configure the V-LAN VLXi controller and the VLXi-GT GPI:

1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Click Add Channel.
3. Click the Channel Type menu, and select VLAN VLX.
4. Click the Port menu, and select the serial port to which the V-LAN VLXi is connected.
5. Click OK.
The Autoconfigure message box opens.
6. Click Yes.
The connected GPI is automatically detected and appears in the Deck Configuration
dialog box.

Working with GPI Settings

You must create a separate GPI setting for each trigger signal you want the GPI to recognize.
For example, you would 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.

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Creating a GPI Setting

To create a GPI setting:

1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Double-click the VLXi-GT text box.
The GPI Settings dialog box opens.
3. Select the appropriate settings.
For more information about GPI settings option, see “GPI Settings Options” on
page 456.
4. Click Add.
The GPI Node Settings dialog box opens.
5. Select the appropriate settings.
For more information about GPI Node settings option, see “GPI Settings Options” on
page 456.
6. Click OK.
The GPI Settings dialog box opens.
7. Click OK to set the GPI.
8. Click Apply in the Deck Configuration dialog box.

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GPI Settings Options

The following tables describe the GPI settings and GPI Node settings options.

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.

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.

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 452 are active.

Node Click the Node menu, and select a node. Nodes 1 through 6 correspond to
the physical connectors on the back of the VLXi-GT GPI device.

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GPI Node Settings Options (Continued)

Option Description

Action Select an action:

• Set activates a command.
• Reset deactivates a command.
• Pulse switches the state between active and inactive.

Editing a GPI Setting

To edit a GPI setting:

1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Click the VLXi-GT text box.
3. Select the name of the GPI you want to edit.
4. Click Edit.
5. Make the applicable changes to the setting.
6. Click OK.
7. Click Apply.
The GPI setting is updated.

Deleting a GPI Setting

To delete a GPI setting:

1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Click the VLXi-GT text box.
3. Select the name of the GPI you want to delete.
4. Click Delete.
5. Click OK.
6. Click Apply.
The GPI setting is deleted.

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Displaying Audio Formats in Bins

You can select a bin heading to display the audio formats in the bin. The applicable audio
format, AIFF-C, WAVE, PCM, or SDII (Macintosh), appears in the Audio Format column
for master clips.

To add the Audio Format column to a bin:

1. With a bin in Text view, select Bin > Headings.
The Bin Column Selection dialog box opens.
2. Ctrl+click (Windows) or click (Macintosh) Audio Format in the list to select it.
3. Click OK.
The Audio Format column appears in the bin.

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Using AudioSuite Plug-Ins

This chapter describes how to access and use the AudioSuite plug-ins, including the set of
core plug-ins that comes with your Avid editing application. It also provides a list of other
plug-ins that are supported by this version.
• Understanding Digidesign AudioSuite Plug-Ins
• Core AudioSuite Plug-Ins
• Non-Core AudioSuite Plug-Ins

Understanding Digidesign AudioSuite Plug-Ins

Your Avid editing application 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 information on Digidesign and third-party plug-ins, go to the Digidesign Web site at
[Link].

For information on plug-ins that are not supported by your Avid editing application, see
“AudioSuite Plug-in Limitations” on page 471.

Installing AudioSuite Plug-Ins

The installer for your Avid editing application automatically creates a Plug-Ins folder that
stores AudioSuite plugins in the following location:

(Windows) drive:\Program Files\Common Files\Digidesign\DAE

(Macintosh) Macintosh HD/Library/Application Support/Digidesign

Chapter 14 Using AudioSuite Plug-Ins

A set of core plug-ins is installed automatically. 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 by using an installation program.

c Your Avid editing application requires the files in this folder named
[Link] and [Link] (Windows) or
Avid_Application_PlugIn (Macintosh). Do not delete them.

n AudioSuite Plug-ins supported by Avid are added to the Plug-In Selection menu in the
AudioSuite window. If you install a plug-in that is not officially supported by Avid, the plug-
in name is still added to the Plug-In Selection menu, but a ~ character precedes the name,
informing you that this plug-in is not supported. If you attempt to use the plug-in, a dialog
box appears informing you that this plug-in is not supported and might cause an error.

Using Digidesign AudioSuite Plug-Ins

You can use AudioSuite plug-ins in two different ways. You can
• Apply a plug-in to a clip in the Timeline. The end result is a rendered effect. For more
information, see “Applying an AudioSuite Plug-in to a Clip in the Timeline” on
page 461.
• 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 with AudioSuite Plug-Ins” on page 464.

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By default, the AudioSuite window displays the controls for applying a plug-in to a clip in
the Timeline. When you drag a master clip into 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

Applying an AudioSuite Plug-in to a Clip in the Timeline

The following illustration shows the default layout of the AudioSuite window.

