Avid® Media Composer®, Film Composer®, and Media Station XL
What’s New for Version 11.7
™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,883,670; 5,905,841; 5,929,836; 5,929,942; 5,930,445; 5,946,445; 5,987,501; 5,995,115; 6,016,152; 6,018,337; 6,023,531; 6,035,367; 6,038,573; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,130,676; 6,134,607; 6,137,919; 6,141,007; 6,141,691; 6,157,929; 6,198,477; 6,201,531; 6,211,869; 6,223,211; 6,239,815; 6,249,280; 6,269,195; 6,301,105; 6,317,158; 6,317,515; 6,327,253; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc. Copyright © 2003 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA. The following disclaimer is required by Apple Computer, Inc. APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.
THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE. The following disclaimer is required by the Independent JPEG Group: Portions of this software are based on work of the Independent JPEG Group. The following disclaimer is required by Paradigm Matrix: Portions of this software licensed from Paradigm Matrix. The following disclaimer is required by Ray Sauers Associates, Inc.: “Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages. The following disclaimer is required by Videomedia, Inc.: “Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.”
“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.” The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code: ©1993–1998 Altura Software, Inc. The following disclaimer is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection. The following disclaimer is required by 3Prong.com Inc.: Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc. Attn. Government User(s). Restricted Rights Legend U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable. Trademarks 888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, AVIDdrive, AVIDdrive Towers, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, DINR, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, NetReview, NewsCutter, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE, SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries. iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.
Adobe and After Effects are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple, Macintosh, and Mac OS are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. cleaner is either a registered trademark or a trademark of Autodesk, Inc., in the USA and/or other countries. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. MIDIMAN and MIDISPORT are trademarks of M-Audio, Inc. OpenGL is a registered trademark of Silicon Graphics, Inc. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. The QuickTime logo is registered in the U.S. and other countries. Sony, Betacam, Betacam SX, and MPEG IMX are trademarks of Sony Corporation. Unicode is a trademark of Unicode, Inc. UNIX is a registered trademark of The Open Group in the U.S. and other countries. Windows is either a registered trademark or a trademark of Microsoft Corporation in the United States and/or other countries. Yamaha is a registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners. Footage Arri — Courtesy of Arri™/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com. Windhorse — Courtesy of Paul Wagner Productions.
GOT FOOTAGE?
Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content creators of every genre — Just finished an incredible project and want to share it with the world?
Send us your reels and we may use your footage in our show reel or demo!*
For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.
*Note: Avid cannot guarantee the use of materials submitted.
Avid Media Composer, Film Composer, and Media Station XL What’s New for Version 11.7 • Part 0130-05622-01 • February 2003 Contents
Using This Guide ...... 9 Who Should Use This Guide ...... 9 About This Guide ...... 9 Symbols and Conventions ...... 10 If You Need Help ...... 12 Related Information ...... 13 If You Have Documentation Comments ...... 14 How to Order Documentation...... 14 Avid Educational Services ...... 14
Chapter 1 New Features for Version 11.7 ...... 15
Chapter 2 New User Interface Features...... 19 Using the Mac OS X Operating System ...... 19 Changes from Mac OS 9 to the Mac OS X Operating System . . . . 19 Using the Macintosh Dock ...... 22 Starting the Avid Application on the Mac OS X Operating System ...... 23 Avid File Locations on the Mac OS X Operating System...... 24 Changes to the User Interface ...... 25 Avid Attic Folder...... 25 Custom Screen Dialog Box ...... 25 SuperBin Features ...... 26 Viewing Previously Opened Bins...... 26 Deleting Bins with the SuperBin Enabled ...... 26 Unmounting Drives ...... 26 Communication (Serial) Ports Tool ...... 27 Configuring an External Fader or Mixer ...... 27 Configuring the USB-to-MIDI Software...... 28 Installing USB-to-MIDI Software (Windows) ...... 28 Installing USB-to-MIDI Software (Macintosh)...... 29 Testing the Fader Connections ...... 30 Switching Between MIDI Connections on the USB-to-MIDI Converter (Windows) ...... 31 Switching Between MIDI Connections on the USB-to-MIDI Converter (Macintosh) ...... 32 Troubleshooting the MIDI Connections ...... 33
Chapter 3 New Color Correction Features ...... 35 The Color Correction Button ...... 36 Control Points in ChromaCurve Graphs ...... 36 Real-Time Capabilities of Color Correction...... 36 Using the Client Monitor with Color Correction ...... 37
Chapter 4 Marquee Title Tool New Features...... 39 Toolsets...... 39 Working with Toolsets ...... 40 Descriptions of Avid-Supplied Toolsets ...... 43 How Marquee Saves Toolset Information...... 44 Save Preferences Command ...... 45 AutoTitler...... 45
Chapter 5 New Input and Output Features ...... 47 23.976p NTSC Project ...... 48 Working in a 23.976p NTSC Project...... 48 Creating a 23.976p Project ...... 48 Film Settings ...... 49 Digitizing...... 49 Bins ...... 49 Import ...... 49 Digital Cut Tool...... 49 23.976-fps Film Transfer or HD Video Source, SDTV Downconversion, Multiformat Output ...... 50
6 Limitations for 23.976p Projects...... 54 DV/MPEG Option (Windows Only)...... 55 DV/MPEG Option on Systems Without 3D Hardware ...... 55 Recording DV Through a 1394 Connection (Windows Only)...... 55 DV Scene Extraction (Windows Only) ...... 56 Setting Up DV Scene Extraction Before Digitizing...... 57 Setting Up DV Scene Extraction After Digitizing ...... 58 MPEG 50 Resolution (Windows Only) ...... 59 MPEG Workflows...... 60 Starting an MPEG Project ...... 63 Editing in MPEG...... 63 MPEG 50 Resolution Specifications ...... 63 MPEG SDTI-CP Board (Windows Only)...... 65 Using the MPEG SDTI-CP Board ...... 65 Configuring a Deck ...... 65 Setting the Video and Audio Input...... 65 Making Sure an MPEG SDTI-CP Signal Is Present ...... 66 Digital Cuts with MPEG SDTI-CP ...... 67 SDTI-CP Technical Information ...... 67 Relevant Standards ...... 68 Restrictions ...... 68 Passthrough When Recording...... 68 Capture MPEG 50 Media Only ...... 69 Supported VTRs ...... 69 Sony MPEG IMX Series ...... 69 Sony DNW-A75 Betacam SX with the SDTI-CP Option ...... 70 Exporting QuickTime Movies ...... 70 Avid Codecs for QuickTime ...... 70 Avid DV Codec for QuickTime...... 71 Avid Meridien Codecs for QuickTime ...... 72 Audio Format Options for QuickTime Reference Movies...... 73 Preparing Video for the Internet and Multimedia Applications . . . . . 74 Transferring Projects and Bins Using AFE Files ...... 74
Index ...... 77
7 8 Using This Guide
Congratulations on your purchase of an Avid® Media Composer®, Film Composer®, or Media Station XL system. You can use your system to create broadcast-quality output incorporating every possible production element from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.
Who Should Use This Guide
This guide is intended for all Media Composer, Film Composer, and Media Station XL users, from beginning to advanced.
About This Guide
This guide describes new features for Avid Media Composer, Film Composer, and Media Station XL v11.7. The following documents are new or updated for this version. • Avid Media Composer and Film Composer Version 11.7 Release Notes for the Windows 2000 Operating System • Avid Media Composer and Film Composer Version 11.7 Release Notes for the Mac OS X Operating System Using This Guide
• Avid Media Station XL Version 11.7 Release Notes • Addendum for the Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System • Avid Symphony and Composer Products Setup Guide for the Mac OS X Operating System
The Media Composer, Film Composer, and Media Station XL Help are also updated for this version.
The Contents lists all topics included in the book. They are presented with the following overall structure: • Chapter 1, “New Features for Version 11.7”, lists all the new features in table form. • Chapter 2 through Chapter 5 describe the v11.7 new features in detail. • Finally, a detailed Index helps you quickly locate specific topics.
Symbols and Conventions
Unless noted otherwise, the material in this document applies to the Windows® 2000 and Mac OS® X operating systems. When the text applies to a specific operating system, it is marked as follows: • (Windows) or (Windows only) means the information applies to the Windows 2000 operating system. • (Macintosh) or (Macintosh only) means the information applies to the Mac OS X operating system.
The majority of screen shots in this document were captured on a Windows 2000 system, but the information applies to both Windows 2000 and Mac OS X systems. Where differences exist, both Windows 2000 and Mac OS X screen shots are shown.
10 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.
Margin tips In the margin, you will find tips that help you perform tasks more easily and efficiently.
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.
Click Quickly press and release the left mouse button.
Double-click Click the left mouse button.
Right-click Quickly press and release the right mouse button.
11 Using This Guide
Symbol or Convention Meaning or Action
Drag Press and hold the left mouse button.
Ctrl+key Press and hold the first key while you press the k+key second key.
If You Need Help
If you are having trouble using Avid Media Composer, Film Composer, or Media Station XL: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check the release notes supplied with your Avid application for the latest information that might have become available after the hardcopy documentation was printed. 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Center at www.avid.com/support. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Center to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read/join online message-board discussions. 5. For Technical Support, please call 800-800-AVID (800-800-2843). For Broadcast On-Air Sites and Call Letter Stations, call 800-NEWSDNG (800-639-7364).
