DOCSLIB.ORG

Introduction to Pro Tools | First

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Introduction to Pro Tools® | First Legal Notices Sundance Digital, SurroundScope, Symphony, SYNC HD, © 2015 Avid Technology, Inc., (“Avid”), all rights reserved. SYNC I/O, Synchronic, SynchroScope, Syntax, This guide may not be duplicated in whole or in part without TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner, the written consent of Avid. Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, 003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, TL Metro, TL Space, TL Utilities, tools for storytellers, Transit, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, TransJammer, Trillium Lane Labs, TruTouch, UnityRAID, Archive II, Assistant Station, AudioPages, AudioStation, Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE, AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced VTEM, Work-N-Play, Xdeck, X-Form, and XMON are either Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS registered trademarks or trademarks of Avid Technology, Inc. Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine, in the United States and/or other countries. Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Bonjour, the Bonjour logo, and the Bonjour symbol are Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, trademarks of Apple Computer, Inc. Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24, Thunderbolt and the Thunderbolt logo are trademarks of Intel CaptureManager, ChromaCurve, ChromaWheel, Corporation in the U.S. and/or other countries. Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|8, Control|24, Cosmonaut Voice, This product may be protected by one or more U.S. and non- CountDown, d2, d3, DAE, D-Command, D-Control, Deko, U.S. patents. Details are available at www.avid.com/patents. DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Product features, specifications, system requirements, and Development Partners, Digidesign Intelligent Noise availability are subject to change without notice. Reduction, Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, Guide Part Number 9329-65538-00 REV A 3/15 DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDpack, Home-to-Hollywood, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-Sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood, make manage move|media, Marquee, MassivePack, MassivePack Pro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Painterly Effects, Palladiium, Personal Q, PET, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync, SecureProductionEnvironment, Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, SubCap, Sundance, Contents Chapter 1. Introduction to Pro Tools | First.........................................1 Connecting Headphones or Speakers ..........................................1 Launching Pro Tools | First..................................................1 Configuring Pro Tools | First .................................................2 Creating a New Project ....................................................3 Recording Audio .........................................................4 Measuring Time in Minutes and Seconds or Bars and Beats .........................7 Importing Audio .........................................................11 Editing Audio ...........................................................13 Sequencing MIDI with a Virtual Instrument Plug-In................................17 Mixing and Plug-In Processing ..............................................27 Exporting Your Mix.......................................................34 Pro Tools | First Concepts .................................................35 Learn More ............................................................38 Contents iii iv Pro Tools | First Installation Guide Introduction to Pro Tools | First If you are new to Pro Tools® | First, please review this guide. This guide provides examples of how to Launching Pro Tools | First record, edit, and mix audio, as well as how to use To launch Pro Tools | First software: MIDI in Pro Tools | First. 1 Make sure your audio interface (if any) is If you have not yet installed Pro Tools | First, in- connected to your computer and powered on. stall it now according to the instructions in the 2 Do one of the following: Pro Tools | First Installation Guide. For informa- tion on connecting and installing drivers for your • On Mac, click the Pro Tools First shortcut in audio and MIDI hardware, refer to the manufac- your Dock (or double-click the application turer’s instructions. icon in Macintosh HD/Applications/ Avid/Pro Tools First). For topic-specific help with Pro Tools | First, • On Windows, double-click the Pro Tools refer to Pro Tools | First Help (Help > First shortcut on your desktop (or the applica- Pro Tools | First Help). tion in Program Files\Avid\Pro Tools First). 3 On launch, you are prompted to sign in to your Connecting Headphones or MyAvid account with your registered email ad- Speakers dress and password. Enable the Keep me signed in option if desired. To hear the audio from Pro Tools | First, connect headphones or speakers to your computer’s audio 4 Click the Sign In button and sign in to your interface. If you are using headphones, lower the MyAvid account. Headphone level (by turning it counterclockwise). You can also sign out or sign in while If you are using speakers, lower the Master volume Pro Tools | First is running by choosing level (by turning it counterclockwise). It is import- File > Sign In. ant to start with the volume sufficiently low to avoid damaging your ears or your equipment. 5 In the Dashboard window, do one of Once you have started Pro Tools | First and opened the following: a project (or created a new one) you can adjust the • Create a new project from template. volume controls to a comfortable listening level. • Create a new blank project. • Open an existing project (if any). • Click the Cancel button to configure Pro Tools | First without a project open. For more information about the Dashboard and projects, refer to Pro Tools | First Help (Help > Pro Tools | First Help). Introduction to Pro Tools | First 1 Default Output Configuring Pro Tools | First From the Default Output selector, select stereo out- Before you get started using Pro Tools | First put channels on your audio interface or the built-in software you should configure Pro Tools | First to sound of your computer that you want to be the de- meet the specific needs of your studio. Launch fault output channels for newly created tracks. Pro Tools | First, cancel out of the Dashboard This also controls your audition path and what is window, and configure the Setup options. displayed for the main output meters in both the Edit and Transport windows. Playback Engine Sample Rate The Playback Engine lets you select your audio in- terface and set the default stereo channel outputs If no project is open, the Sample Rate selector lets for tracks in your Pro Tools | First project. You can you specify the sample rate for new projects and also optimize the audio engine for recording or your audio interface (not all audio interfaces sup- playing back audio. port all Pro Tools | First sample rates). If a project is open, the sample rate of the project is displayed. Optimize Engine For Select one of the following options for optimizing the audio engine. Note that you will want to switch between these two options depending on whether you are recording audio and MIDI or if you are playing back and mixing audio. Playback Engine dialog Record Playback Engine Select the Record option for recording in From the Playback Engine selector, select your au- Pro Tools | First. This option provides the lowest dio interface or the built-in sound of your com- latency between the audio input and output of your puter for playback
Recommended publications
  • AI Media Analytics Readme

