Media Composer Video Satellite Guide

Video Satellite Guide Version 8.0.1 Legal Notices Avid products or portions thereof are protected by one or more of the following This guide is copyrighted ©2009 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights United States Patents: reserved. Under copyright laws, this guide may not be 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; duplicated in whole or in part without the written consent of 5,355,450; 5,396,594; Digidesign. 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 5,568,275; 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, 5,584,006; 6,704,445; 6,747,705; 6,763,134; 6,766,063; Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory, 6,871,161; 6,901,211; 6,907,191; 6,928,187; 6,933,948; Bruno, C|24, Command|8, Control|24, D-Command, D-Control, 6,961,801; 7,043,058; 7,081,900; 7,103,231; D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; DigiRack, DigiTest, DigiTranslator, DINR, D-Show, DV Toolkit, 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; EditPack, Eleven, HD Core, HD Process, Hybrid, Impact, 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox, 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; OMF Interchange, PRE, ProControl, Pro Tools M-Powered, 6,137,919; 6,141,691; 6,198,477; 6,201,531; 6,223,211; Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi, 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius, 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; Smack!, SoundReplacer, Sound Designer II, Strike, Structure, 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser, 6,665,450; 6,678,461; 6,687,407; D392,269; D396,853; Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are D398,912. Other patents are pending. trademarks or registered trademarks of Digidesign and/or Avid Technology, Inc. Xpand! is Registered in the U.S. Patent and Trademark Office. All other trademarks are the property of their respective owners.

Product features, specifications, system requirements, and availability are subject to change without notice.

Guide Part Number 9106-59266-00 REV B August 2009

Documentation Feedback At Digidesign, we're always looking for ways to improve our documentation. If you have comments, corrections, or suggestions regarding our documentation, email us at [email protected]. contents

Chapter 1. Introduction ...... 1 Video Output Options...... 1 Supported Video Resolutions ...... 2 Support for Avid Interplay...... 4 Support for Avid Unity ISIS and MediaNetwork Storage Systems ...... 4 Avid Terminology...... 5 System Requirements and Compatibility ...... 11 About the Pro Tools Guides ...... 12 Conventions Used in This Guide ...... 12 About www.digidesign.com ...... 13

Chapter 2. Installing Video Satellite ...... 15 Installing Hardware ...... 16 Installing Media Composer Software ...... 19 Upgrading from Media Station|PT 2.7...... 19 Upgrading from an Earlier Version of Media Composer ...... 20 Disabling Simple File Sharing ...... 20 Installing nVidia Drivers ...... 20 Disabling the nVidia Display Driver Service ...... 21 Authorizing your Video Satellite System...... 21 Making Ethernet Connections with Video Satellite Systems ...... 25 Connecting Media Composer to Pro Tools ...... 26

Chapter 3. Video Satellite Workflows ...... 27 Changing Video Output Settings ...... 27 Cross-Mounting Media Storage on Remote Systems ...... 29 Opening Sequences for Playback on a Video Satellite System ...... 36 Opening an Avid Sequence from a Volume Supporting Direct Playback ...... 36 Opening an Avid Sequence from a Volume Not Supported for Playback ...... 40

Contents iii Saving, Recalling, and Using Export Settings to Export AAF Sequences ...... 44 Opening an AAF Sequence for Playback on a Video Satellite System...... 45 Using a Video Satellite in an Avid Interplay Environment ...... 48 Connecting Pro Tools and a Video Satellite ...... 48 Matching Media Composer and Pro Tools Settings in a Video Satellite System ...... 49 Linking or Unlinking Pro Tools and a Video Satellite...... 56 Capturing Audio and Video with a Video Satellite System ...... 58 Re-Digitizing an Existing Sequence...... 65 Digitizing from an EDL ...... 65 Laying Back Audio and Video to Tape...... 65 Exporting Audio and Video as a Digital Movie from a Video Satellite ...... 68

iv Video Satellite Guide chapter 1 chapter 1 Introduction

Video Satellite is a powerful post-production option for Pro Tools HD 8.0 and higher, employing Video Output Options a separate computer running Avid Media Video Satellite lets you output video using any Composer software for synced video playback, of the following configurations: capture, and conversion. • Playback to an external NTSC or PAL video Media Composer 4.0 software with the Video monitor (Avid Nitris DX. Mojo DX, Adrena- Satellite option can output and capture video line, Mojo SDI, or Mojo required) through any of the following Avid video periph- • Playback to an external HD-SDI video moni- erals. tor with Avid Nitris DX, Mojo DX, or Adrena- • Avid Nitris DX line (with DNxcel card) •Avid MojoDX • Playback to an external HDMI video monitor • Avid Adrenaline (with DNxcel card) (Avid Nitris DX or Mojo DX required) •Avid Mojo SDI • Playback to an external analog HD video •Avid Mojo monitor with Avid Nitris DX or Adrenaline (with DNxcel card) Video Satellite can also be used with Pro Tools 7.4.x and Media Station|PT 2.7. • Full-screen playback on your primary or sec- For information on this configuration, see ondary computer monitor using DVI output the Media Station|PT guide.

Chapter 1: Introduction 1 Playback to an External NTSC or When you play back video on a monitor with a PAL Video Monitor refresh rate that differs from the video frame rate (as is often the case during playback of (Avid Nitris DX, Mojo DX, Adrenaline, video through a DVI output), the output yields Mojo SDI, or Mojo Only) visual artifacts and offsets in synchronization Media Composer requires an Avid video periph- between audio and video. For example, this oc- eral for high-quality, frame edge-aligned play- curs during playback of a 24 fps video clip on a back of SD video (or 1080 HD video converted to DVI monitor with a refresh rate of 75 Hz. SD video) to an external NTSC or PAL monitor. If your workflow requires high-quality When outputting 1080 HD video using this con- playback, you must output video through figuration, you can either transcode an HD se- an Avid video peripheral to an NTSC or quence to SD video or down-convert an entire PAL monitor for SD and downconverted HD project to SD video in real time. HD, or to an HDMI or HD-SDI monitor for native HD. 720p projects can not be down-converted.

When using an Avid Nitris DX or Mojo DX pe- For detailed information on the quality of ripheral,1080 HD video can be down-converted DVI output to your primary or secondary to SD video in real time, in software mode. monitor, see Chapter 3, “Video Satellite Workflows.” Hardware-based down-convert is not supported with Video Satellite. Supported Video Resolutions Playback to an External HD-SDI Video Monitor Media Composer Video Satellite supports the import, capture, and playback of a wide range of (Avid Adrenaline with DNxcel, Nitris DX, or video resolutions and frame rates (including HD Mojo DX Only) video): Media Composer requires an HD-capable Avid • Avid DNxHD (10-bit and 8-bit 4:2:2) at 1080i video peripheral (Adrenaline with DNxcel, at 59.94, 50 fps; 1080p at 25, 24, 23.976 fps; Nitris DX or Mojo DX) for high-quality, frame 720p at 59.94, 23.976 and 50 fps edge-aligned playback of native HD video to an • Native DVCPRO HD support for 1080i 59.94, external HD-SDI monitor. 50 fps; 720p at 59.94, 23.976 and 50 fps • Native XDCAM HD support for 1080i at Full-Screen Playback using DVI 59.94, 50 fps; 1080p at 25, 23.976 fps Output to a Computer Monitor • Native HDV support for 1080i at 59.94, 50 fps; With a supported video card installed, 1080p; 720p at 29.976 fps Media Composer Video Satellite provides full- • All standard-definition Avid OMF and MXF screen playback of SD or HD video through a video files DVI port to your primary or secondary com- • Avid IMX MPEG50, MPEG40, MPEG30, and puter monitor. OP1a files

2 Video Satellite Guide • AVC-I files (50 Mb/s and 100 Mb/s) Supported Frame Rates and Avid • GFCAM files (50 Mb/s and 100 Mb/s, playback Project Types only) Media Composer supports the import, capture, • MPEG 4 files and playback of video at the following rates: • DV50, DV25 and DVC Pro 25 resolutions • 23.976p NTSC compressed with the Avid codec, including: •24p NTSC • DV25 411: DV25 interlaced scan at 4:1:1 •30i NTSC sampling (for NTSC 30i and PAL 25i •24p PAL projects) •25p PAL • DV25 420: DV25 interlaced scan at 4:2:0 •25i PAL sampling (for PAL 25i projects) • 720p/23.976 • DV25p 411: DV25 progressive scan at 4:1:1 • 720p/29.97 HDV sampling (for NTSC 23.976p and NTSC 24p projects) •720p/50 • DV25p 420: DV25 progressive scan at 4:2:0 •720p/59.94 sampling (for PAL 25p and PAL 24p • 1080p/23.976 projects) • 1080p/24 • All standard-definition Avid Multi-Cam • 1080p/25 Resolution files • 1080i/50 • The following video resolutions created with • 1080i/50 HDV the Avid DV, JFIF or MXF video codecs: • 1080i/59.94 • 1:1 (Uncompressed JFIF/MXF) • 1080i/59.94 HDV •DV50 • DV25 4:1:1 HD projects that are interlaced have an actual frame rate that is half that implied by • DV25 4:2:0 the format description. For example, a • DV25P 4:1:1 1080i/50 project has a frame rate of 25 fps, • DV25P 4:2:0 so an AAF sequence destined for this project • 15:1s 4:2:2 should be exported from Pro Tools at 25 fps. • 14:1P 4:2:2 In a progressive HD project, the true frame • 28:1P 4:2:2 rate is implied in the project name. For example, a 720p/59.94 project has a frame • 35:1P 4:2:2 rate of 59.94 fps, so an AAF sequence des- For detailed information on supported resolu- tined for this project should be exported from tions and frame rates, see Avid Media Composer Pro Tools at 59.94 fps. online help or visit the Avid website (www.avid.com).