12 Related Information
Related Information
The following documents provide more information about your Avid system: • Avid Media Composer and Film Composer Version 11.7 Release Notes for the Windows 2000 Operating System • Avid Media Composer and Film Composer Version 11.7 Release Notes for the Mac OS X Operating System • Avid Media Station XL Version 11.7 Release Notes • Avid Symphony and Composer Products Site Preparation Guide for the Windows 2000 Professional Operating System • Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System • Addendum for the Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System • Avid Symphony and Composer Products Site Preparation Guide for the Mac OS X Operating System • Avid Symphony and Composer Products Setup Guide for the Mac OS X Operating System • Avid Products Getting Started Guide • Avid Media Composer and Film Composer Quick Reference for the Windows 2000 Operating System • Avid Media Composer and Film Composer Quick Reference for the Mac OS X Operating System • Avid Media Composer and Film Composer Editing Guide • Avid Media Composer and Film Composer Effects Guide • Avid Media Composer and Film Composer Input and Output Guide • Avid Color Correction User’s Guide • Avid Marquee Title Tool User’s Guide • Avid Media Composer Products Online Publications CD-ROM • Avid Media Composer, Film Composer, and Media Station XL Help
13 Using This Guide
If You Have Documentation Comments
Avid Technology continuously seeks to improve its documentation. We value your comments about this guide, the Help, the Online Publications CD-ROM, and other Avid-supplied documentation.
Simply e-mail your documentation comments to Avid Technology at [email protected]
Please include the title of the document, its part number, and the specific section you are commenting on in all correspondence.
How to Order Documentation
To order additional copies of this documentation from within the United States, call Avid 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
For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
14 Chapter 1 New Features for Version 11.7
Table 1 lists the new or revised features for Avid Media Composer, Film Composer, and Media Station XL v11.7. The table lists the products that support the feature as follows: • MC – Media Composer • FC – Film Composer • MS – Media Station XL
Most of the features were introduced at v11.5, but they are included in this document as well. The following features are new since v11.5: • Mac OS X operating system support • MPEG SDTI-CP board Chapter 1 New Features for Version 11.7
Table 1 New Features
Avid For More Feature Description Product Information
Mac OS X operating Media Composer and Film Composer MC, FC See “New User Interface system support v11.7 support Mac OS X. Features” on page 19.
User interface (UI) Several option name changes have MC, FC, MS See “New User Interface changes been made in the UI. Features” on page 19.
Audio Gain Automation The method for configuring the MC, FC See “Configuring an external fader control USB-to-MIDI connection has External Fader or changed for the Mac OS X operating Mixer” on page 27. system.
Color correction Media Composer and Film Composer MC, FC, MS See Chapter 3. support color correction. (playback only on MS)
Marquee Title Tool This release supports toolsets for MC, FC See Chapter 4. (Windows only) Marquee® as well as the Save Preferences command. Changes have also been made to the AutoTitler.
23.976 project type Avid editing systems that include 24p MC, FC, MS See “23.976p NTSC support now include a 23.976p NTSC Project” on page 48. project type.
DV/MPEG option This section identifies the option and MC, FC See “DV/MPEG Option (Windows only) describes how to record digital video (only MPEG (Windows Only)” on (DV) through a 1394 connection. on MS) page 55.
DV Scene Extraction While you are digitizing, DV Scene MC, FC See “DV Scene (Windows only) Extraction allows you to Extraction (Windows automatically generate subclips and Only)” on page 56. locators based on time-of-day (TOD) information contained in the DV format.
16 Table 1 New Features (Continued)
Avid For More Feature Description Product Information
MPEG 50 MPEG 50 is a resolution specifically MC, FC, MS See “MPEG 50 (Windows only) intended to support the SMPTE Type Resolution (Windows D-10 bit stream produced and Only)” on page 59. recorded by devices such as Sony® MPEG IMX™ VTRs.
MPEG SDTI-CP board The optional MPEG SDTI-CP board MC, FC See “MPEG SDTI-CP (Windows only) lets you transfer MPEG 50 video Board (Windows Only)” directly to and from your Avid on page 65. system.
Avid Codecs for Media Composer and Film Composer MC, FC, MS See “Avid Codecs for QuickTime support an Avid DV Codec for QuickTime” on page 70. QuickTime® and Mac OS X versions of the Avid Meridien Codecs for QuickTime.
Changes to the way you The Send to Cleaner command has MC, FC, MS See “Preparing Video access cleaner 5 been removed from the File menu. for the Internet and This section describes how to prepare Multimedia files for use with an application such Applications” on as cleaner™ 5. page 74.
Audio format for You can now select one of two audio MC, FC, MS See “Audio Format QuickTime reference file formats when you export a Options for QuickTime movies QuickTime reference movie. Reference Movies” on page 73.
Support for Avid File AFE files are an efficient way to MC, FC, MS See “Transferring Exchange (AFE) files transfer project information between Projects and Bins Using Avid applications. AFE Files” on page 74.
17 Chapter 1 New Features for Version 11.7
18 Chapter 2 New User Interface Features
The following sections describe the new or revised user interface features: • Using the Mac OS X Operating System • Changes to the User Interface • Configuring an External Fader or Mixer
Using the Mac OS X Operating System
The Macintosh® version of Media Composer and Film Composer v11.7 runs on the Mac OS X operating system. n Media Composer and Film Composer v11.7 do not run on Mac OS 9.
Changes from Mac OS 9 to the Mac OS X Operating System
This section lists the changes from Mac OS 9 to the Mac OS X operating system that affect the Avid application. The following sections provide some examples of these changes. Chapter 2 New User Interface Features
Mac OS X operating system changes that affect the Avid application include: • The Avid drive is now named Macintosh HD. • The Dock is like the Windows taskbar. See “Using the Macintosh Dock” on page 22. • The SimpleText editor has been replaced by a new text editor, named Text Edit. • The Shut Down command is now on the Apple menu. To shut down the system, select Apple P menu > Shut Down. The Apple menu is not customizable. • There are new ways to start the Avid application. See “Starting the Avid Application on the Mac OS X Operating System” on page 23. • You access the Applications folder from the Go menu. • The location of the Avid application, Avid Users, Avid Projects, and Avid Attic folders has changed. See “Avid File Locations on the Mac OS X Operating System” on page 24. • Bins have the extension .avb. All file name extensions now show. • Quit has moved from the File menu to the Avid Media Composer or Avid Film Composer menu. • Preferences has moved from the Edit menu to the Avid Media Composer or Avid Film Composer menu. • The Serial Ports tool has changed to the Communication (Serial) Ports tool. See “Communication (Serial) Ports Tool” on page 27. • The Open Bin dialog box now has the title Open a Bin. • The method for configuring the USB-to-MIDI software for an external fader controller has changed. See “Configuring an External Fader or Mixer” on page 27. • The Import dialog box now has the following title bar: Select Files to Import.
20 Using the Mac OS X Operating System
• The Select Files to Import dialog box has newly named pop-up menus: Show and From. In the Show pop-up menu, you select Graphic Documents or Audio Documents (newly named), among other choices. The From pop-up menu was formerly the Directory pop-up menu. • At the end of the import process, in the Select Files to Import dialog box, click Open instead of Done. • The Export As text box in the Export As dialog box is now called the Save As text box.
21 Chapter 2 New User Interface Features
• You can select a template from the Export Setting pop-up menu. • The File menu now has Send To DVD instead of Create DVD.
Using the Macintosh Dock
You can place an application icon alias on the Dock for easy access to the applications. The following illustration shows a typical dock positioned along the bottom of the Macintosh monitor.
22 Using the Mac OS X Operating System
The Dock is hidden when the Avid application is active. For more information on using the Dock, see the Mac OS X documentation.
To display the Dock: t Move the mouse pointer to the edge of the screen where the Dock is hidden.
Starting the Avid Application on the Mac OS X Operating System
The Avid application is in the following location:
Macintosh HD/Applications/Avid Media Composer
Macintosh HD/Applications/Avid Film Composer n Media Station XL does not run on the Mac OS operating system. For most users, the desktop or Dock is a more convenient location for starting the application. The installer places an alias icon for the Avid application on the desktop. n For more information on making an alias and using the Dock, see your Mac OS X documentation. c The application does not start properly if the application file is moved from the Avid Media Composer folder or Avid Film Composer folder. You can drag it onto the Dock, and an alias is placed on the Dock.
To start the Avid application, do one of the following: t Double-click the Avid application alias icon on the desktop. t Double-click the Avid application alias icon on the Dock. t Select Go > Applications, and then double-click the Avid Media Composer folder or Avid Film Composer folder. In this folder, double-click the Avid Media Composer file or Avid Film Composer file. After a few moments, the Select User and Project dialog box opens.
23 Chapter 2 New User Interface Features
n When you start the application, you might see a message box indicating there is no input or output signal. Check to ensure that the Meridien™ I/O box is connected to the system with cables secured and is turned on.
Avid File Locations on the Mac OS X Operating System
The location of several Avid folders have changed with the Mac OS X operating system, and they are now written with slashes because of the UNIX® underpinnings of the Mac OS X operating system. n Files in the Macintosh HD/Users/Shared folder are available to all users. The default folder and file locations are as follows: • Project folder: Macintosh HD/Users/Shared/Avid Projects • User folder: Macintosh HD/Users/Shared/Avid Users • Avid Attic: Macintosh HD/Users/Shared/Avid Attic • OMFI MediaFiles: Macintosh HD/OMFI MediaFiles • Application: Macintosh HD/Applications/Avid Media Composer • Application: Macintosh HD/Applications/Avid Film Composer • Site Settings: Macintosh HD/Applications/Avid Media Composer/ Settings • Site Settings: Macintosh HD/Applications/Avid Film Composer/ Settings • SupportingFiles: Macintosh HD/Applications/Avid Media Composer /SupportingFiles • SupportingFiles: Macintosh HD/Applications/Avid Film Composer /SupportingFiles • Help: Macintosh HD/Applications/Avid Media Composer/Help • Help: Macintosh HD/Applications/Avid Film Composer/Help • System-level files (Avid DV Codec, HIIP, and so forth): Macintosh HD/Library/Application Support/Avid
24 Changes to the User Interface
Changes to the User Interface
Several user interface features have changed their names for this version. This section covers those changes.