Effect Mode Selector menu

Render Effect button
Audio Loop Play button Fast Menu button
Effect icon

Display/Hide Master
Clip Controls button
Plug-In Selection menu

Target Drive menu

Status display

Activate Current Plug-In button

Track Selection Menu button

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To apply an AudioSuite plug-in to a clip in the Timeline:

1. Open the AudioSuite window by doing one of the following:
t Select Tools > AudioSuite.
t If an audio tool is already open, click the Effect Mode Selector menu, and select
AudioSuite.
2. Use the Track Selection Menu button to select the tracks that you want to modify. When
you select 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 select additional tracks from the Track
Selection menu. The tracks are designated by plus signs (+), which indicate that the effect is
applied to more than one track.

3. Click the Plug-In Selection menu, and select a plug-in.

Your Avid editing application 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 opens.
5. Make any necessary adjustments, and click the Preview button to preview the effect. For
more information, see “Using an AudioSuite Plug-In Dialog Box” on page 463.
6. To save the effect, click OK. To close the dialog box without saving the effect, click
Cancel.
7. (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 with AudioSuite Plug-Ins”
on page 464.

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Using an AudioSuite 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 Gain plug-in.

These six buttons

appear on all
AudioSuite Plug-In
dialog boxes.

The following table describes the six common buttons:

Button Description

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 a plug-in cannot preview in real time,
your Avid editing application plays back the processed audio in 2-second intervals: it 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 level 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 is dimmed.

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AudioSuite Fast Menu

The AudioSuite Fast menu allows you to perform the following tasks:
• Apply an existing AudioSuite template. See “Using AudioSuite Effect Templates” on
page 469.
• Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on
whether you have IN to OUT points in the sequence.

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 enabled tracks.
• IN/OUT: There are IN to OUT points on the segment. The command affects the plug-
ins on the enabled tracks within the marked region.
• From IN: There is an IN point and no corresponding OUT point. The command affects
all plug-ins on enabled tracks, starting with the IN point.

Rendering AudioSuite 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, your Avid editing application 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 471.

Creating New Master Clips with AudioSuite Plug-Ins

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. 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 in order to add a reverb trail.
• Apply one mono AudioSuite effect to multiple inputs of a master clip in a multiple-
mono fashion.

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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.

Display/Hide
Master Clip
Activate Current Controls button
Plug-In button
Track Selection Toggle Master
Menu button Clip Mode
button
Clip Selection
menu Mark IN to OUT
Input Source Track indicators
selectors
Processing Mode Find Source From
Selection menu Effect button

Load In Source
Monitor button
Target Bin for New
Master Clip menu
Status display Handle Length for End of
Load Result check box
Master Clip (seconds) text box

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The following table describes the controls in the AudioSuite window.

AudioSuite Window Controls

Control Description

Track Selection Menu This menu is not active in Master Clip Processing mode.
button

Clip Selection 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 These buttons allow you to choose the input source tracks for the effect.
selectors
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 This menu displays the current processing mode of the AudioSuite effect on a given
Selection menu clip. For more information, see “Mono, Stereo, and Multichannel Processing in
AudioSuite Plug-Ins” on page 467.

Target Bin for New This menu allows you to choose the target bin. The system will place the new media
Master Clip menu and a corresponding AudioSuite effect template in the bin. The template allows you
to modify the effect at a later time.

Toggle Master Clip This button activates the master clip processing mode. The button is yellow when
Mode button master clip processing mode is active.

Mark IN to OUT These lights change to green when a mark IN or mark OUT exists on the current
indicators master clip.

Find Source From Effect his button allows you to find the master clip associated with an AudioSuite
button 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.

Load In Source Monitor This button loads the current source master clip into the Source monitor. This is
button useful if you want to add or change IN to OUT points on the clip.

Load Result check box This check box enables you to instruct the system to automatically load the
resulting master clip into the Source monitor.

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AudioSuite Window Controls (Continued)

Control Description

Handle Length for End This text box allows you to add filler at the end of a master clip. The value
of Master Clip (seconds) represents the number of seconds to add. For example, use this feature to add filler
text box 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 Digidesign Audio
Engine (the software that manages the AudioSuite plug-ins) 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.

n On the Macintosh, you can Command+click the status display to close the
Digidesign Audio Engine. This might reclaim a small amount of system
memory, expecially if you have a large number of AudioSuite plug-ins
installed. However, when you close the Digidesign Audio Engine in this way,
the Status display changes to “Must relaunch application to reconnect to
DAE,” and you cannot start the Digidesign Audio Engine again without
quitting and reopening the editing application.

Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins

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, the Time Compression Expansion plug-in typically operates on
a stereo pair. You can choose mono if you want the plug-in to operate on each track
individually, in a serial manner.
• Mono and multichannel 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.

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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, that
operates on multiple channels, creates a master clip with the same number of tracks that
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 menu. For example, the Normalize plug-in
offers two choices: Peak On Each Track and Peaks From All Tracks (default).

You select the processing mode from a menu in the AudioSuite window as described in the
next section.

Using AudioSuite 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.
Your Avid editing application 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, select a clip to
work on from the Clip Selection menu.
3. Select the input sources from the Input Source Track selectors.
4. (Option) Alt+click (Windows) or Option+click (Macintosh) the Input Source Track
selector to change the preview source track.
5. (Option) Type a value in the Handle Length 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.

4