To launch online help in Media Composer: • Choose Help > Online Help.

Chapter 1: Introduction 3 Support for Avid Interplay Support for Avid Unity ISIS and MediaNetwork Storage Windows-based Media Composer and Pro Tools systems support integration with Avid’s Inter- Systems play asset management system. Avid Unity ISIS and Unity MediaNetwork are Avid Interplay lets Pro Tools and Avid editors in- high-speed network storage systems that let tegrate the complete workflow of each project multiple users store and share media through a by managing assets, tracking versions, and pro- gigabit Ethernet connection (for ISIS) or fibre viding powerful metadata and commenting ca- channel connection (for MediaNetwork). pabilities. Interplay also automates the data Media Composer and other Avid video applica- flow, eliminating errors and shielding users tions can use a Unity system to share the same from complex import/export steps. media as follows: When connected to an Interplay system, • Stream audio and video media in real time Media Composer can: • Share Pro Tools, Avid, AAF, OMF, and MXF • Check out projects and sequences from Inter- audio and video sequences play, and export media as needed for Pro Tools • Share AAF sequences using the Avid Interplay • Check in projects and sequences, including asset management system (Avid Interplay sys- final audio created in Pro Tools tem required)

When equipped with the Pro Tools Avid Inter- Pro Tools can use a Unity system to share media play Option, Pro Tools can: with Avid video systems as follows: • Open AAF sequences formatted specifically • Stream audio and video media in real time for Pro Tools directly from Interplay (Windows only) • Export audio tracks directly back to the se- • Share audio and video media in a push-pull quence on Interplay, either adding to or re- workflow (Mac and Windows) placing existing audio tracks • Share Pro Tools, Avid, AAF, OMF, and MXF For detailed workflows on the following, see the audio and video sequences Pro Tools Avid Interplay Guide: • Share AAF sequences using the Avid Interplay • Checking in a sequence to Interplay for asset management system (Avid Interplay sys- Pro Tools tem required, Windows systems only) • Importing a sequence into Pro Tools from Interplay. • Exporting edited audio tracks to Interplay from Pro Tools. • Importing Pro Tools audio files back into Media Composer

4 Video Satellite Guide In one project, you could create a new bin to Avid Terminology hold all of your video clips and a bin to hold your sound effects, and a bin for sequences. You This section provides a brief glossary of Avid could close that project, open a new project and terms and, where applicable, their Pro Tools open the sound effects bin from the first project counterparts. to use the same audio in a different sequence. Clip A Clip in Media Composer is like a whole Projects are stored at a user definable location. file region in Pro Tools. It references one or Source Monitor The Source Monitor is the Video more media files that play in synchronization, window above the Timeline (on the left). Use for instance, a video file and its two audio tracks. the Source Monitor to select what will be added Clips are stored in bins. to the sequence in the Timeline. Subclip A Subclip in Media Composer is like a re- Record Monitor The Record Monitor is the Video gion in Pro Tools. It is a shorter version of the window above the Timeline (on the right). Play- clip from which it was created. Subclips are also back of the sequence in the Timeline is viewed stored in bins. in the Record Monitor. Avid Sequence An Avid sequence is equivalent Timeline The Media Composer Timeline shows to a Pro Tools session. It is a collection of clips the assorted audio and video elements arranged and subclips organized in a Timeline. Sequences in a linear sequence, as in Pro Tools. are stored in bins. Client Monitor The client monitor is an external AAF/OMF Sequence AAF and the older OMF are NTSC, PAL, HD or DVI monitor used to display standards designed specifically for exchanging the video output of Media Composer. sequences between applications.

Media Composer and Pro Tools can import and Additional Pro Tools and Avid play AAF or OMF sequences. Media Composer Terminology Counterparts can export Avid sequences as AAF or OMF sequences for import into Pro Tools. Pro Tools can export tracks from a session as an AAF or OMF Pro Tools Avid sequence for import into Media Composer or plug-ins real-time audio effects other Avid editing applications. automation automation gain (clip-based Bins Bins are like folders where you organize gain or key-frame gain) clips and sequences. Bins are stored in the indi- Bounce to Disk Video Mixdown vidual project folders.

Projects Projects are where you organize a num- Whole audio files in the Pro Tools Regions ber of bins. Bins can also be shared between List normally appear in bold type. However, projects. master clip audio files imported from AAF or OMF sequences into Pro Tools will not appear in bold type even though they are whole audio files.

Chapter 1: Introduction 5 AAF, OMF, and MXF Basics MXF

AAF and OMF files are mechanisms for storing MXF is a media file format. There are MXF video and retrieving media data and metadata so that files and MXF audio files, but there are no “MXF projects can be freely exchanged between differ- sequences.” An AAF sequence may refer to or in- ent applications and operating systems (such as clude MXF media files, but OMF sequences can- between Pro Tools and Avid video editing appli- not refer to or include MXF files. cations, on Mac or Windows). Media Composer Support for MXF Media Media data and metadata enable an application that receives AAF and OMF sequence files to au- Media Composer supports the following actions tomatically and quickly reassemble the compo- when working with MXF media: sition. A simple metaphor for this approach is • Creating MXF media when capturing, that media data files are the pieces of a puzzle transcoding, rendering, or using other meth- and metadata is the set of instructions for as- ods to create media sembling the puzzle. • Import of MXF media files created in other In the simplest case, only an AAF or OMF se- Avid applications quence is exchanged. If this sequence points to • Export of MXF audio and video files existing media files, the size of the sequence file is relatively small and the export/import process Pro Tools Support for MXF Media is relatively fast. Pro Tools supports the following actions when AAF and OMF sequences can also have media working with MXF media: data embedded in them. This creates a single, • Capture of MXF video media in real time larger file that is slower to export and import, (Avid video peripheral required) but which may be easier to manage than thou- • Import of MXF video and audio media sands of files stored on different volumes. • Export of MXF audio media Pro Tools supports AAF and OMF sequences that contain embedded audio media. Pro Tools cannot export MXF video files.

Pro Tools with DigiTranslator does not support Video files digitized in Pro Tools are technically AAF or OMF sequences containing embedded of the MXF format, but are intended only for use video media, except if you are importing such in Pro Tools and are not tested for compatibility sequences into a Video Satellite track. In such with other applications. cases, only video metadata is imported into the track.

For the purposes of this guide, AAF sequences are emphasized and referenced over the older OMF sequence standard.

6 Video Satellite Guide AAF OMF

AAF sequences are the best way to exchange OMF is both a media file and sequence format. projects and maintain valuable metadata. An OMF media files can be audio or video. AAF sequence can refer to OMF and/or MXF media files, or have OMF and MXF media files Media Composer Support for OMF Media and embedded within them. There is no such thing Sequences as an AAF audio or video media file. Media Composer supports the following actions when working with OMF media and sequences: Media Composer Support for AAF Sequences • Import and export of OMF sequences with Media Composer supports the following actions embedded OMF video files and WAV or AIFF when working with AAF sequences: audio files • Import and export of AAF sequences with em- • Import and export of OMF sequences that re- bedded video files (MXF or OMF) and/or au- fer to external (linked) OMF video files and dio files (MXF, WAV, or AIFF) WAV or AIFF audio files • Import and export of AAF sequences that refer to external (linked) video files (MXF or OMF) Pro Tools Support for OMF Media and and/or audio files (MXF, WAV, or AIFF) Sequences With DigiTranslator, Pro Tools supports the fol- Pro Tools Support for AAF Sequences lowing actions when working with OMF media With DigiTranslator, Pro Tools supports the fol- and sequences: lowing actions when working with AAF se- • Import of OMF video files created by quences: Media Composer or other Avid applications • Import and export of AAF sequences that con- • Export of OMF audio files tain embedded or refer to external (linked) • Import and playback of OMF sequences that MXF, WAV, or AIFF audio files refer to external (linked) audio files or contain • Import of AAF sequences that refer to external embedded audio files (linked) MXF or OMF video files • Import and playback of OMF sequences that • Video Satellite systems only: Import of AAF se- refer to external (linked) OMF video files quences containing video to a satellite track, • Export of OMF sequences that refer to exter- in which case Pro Tools imports only the nal (linked) audio files or contain embedded metadata (cuts and clip names) and not the audio files video • Video satellite systems only: Import of OMF Pro Tools does not export video files, tracks or sequences containing embedded video to a metadata as part of AAF sequences. satellite track, in which case Pro Tools imports only the metadata (cuts and clip names) and not the video • Pro Tools does not export video files, tracks or metadata as part of OMF sequences