Avid Attic Folder
The Attic folder is now named Avid Attic folder for all products.
Custom Screen Dialog Box
When you select With Countdown in the Digital Cut tool, and then select Custom Screen and Choose, the Custom Screen dialog box opens.
This formerly was called the Custom Countdown dialog box. See “Creating a Custom Countdown Display” in the input and output guide or the Help.
25 Chapter 2 New User Interface Features
SuperBin Features
This version supports two new SuperBin features. For more information on SuperBins, see the editing guide or the Help.
Viewing Previously Opened Bins
To view a bin previously opened in the SuperBin:
t Click the SuperBin button, and then select a bin from the pop-up menu. n If you have no other bins open in the SuperBin, you will not see a pop-up menu when you click the SuperBin button.
Deleting Bins with the SuperBin Enabled
To delete a bin or bins when you have the SuperBin enabled: t Right-click the bin name in the Project window, and select Delete Selected Bins.
Unmounting Drives
The Eject command is now called Unmount.
To unmount one or several drive icons from the desktop: 1. With the Avid application active, select File > Unmount. The Unmount Disk or Drives dialog box opens. 2. Select a drive to unmount. 3. Ctrl+click to select additional drives, or click All to unmount all drives. 4. Click Unmount. The drives are no longer available to the Avid application.
26 Configuring an External Fader or Mixer
Communication (Serial) Ports Tool
The Serial (COM) Ports tool has changed to the Communication (Serial) Ports tool.
To open the Communication (Serial) Ports tool, do one of the following: t Select Tools > Communication (Serial) Ports. t Double-click Communication (Serial) Ports in the Settings scroll list in the Project window.
Configuring an External Fader or Mixer
Your Avid system supports the following external fader controllers or mixer for Audio Gain Automation recording: • 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 the editing guide or Help. • JL Cooper MCS-3000X MIDI automation controller. This unit supports touch-sensitive flying faders. While recording gain, the faders automatically move. You can grab a fader and move it during an automation gain recording to quickly punch in a small change in volume. • Yamaha® 01V digital mixing console. This unit is a full-feature digital mixer that also supports Audio Gain Automation with flying faders. The faders are not touch sensitive. The Avid system uses the MIDI controller portion of the Yamaha 01V mixer for automation gain control. n An external fader controller or mixer is optional. It is not required to perform Audio Gain Automation recording.
27 Chapter 2 New User Interface Features
For information on these fader controllers and mixers, see the editing guide or Help. This section describes how to configure the USB-to-MIDI software that enables the Avid system to communicate with the fader controllers and mixers. In this section, the term fader applies to either the fader controller or mixer.
Configuring the USB-to-MIDI Software
The setup guide for your Avid system describes how to connect a fader controller to your Avid system. This section describes how to complete the connection by installing the USB-to-MIDI software and by configuring the software to recognize your fader controller. n The term fader controller applies to the following controllers: • JL Cooper FaderMaster Pro MIDI automation controller • JL Cooper MCS-3000X MIDI automation controller • 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, or Yamaha 01V fader box. n The configuration process for Windows systems has not changed for this version, but it is included here for completeness.
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.
28 Configuring an External Fader or Mixer
2. Download the latest MIDISPORT 2x2 drivers from the following Web site: www.m-audio.com The system downloads a compressed, executable file. 3. Double-click the downloaded file to uncompress the driver files to a floppy disk or to a folder on your Avid system. 4. Double-click the Install.txt file included with the downloaded files. This file contains the instructions for loading the drivers. 5. To initiate the driver installation, use a USB connector to connect the MIDISPORT 2x2 USB-to-MIDI converter to the system. It is not necessary 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 Install.txt file. n If you uncompressed the files to a folder on your system, two drivers might appear in the list. Select 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: www.m-audio.com 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.
29 Chapter 2 New User Interface Features
Testing the Fader Connections
To test the external fader controller connections: 1. Connect all MIDI hardware devices as described in the setup guide for your Avid system. 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 (Windows)” on page 31 and “Switching Between MIDI Connections on the USB-to-MIDI Converter (Macintosh)” on page 32.
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 the Avid editing application, and select Tools > Automation Gain. 4. Click the Automation Gain 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 Automation Gain tool displays the following:
Position - At least one of the position indicator light is on (blue). indicator lights - The Recording Status Light changes to gold. 5. If the lights do not change to blue, see “Troubleshooting the MIDI Connections” on page 33. 6. To disable the hardware calibration, click the Automation Gain Tool Fast Menu button, and select Calibrate Hardware Sliders. The Recording Status Light changes to black. 7. Move the sliders on the external fader controller. The corresponding sliders move in the Automation Gain tool.
Now you are ready to use the fader controller with the Avid application software. For more information on using the Automation Gain tool, see the editing guide or Help.
30 Configuring an External Fader or Mixer
Switching Between MIDI Connections on the USB-to-MIDI Converter (Windows)
By default, the system expects the MIDI cables to be connected to MIDI port A (OUT-A and IN-A) on the MIDISPORT 2x2 device. If you need to switch to a different port connection, create a system environment variable as described in this section.
To switch between MIDI port connections: 1. Make sure the cables on the MIDISPORT 2x2 USB-to-MIDI converter are connected to the port you want to use. For information on connecting the MIDISPORT device to the fader controller, see the setup guide for your Avid system. 2. Click the Start button, and select Settings > Control Panel. 3. Double-click System. The System Properties dialog box opens. 4. Click the Advanced tab. 5. Click the Environment Variables button. The Environment Variables dialog box opens. 6. Do one of the following: t To switch from port A to port B: a. Click New in the System Variables area. The New System Variables dialog box opens. b. Type OTHER_MIDI_PORT in the Variables Name text box. c. Type 1 in the Variable Value text box. d. Click OK. The OTHER_MIDI_PORT entry appears in the System Variables list of the Environment Variables dialog box. t To switch from port B to the default port A: a. Select OTHER_MIDI_PORT in the System Variables list. b. Click Delete. 7. Click OK.
31 Chapter 2 New User Interface Features
8. Click OK to close the System Properties dialog box. 9. Start the Avid application, and then select Tools > Automation Gain. The indicator lights on the Automation Gain tool should change to blue. If the lights do not change to blue, see “Troubleshooting the MIDI Connections” on page 33.
Switching Between MIDI Connections on the USB-to-MIDI Converter (Macintosh)
By default, the system expects the MIDI cables to be connected to MIDI port A (OUT-A and IN-A) on the MIDISPORT 2x2 device. If you need to switch to a different port connection, use a Console command to reconfigure the Avid system.
To switch between MIDI port connections: 1. Select Tools > Console. The Console window opens. 2. Type SelectMIDIPort in the text box, and press Return. The system displays information for each port it recognizes. For example, with a MIDISPORT 2x2 MIDI device connected using MIDI connection A, the system displays the following information: * 1: Device: MIDISport Port: Port A 2: Device: MIDISport Port: Port B The asterisk indicates the port being used. In this example, port A is being used. 3. To switch to another port, type SelectMIDIPort n. Replace n with the port number you want to use, for example, 1 for port A, 2 for port B, and so on.
32 Configuring an External Fader or Mixer
Troubleshooting the MIDI Connections
Perform the following procedures if the Automation Gain tool does not respond to the external fader controller. 1. Make sure the MIDI hardware devices are connected as described in the setup guide for your Avid system. 2. Make sure the MIDISPORT driver software is installed. See “Installing USB-to-MIDI Software (Windows)” on page 28 and “Installing USB- to-MIDI Software (Macintosh)” on page 29. 3. Check that the MIDI cable connections match the port configuration of the Avid system: a. Select Tools > Console. b. Locate the following lines in the Console window: For Windows: Midi In device: In-A USB MidiSPORT 2x2 Midi Out device: Out-A USB MidiSPORT 2x2 For Macintosh: Type SelectMIDIPort in the text box, and press Return. * 1: Device: MIDISport Port: Port A 2: Device: MIDISport Port: Port B The asterisk indicates the port being used. In this example, port A is being used. c. Check that the MIDI connections on the MIDISPORT 2x2 USB-to-MIDI converter match the connections listed in the Console window (either A or B). d. If necessary, quit the Avid application, switch the MIDI cables to match the output in the Console window, and then restart the Avid application.
Position e. If the position indicator lights are still not blue, recheck the indicator connections according to the instructions in the setup guide. lights
33 Chapter 2 New User Interface Features
4. (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.
34 Chapter 3 New Color Correction Features
The Avid Color Correction User’s Guide describes how to use color correction on your Media Composer or Film Composer system. The following sections describe enhancements to Avid Color Correction: • The Color Correction Button • Control Points in ChromaCurve Graphs • Real-Time Capabilities of Color Correction • Using the Client Monitor with Color Correction
There are now two different color correction guides for Avid products: • Avid Symphony Color Correction Guide — for Avid Symphony™ only • Avid Color Correction User’s Guide — for Avid Media Composer v11.7, Avid Film Composer v11.7, Avid Xpress® v5.7, and Avid Xpress DV v3.5 Chapter 3 New Color Correction Features
The Color Correction Button
This release of Avid Color Correction includes the Color Correction button in the Timeline toolbar.