    AI Media Analytics Readme

    Avid® | AI Media Analytics Version 2018.9 ReadMe Important Information Avid® recommends that you read all the information in this ReadMe file thoroughly before setting up an Avid | AI Media Analytics environment. This ReadMe describes the required installation and configuration for running Avid | AI Media Analytics using Microsoft Azure Video Indexer. Additional information on MediaCentral | Cloud UX and MediaCentral | Asset Management is available online in guides. For more information about Azure Video Indexer, refer to Microsoft documentation. Important: Search the Avid Knowledge Base at http://www.avid.com/learn-and-support for the most up-to-date ReadMe file, which contains the latest information that might have become available after the documentation was published. Revision History Date Revised Changes Made September 28, 2018 First publication Contents About Avid | AI Media Analytics . 2 Installing the Media Analytics Packages. 4 Assigning Media Analytics Rights . 7 (Optional) Enabling the Media Analytics Processing Trigger . 8 (Optional) Enabling Media Analytics Processing for Additional Asset Types. 9 Creating Provider Configuration Profiles . 11 Triggering Media Analytics Processes by Using a Watch Folder Import. 16 Triggering Media Analytics Processes in MediaCentral | Cloud UX . 19 Monitoring Media Analytics Processes in the Process App . 20 Searching for Media Analytics Results in the Search App . 21 Displaying Media Analytics Results in the Markers Tab . 24 About Avid | AI Media Analytics About Avid | AI Media Analytics Avid | AI Media Analytics provides a framework that automates content indexing, such as facial detection, scene recognition, and speech-to-text conversion, by using third-party capabilities. The current version provides support for Microsoft Cognitive Services (Azure Video Indexer) and includes a Media Analytics API for additional providers.
  • Avid Technology Announces Q2 2020 Results