Chapter 1: Introduction 7 Embedded Media MXF Media Data Locations On the volumes you have designated for media storage, Exporting to OMF or AAF with embedded media Media Composer stores all MXF media: results in one large OMF or AAF file containing • When stored locally, MXF media is placed both the metadata and all associated media files. in the Avid MediaFiles/MXF/1 folder. However, it is important to note that file size is Media Composer can also read MXF media limited to 3.4 GB. located at Avid MediaFiles/MXF/2, Avid MediaFiles/MXF/3, and so on. Media Data (Media Files) • When stored in a shared environment, Media data represents raw audio or video mate- MXF media is placed in a folder called rial and is stored in individual media files. Every Avid MediaFiles/MXF/client.1 (where client time you record a piece of video or audio mate- represents the name of the client com- rial into an application, you are creating a media puter). file containing media data. Audio media data is stored as samples (such as 44,100 or 48,000 sam- This guide refers to the root folder name (Avid ples per second of recording) while video media MediaFiles) whenever referencing this folder. is typically stored as frames (24, 25, or 30 frames OMF Media Data Locations On the volumes you per second of recording). have designated as media drives, Media Com- The size of each media file depends on how poser stores all OMF media in the OMFI Media- much audio or video material it contains. For Files folder. example, if you record ten minutes of continu- ous video material at a high resolution, you might end up with a video media file that is 1.8 GB in size, whereas a one minute recording at the same resolution might result in a 180 MB file. Media files tend to be large, since high quality audio and video signals are data intensive. Video data generally requires considerably more storage than audio data.

8 Video Satellite Guide Metadata Embedded Media and Linked Media Metadata is used to describe: • Information about each media file. This There are two ways to handle media files when may include sample rate, bit depth, region exporting AAF or OMF files: names, the name of the videotape from • Embedded media (in which the media files which the media file was captured, and are embedded in an AAF or OMF sequence) even time code values that specify where a • Linked media (in which media files are ref- file was used in a Pro Tools session. erenced by an AAF or OMF sequence) • Information about Pro Tools sessions or other sequences, including what files are Pro Tools with DigiTranslator lets you import used, where they appear in a Timeline, and AAF or OMF sequences containing embedded automation. audio files. You can also import AAF or OMF sequences containing embedded video files, but • For AAF or OMF sequences, metadata also only if you are importing them to a video satel- includes information about unrendered lite track. In such a case, only the video meta- AudioSuite effects (such as real-time EQ) on data is imported. Avid workstations. Pro Tools skips unrendered effects on import. Rendered effects are media files, that can be imported or skipped on import into Pro Tools. • For AAF or OMF sequences, information about automation (clip-based gain or keyframe gain).

Chapter 1: Introduction 9 Frame RateAccurate Video Editing In order to export frame accurate audio regions, and Sample Rate-Accurate Audio Pro Tools splits the audio media on frame Editing boundaries and fills any gaps with silence. The following illustration shows the resulting audio Media Composer edits with frame accuracy. regions that are exported to Media Composer. This means that in a 30 fps project, you can edit at 30 different locations for every one second of When you use Export Selected Tracks as video. Pro Tools edits with sample rate accuracy. OMF/AFF to export tracks from Pro Tools with In a 48 kHz session, there are potentially 48000 Enforce Avid Compatibility enabled, a number locations to edit for every second of audio. of additional media files labeled Sample Accu- rate Edit appear in the Avid bins. These are the When Pro Tools exports an AAF or OMF compo- additional media files that Pro Tools creates to sition destined for an Avid application, it must ensure that Media Composer receives frame-ac- ensure that the audio files line up on frame curate audio. You also see the sample-accurate boundaries. To do this, it might have to split an edit media files if you zoom in on the imported existing audio region into three clips. For exam- audio in the Timeline. ple, the following illustration shows a 5-frame video clip and a corresponding audio region. In Pro Tools, the audio regions might not line up on video frame boundaries.

One Pro Tools audio region

5 frame video clip

The original audio region does not line up on video frame boundaries

Figure 1. Original audio region

New audio region New audio region with padded silence with padded silence

Three exported audio regions

5 frame video clip Exported audio regions line up on video frame boundaries Figure 2. Exported audio region

10 Video Satellite Guide Avid Video Peripherals System Requirements and Compatibility For high-quality frame edge-aligned playback of SD video (or 1080 HD video converted to SD Video Satellite requires the following system video), you must add the I/O capabilities of an components: Avid video peripheral, which includes compos- • Digidesign-qualified Mac or Windows com- ite, component, S-Video and, with devices that puter for Pro Tools|HD support it, SDI. • Pro Tools|HD system with a SYNC|HD or For high-quality frame edge-aligned playback of SYNC|I/O peripheral native HD video, you must add an HD-capable • Avid-qualified Mac or Windows computer Avid video peripheral, like Nitris DX, Mojo DX, for Media Composer or Adrenaline with DNxcel card. • Media Composer System Identification Number and serial number, or Avid Appli- cation Key (included with Media Com- poser) • Pace iLok Key (included with Video Satel- lite option) • Avid video peripheral (optional, required for high-quality video output)

Mac-based Video Satellite systems are only qualified for use along with Mac-based Pro Tools systems.

Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved.

For complete system requirements and a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, refer to the latest information on the Digidesign website: www.digidesign.com/compatibility

Chapter 1: Introduction 11 Supported Avid Video Peripherals Conventions Used in This Media Composer supports the following Avid Guide video peripherals: •Avid Nitris DX All Digidesign guides use the following conventions to indicate menu choices and key com- •Avid Mojo DX mands: • Avid Adrenaline with optional DNxcel card •Avid Mojo SDI Convention Action •Avid Mojo File > Save Choose Save from the File menu When using an Avid video peripheral, the following is required: Control+N Hold down the Control key and press the N key • An NTSC/PAL black burst generator – or – Control-click Hold down the Control key and click the mouse • A tri-level sync generator (when working with button HD-capable Avid video peripherals) Right-click Click with the right mouse button

About the Pro Tools Guides The names of Commands, Options, and Settings that appear on-screen are in a different font. In addition to the printed guides that came with your system, PDF versions of the Pro Tools The following symbols are used to highlight im- guides are installed automatically with portant information: Pro Tools. To view or print the PDF guides, you can use Adobe Reader or Apple Preview. User Tips are helpful hints for getting the most from your Pro Tools system.

Important Notices include information that could affect your Pro Tools session data or the performance of your Pro Tools system.

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in the Pro Tools Guides.

12 Video Satellite Guide About www.digidesign.com

The Digidesign website (www.digidesign.com) is your best online source for information to help you get the most out of your Pro Tools system. The following are just a few of the services and features available.

Product Registration Register your purchase online.

Support and Downloads Contact Digidesign Technical Support or Customer Service; download software updates and the latest online manuals; browse the Compatibility documents for system requirements; search the online An- swerbase or join the worldwide Pro Tools com- munity on the Digidesign User Conference.

Training and Education Study on your own using courses available online or find out how you can learn in a classroom setting at a certified Pro Tools training center.

Products and Developers Learn about Digidesign products; download demo software or learn about our Development Partners and their plug- ins, applications, and hardware.

News and Events Get the latest news from Digidesign or sign up for a Pro Tools demo.

Pro Tools Accelerated Videos Watch the series of free tutorial videos. Accelerated Videos are designed to help you get up and running with Pro Tools and its plug-ins quickly.