To enter Color Correction mode, do one of the following: t In the Timeline toolbar, click the Color Correction button. t Select Toolset > Color Correction. t Press Shift+F8.
Control Points in ChromaCurve Graphs
The Avid Color Correction User’s Guide states that you can have a maximum of four control points in a ChromaCurve™ graph. With this release of Avid Color Correction, you can place up to sixteen control points in each ChromaCurve graph.
For more information on ChromaCurve graphs and how they operate, see the Avid Color Correction User’s Guide.
Real-Time Capabilities of Color Correction
On systems without hardware support for color correction, the Color Correction effect appears during playback as an effect preview. The preview is single-field half-horizontal to the desktop only. You must render the Color Correction effect for real-time playback.
On systems with hardware support for color correction, the Color Correction effect plays in real time without rendering.
36 Using the Client Monitor with Color Correction
Using the Client Monitor with Color Correction
The Client monitor can be an important tool for color correction since it allows you to see your corrections as they will appear when output and displayed on a television screen. Your system’s Edit monitor does not have exactly the same color and luminance display characteristics as a television monitor.
When you are using Color Correction mode, the Client monitor displays the image that is in the currently active monitor in the Composer window. By switching from one monitor to another in the Composer window, you can quickly compare whichever three images are currently displayed in the monitors. For more information on switching between monitors, see the Avid Color Correction User’s Guide.
Some Avid systems support Dual Split display in the Client monitor. For those systems, when you select Dual Split for the active monitor, the split- screen display also appears in the Client monitor. This allows you to compare uncorrected and corrected versions of the same segment within the Client monitor. If you select Dual Split with Reference from the Color Correction shortcut menu, the split-screen display allows you to compare a shot with the current reference shot within the Client monitor. For more information on using dual-split options, see the Avid Color Correction User’s Guide. n If the Dual Split display does not appear in the Client monitor, your system might not support this feature. If it does, make sure that Show Graphics on Client Display is selected in the Interface Settings dialog box. See the editing guide for your system.
37 Chapter 3 New Color Correction Features
38 Chapter 4 Marquee Title Tool New Features
The following sections describe the new or revised features for the Avid Marquee Title Tool: • Toolsets • Save Preferences Command • AutoTitler n The Marquee Title Tool is for Windows only and requires an OpenGL® card.
Toolsets
Marquee allows you to use toolsets that operate in much the same way as the toolsets in your Avid editing application.
A toolset is a record of which Marquee windows and controls are visible on the screen, as well as their size and position. When you select a toolset, the arrangement of windows and controls associated with that toolset displays on the screen. For example, the Marquee Basic toolset displays those windows and controls that are most useful when you are doing basic titling work. Chapter 4 Marquee Title Tool New Features
Working with Toolsets
Marquee includes several Avid-supplied toolsets that provide useful arrangements of windows and controls for different kinds of titling work. You can modify each toolset if you want to change any aspect of the arrangement. For example, you can display the Basic toolset, resize or reposition windows, and then save the Basic toolset so that it remembers your reorganized window arrangement. You can also restore an Avid- supplied toolset that you have modified to its default arrangement. Table 2 on page 43 describes the available predefined toolsets. n Avid-supplied toolsets are designed for a screen resolution of 1024 x 768 pixels. If you are working at a different resolution and you select an Avid- supplied toolset, Marquee attempts to resize the Monitor and Timeline windows appropriately, but the overall arrangement of windows and controls might not be ideal. If you often work at a resolution other than 1024 x 768, consider modifying the Avid-supplied toolsets or creating new, resolution-specific toolsets with appropriate names, for example, Basic1280By960.
You can create and name new toolsets. For example, if you do a lot of advanced animation in the Timeline window, you might want to create a toolset (perhaps named Large Timeline) that contains a full-screen view of the Timeline window.
Each Avid-supplied toolset has an associated function key that allows you to switch to that toolset by pressing the function key. You can assign a function key to any new toolset that you create. You can also change the function key assignment for any toolset, including the Avid-supplied toolsets.
To display a toolset, do one of the following: t Select Toolsets > toolset. t Press the function key associated with the toolset. Marquee displays the arrangement of windows and controls for that toolset.
40 Toolsets
To modify a toolset: 1. Select Toolsets > toolset. Marquee displays the arrangement of windows and controls for that toolset. 2. Adjust windows and controls to create the modified arrangement you want. For example, you might display additional windows (or tabs within windows), resize or reposition windows, or display a different set of toolbars. 3. Select Toolsets > Save Current. Marquee modifies the toolset to save the arrangement of windows and controls you created in step 2. The modified arrangement displays when you next select the toolset from the Toolsets menu.
To restore a modified Avid-supplied toolset to its default values: 1. Select Toolsets > toolset. Marquee displays the arrangement of windows and controls for that toolset. 2. Select Toolsets > Restore Current to Default. Marquee removes the modified definition for that toolset and restores the original Avid-supplied definition, including the original function key association. The screen display updates immediately to show the default arrangement of windows and controls for the toolset.
To create a new toolset: 1. (Option) Select Toolsets > existing toolset. Marquee displays the arrangement of windows and controls for that toolset; you can use this arrangement as a starting point for creating your new configuration. 2. Adjust windows and controls to create the new arrangement you want to save as a toolset. 3. Select Toolsets > Save As. 4. Type a name for the new toolset in the Name text box.
41 Chapter 4 Marquee Title Tool New Features
5. (Option) Type a function key number in the Function Key text box to associate a function key with the toolset. For example, typing 7, or pressing the F7 function key itself, associates the F7 function key with the toolset. n You cannot associate the F1 function key with a toolset since the F1 key is reserved for Help.
6. Click OK. Marquee creates a new toolset and adds it to the list of available toolsets in the Toolsets menu.
To reassign the function key association for a toolset: 1. Select Toolsets > toolset. Marquee displays the arrangement of windows and controls for that toolset. 2. Select Toolsets > Save As. 3. Type a new function key number in the Function Key text box to associate a new function key with the toolset. For example, typing 7, or pressing the F7 function key itself, associates the F7 function key with the toolset. n You cannot associate the F1 function key with a toolset since the F1 key is reserved for Help.
4. Click OK.
To delete a toolset: 1. Select Toolsets > toolset. Marquee displays the arrangement of windows and controls for that toolset. 2. Select Toolsets > Delete Current. Marquee deletes the toolset and removes it from the list of toolsets in the Toolsets menu.
42 Toolsets
n You cannot delete Avid-supplied toolsets. The Delete Current command is not available from the Toolsets menu when an Avid-supplied toolset is active.
Descriptions of Avid-Supplied Toolsets
Table 2 describes the windows and controls that appear for each of the four Avid-supplied toolsets.
Table 2 Avid-Supplied Toolsets
Default Toolset Function Key Description
Basic F2 Displays the most useful tools for basic titling work, as follows: • Monitor window with a basic set of toolbar buttons and the Simple set of toolbox controls • Quick Titles Properties window • A second Properties window containing Transform and Effects tabs • Library window containing Styles, Materials, Textures, Templates, and Scripts tabs • Layers window
BasicAnimation F4 Displays the most useful tools for basic title animation, as follows: • Monitor window with a basic set of toolbar buttons and the Full set of toolbox controls • Timeline window • Quick Titles Properties window
BigMonitor F3 Displays only the Monitor window, sized to fill the Bin monitor.
43 Chapter 4 Marquee Title Tool New Features
Table 2 Avid-Supplied Toolsets (Continued)
Default Toolset Function Key Description
ExpertAnimation F5 Displays a complete set of windows and controls, providing access to everything you need for advanced title animation: • Monitor window with a complete set of toolbar buttons and the Full set of toolbox controls • Timeline window • Properties window containing all the Properties tabs except for the Quick Titles tab • Library window containing Styles, Materials, Textures, Templates, and Scripts tabs • Layers window, appearing as a Tab in the Library window
How Marquee Saves Toolset Information
Marquee saves toolset information to the same location used to save User library files for the current user. By default, this is a MarqueeUserFiles folder within the Avid Users folder for the current Avid editing application user, for example: drive:\Avid\Avid Editing Application\Avid Users\ UserName\MarqueeUserFiles
For more information on the location for saving User information and on moving Marquee data between users or systems, see “Library Folders” and “Adjusting General Preferences” in the chapter “Marquee Basics” in the Avid Marquee Title Tool User’s Guide. n The toolsets feature is now the only way to save window positions and sizes in Marquee. Saving General preferences (using the methods described in “Adjusting General Preferences” in the chapter “Marquee Basics” in the Avid Marquee Title Tool User’s Guide) does not save window positions and sizes.
44 Save Preferences Command
Marquee remembers which toolset is active when you exit Marquee and displays that toolset when you begin a new Marquee session. When you first start a Marquee session as a new user, Marquee displays the Basic toolset.
Save Preferences Command
The previous version of Marquee included the Save Settings command in the Preferences submenu of the File menu. In this version, the Save Settings command has been renamed Save Preferences. Use the Save Preferences command to manually save changes to General preferences.
The Save Preferences command does not save window sizes and positions as the Save Settings command did. Window sizes and positions are now saved by creating or modifying toolsets.
For more information on General preferences, see “Adjusting General Preferences” in the chapter “Marquee Basics” in the Avid Marquee Title Tool User’s Guide. For more information on toolsets, see “Toolsets” on page 39.
AutoTitler
In previous versions of Marquee, the AutoTitler was not able to create titles using text files in Unicode™. In this version of Marquee, you can use text files in Unicode with the AutoTitler. This allows you to create titles that use any characters in Unicode, for example, Chinese language characters.