    Avid Technology Announces Q2 2020 Results

    Avid Technology Announces Q2 2020 Results August 3, 2020 68% Year-Over-Year Subscription Revenue Growth Driven by Continued Increase in Paid Subscriptions with Net Increase of 24,000 Subscriptions in the Quarter Operating Income Increased 214% Year-Over-Year from Improved Gross Margin and Significantly Reduced Operating Expenses BURLINGTON, Mass., Aug. 03, 2020 (GLOBE NEWSWIRE) -- Avid® (NASDAQ: AVID), a leading technology provider that powers the media and entertainment industry, today announced its second quarter 2020 financial results. During the second quarter, the Recurring Revenue components of the company’s business were resilient despite the COVID-19 global pandemic. The Company reported record subscription revenue of $16.4 million, up 68% year-over-year and maintenance revenue was stable, resulting in 8.5% year-over-year growth in Annual Contract Value. Also, in the quarter, Avid significantly improved its profitability as a result of higher gross margin coupled with a more efficient cost structure. The year-over-year improvement in gross margin of 760 basis points was a result of a greater portion of revenue coming from higher-margin software in the quarter and benefits from expense reductions in non-material cost of sales. Profitability was also enhanced by the $11 million year-over-year reduction in operating expenses in the quarter, which the Company will continue to closely manage towards the target of at least a $30 million reduction for fiscal 2020. For the second quarter, total revenue declined year-over-year, as the non-Recurring Revenue portions of the Company’s business related to product and professional services continued to be negatively impacted by weaker demand as a result of the COVID-19 global pandemic, which has caused the postponement or cancellation of many live music and major sporting events, and the temporary suspension of many film and television productions.
  • Avid Media Composer Basics Guide • 0130-07971-02 • September 2009

    Avid Media Composer Basics Guide • 0130-07971-02 • September 2009

    Avid® Media Composer® Basics Guide ™ make manage move | media Avid ® Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,986,584; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,130,676; 6,134,607; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 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; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191; 6,928,187; 7,043,058; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; 7,403,561; 7,433,519; 7,512,885; 7,545,957; D352,278; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912.
  • Pro Tools | Quartet Your Personal Professional Music Studio

    Pro Tools | Quartet Your Personal Professional Music Studio

    Pro Tools | Quartet Your personal professional music studio For musicians, engineers, producers, sound designers, and audio post professionals who demand a complete audio/MIDI creative solution, Pro Tools® | Quartet enables you to turn your Mac or PC into a high-performance yet portable music and audio production studio. Featuring industry-standard Pro Tools software and the best-in-class Quartet by Apogee 12x8 audio interface, Pro Tools | Quartet provides everything you need to create professional- level productions that will help you stand out from the crowd—from first note to final mix. And now it’s more affordable and an even better value than ever—bundle the interface with a full Pro Tools license and get a free year of upgrades included at no additional charge, or choose a lower cost 1-year Pro Tools subscription and get all upgrades included throughout your subscription. Plus, both options come with your choice of two additional premium Avid plug-ins at no extra charge. Top Rear Create with industry-standard Pro Tools Sound Amazing® with Quartet • Work with the award-winning toolset trusted by audio pros worldwide • Record performances in 24-bit/192 kHz resolution • Write, play, practice, record, edit, mix, and master music faster • Connect mics, instruments, and more to high-quality I/O: • Get seamless integration with Quartet by Apogee for optimized control o Four combination mic/instrument/line inputs • Create large, richly detailed sessions easily with 64-bit performance o Eight channels of ADAT/SMUX input via Toslink • Track
  • Avid Filmscribe User's Guide

    Avid Filmscribe User's Guide

    Avid® FilmScribe™ User’s Guide ™ 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; 5,077,604; 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; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 6,061,758; 6,532,043; 6,546,190; 6,636,869; 6,747,705.
  • Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev

    Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev

    Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media .
  • Avid Announces New Five-Year Agreement with Microsoft Azure to Bring More Media Companies to the Cloud

    Avid Announces New Five-Year Agreement with Microsoft Azure to Bring More Media Companies to the Cloud