Chapter 1: Introduction 13 14 Video Satellite Guide chapter 2 chapter 2 Installing Video Satellite

Pro Tools and a Media Composer video satellite To install Media Composer Video Satellite option: are known collectively as a video satellite system, 1 Install any optional hardware: See “Installing and comprise the following components: Hardware” on page 16. • A dedicated Pro Tools computer with: 2 Install Media Composer: See “Installing • Pro Tools|HD card Media Composer Software” on page 19 for de- • Pro Tools|HD audio interface tails. •SYNCHD or SYNCI/O 3 If installing Media Composer on Windows, • Video reference (connected to the install the nVidia driver and disable nVidia SYNC HD or SYNC I/O) driver services: See “Installing nVidia Drivers” • Local and/or shared audio storage (local au- on page 20, and “Disabling the nVidia Display dio storage required and shared storage op- Driver Service” on page 21. tional on Mac OS X) 4 Authorize Media Composer and the Video Sat- • A dedicated Media Composer computer run- ellite option: See “Authorizing your Video Satel- ning Mac OS X, Windows Vista or XP with: lite System” on page 21. • Local and/or shared storage for audio and video 5 Establish an Ethernet connection between the Media Composer and Pro Tools systems: See • Avid video peripheral (optional) “Making Ethernet Connections with Video Sat- • Client monitor for video playback ellite Systems” on page 25. (optional) • Video reference (connected to the Avid 6 Link the Media Composer and Pro Tools video peripheral and the VTR if present) systems: See “Connecting Media Composer to Pro Tools” on page 26. • Optional VTR • Keyspan USA-19HS adapter for 9-pin deck The necessary software to run Video Satellite connection (Mac only) with your Pro Tools system is installed by de- • RS-232 to RS-422 serial adapter (Mac only) fault. • Ethernet connection, either directly through Ethernet hub or over a larger Ethernet network

Chapter 2: Installing Video Satellite 15 Shared Storage

Ethernet connection (directly between two CPUs through a hub or through LAN)

Video Reference (Black Burst) or tri-level sync SYNC HD Media Composer (or SYNC I/O) CPU Avid Video (Video Pro Tools Peripheral Satellite) CPU Audio I/O

VTR External monitor Audio Video Storage Speakers Deck Control or 1394 Storage

Figure 1. Diagram of Pro Tools and a Media Composer video satellite system (with required components connected with solid lines and optional components connected with dotted lines)

Media Composer in your Pro Tools session. If Installing Hardware desired, route the audio outputs from the video peripheral into the analog or digital inputs of This section describes installation procedures your Pro Tools audio peripheral. If using digital for the following: inputs, be sure that the Pro Tools Clock Refer- • Avid video peripheral ence is set to the digital input, or pops and clicks • Audio monitoring setups may occur. •VTR However, make sure that the Ref Present LED in the Pro Tools Session Setup window is lit to con- Installing an Avid Video Peripheral firm that the system is still aligned to video ref- For full installation instructions, see the docu- erence. mentation included with your Avid Video Peripheral. Connecting a VTR

You can use Media Composer for capturing au- Monitoring Audio from dio and video from tape, or for laying audio and Media Composer video back to tape. There are four types of con- The timing of the audio output of nections which need to be made: Media Composer is plus or minus approxi- •Video I/O mately 1/2 frame. While this is not as precise as •Audio I/O the audio output of Pro Tools, it may still be use- • Deck Control ful to listen to the audio output from • Video reference (black burst)

16 Video Satellite Guide Connecting Video I/O to the VTR Connecting Audio I/O to the VTR

Connecting a VTR to an Avid Video Peripheral Connect the audio inputs and outputs on the VTR to the audio inputs and outputs on the pri- If an Avid video peripheral is connected to the mary Pro Tools|HD audio interface. system, connect the VTR’s video I/O to the Avid video peripheral. Configuring Machine Control with a VTR

To connect a VTR’s video I/O to an Avid video Because the VTR is usually controlled by peripheral: Media Composer in a video satellite system, you need to connect the video satellite computer di- 1 Connect the Avid video peripheral Composite rectly to the VTR. IN, Component IN, S-Video IN, SDI IN, or HD- SDI IN connectors to the corresponding output If the VTR is DV-based (which means it accepts or outputs on your VTR. Deck Control over FireWire), connect the VTR 2 Connect the Avid video peripheral Composite to the Media Composer computer over OUT, Component OUT, S-Video OUT, SDI OUT, FireWire. or HD-SDI OUT connectors to the correspond- Connecting a serial 9-pin cable is not necessary ing inputs on your VTR. if you are using a DV-based VTR that accepts deck control commands over FireWire. Connecting a VTR with No Avid Video Peripheral Present In this case, the serial 9-pin cable is not neces- If no Avid video peripheral is connected to the sary since the FireWire connection between the system—but the VTR supports input and output VTR and the Media Composer client computer of audio and video as a DV-stream over is sufficient. (See your VTR documentation for FireWire— connect the VTR directly to the detailed support information.) Media Composer computer. If the VTR requires 9-pin control, you need to set it up differently. To connect a VTR’s video I/O without an Avid video peripheral: To connect a VTR using 9-pin to a Mac computer:

1 Connect one end of a 1394 (FireWire) cable to 1 Plug a Keyspan USA-19HS adapter into a USB the 1394 connector on the VTR. port on the computer, and install the included driver software. This only supports DV video formats such as DV25, DVCPro 100 and HDV. 2 Connect the Keyspan serial port to the deck, using a 9-pin RS-232 to RS-422 adapter and RS- 2 Connect the other end of the 1394 (FireWire) 422 cable (not provided). cable to an available FireWire port on the Media Composer computer. To connect a VTR using 9-pin to a Windows computer:

Connect the computer’s COM port to the deck, using a 9-pin RS-232 to RS-422 adapter and RS-422 cable (not provided).

Chapter 2: Installing Video Satellite 17 Connecting Video Reference To change Sync Lock to Reference:

If an Avid video peripheral is connected to the 1 In Media Composer, choose Tools > Video Media Composer computer, it must have an ap- Output Tool. propriate video reference signal (black burst or 2 In the Sync Lock pop-up menu, select Refer- tri-level sync). ence.

Always make sure to connect the proper sync signal to your Avid DNA peripheral before opening a project.

To connect a video reference signal to your VTR:

Connect a black burst or house sync output to a video input on your VTR (preferably a reference video input).

Setting Sync Lock for Avid Mojo SDI

When you create a new project with Media Composer connected to an Avid Mojo SDI, Sync Video Output Tool Lock in Media Composer defaults to Internal. It is recommended that Sync Lock be changed to Reference to allow the Avid Mojo SDI to lock to external video reference.

This setting will be retained for the duration of the project, but will need to be reset each time you start a new project.

It is not necessary to follow these steps when creating new projects with other Avid video peripherals.

18 Video Satellite Guide To uninstall Media Station|PT before installing Installing Media Composer Media Composer:

Software 1 Choose Start > Control Panel.

To install Media Composer software (Macintosh): 2 Double-click Add or Remove Programs.

1 Quit any open applications. 3 From the Currently Installed Programs list, choose one of the following in any order: 2 Insert the Avid Media Composer disc. • Digidesign Pro Tools HD 3 Click Install Avid Editor Suite and follow the on- •AVoptionDNA screen instructions. • Avid Media Station|PT 4 When prompted, click Yes, restart my com- •Avid DNADiags puter. • Avid Log Exchange • Avid Sentinel driver To install Media Composer software (Windows): • EDL Manager 1 Start your computer and log on to Windows • Interlok driver with Administrator privileges. If the Found New Hardware Wizard dialog appears (for any con- Depending on the version of Media Station you nected Avid hardware), leave it open. are upgrading from, some o f these items may not be present on your system. 2 Quit any open applications. 4 Click Change/Remove. 3 Insert the Avid Media Composer disc. 5 Follow the on-screen instructions to remove 4 Click Install Avid Editor Suite and follow the on- the software. screen instructions.

5 When prompted, click Yes, restart my com- If uninstalling Pro Tools, choose Pro Tools and puter. Digidesign Device Drivers when prompted.

6 Do one of the following: • If you want to continue uninstalling addi- Upgrading from tional software after the uninstall is com- Media Station|PT 2.7 plete, select “No, I will restart my computer later” and repeat this procedure until you (Windows Only) have uninstalled all of the software. Before installing Media Composer on a Win- – or – dows system with Media Station|PT installed, • If you are finished uninstalling all of the you must first uninstall the older software. software, restart the computer.

7 Install and authorize Media Composer software. For details, see “Installing Media Composer Software” on page 19 and “Au- thorizing your Video Satellite System” on page 21.

Chapter 2: Installing Video Satellite 19 Upgrading from an Earlier Disabling Simple File Sharing Version of Media Composer If using Media Composer on Windows XP, en- If you’re upgrading from an older version of sure that you have turned off Simple File Shar- Media Composer, you should remove the previ- ing. ous version of Media Composer, and certain support files. To turn off Simple File Sharing in Windows XP: 1 Click Start, and double-click My Computer. To uninstall Media Composer before installing a newer version on a Mac computer: 2 In the My Computer window, choose Tools > Folder Options. 1 Uninstall Media Composer using the Avid Un- installer application. 3 In the Folder Options dialog, click the View tab. 2 Remove the Stereo Mixer.dpm and Surround Mixer.dpm plug-ins from the follow- 4 In the View tab of the Folder Options dialog, ing location: deselect the Use Simple File Sharing option. Macintosh HD/Library/Application Support 5 Click OK. /Digidesign/Plug-Ins

3 Reboot the system.

4 Install and authorize Media Composer soft- Installing nVidia Drivers ware. For details, see “Installing (Windows Only) Media Composer Software” on page 19 and “Au- thorizing your Video Satellite System” on Installing nVidia drivers is required for using page 21. Media Composer on both Windows Vista and XP. To uninstall Media Composer before installing a newer version on a Windows computer: To install the nVidia drivers on Windows: 1 Uninstall Media Composer using the Add/Re- 1 In Windows Explorer, navigate to: move Programs control panel. C:\Program Files\Avid\Utilities\nVidia. 2 Uninstall Digi Drivers using the Add/Remove 2 Double-click the executable installer file. Programs control panel. 3 Follow the instructions to install the nVidia 3 Reboot the system. drivers. 4 Install and authorize Media Composer software. For details, see “Installing Media Composer Software” on page 19 and “Au- thorizing your Video Satellite System” on page 21.