In previous versions of Marquee, you ran the AutoTitler from the Scripts Library window. In this version of Marquee, you run the AutoTitler by selecting File > AutoTitler. For complete information on using the AutoTitler, see the Avid Marquee Title Tool User’s Guide or the Marquee Title Tool Help.
45 Chapter 4 Marquee Title Tool New Features
46 Chapter 5 New Input and Output Features
The following sections describe the new or revised input and output features: • 23.976p NTSC Project • DV/MPEG Option (Windows Only) • DV Scene Extraction (Windows Only) • MPEG 50 Resolution (Windows Only) • MPEG SDTI-CP Board (Windows Only) • Exporting QuickTime Movies • Transferring Projects and Bins Using AFE Files Chapter 5 New Input and Output Features
23.976p NTSC Project
Avid editing systems that include 24p support include a 23.976p NTSC project type. This project type is designed especially for capture and output of digital audio transferred or recorded at 48 kHz, in sync with picture at 23.976 fps. A 23.976p project lets you maintain digital standards for all NTSC input and output at 23.976 fps.
Select this project type for one of the following reasons: • Your film and audio sources have been synced in the telecine process and transferred to Digital Betacam® or other digital videotape formats. Audio from digital videotapes can now be directly input and output through the AES/EBU connections on the Meridien I/O box. • Your audio and video sources have been shot at a camera rate of 23.976 fps. This rate is used for film (film-based television) or 24p HD video (television or feature film). These sources can be downconverted to standard NTSC without further audio slowdown. Audio recorded at 48 kHz can remain at 48 kHz throughout the project. n The 23.976 fps frame rate is sometimes referred to as 23.97 fps or 23.98 fps. n The 23.976 fps frame rate is in direct proportion to the NTSC broadcast frame rate of 29.97 fps, which is used for film-to-tape transfer to the Avid editing system. For more information, see Chapter 2 in the input and output guide.
Working in a 23.976p NTSC Project
The following sections describe how working in a 23.976p project affects tools and settings.
Creating a 23.976p Project
To create a 23.976p project: 1. In the Select User and Project dialog box, click New Project. 2. Type the name of your new project in the text box.
48 23.976p NTSC Project
3. Click the Format pop-up menu, and select 23.976p NTSC. 4. Click the Film Type pop-up menu, and select a film-gauge tracking format. If the source tapes were shot as video (such as 1080p/24 HD recorded at 23.976 fps), ignore the Film Type pop-up menu. 5. Click OK.
Film Settings
The Edit Play Rate and Audio Source Tape TC Rate options do not appear in the Film Settings dialog box. Edit Play Rate is automatically set at 23.976 fps. The Audio Source Tape TC Rate does not apply to 23.976p projects because you cannot digitize 30-fps audio in a 23.976p project.
Digitizing
Audio from digital videotapes can now be directly input and output through the AES/EBU connections on the Meridien I/O box.
The pulldown indicator on the Meridien I/O box never lights when working in a 23.976p project.
The pulldown switch in the Digitize tool is not used and does not appear.
Bins
The FPS column displays 23.976 rounded up to 23.98.
Import
Audio you import must be in sync with picture at 23.976 fps.
Digital Cut Tool
All output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped
49 Chapter 5 New Input and Output Features
up 25 percent and is not usable. Use this output rate for animation and other special applications. 24 NTSC, 24 PAL, and 25 PAL all require a sample-rate conversion, so high-quality audio is not guaranteed.
Table 3 displays how the output audio rate is affected by the output play rate.
Table 3 Audio Play Rates for 23.976p Projects
Output Play Rate Source Output Audio Rate
23.976 NTSC 23.976 fps 48 kHz (no change)
24 NTSC 23.976 fps 48.048 kHz (0.1% speedup)
29.97 NTSC 23.976 fps 60 kHz (25% speedup)
24 PAL 23.976 fps 48.048 kHz (0.1% speedup)
25 PAL 23.976 fps 50.016 kHz (4.2% speedup)
23.976-fps Film Transfer or HD Video Source, SDTV Downconversion, Multiformat Output
This workflow is based on film transferred at 23.976 fps or video footage shot at 23.976 fps and planned for high-definition television (HDTV). This workflow presents one possible path.
Figure 1 shows the offline stage of the workflow, using a Media Composer or Film Composer system with Universal Offline Editing. Figure 2 shows the online stage, using a Symphony system with Universal Mastering and multiple output formats.
With this workflow, the sound recording is synchronized as part of the telecine transfer. For a workflow in which audio and video are digitized separately, see Figure 3.
For details on the telecine transfer process, see Chapter 2 of the input and output guide.
50 23.976p NTSC Project
1. Source videotape comes from either a Telecine transfer process telecine transfer or video shot at 23.976. Nagra or DAT playback system The telecine process syncs audio and DAT transfers film footage at Film shot 1:1 (no pulldown). It Sound at 24 fps or recording also creates a shot log. Telecine controller 23.976 fps (Nagra or and record deck 2. For telecine transfer DAT) projects, convert the (Step 1) 23.976 shot log file with ALE and import it into Media Composer or 1:1 transfer at Video shot at 23.976 fps 23.976 fps Film Composer to (Step 2) 23.976 create a bin or bins. Log (Digital Betacam tape) 3. Batch digitize the footage in an offline resolution. Use a 24p deck to downconvert (Step 3) 24p HD VTR HDTV to ITU-R 601 (such as an HDW-F500 VTR) video. The deck adds 2:3 pulldown for video but maintains audio at Media Composer 48 kHz. The Avid or system removes the Film Composer extra video pulldown offline system fields, maintains audio (Step 4) at 48 kHz, and creates 23.976p media. Pull list (Step 5) 4. Edit at 23.976 fps, Proj apply Pan and Scan or other effects, and create a final sequence. To the Symphony To the telecine 5. For film, create a system system pull list for another telecine process, to retransfer footage used in the final edit. Create Figure 1 Offline Workflow: 23.976-fps Film Transfer or HDTV a floppy disk with Source, SDTV Downconversion project information for transfer to the Symphony online system.
51 Chapter 5 New Input and Output Features
6. For film-originated Telecine transfer process (picture only) projects, the telecine From the (Step 6) process uses the pull offline list and full color- system corrected transfer to create videotape with Pull list selects from the original negative Film shot at (picture only). The 24 fps or process also creates a 23.976 fps new shot log file. From the (Step 7) offline 7. Copy the project system information to the 23.976 Symphony online 23.976 system. Proj Video shot at Log 23.976 fps 8. For telecine transfer (Step 8) projects, convert the new shot log file with ALE and import it into the Symphony system. (Step 9)
9. Batch digitize in an Symphony online resolution, based online on the new shot log file. system Downconvert either the (Step 10) telecine transfer tape or the HDTV source tape.
Cut list 24p EDL 10. For film, relink the (Step 11) Beta sequence and clips by or or EDL key numbers. Complete any other NTSC 29.97 fps finishing. 4:3 or 16:9
Conformed 11. Generate multiple HD film cut formats for output. For NTSC video, the Conformed Symphony system HDTV master reinserts pulldown. For conforming film, it creates a 24p cut list. For HDTV, it creates a Figure 2 Online Workflow: 23.976-fps Film Transfer or HDTV 24p EDL for use in an Source, SDTV Downconversion, Multiformat Output online suite.
52 23.976p NTSC Project
Figure 3 illustrates a workflow in which you digitize audio and video separately and then synchronize them in the Avid system.
1. The telecine process Telecine transfer process (picture only) transfers film footage at 1:1 (no pulldown). For film shot at 24 fps, the (Step 1) process slows the film speed to 23.976 fps (labeled 24 fps). Film shot at 2. Digitize the audio 24 fps or into the Avid system 23.976 fps (no pulldown). Field audio should be DAT recorded at 48 kHz. If (Step 2) shot at 48.048 kHz, it 1:1 transfer at Sound recorded at 23.976 fps must be referenced to 23.976 48 kHz (DAT) (Digital 48 kHz outside the Betacam tape) Avid system. 24p HD VTR 3. Digitize the picture (such as an footage in the Avid (Step 3) HDW-F500 VTR) system. Use a 24p deck to downconvert to ITU-R 601 video. The deck adds 2:3 pulldown Avid video for video. The Avid editing system removes the system (Step 4) extra video pulldown fields and creates 23.976p media.
4. Use the AutoSync Digital cut at Digital cut at feature to sync picture (Step 5) DAT 23.976 for Beta 23.976 (NTSC) and sound. Edit and audio transfer for broadcast finish at 23.976p. master
5. Select one or more outputs, depending on your project needs. Figure 3 NTSC Audio and Video Digitized Separately (23.976p Project)
53 Chapter 5 New Input and Output Features
Limitations for 23.976p Projects
Consider the following limitations: • For film projects shot at 24 fps, audio must be “pulled down” or “slowed down” before it can be captured into a 23.976p project. The user does not have the choice of capturing non-pulled-down audio. Unlike 24p NTSC projects, where the audio pulldown switch can be set to 1.0 or 0.99 to support either 24 fps or 23.976 fps, 23.976p projects do not use the audio pulldown switch. These 23.976p projects can support only 48-kHz audio that is in sync with 23.976-fps picture on a 29.97-fps transfer tape. • Media created in 24p projects and media created in 23.976p projects are not compatible. If you start working in one type of project and then decide to switch to the other, you need to recapture all video and audio media. You cannot relink video media or audio media across the two project types. • OMF and AAF files output from a 23.976p project look slightly different from those from a 24p project. The edit rates will show up as 23.976 fps in these files. c Because of the way project information is stored, previous versions of Avid editing systems do not recognize 23.976p projects as being different from 24p projects. You can open 23.976p projects in previous versions; however, none of the media can play because of the different internal edit rates. Projects are not corrupted by opening them in older versions of the software (unless you try to modify clips or edit sequences). If necessary, you can redigitize the media in the 24p project.