    Avid Announces New Five-Year Agreement with Microsoft Azure to Bring More Media Companies to the Cloud May 4, 2020 Strategic Cloud Partners Build on Early Success to Help Media Companies with Content Workflows in the Cloud; Partners Respond Swiftly to Help Customers Work Remotely Amid the COVID-19 Global Health Pandemic BURLINGTON, Mass., May 04, 2020 (GLOBE NEWSWIRE) -- Leading media and entertainment technology provider Avid® (Nasdaq: AVID) today announced it has renewed its cloud collaboration with Microsoft. Over the course of the new five-year strategic alliance agreement Avid will continue to develop and deploy its cloud-based solutions on Microsoft Azure. Since launching their initial collaboration, Avid and Microsoft have helped some of the world’s largest media companies to break new ground by moving their film and television content workflows into the cloud, which has enabled teams, including hundreds of editors, journalists and other contributors to collaborate on movies, TV shows and other content on a global scale. The renewed alliance continues the companies’ mutual commitments and investments in technology, product development and go-to-market efforts globally. Together, Avid and Microsoft have already produced several essential media workflows running in the cloud, including collaborative editing, content archiving, active backup and production continuity. Since the onset of the COVID-19 global health pandemic, Avid and Microsoft have also mobilized rapidly to aid numerous Avid clients urgently needing to transition their production personnel to working remotely from their homes in order to keep entertainment and news content pipelines flowing. Available solutions for remote working include the highly-scalable and secure Avid | Edit On Demand™ virtualized production environment, featuring Avid Media Composer® video editing software and Avid NEXIS® storage running on Azure.
  • Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual

    Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual

    Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual.......................................................1 2 Introduction To Renoise...........................................................................2 2.1 Main Screen Overview.....................................................................................2 2.1.1 Upper Status Bar.....................................................................................3 2.1.2 Global Song Control................................................................................3 2.1.3 Song Visualisation...................................................................................3 2.1.4 Loading & Saving Files............................................................................3 2.1.5 Selecting Instruments.............................................................................4 2.1.6 Creating & Editing Instruments...............................................................4 2.1.7 GUI presets.............................................................................................5 2.1.8 Sequencing Patterns...............................................................................5 2.1.9 Creating Patterns....................................................................................5 2.1.10 Applying Effects....................................................................................6 2.1.11 Lower Status Bar...................................................................................6 2.2 Guide
  • Interview Matthias Juwan

    Interview Matthias Juwan

    Studio One inventor Matthias Juwan in conversation Created by Lukas Ruschitzka When I learned about the »new« DAW for the first time at the Musikmesse 2009, I still had no idea what would connect me to this software over the next 10 years. One year later, in the summer of 2010, I had version 1 on the hard drive and star- ted producing my first song with Studio One. Now - almost a decade and hundreds of Studio One projects later - I did not miss the opportunity to ask Matthias Juwan, Studio One mastermind and CTO at Pre- Sonus Software a few questions about the creation and development of Studio One. In doing so, I have incorporated both my own questions and questions that have arisen in the RECORDING.de forum in recent years. I hope you enjoy reading the unabridged interview with Matthias Juwan! Matthias, Studio One will be 10 years old this year! In 2009 everyone was wonde- ring what they needed a new DAW for. Meanwhile, Studio One has become indispensable in the DAW market. What was the trigger for you to program the first prototype of Studio One? Everything started for me a few years earlier. When I released my 16-track freeware sequencer Kristal Audio Engine in 2004, there was a lot of positive feedback from the internet community and the press, and I decided to work on a more professional suc- cessor. The project ran for two years in my spare time in addition to the job as a soft- ware developer at Steinberg under the code name K2.
  • Field Recorder Workflow Guide