20 Video Satellite Guide Disabling the nVidia Display Authorizing your Video Driver Service Satellite System

(Windows Only) You will need to authorize both the Media Composer software and the Before using Media Composer on a Windows Video Satellite option. computer, the nVidia Display Driver Service should be disabled. Authorizing Media Composer To disable nVidia Display Driver Service on Authorize the Media Composer software using Windows Vista: one of the following methods: 1 Click the Start button. • Authorize Media Composer automatically 2 Type “services.msc” in the search box. If a on the internet using Avid’s Activation tool UAC prompt appears, click Continue. – or –

3 Right-click NVidia Display Driver or NVidia Driver • Authorize Media Composer manually by Helper Service. phone by calling Avid customer service, or using an Internet connection on a different 4 Click Properties. computer 5 Select Startup Type > Disable. – or –

6 Click OK. • Upgrade from a dongle-based version of Media Composer to a software license To disable nVidia Display Driver Service on – or – Windows XP: • Upgrade from a dongle-based version of 1 Right-click My Computer, and choose Man- Media Composer and continue authorizing age. the software using your dongle (current service contract required). 2 Double-click Services and Applications.

3 Double-click Services.

4 Right-click NVidia Display Driver or NVidia Driver Helper Service.

5 Click Properties.

6 Select Startup Type > Disable.

7 Click OK.

Chapter 2: Installing Video Satellite 21 To authorize Media Composer automatically using To activate Media Composer manually: the internet: 1 Launch Media Composer. The Activation tool 1 Launch Media Composer. The Activation tool opens. opens. 2 Select “I want to activate my software by phone or 2 Select “I want to activate my software using this by using another computer’s Internet connection.” computer’s Internet connection.” 3 Click Continue. The Avid Activation dialog box 3 Click Continue. The Avid Activation dialog box opens. opens. 4 Enter your system identification number in 4 Enter your system identification number in the System ID text box. The system identifica- the System ID text box. The system identification number is located on the inside cover of the tion number is located on the inside cover of the Installation Guide for Avid Editing Products, in- Installation Guide for Avid Editing Products, included with Media Composer. cluded with Media Composer. 5 Enter your serial number in the Serial Number 5 Enter your serial number in the Serial Number text box. Your serial number is located on the in- text box. Your serial number is located on the inside cover of the Installation Guide for Avid Edit- side cover of the Installation Guide for Avid Edit- ing Products, included with Media Composer. ing Products, included with Media Composer. If you purchased Media Composer online, If you purchased Media Composer online, you received your system identification you received your system identification number and serial number from Avid by number and serial number from Avid by email. email. 6 If you are activating the software by phone, 6 Click Activate. The Activation tool confirms call your local Avid Support Center. Avid Sup- your system information. When software activa- port Center contact information is available on- tion is complete, a message informs you that line at http://www.avid.com/support/contact. your software has been successfully activated. Your Avid representative provides an activation code for your software. Once you have your ac- 7 Click OK. A registration dialog appears. tivation code, proceed to step 12. 8 Do one of the following: 7 If you are using another computer to activate • Click Register Later if you don’t want to reg- your software, open a web browser on the sec- ister Media Composer now. You can regis- ond computer and navigate to the Activation ter at any time by selecting Special > web page at http://activate.avid.com. Register Your Software. 8 Enter your machine identification number in – or – the Avid Machine ID text box. Your Avid Ma- • Click Register Now if you want to register chine ID number is located on the Avid Activa- Media Composer now. The Avid Product tion Dialog box. Registration web page opens in your default browser, with your system informa- 9 Enter your system identification number in tion automatically entered. the System ID text box.

22 Video Satellite Guide 10 Enter your serial number in the Serial Num- To upgrade Media Composer automatically from a ber text box. dongle to a software license:

11 Click Submit. The Avid Activation page gen- 1 Make sure your Avid Application Key dongle is erates your activation code. attached to your system.

12 Transfer the activation code to the system 2 Launch Media Composer. The Activation tool you want to activate. You can copy the code to a opens. text file and use a removable storage device such 3 Select “I want to activate my software using this as a USB drive, or you can transfer the data over computer’s Internet connection.” your network. 4 Click Continue. The Avid Activation dialog box 13 In the Avid Activation dialog box, enter the opens, and lists the System ID from the dongle activation code in the Activation Code text box. in the System ID text box.

14 Click Activate. The Activation tool confirms 5 Enter your serial number in the Serial Number your system information. When software activa- text box. Use the serial number that you re- tion is complete, a message informs you that ceived from Avid by e-mail. your software has been successfully activated. 6 Click Activate. A message box appears, inform- 15 Click OK. A registration dialog appears. ing you that activating your software license up- 16 Do one of the following: dates your dongle information. • Click Register Later if you don’t want to reg- 7 Click Continue. The Activation tool confirms ister Media Composer now. You can regis- your system information. When software activa- ter at any time by selecting Special > tion is complete, a message informs you that Register Your Software. your software has been successfully activated.

– or – 8 Click OK. A registration dialog appears. • Click Register Now if you want to register 9 Do one of the following: Media Composer now. The Avid Product Registration web page opens in your de- • Click Register Later if you don’t want to reg- fault browser, with your system informa- ister Media Composer now. You can regis- tion automatically entered. ter at any time by selecting Special > Register Your Software. – or –

10 Click Register Now if you want to register Media Composer now. The Avid Product Regis- tration web page opens in your default browser, with your system information automatically entered.

Chapter 2: Installing Video Satellite 23 To upgrade Media Composer manually from a 12 Transfer the activation code to the system dongle to a software license: you want to activate. You can copy the code to a 1 Make sure your Avid Application Key dongle is text file and use a removable storage device such attached to your system. as a USB drive, or you can transfer the data over your network. 2 Launch Media Composer. The Activation tool opens. 13 In the Avid Activation dialog box, enter the activation code in the Activation Code text box. 3 Select “I want to activate my software by phone or by using another computer’s Internet connection.” 14 Click Activate. The Activation tool confirms your system information. When software activa- 4 Click Continue. The Avid Activation dialog box tion is complete, a message informs you that opens, and lists the System ID from the dongle your software has been successfully activated. in the System ID text box. 15 Click OK. A confirmation code is displayed. 5 Enter your serial number in the Serial Number text box. Use the serial number that you re- 16 On the computer connected to the Internet, ceived from Avid by e-mail. enter the confirmation code, and click OK.

6 If you are activating the software by phone, If the Confirmation Code text box is not vis- call your local Avid Support Center. Avid Sup- ible, click “Click here to enter your dongle port Center contact information is available on- confirmation code.” line at http://www.avid.com/support/contact. Your Avid representative provides an activation To upgrade Media Composer and continue to authorize the software with a dongle: code for your software. Once you have your activation code, proceed to step 12. 1 Make sure your Avid Application Key dongle is attached to your system. 7 If you are using another computer to activate your software, open a web browser on the sec- You can only activate your application with ond computer and navigate to the Activation a dongle if you are upgrading from an ear- web page at http://activate.avid.com. lier version of Media Composer to the cur- 8 Enter your machine identification number in rent version and have a current Avid service the Avid Machine ID text box. Your Avid Ma- contract. In this case, the dongle option is chine ID number is located on the Avid Activa- available in the Activation Tool. If you re- tion Dialog box. ceived a dongle upgrader card with your upgrade, please see the instructions in your up- 9 Enter your system identification number in grade kit. the System ID text box. 2 Launch Media Composer. The Activation tool 10 Enter your serial number in the Serial Num- opens. ber text box. 3 Select “I am upgrading from a previous version 11 Click Submit. The Avid Activation page gen- and would like to continue using my dongle.” erates your activation code, and opens a page that asks for a confirmation code. Do not close the confirmation code page.