54 DV/MPEG Option (Windows Only)
DV/MPEG Option (Windows Only)
The DV/MPEG option is available on Media Composer and Film Composer systems that have the optional DV/MPEG hardware.
The input and output guide and the Help describe the DV portion of the option. This chapter includes additional information as well as information on the MPEG option.
For information on DV hardware and connecting DV devices, see the Addendum for the Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System. n In general, any effect will take longer to render using DV or MPEG media than using JFIF media. This is a limitation that is due to the differences in the compression types.
DV/MPEG Option on Systems Without 3D Hardware
The DV portion of the DV/MPEG option is supported only on systems with 3D hardware. Systems without 3D hardware (including Media Station XL) can use only the MPEG portion of the DV/MPEG option.
If you install the DV/MPEG option on a system without 3D hardware, the user interface displays DV resolutions (for example, in the Digitize tool or the Media Creation dialog box). DV resolutions are not supported on systems without 3D hardware, and performance cannot be predicted.
Recording DV Through a 1394 Connection (Windows Only)
Avid systems with the DV/MPEG option include hardware with a 1394 connection. If your system includes this optional hardware, OHCI appears as a selection in the Audio and Video pop-up menus in the Digitize tool. After you connect a DV device and select OHCI input, you can record native DV using the digitizing procedures described in the input and output guide and the Help (only supported on systems with 3D hardware).
55 Chapter 5 New Input and Output Features
When video input is configured through the Meridien I/O box, playback from the deck is displayed in the Client monitor. However, when video input is configured through a 1394 connection (OHCI input), you cannot view playback from the deck in the Client monitor until you click the Digitize button and begin the recording process.
To view DV media before recording: t Connect the Client monitor to the analog video output connections of the camera, digital video deck, or transcoder.
If your monitor includes multiple connections, you can connect the monitor to both the DV input device and the Meridien I/O box.
DV Scene Extraction (Windows Only)
While you are digitizing, DV Scene Extraction allows you to generate subclips and locators automatically, based on time-of-day (TOD) information contained in the DV format. You can use DV Scene Extraction with Media Composer and Film Composer with the DV/MPEG option.
Discontinuities in the DV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV camera. Using this feature, you can digitize an entire DV tape as a single master clip and have the system automatically locate all the takes for you, eliminating the need to manually log.
You can perform a DV Scene Extraction in two ways: • Set up the DV Scene Extraction option before digitizing. When digitizing is performed, subclips and locator marks appear in the bin. • Perform DV Scene Extraction after digitizing. Select those clips in the bin for which you want to generate subclips and locator marks.
56 DV Scene Extraction (Windows Only)
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 Scene Extraction with DVCPRO format. • DV Scene Extraction does not work on non-DV or audio-only clips.
Setting Up DV Scene Extraction Before Digitizing
You can use DV Scene Extraction with Media Composer and Film Composer with the DV/MPEG option.
To set up DV Scene Extraction before digitizing: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Double-click Digitize Settings. The Digitize Settings dialog box opens. 3. Click the DV Options tab.
4. Select DV Scene Extraction. 5. Select one of the following options: - Add Locators: Creates locator marks where the TOD information breaks occur while digitizing. - Create Subclips: Creates subclips where the TOD information breaks occur while digitizing.
57 Chapter 5 New Input and Output Features
- Both: Creates subclips and locator marks where the TOD information breaks occur while digitizing. 6. Click OK. 7. Select Tools > Digitize, and then click the Record button. When digitizing 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.
Setting Up DV Scene Extraction After Digitizing
You can use DV Scene Extraction with Media Composer and Film Composer with the DV/MPEG option.
To set up DV Scene Extraction after digitizing: 1. Open a bin. 2. Click the clip for which you want to create subclips or locator marks. Ctrl+click to select multiple clips. 3. Select Bin > DV Scene Extraction. The Digitize 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 digitizing. - Create Subclips: Creates subclips where the TOD information breaks occur while digitizing. - Both: Creates subclips and locator marks where the TOD information breaks occur while digitizing. 7. If you have chosen to create subclips, select the bin where you want these subclips stored.
58 MPEG 50 Resolution (Windows Only)
n To cancel the process, press Ctrl+period. 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.
MPEG 50 Resolution (Windows Only)
Media Composer, Film Composer, and Media Station XL systems with the DV/MPEG option support MPEG 50 (NTSC and PAL) as a media format. MPEG 50 is a resolution specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs. For more information on MPEG 50, see “MPEG 50 Resolution Specifications” on page 63. n The DV portion of the DV/MPEG option is supported only on systems with 3D hardware. Systems without 3D hardware (including Media Station XL) can use the MPEG portion of the DV/MPEG option.
The MPEG 50 resolution appears, along with other Avid resolutions, wherever a list of resolutions appears (for example, in the Video Resolution pop-up menu in the Media Creation dialog box).
Media Composer and Film Composer systems with the DV/MPEG option can record native MPEG media if they are equipped with the optional MPEG SDTI-CP board. This board, which allows capture of MPEG IMX media, is available as an option for Media Composer and Film Composer systems (Windows only). For more information, see “Using the MPEG SDTI-CP Board” on page 65.
You can create MPEG 50 media through the SDI or analog video inputs of the Meridien I/O box.
59 Chapter 5 New Input and Output Features
You can share MPEG 50 media with other Avid editing systems through an Avid Unity MediaNetwork workspace. In this way, a system that cannot record and output native MPEG 50 media can access and edit MPEG 50 media.
You can select MPEG 50 as a video resolution in the Media Creation dialog box (Digitizing, Titles, Import, and Mixdown tabs) and in the Digitize tool. n You cannot mix MPEG 50 with any other resolutions.
n In general, any effect will take longer to render on MPEG media than on JFIF media. This is a limitation that is due to the differences in the compression types.
MPEG Workflows
There are several workflows for MPEG projects: • You can work in native MPEG 50. - Use the optional MPEG SDTI-CP board to record footage directly from an MPEG IMX deck. - Use any Avid editing features to edit in MPEG 50 format. - Output to an MPEG IMX deck through SDTI-CP. • You can work with ITU-R 601 digital media or analog media recorded through the Meridien I/O box. - The Avid system converts the video to MPEG 50 media. - Edit in MPEG 50 format. - Output to an MPEG IMX deck, to a digital deck, or to an analog deck, depending on your requirements.
60 MPEG 50 Resolution (Windows Only)
• You can work in an MPEG project with mixed sources. - Record native MPEG 50 footage. - Record ITU-R 601 or analog media that is converted to MPEG 50 format. - Edit in MPEG 50 format. - Output to an MPEG IMX deck, to a digital deck, or to an analog deck, depending on your requirements. The MPEG 50 resolution and MPEG SDTI-CP input and output are not available in 24p or 25p projects. • You can work in an Avid Unity MediaNetwork environment. You can edit in MPEG 50 while sharing MPEG 50 footage with other systems. For example, in a broadcast facility, you can use a Media Composer system with the DV/MPEG option to create long-form and promotional programs from the material that is gathered for news, while other editors use Avid NewsCutter™ systems to create the new stories. • You can work in a workgroup environment with Avid Unity TransferManager. For example, in a broadcast facility, you can send your final MPEG 50 sequence to a playback device, such as Avid AirSPACE™, using the Send to Playback option.
61 Chapter 5 New Input and Output Features
Figure 4 shows a possible workflow for an MPEG project. This workflow uses both MPEG media and Betacam media as source footage.
V Source footage: (Step 1) D Beta- NTSC 30 fps or 1. (Option) Import a cam Log PAL 25 fps log file to create a bin.
2. Connect your Betacam, MPEG IMX Digital Betacam, equipment. For SDI or deck or other VTR analog video, use the (Step 2) Meridien I/O box. For MPEG video, use the Avid optional MPEG Meridien I/O box SDTI-CP board. MPEG SDTI-CP connection 3. Digitize footage to (Step 3) Avid editing create MPEG 50 system with MPEG support media. If you imported and optional a log file, batch MPEG SDTI-CP digitize. Otherwise, log (Step 4) board and digitize or digitize on-the-fly.
Avid 4. Complete edits and Meridien I/O box create a final sequence.
MPEG IMX Betacam, 5. Output a master tape: (Step 5) deck Digital Betacam, MPEG, analog, digital, or other VTR or all three. Output NTSC or PAL, depending on your 25-fps or DV Beta- source footage. cam 30-fps master
Figure 4 Workflow: MPEG Project with Mixed Sources
62 MPEG 50 Resolution (Windows Only)
Starting an MPEG Project
When you start an MPEG project, select either NTSC or PAL, depending on the format of your media. If your system includes 24p and 25p support, select either NTSC 30i or PAL 25i. If you are planning to use your footage to create film, select the Matchback option. For more information about starting a project, see the editing guide or the Help.
Editing in MPEG
In general, you edit MPEG footage in the same way you edit any other footage. However, consider the following: • You cannot mix MPEG 50 with any other resolutions. • If you are recording a digital cut to an MPEG IMX deck through SDTI-CP, you need to render all effects. If you are recording through the Meridien I/O box to a digital deck or to an analog deck, the system maintains real-time effects.
MPEG 50 Resolution Specifications
MPEG 50 is intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs. The general characteristics of this bit stream are: • MPEG 4:2:2 Profile @ Main Level (4:2:2P@ML) • I frame only, with a group of pictures (GOP) length of 1 • Maximum coded frame size of 208,541 bytes for NTSC and 250,000 bytes for PAL n During capture, the frame sizes are padded automatically to a fixed size of 208,896 bytes for NTSC and 253,952 bytes for PAL. This padding is removed during a digital cut. This padding optimizes disk transfers at the cost of a small increase in storage.