    Field Recorder Workflow Guide

    Field Recorder Workflow Guide Version 7.2 Copyright © 2006 Digidesign, a division of Avid Technology, Inc. All rights reserved. This guide may not be duplicated in whole or in part without the express written consent of Digidesign. Avid, Digidesign, and Pro Tools are either trademarks or registered trademarks of Avid Technology, Inc. in the US and other countries. All other trademarks contained herein are the property of their respective owners. Product features, specifications, system requirements, and availability are subject to change without notice. PN 9329-55679-00 REV A 07/06 contents Chapter 1. Introduction . 1 Field Recorder Terminology . 1 Supported Field Recorder Audio Files and Metadata. 2 Displaying Field Recorder Metadata in Pro Tools . 2 DigiBase Support for Field Recorder Metadata . 3 Chapter 2. Field Recorder Workflows . 5 Ensuring Metadata of Source Files Have Been Preserved . 5 Receiving Source Files . 5 Importing Source Files into Pro Tools . 6 Displaying Multichannel Files from a Field Recorder in the Region List. 9 Choosing an Alternate Channel for a Specific Region . 9 Appendix A. Overview of Production Workflows. 11 Terminology . 11 Film Workflow . 13 Video and Fully Non-Linear Workflows. 15 Contents iii iv Field Recorder Workflow Guide chapter 1 Introduction Pro Tools 7.2 adds support for importing multi- Digital Field Recorders channel audio files and metadata recorded by field recorders, as well as new post-production A field recorder, also known as a hard disk loca- workflows for using these files. tion audio recorder, is a device used by a produc- tion sound mixer during a film or video shoot to make a multichannel recording of multiple mi- crophone inputs recorded simultaneously.
  • Avid Film Composer and Universal Offline Editing Getting Started Guide

    Avid Film Composer and Universal Offline Editing Getting Started Guide

    Avid® Film Composer® and Universal Offline Editing Getting Started Guide Release 10.0 a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Film Composer and Universal Offline Editing Getting Started Guide • Part 0130-04529-01 • Rev. A • August 2000 2 Contents Chapter 1 About Film Composer and Media Composer Film Composer Overview. 8 About 24p Media . 9 About 25p Media . 10 Editing Basics . 10 About Nonlinear Editing. 10 Editing Components. 11 From Flatbed to Desktop: Getting Oriented. 12 Project Workflow . 13 Starting a Project . 14 Editing a Sequence . 15 Generating Output . 16 Chapter 2 Introduction Using the Tutorial. 17 What You Need . 19 Turning On Your Equipment . 19 Installing the Tutorial Files . 20 How to Proceed. 21 Using Help. 22 Setting Up Your Browser . 22 Opening and Closing the Help System . 22 Getting Help for Windows and Dialog Boxes. 23 Getting Help for Screen Objects . 23 Keeping Help Available (Windows Only) . 24 3 Finding Information Within the Help . 25 Using the Contents List . 25 Using the Index . 25 Using the Search Feature . 26 Accessing Information from the Help Menu. 27 Using Online Documentation . 29 Chapter 3 Starting a Project Starting the Application (Windows). 31 Starting the Application (Macintosh). 32 Creating a New User . 33 Selecting a Project . 33 Viewing Clips . 34 Using Text View. 35 Using Frame View. 36 Using Script View . 37 Chapter 4 Playing Clips Opening a Clip in the Source Monitor. 39 Displaying Tracking Information . 40 Controlling Playback. 44 Using the Position Bar and Position Indicator . 45 Controlling Playback with Playback Control Buttons . 46 Controlling Playback with Playback Control Keys .
  • Avid Technology 2008 Investor Day

    Avid Technology 2008 Investor Day

    Avid Technology 2008 Investor Day October 27th, 2008 Safe Harbor Statement Please note that remarks made during this presentation may include forward-looking statements, as defined by the Private Securities Litigation Reform Act of 1995. Any statements contained in this presentation that are not statements of historical fact may be deemed to be forward-looking statements. There are a number of factors that could cause actual events or results to differ materially from those indicated by these forward- looking statements, such as competitive factors, including Avid’s ability to anticipate customer needs, pricing pressures, Avid’s ability to execute its strategic plan, and adverse changes in general economic or market conditions, particularly in the content-creation industry. Other important events and factors appear in Avid’s filings with the U.S. Securities and Exchange Commission. In addition, the forward-looking statements included in this presentation represent our estimates only as of today and should not be relied upon as representing our views as of any subsequent date. Avid undertakes no obligation to review or update these forward-looking statements. A historical reconciliation of the GAAP to non GAAP reconciliation is available on www.avid.com in our quarterly earning press releases. For purposes of understanding our future business model, we are providing some forward-looking analysis on a non-GAAP basis. Our GAAP financial measures are not, however, accessible on a forward-looking basis and the differences between our future