24 Video Satellite Guide 4 Click Continue. The Activation tool confirms your system information. When the activation Making Ethernet Connections is complete, a message informs you that your with Video Satellite Systems software has been successfully activated. To exchange transport commands and files on 5 Click OK. remotely mounted storage, the computers in a video satellite system communicate over Ether- Authorizing the Video Satellite net with the standard TCP/IP protocol using Option 100 Base-T or 1000 Base-T connections. The computers may either be connected directly To authorize the Video Satellite option: through a hub or switch, or over a Local Area Network (LAN). Insert the iLok key that is authorized for the Video Satellite option into an available USB port on your Media Composer computer. Using a Direct Connection Use a direct connection for any of the following If authorizing a Windows system, a dialog will conditions: display a message indicating that the computer is identifying and recognizing the iLok key. • When the satellite will always be connected to the same Pro Tools system If you’ve previously used the Video Satellite op- • When a LAN is not available tion with Avid Media Station|PT, you can continue to use the original iLok authorization that • To avoid possible conflicts on the LAN with came with that option. The authorization will other network traffic need to be moved from the Pro Tools system it is currently on, to the Media Composer system To connect the systems directly you now wish to authorize. 1 Connect a CAT5e Ethernet cable between the If the authorization is on an iLok key by itself, Pro Tools system and a standard Ethernet hub or simply move that iLok key from the Pro Tools switch. system to a free USB port on the Media Com- 2 Connect another CAT5e cable between the poser system. Media Composer system and the same hub or switch. If the iLok key contains other software authori- zations and needs to stay with the Pro Tools sys- Direct connection over a crossover Ethernet tem, you will need to purchase an additional cable without a hub or switch may work iLok key (from your local dealer or visit the with some systems, but is untested. Digidesign website, www.digidesign.com) and transfer the authorization, titled “Video Satellite Option PT 7.4,” to it by visiting www.ilok.com.

Once this is done, the new iLok key can be used to authorize the Video Satellite option on the Media Composer system.

Chapter 2: Installing Video Satellite 25 Using a LAN connection Connecting Media Composer Use a LAN for any of the following conditions: to Pro Tools • When the video satellite is located in a sepa- Before the Media Composer system can be used rate room from the Pro Tools system as a video satellite with Pro Tools, the connec- • When you want Pro Tools and tion between the two systems must be estab- Media Composer computers on a LAN to ac- lished over ethernet. The Pro Tools system must cess the Internet or connect to other locations be configured as an administrator and the on your network Media Composer system must be configured as a satellite. To connect a video satellite system to a LAN:

1 Connect both systems to a standard 100 Base- To configure a Media Composer system as a video T or 1000-Base-T Ethernet network as you would satellite: any other computer. 1 In the Project window, click the Settings Tab and click Video Satellite. 2 Make sure that both systems are operating on the same subnet. 2 In the Video Satellite Settings window, select Video Satellite Mode. By default, both systems communicate using TCP/IP port 28282, though that can be changed 3 Click OK. if necessary. To configure a Pro Tools system as an If you find you need to enter the IP address administrator: after each reboot, try turning off DHCP. 1 Choose Setup > Peripherals and click Satellites.

2 In the System Name text box, enter a name for the system.

3 Under Mode, choose Administrator.

4 Under Administrator, choose the current system from one of the System pop-up menus.

5 Click OK.

Configuring a satellite in the Satellites page of the Peripherals dialog

When a Media Composer system has been configured as a satellite, it becomes available on the administrator system.

26 Video Satellite Guide chapter 3 Video Satellite Workflows

This chapter describes the following workflows Changing Video Quality for using Pro Tools with Media Composer configured as a video satellite: The Media Composer Timeline includes a Video Quality icon that lets you change the video • Changing Video Output Settings quality. This setting is saved for each project. • Cross-mounting media storage on remote systems • Opening Avid sequences that have been deliv- Draft quality ered to you in an Avid bin • Opening AAF sequences that have been exported from another Avid application or Pro Tools Best Performance • Connecting Pro Tools to a satellite quality • Linking Pro Tools to a satellite • Capturing audio and video Full quality Video Quality icon (at the bottom of the Timeline) • Batch capturing audio and video • Laying back audio and video Click the icon to change the video quality as follows: • Digitally exporting audio and video Draft Quality (Yellow/Green) Outputs a 1/4-resolution picture to all the monitors, but allows Changing Video Output more real-time video effects. This is the default Settings setting for every new project. Best Performance Quality (Yellow) Outputs 1/16- This section describes how to change the follow- resolution and supports the most real-time ef- ing video output settings for projects in Media fects, but is the lowest-quality output. Composer: • Video quality Full Quality (Green) Outputs full resolution picture using the attached video peripheral. The • Full-screen playback settings DVI output is always Draft quality unless you select both Full Quality in the Video Quality

Chapter 3: Video Satellite Workflows 27 Menu and Display Both Fields in the in the Full Screen Playback dialog. When combined with the Display Both Fields option in the Full Screen Playback Settings dialog (see “Changing Video Output Settings for Full-Screen Playback” on page 28), this setting provides full-resolution output to the DVI port.

Performing a Digital Cut always changes the output to the tape deck to Full Quality automatically.

Changing Video Output Settings Select for Full-Screen Playback Monitor The Full Screen Playback Settings dialog lets you make the following optional changes for outputting full screen playback: Full Screen Playback Settings dialog • Change the video output monitor (if you have 4 Choose Select Monitor. more than one monitor connected) 5 You can also change the following options: • Prevent frame-tearing in full screen playback Display Both Fields When combined with the • Adjust luminance for standard computer Full Quality setting in the Video Quality icon monitors (see “Changing Video Quality” on page 27), this setting provides full-resolution output to the To change video output options: DVI port. 1 In the Project window, click the Settings tab. Flip On Vertical Sync If you notice that your 2 Double-click the Full Screen Playback setting. video output is “tearing” (horizontal distortion 3 To designate the video output monitors in a on rapidly moving or heavily edited sequences), multiple monitor setup, drag the Full Screen select this option. . Playback Settings dialog so that it is displayed Changing these settings may cause sync on the monitor you want to designate as the issues or cause the video output to stutter. video output monitor. Expand Luminance for Computer Displays If you are outputting full screen playback to a standard computer monitor, select this option for a more accurate video image. If you are outputting full screen playback to a professional quality monitor through Component, DVI, or HDMI outputs, you may want to deselect this option.

6 Click OK to save your changes.

28 Video Satellite Guide Video Frame Rate vs. Monitor Refresh Rate Cross-Mounting Media Storage on Remote Systems When you play back video on a monitor with a refresh rate that differs from the video frame To simplify the transfer of sequence and media rate (as is often the case during playback of files between Pro Tools and satellite systems, it video through a DVI output), the output yields is helpful to mount the media storage of one sys- visual artifacts and offsets in synchronization tem on the desktop of the other system. This between audio and video. For example, this oc- practice is known as cross-mounting, and the curs during playback of a 24 fps video clip on a computer on which you are mounting that stor- DVI monitor with a refresh rate of 75 Hz. age is known as the remote system.

If your workflow requires high-quality playback, For example, you most likely want the local you must output video through an Avid video video storage—which is physically connected to peripheral to an NTSC or PAL monitor. the satellite system—to appear on the desktop of both the satellite and Pro Tools systems. In addi- The artifact and audio/video sync issues occur as tion, some workflows are simpler if the local au- follows: dio storage—which is physically connected to the Pro Tools system—also appears on the desk- Frame “Tearing” & Video “Stutter” Frame “tear- top of the satellite system. ing” is the horizontal distortion on rapidly moving or heavily edited sequences. Video “stutter” Cross-mounting audio or video storage on a re- is the subtle shifting of video during playback. mote system involves the following steps:

You can remedy one of these issues at a time 1 Choose a storage configuration. (but not simultaneously) using the Flip On Ver- 2 Share the desired volume so that it can be tical Sync option, located in the Full Screen Play- mounted on the remote system. back Settings dialog. 3 Cross-mount the shared volume on the re- See “Changing Video Output Settings for mote system. Full-Screen Playback” on page 28.

Audio/Video Synchronization Offset Audio/video synchronization varies slightly with each frame. Though usually not noticeable to the eye, more precise measuring devices cause offsets in AV sync of up to 1/2 frame or more. This is normal whenever using the output of a computer's monitor card, and does not affect capture, editing, or layback.

For more information, see “Changing Video Output Settings for Full-Screen Playback” on page 28.

Chapter 3: Video Satellite Workflows 29 Choosing a Storage Configuration Sharing Media Storage for Mounting on a Remote System While it is possible to cross-mount both the audio and video storage on both systems at the This section describes how to share media stor- same time, the workflows in this chapter only age for mounting on remote computers. require that you cross-mount one or the other. Sharing Mac OS 10.5.x Media Storage Mounting the video storage on the Pro Tools for Mounting on Windows system is the preferred configuration for most common satellite workflows. You can share a Mac OS 10.5.x volume so that it can be mounted on a remote Windows ma- Mount the audio storage on the satellite system chine. if you frequently use any of the following workflows: To Enable File Sharing on Mac OS 10.5.x: • You receive updated versions of AAF se- 1 Enable the volumes and/or folders you want quences with additional audio files. to share by doing one of the following: • You export audio from Pro Tools for import • Right-click the volume or folder you wish into Media Composer. to share and check the Shared Folder box. • Your satellite system is connected to a shared – or – storage system, but your Pro Tools system is •Go to System Preferences > Sharing and use not. the + icon under Shared Folders to navigate • Your satellite system is connected to Avid In- to the volume or folder you wish to share. terplay, but your Pro Tools system is not. 2 In System Preferences > Sharing, check and select File Sharing and take note of the computer’s name.