• Up to 50 megabits per second (Mb/s) with constrained bytes per GOP (CBG)
63 Chapter 5 New Input and Output Features
Avid refers to this format as MPEG 50. It is described in the SMPTE 356M standard.
Table 4 provides resolution specifications for MPEG 50.
Table 4 Resolution Specifications: MPEG 50
Resolution Frame Size Format
MPEG 50 720 x 480 (NTSC) SMPTE D-10 720 x 576 (PAL)
Table 5 provides information to help you estimate the storage requirements for MPEG 50 media. For more information about estimating storage requirements, see Appendix B of the input and output guide. n Calculations are approximate. They are based on dual-stream playback with four channels of audio and include a 10 percent system overhead factor.
Table 5 Estimated Storage Requirements: MPEG 50
Drive Space Drive Space Drive Space Minutes Needed for Needed for Needed for Per 1 Minute of 10 Minutes 30 Minutes Resolution Gigabyte Media of Media of Media
MPEG 50 (NTSC) 2.7 376 MB 3.8 GB 11.2 GB
MPEG 50 (PAL) 2.6 381 MB 3.8 GB 11.4 GB
64 MPEG SDTI-CP Board (Windows Only)
MPEG SDTI-CP Board (Windows Only)
Media Composer and Film Composer systems (Windows only) can include an optional MPEG SDTI-CP board. The MPEG SDTI-CP board lets you transfer MPEG 50 video directly to and from your Avid system.
Using the MPEG SDTI-CP Board
The following sections describe how to use the MPEG SDTI-CP board. n For setup instructions, see the installation guide that ships with the MPEG SDTI-CP board.
Configuring a Deck
You configure a deck for MPEG SDTI-CP input the same way you configure other decks. For instructions on configuring decks, see the input and output guide.
For information about supported VTRs, see “Supported VTRs” on page 69.
Setting the Video and Audio Input
The Video and Audio pop-up menus in the Digitize tool show you the current input settings for the Video Input tool and the Audio Project Settings dialog box. The pop-up menus provide a convenient way to change the settings if necessary. n If you are recording with the MPEG SDTI-CP board, you cannot adjust video input values through the Video Input tool.
To select video input: t Click the Video pop-up menu, and select MPEG SDTI-CP.
To select audio input: t Click the Audio pop-up menu, and select MPEG SDTI-CP.
65 Chapter 5 New Input and Output Features
If you select MPEG SDTI-CP from either the Video or the Audio pop-up menu, the Avid system changes both audio and video to MPEG SDTI-CP. You cannot mix an input signal from the Meridien board with MPEG SDTI-CP. For example, you cannot have MPEG SDTI-CP as your video input and AES/EBU as your audio input. n When the Video and Audio pop-up menus are set to MPEG SDTI-CP, MPEG 50 is set by default in the Resolution pop-up menu.
Making Sure an MPEG SDTI-CP Signal Is Present
An MPEG SDTI-CP signal from a supported VTR must be present before you can select any Track buttons. n The Client monitor does not display video except during capture or when you record a digital cut. For more information, see “Restrictions” on page 68.
To make sure an MPEG SDTI-CP signal is present: 1. Select one or more tracks. If you have not connected a supported VTR, a message box opens, informing you that no signal is present. 2. Click OK. All audio and video tracks are deselected. 3. Connect the VTR through the MPEG SDTI-CP connection, and reselect the appropriate tracks.
Once you set up MPEG SDTI-CP as your input source, recording proceeds as it does for any other input source. See Chapters 4 and 5 of the input and output guide.
66 MPEG SDTI-CP Board (Windows Only)
Digital Cuts with MPEG SDTI-CP
After the optional MPEG SDTI-CP board and software are installed, the Target Device pop-up menu in the Digital Cut tool provides an MPEG SDTI-CP option. n MPEG SDTI-CP does not appear as an output signal in the Video Output tool.
To perform a digital cut through an MPEG SDTI-CP board: t Click the Target Device pop-up menu, select MPEG SDTI-CP, and follow the procedures in the chapter “Generating Output” in the input and output guide or the Help. n If you want to perform a digital cut to a VTR connected to the Meridien I/O box, click the Target Device pop-up menu, and select Meridien. n You can output up to eight channels of audio with the MPEG SDTI-CP option.
SDTI-CP Technical Information
SDTI-CP is a format that allows the transport of Content Packages (CP) over the Serial Data Transport Interface (SDTI). The Content Package is a packaging structure that allows the transfer of system, picture, audio, and auxiliary data (metadata). The data is packaged as a series of items: • System item — Contains timing and control information for the other items • Picture item — Contains an MPEG-2 video elementary stream • Audio item — Contains one or more channels of uncompressed audio • Auxiliary item — Contains data elements related to the picture or audio items
SDTI-CP allows for the transfer of compressed video directly to and from your Avid system.
67 Chapter 5 New Input and Output Features
Although SDTI-CP can support a variety of MPEG-2 options, the Avid implementation is specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs. Avid refers to this format as MPEG 50. It is described in the SMPTE 356M standard. For more information, see “MPEG 50 Resolution Specifications” on page 63.
Relevant Standards
The SDTI-CP option conforms to the following industry standards: • SMPTE 305M — Serial Data Transport Interface (SDTI) • SMPTE 326M — SDTI Content Package format (SDTI-CP) • SMPTE 331M — Element and Metadata Definitions for SDTI-CP • SMPTE 356M — Type D-10 Stream Specifications
Restrictions
The following sections describe some SDTI-CP behaviors Avid has discovered with the MPEG SDTI-CP option in the Avid editing applications.
Passthrough When Recording
MPEG SDTI-CP VTRs are guaranteed to output a valid bit stream only when they are playing back with servo lock. At other times, MPEG SDTI- CP VTRs might output frames that appear as errors to the Avid editing system’s digital I/O subsystem. Consequently, passthrough of video and audio is disabled except when actually recording or during a digital cut. Because of buffering and decoding delays, the video displayed might be several seconds behind the output of the VTR.
When you record from a digital I/O device, the video data and audio data are routed to memory and disk and then passed through to a monitor for confidence viewing. The passthrough function runs at a lower priority than capturing the media. Consequently, the passthrough video and audio might appear to “stutter” during recording. This does not affect the media recorded to disk.
68 MPEG SDTI-CP Board (Windows Only)
Capture MPEG 50 Media Only
When using an MPEG SDTI-CP board, the Avid editing application captures only streams encoded to the MPEG 50 specifications described in the SMPTE 356M standard.
Supported VTRs
Avid has tested the following VTRs using the MPEG SDTI-CP option. c For important information on limitations for these VTRs, see the release notes for your Avid system.
Sony MPEG IMX Series
The Sony MPEG IMX series VTRs support MPEG 50 as their native recording format. When you record or play through MPEG SDTI-CP, the MPEG 50 stream is transferred directly to or from the tape using standard processing. These VTRs also support playback of tapes that are not MPEG IMX format over MPEG SDTI-CP. When the VTR is operating in this mode, the recorded video is encoded to MPEG 50 format in the VTR. These two modes of operation involve different signal paths, each with different delays and latencies. Since these delays affect the timing within the Avid editing system to achieve frame-accurate captures and digital cuts, MPEG IMX VTRs have multiple templates in the Deck settings. Depending on the deck tape and connection, the following deck templates are available: • MSW-A2000-SDTI-IMX — Use with MPEG IMX tapes over SDTI-CP. • MSW-A2000-SDTI-Beta — Use with tapes that are not MPEG IMX format over SDTI-CP. • MSW-A2000 — Use with the Meridien I/O box. c Selecting the wrong device does not stop the VTR from operating, but captures or cuts might not be frame accurate.
69 Chapter 5 New Input and Output Features
Sony DNW-A75 Betacam SX with the SDTI-CP Option
When the Sony DNW-A75 Betacam SX® is equipped with the SDTI-CP option, the DNW-A75 can convert various tape formats to MPEG 50 for playback over SDTI-CP. The DNW-A75 cannot record from SDTI-CP.
Table 6 lists the deck templates for the DNW-A75.
Table 6 DNW-A75 Deck Templates
Template Video Format Input/Output Signal
DNW-A75 NTSC Meridien I/O box
DNW-A75p PAL Meridien I/O box
DNW-A75-SDTI NTSC SDTI-CP
DNW-A75p-SDTI PAL SDTI-CP
Exporting QuickTime Movies
This section describes several new or changed methods for exporting QuickTime movies.
Avid Codecs for QuickTime
Media Composer, Film Composer, and Media Station XL systems support an Avid DV Codec for QuickTime and Mac OS X versions of the Avid Meridien Codecs for QuickTime. n For more information on using Avid codecs, see the chapter “Exporting and Exchanging Material” in the input and output guide or the Help.
70 Exporting QuickTime Movies
Avid DV Codec for QuickTime
You can use the Avid DV Codec for QuickTime to export a QuickTime movie with DV compression that is compatible with Avid Xpress DV and Avid NewsCutter® products or with Avid Meridien products with the DV/MPEG option. This codec is available on both Windows and Macintosh systems, including those without DV support.
This release includes Windows and Macintosh versions of the codec that you can share with systems running applications that are compatible with QuickTime (such as Adobe® After Effects®). You can use the Macintosh version on Mac OS X systems only. n This codec supports the DV 25 resolution only.