3 Under Users, set the permissions for each shared folder or volume as needed.

4 Choose Options, and makes sure that “Share Files and Folders using SMB” is checked, along with all account names that need access to the shared materials.

30 Video Satellite Guide Sharing Windows Vista Media Storage To share a Windows XP volume that resides on a for Mounting on a Remote Computer domain: 1 On the Windows XP computer containing the You can share a Windows Vista volume for volume you want to share, double-click My mounting on Mac OS X or another Windows Computer. system. The process is slightly different depending on whether the computer you are sharing is 2 Right-click the volume that you want to share, part of a domain or part of a workgroup. and select Sharing and Security.

To share a Windows Vista volume:

1 On the Windows Vista computer containing the volume you want to share, click Start and then click Computer.

2 Right-click the volume that you want to share, and select Properties.

3 In the Properties dialog, click the Security tab.

4 Click Edit.

5 In the “Permissions for...” window, Click Add.

6 In the “Select Users Or Groups” dialogue, click Advanced. Selecting Sharing and Security 3 In the Properties dialog, click the Sharing tab. 7 Click Find Now, then OK.

8 Continue to click OK at each subsequent window until you see “Everyone” listed in the “Group or user names:” list.

9 Set the permissions as you see fit.

You are now ready to mount this shared volume on another computer. See “Cross-Mounting Shared Media Storage on a Remote System” on page 34.

Sharing Windows XP Media Storage for Mounting on a Remote Computer

You can share a Windows XP volume for mounting on Mac OS X or another Windows Vista or XP system. The process is slightly different depending on whether the Properties dialog, Sharing tab computer you are sharing is part of a domain or part of a workgroup.

Chapter 3: Video Satellite Workflows 31 4 Select the Share this Folder option. To share a Windows XP volume that resides on a workgroup: 5 Type a name in the Share Name field to iden- tify this share. This name can be anything, but it 1 On the Windows XP computer containing the is probably easiest if you use the name of the volume you want to share, double-click My shared volume. Computer. 2 Right-click the volume that you want to share, You should share the entire volume if possi- and select Sharing and Security. ble and not just individual folders. This makes it easier for you to re-link files in your Pro Tools session.

6 Select any other options in this dialog.

7 Click OK to share this volume.

You are now ready to mount this shared volume on another computer. See “Cross-Mounting Shared Media Storage on a Remote System” on page 34.

When you manually copy files from a Mac volume to a mounted Windows volume, a “ghost” file appears for each file that you Selecting Sharing and Security copy. The ghost file has a nearly identical name to the original file, except that it is 3 In the Properties dialog, click the Sharing tab. prefixed with the characters ._ and a greyed out icon. For example, copying the filename Macintosh.doc would create another file called ._Macintosh.doc. These files do not affect anything and can be deleted without causing any issues.

Properties dialog, Sharing tab

32 Video Satellite Guide 4 If you agree, click the option called, “If you 9 Click OK to share this volume. understand the risk but still want to share the root of the drive, click here.” You are now ready to mount this shared volume on another computer. See “Cross-Mounting 5 Select Share This Folder on the Network. Shared Media Storage on a Remote System” on 6 Type a name in the Share Name field to iden- page 34. tify this share. This name can be anything, but it When you manually copy files from a Mac is probably easiest if you use the name of the volume to a mounted Windows XP volume, shared volume. a “ghost” file appears for each file that you copy. The ghost file has a nearly identical name to the original file, except that it is prefixed with the characters ._ and a greyed out icon. For example, copying the filename Macintosh.doc would create another file called ._Macintosh.doc. These files do not affect anything and can be deleted without causing any issues.

Sharing Mac OS 10.5.x Media Storage for Mounting on Windows

You can share a Mac OS 10.5.x volume so that it can be mounted on a remote Windows machine.

To Enable File Sharing on Mac OS 10.5.x:

Properties dialog, Sharing tab 1 Enable the volumes and/or folders you want to share by doing one of the following: You should share the entire volume if possi- • Right-click the volume or folder you wish ble and not just individual folders. This to share and check the Shared Folder box. makes it easier for you to re-link files in your – or – Pro Tools session. •Go to System Preferences > Sharing and use 7 If you would like network users to be able to the + icon under Shared Folders to navigate modify your files, select Allow Network Users to to the volume or folder you wish to share. Change My Files. 2 In System Preferences > Sharing, check and se- 8 Click Apply. lect File Sharing and take note of the computer’s name.

3 Under Users, set the permissions for each shared folder or volume as needed.

Chapter 3: Video Satellite Workflows 33 4 Choose Options, and makes sure that “Share For example, to connect to the Media Composer Files and Folders using SMB” is checked, along computer called MyComputer, you would type: with all account names that need access to the SMB://MyComputer shared materials. 4 Click Connect. Cross-Mounting Shared Media 5 In the System Authorization dialog, enter the Storage on a Remote System username and password information for the user who has share privileges on the This section describes how to cross-mount a Windows XP computer. shared volume on a remote system.

Cross-Mounting Windows Media Storage on Mac OS X

You can mount a shared Windows volume on Mac OS X.

To mount a shared Windows XP volume on Mac OS X:

1 In Mac OS X, go to the desktop. System authorization dialog 2 Choose Go > Connect to Server. 6 Click OK.

7 In the volume select dialog, select the volume you want to mount on the Mac OS X desktop.

The name shown in the menu is the Share name created in “Sharing Media Storage for Mounting on a Remote System” on page 30, and may not be the same as the actual volume name.

Connect to Server dialog

3 In the Server Address field, type SMB://computer, where computer represents the name of the computer that contains or is connected to the desired volume.

To learn the name of the Windows machine: on the Windows computer, right- Select the volume dialog click My Computer and select Properties, 8 Click OK. then click the Computer Name tab in the Properties window. 9 Mac OS X mounts the volume on the desktop.

34 Video Satellite Guide Cross-Mounting Media Storage on 2 From the Drive pop-up menu, select the drive Windows Vista letter you want to assign to the volume from the other computer. (In order for files to relink cor- You can mount another computer’s shared vol- rectly, all volumes mounted on a Windows XP ume on a Windows Vista computer. system must be assigned a letter. For example, e:\shared volume\media files.). To mount the shared volume on Windows Vista:

1 In Windows Vista, click Start, then click Com- puter.

2 In the toolbar, click Map Network Drive

3 In the Map Network Drive window, choose the drive letter Vista will use to address the net- worked drive.

4 Click Browse to locate the shared volume you want to mount, then click OK.

5 In the Map Network Drive dialog, click Finish.

6 In the Logon window, enter the username and Map Network Drive dialog password of a valid account residing on the 3 Do one of the following: other computer. • In the Folder pop-up menu, type 7 Click OK. \\IP address\Share, where IP address represents the network address of the Mac OS X 8 Windows Explorer displays the root folder of computer (displayed in Mac OS X System the volume you have just mounted on the Preferences) and Share represents the name Windows Vista computer. The Windows Vista of the share set in SharePoints. For exam- computer now has full read and write access to ple: \\152.164.34.23\Video Drive. the shared volume. – or – Cross-Mounting Mac OS X or Windows • Click Browse to locate the shared volume Media Storage on Windows XP you want to mount, then click OK.

You can mount another computer’s shared vol- 4 In the Map Network Drive dialog, click Finish. ume on a Windows XP computer. 5 In the Logon window, enter the username and password of a valid account residing on the To mount the shared volume on Windows XP: other computer. 1 In Windows XP, Right-click My Computer and 6 Click OK. choose Map Network Drive.

Chapter 3: Video Satellite Workflows 35 Windows Explorer displays the root folder of the To open a native Avid sequence, see one of the volume you have just mounted on the following sections: Windows XP computer. The Windows XP com- • “Opening an Avid Sequence from a Volume puter now has full read and write access to the Supporting Direct Playback” on page 36. shared volume. • “Opening an Avid Sequence from a Volume Not Supported for Playback” on page 40. To create a shortcut for the shared volume storage on the desktop, Right-click the To open an AAF sequence, see “Opening an AAF shared volume and select Create Shortcut. Sequence for Playback on a Video Satellite Sys- This will let you to easily re-mount the tem” on page 45. shared volume after you reboot. Receiving Avid Sequences or AAF If you find you need to enter the IP address Sequences after each reboot, try turning off DHCP. The steps you use to open a sequence depend on which of the following you have received: When mapping Mac OS X volumes on the Windows system, the Mac system may ap- • An Avid bin containing a native Avid se- pear as a generic name such as quence (a sequence which has been created in “Mac000a958ce06c”. If this occurs, try re- an Avid editing application such as Media naming the Macintosh Computer Name in Composer). System Preferences >Sharing > File Sharing • An AAF sequence which has been exported and rebooting the Mac. If the Macintosh is from an Avid application specifically for im- not seen by the Windows system, try reboot- port into Pro Tools, Media Composer, or other ing one or both systems. applications.