To copy the Avid DV Codec for QuickTime to a Windows system: 1. On the system running the application compatible with QuickTime, insert the Avid installation CD-ROM (Windows version). 2. On the opening screen, click Browse CD Contents. If the installer does not start automatically: a. Double-click the My Computer icon. b. Double-click the CD-ROM drive icon. 3. Double-click the Goodies folder. 4. Double-click the AvidDV25Codec folder. 5. Copy the AvidQTDV25Codec.qtx file to one of the following folders: drive:\WINNT\System32 (Windows 2000) drive:\Windows\System32 (Windows XP) n If you need to transfer the file to the system running the application compatible with QuickTime, copy the AvidQTDV25Codec.qtx file from the CD-ROM to a floppy disk or network server.
71 Chapter 5 New Input and Output Features
To copy the Avid DV Codec for QuickTime to another Macintosh system: 1. On your Avid system, open the Macintosh HD/Applications/Avid Goodies folder. 2. Copy the AvidDV25Codec.component file to a floppy disk or network server. 3. On the system running the application compatible with QuickTime, copy the AvidDV25Codec.component file to the Macintosh HD/ Library/QuickTime folder.
Avid Meridien Codecs for QuickTime
This release includes Mac OS X versions of the Avid Meridien Codecs for QuickTime. You can share these codecs with Mac OS X applications that are compatible with QuickTime.
To copy the Avid Meridien Codecs for QuickTime to another Macintosh system: 1. On your Avid system, open the Macintosh HD/Library/QuickTime folder. 2. Copy the codecs you need to a floppy disk or network server. The following table describes the codecs.
Codec Description
AvidAVDJCodec.component Avid Meridien Compressed Codec for QuickTime for the Mac OS X operating system
AvidAVUICodec.component Avid Meridien Uncompressed Codec for QuickTime for the Mac OS X operating system
72 Exporting QuickTime Movies
3. On the system where the application compatible with QuickTime resides, copy the codec extensions to the Macintosh HD/Library/QuickTime folder. n Codecs for Mac OS 9 are installed in the following locations: • Macintosh HD/Applications/Avid Goodies/OS9 Meridien Codecs/Avid Compressed G4 • Macintosh HD/Applications/Avid Goodies/OS9 Meridien Codecs/Avid Uncompressed G4
Copy these files to System Folder:Extensions on a Mac OS 9 system.
Audio Format Options for QuickTime Reference Movies
You can now select one of two audio file formats when you export a QuickTime reference movie. These options appear when you select the Premix Audio Tracks option in the Export Settings dialog box.
Option Description
Premix Audio Tracks When this option is selected, the audio tracks in the composition are mixed to stereo files created at the same location as the movie. When this option is deselected, the QuickTime reference movie references the original audio media. This option is selected automatically if you select the Digital Mastering Defaults option. If you select the Premix Audio Tracks option, you can also select an audio format. Select the format that is supported by the application into which you will be importing the QuickTime reference movie. • WAVE: Select this option to export audio tracks in the WAVE format (.WAV file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. • AIFF-C: Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications.
73 Chapter 5 New Input and Output Features
Preparing Video for the Internet and Multimedia Applications
The Send to Cleaner command has been removed from the File menu.
To export a QuickTime file for processing with an application such as cleaner 5, do one of the following: t Export the file as a QuickTime reference movie. This method creates a small QuickTime reference movie that points to the original media files on the Avid system. Then open the QuickTime reference movie in the cleaner application. You can use this method only if the system with the cleaner application can access the media drives that contain the original media. This means that the cleaner application must be either on your local system or on another system in the same Avid Unity™ workgroup. t If you need to move the file to another system that has cleaner installed, export the file as a QuickTime movie using the Same as Source option. This method creates a large file, but it ensures that you have the highest quality video with which to work.
For information on exporting QuickTime movies, see the input and output guide or the Help.
Transferring Projects and Bins Using AFE Files
Avid File Exchange (AFE) files are an efficient way to transfer project information between Avid applications. For example, you can use AFE files to transfer projects and bins from an offline Media Composer to an Avid|DS finishing system. n Currently you can import an AFE file into Avid|DS Version 6.0 or later only.
AFE files are based on Advanced Authoring Format (AAF) technology. AFE files, however, are especially designed for sharing project information among Avid applications. AFE files let you transfer one or more bins, their contents, and information about the contents, including master clips, subclips, titles, and sequences.
74 Transferring Projects and Bins Using AFE Files
To create an AFE file: 1. Do one of the following: t To create a file that includes all bins in a project, in the Project window, select File > Export. The Export Project As dialog box opens. Select a location, name the file, and click Save. t To create a file that includes the contents of a single bin, open the bin, click the bin, and select File > Export. The Export Bin As dialog box opens. Select Avid File Exchange from the Export Bin As list. Select a location, name the file, and click Save.
2. Transfer the AFE file to a location that you can access from the other Avid application. You can use removable media, a network connection, or an Avid Unity shared storage system.
75 Chapter 5 New Input and Output Features
76 Index
Numerics Avid Film Composer application starting (Macintosh) 23 1394 connection Avid Media Composer application recording DV media 55 starting (Macintosh) 23 23.976p project Avid Meridien Codecs for QuickTime limitations 54 copying to a Macintosh system 72 planning 48 Avid-supplied toolsets workflow 50 See Toolsets working in 48
B A Basic command (Toolsets menu) 43 AFE files BasicAnimation command (Toolsets menu) 43 described 74 BigMonitor command (Toolsets menu) 43 exporting projects and bins 74 Bins Alias, starting an application from (Macintosh) 23 deleting with SuperBin enabled 26 Attic folder 25 exporting as AFE files 74 Audio format options viewing previously opened in the SuperBin 26 for QuickTime reference movie export 73 Audio Gain Automation installing driver software (Macintosh) 29 C installing driver software (Windows) 28 Automation Gain cleaner 5 74 fader controller or mixer, testing 30 Client monitor AutoTitler 45 split-screen displays in 37 Avid Attic folder 25 switching display in 37 Avid DV Codecs for QuickTime using in Color Correction mode 37 copying to a Macintosh system 72 Color correction 35 copying to a Windows system 71 Index
Color Correction mode External fader controllers using Client monitor in 37 changing ports (Macintosh) 32 Communication (Serial) Ports tool 27 changing ports (Windows) 31 Custom Screen dialog box 25 connecting to a system 28 testing connections 30 troubleshooting connections 33 D Delete Current command (Toolsets menu) 42 F Deleting bins with SuperBin enabled 26 FaderMaster Pro fader controller toolsets 42 connecting 28 Digital Cut tool Film Composer application Custom Screen dialog box 25 starting (Macintosh) 23 Dock (Macintosh only), using 22 Function keys Downconversion associating with toolsets 41 24p to SDTV 50 reassigning for toolsets 42 Drives unmounting 26 Dual Split with Reference command (Color H Correction shortcut menu) 37 DV media HDTV recording 55 workflow with 23.976p source 50 DV Scene Extraction described 16, 56 setting up after digitizing 58 L setting up before digitizing 57 Launching the Avid application (Macintosh) 23 DV/MPEG option 55 Location of Avid application (Macintosh) 23 Locators creating automatically with DV 16, 56 E Logging Ejecting automatically with DV 57 drives 26 ExpertAnimation command (Toolsets menu) 44 Export (File menu) 75 Exporting bins as AFE files 74 projects as AFE files 74
78 Index
M N Mac OS X operating system 19 New features list 15 Macintosh Dock (Macintosh only) 22 Marquee Title Tool AutoTitler 45 P Save Preferences command 45 toolsets 39 Preferences MCS-3000X fader controller saving General for Marquee 45 connecting 28 Projects described 27 exporting as AFE files 74 Media Composer application MPEG 59 starting (Macintosh) 23 Menu commands Basic (Toolsets menu) 43 Q BasicAnimation (Toolsets menu) 43 QuickTime reference movie BigMonitor (Toolsets menu) 43 audio export options 73 Delete Current (Toolsets menu) 42 preparing for Internet and multimedia Dual Split with Reference (Color Correction applications 74 shortcut menu) 37 ExpertAnimation (Toolsets menu) 44 Export (File menu) 75 R Restore Current to Default (Toolsets menu) 41 Save As (Toolsets menu) 41 Restore Current to Default command (Toolsets Save Current (Toolsets menu) 41 menu) 41 Save Preferences (File menu) 45 Restoring Mixer Avid-supplied toolsets to default values 41 connecting 28 described 27 MPEG media S editing 63 starting a project 63 Save As command (Toolsets menu) 41 workflows 60 Save Current command (Toolsets menu) 41 MPEG project Save Preferences command (File menu) 45 planning 59 SDTI-CP 65 starting 63 Send to Cleaner command 74 MPEG resolution Starting the Avid application (Macintosh) 23 storage requirements for 64 Subclips MPEG SDTI-CP board 65 creating automatically with DV 16, 56
79 Index
SuperBin W deleting bins 26 Switching display in Client monitor 37 Windows saving locations and sizes as toolsets 39 Workflows T film or 23.976p source 50 for MPEG projects 60 Time-of-Day Information, using to log 16, 56 Toolsets associating function key with 41 Y Avid-supplied, defined 40 Avid-supplied, descriptions 43 Yamaha 01V digital mixer creating new 41 connecting 28 defined 39 described 27 deleting 42 displaying 40 location of saved information 44 modifying 41 reassigning function keys 42 restoring Avid-supplied to default values 41 screen resolutions 40 Transferring through AFE 74
U Unmounting drives 26 USB-to-MIDI converter changing ports (Macintosh) 32 changing ports (Windows) 31 installing driver software (Macintosh) 29 installing driver software (Windows) 28 testing installation 30 troubleshooting connections 33
80