Opening Sequences for Opening an Avid Sequence Playback on a Video Satellite from a Volume Supporting System Direct Playback

To play back a video sequence on a video satel- This section describes how to open a sequence lite system, you must first ensure that video files that is currently stored on a volume suitable for are placed on the video storage connected to the playback in Media Composer (such as local Media Composer system, and that audio files are video storage, Unity MediaNetwork, or Unity placed on the audio storage connected to the ISIS). Pro Tools system. The workflow you choose depends on two factors: For details on importing AAF sequences, see • Whether you are opening a native Avid se- “Opening an AAF Sequence for Playback on a quence as opposed to an AAF sequence Video Satellite System” on page 45. • Whether the sequence you are opening resides on a volume which is suitable for direct playback

36 Video Satellite Guide Opening an Avid Sequence on To open and play back an Avid sequence with Local Storage or Unity with Pro Tools playing from Unity: Pro Tools Not Playing from Unity 1 Launch Media Composer, and open the project containing the sequence. This section describes how to open a sequence with the following configuration: 2 Open the bin containing the sequence you are working with. • Media Composer will open the sequence either from the video storage volume or an Avid 3 Drag the sequence into the Record Monitor to Unity system. place it in the Timeline.

• Pro Tools is not connected to the Unity sys- 4 Select and Right-click the sequence, and tem (if any). choose Export.

This workflow involves the following steps: 5 In the Export As dialog, click Options. 1 Open the sequence in Media Composer directly from the local storage or Unity workspace.

2 Create an AAF export from Media Composer, copying audio to the audio storage.

3 Import the AAF sequence into Pro Tools.

Opening an Avid Sequence with Pro Tools Playing from Unity (Windows Only)

This section describes how to open a sequence Export As dialog with the following configuration: 6 In the Export Settings dialog, do the follow- • Media Composer will open the sequence from ing: a Unity system. • Make sure the Export As pop-up menu is set • Pro Tools will play the audio directly from the to AAF. Unity system. – and – • Enable the options for Include All Video This workflow involves the following steps: Tracks and Include All Audio Tracks in Se- 1 Open the sequence in Media Composer di- quence. rectly from the Unity workspace.

2 Create an AAF export from Media Composer, consolidating audio to the dedicated Unity audio workspace.

3 Open the AAF sequence in Pro Tools, linking to the audio on the Unity audio workspace.

Chapter 3: Video Satellite Workflows 37 7 Click the Video Details tab, and select Link to 14 Under the Source Tracks section of the Im- (Don’t Export) Media from the Export Method port Session Data dialog, do all of the following: pop-up menu. • To import the metadata (cuts and clip names) exported from a video satellite into a new video track, select New Satellite Track. (The video itself will not be imported.) • To import video into a new video track in Export Settings dialog (Video Details tab) Pro Tools, select New Video Track (SD video only, Avid video peripheral required). 8 Click the Audio Details tab, and select Consoli- • For each audio track you want to import, date Media from the Export Method pop-up select New Track. menu.

Export Settings dialog (Audio Details tab) Source Tracks browser

9 Click Save. 15 Select any other options, and click OK.

You can also click Save As to save the Ex- The AAF sequence opens in Pro Tools. port settings you just created. See “Saving, Recalling, and Using Export Settings to Ex- Opening an Avid Sequence with port AAF Sequences” on page 44 for details. Pro Tools Connected to Unity but Not Streaming 10 In the Export As dialog, locate the desired folder on the dedicated Unity audio workspace. This section describes how to open a sequence with the following configuration: 11 Click Save. • Media Composer will open the sequence from 12 In Pro Tools, choose File > Open Session, and a Unity system. select the AAF in the Unity audio workspace. • Pro Tools is connected to the Unity system 13 In the Import Session Data dialog, do the fol- but cannot play the media directly from lowing: Unity. • Under Audio Media Options, select Link to Source Media. This workflow involves the following steps: – and – 1 Open the sequence in Media Composer di- • Under Video Media Options, select Link to rectly from the Unity workspace. Source Media. 2 Create an AAF export from Media Composer, linking to existing audio files.

3 Open the AAF sequence in Pro Tools, copying the audio files to the local audio storage.

38 Video Satellite Guide To open an Avid sequence by copying audio from 7 Click the Video Details tab, and select Link to shared workspaces: (Don’t Export) Media from the Export Method 1 Launch Media Composer, and open the proj- pop-up menu. ect containing the bin and sequence you wish to open.

2 Open the bin containing the sequence you are working with. Export Settings dialog (Video Details tab) 3 Drag the sequence into the Record Monitor to 8 Audio Details Link to place it in the Timeline. Click the tab, and select (Don’t Export) Media from the Export Method 4 Select and right-click the sequence, and pop-up menu. choose Export.

5 In the Export As dialog, click Options.

Export Settings dialog (Audio Details tab)

9 Click Save.

You can also click Save As to save the Ex- port settings you just created. See “Saving, Recalling, and Using Export Settings to Ex- port AAF Sequences” on page 44 for details.

10 In the Export As dialog, locate any folder on the Unity workspace that is accessible to the Export As dialog Pro Tools system. 6 In the Export Settings dialog, do the follow- 11 Click Save. ing: • Make sure the Export As pop-up menu is set 12 In Pro Tools, choose File > Open Session, and to AAF. select the AAF sequence on the Unity workspace. – and – • Enable the options for Include All Video 13 In the Import Session Data dialog, do the fol- Tracks and Include All Audio Tracks in Se- lowing: quence. • Under Audio Media Options, select Copy from Source media. – and – • Under Video Media Options, select Link to Source Media, (to import metadata only) or Copy from Source Media (to import the video data, SD only, Avid video peripheral required)

Chapter 3: Video Satellite Workflows 39 14 Under the Source Tracks section of the Im- For details on importing AAF sequences, see port Session Data dialog, do one of the follow- “Opening an AAF Sequence for Playback on a ing: Video Satellite System” on page 45. • If you chose Link to Source Media in the This workflow involves the following steps: Video Media Options section, select New Satellite Track. This will import the meta- 1 Copy the Avid bin to the desired Project data (cuts and clip names) exported from a folder. video satellite into a new video track. (The 2 Copy the media to the video storage. video itself will not be imported.) 3 – or – In Media Composer, do one of the following: • If you chose Copy from Source Media in • Open the project containing the bin. the Video Media Options section, select – or – New Video Track. This will import video into • Create a new project and open the bin a new video track in Pro Tools. within the project.

For each audio track you want to import, select 4 Open the desired sequence within the bin. New Track. 5 Export an AAF sequence from Media Composer.

6 In Pro Tools, import the AAF sequence, making sure to copy the audio files to the audio storage. Source Tracks browser

15 OK Select any other options, and click . Copying the Avid Sequence to the The AAF sequence opens in Pro Tools. Audio Satellite Video Storage files are copied in the background to the session's Audio Files folder. To copy an Avid sequence and its referenced video to the video storage drive on Media Composer:

1 Locate the bin containing the sequence on the Opening an Avid Sequence hard drive, DVD, or generic network volume. from a Volume Not Supported 2 Copy the bin and the media to the satellite for Playback video storage, as follows: • Copy all OMF video files and OMF- This section describes how to open a sequence wrapped AIFF or WAV files to the OMFI Me- stored on a volume that is not suitable for play- diaFiles folder. back in Media Composer (such as a DVD or Ethernet-mounted network volume). This work- – and – flow assumes you are receiving a bin from an- • Copy all MXF files to the Avid MediaFiles other Avid editing application. folder.

40 Video Satellite Guide 3 Do one of the following: 4 Drag the sequence into the Record Monitor to • From within an Avid project, choose File > place it in the Timeline. Open Bin , and select the bin you wish to 5 Select and right-click the sequence, and open. choose Export. – or – 6 In the Export As dialog, click Options. • Copy the bin containing the sequence to the desired project folder (the location of which depends on where you keep your project and whether the project is shared or private).

OMF video files have the .omf file extension and are usually stored in the OMFI Media- Files folder. OMF-wrapped audio files have the .wav or .aif extension and are also stored in the OMFI MediaFiles folder. MXF files have the .mxf file extension and are usually stored in the Avid MediaFiles folder. Export As dialog

7 In the Export Settings dialog, do the follow- Exporting an Avid Sequence as an ing: AAF Sequence with Audio Storage Mounted on the Satellite • Make sure the Export As pop-up menu is set to AAF. This section describes how to export an AAF se- – and – quence for Pro Tools when the audio storage is • Enable the Include All Video Tracks in Se- mounted on the satellite. quence and Include All Audio Tracks in Se- quence options. To export an AAF sequence for Pro Tools with audio storage mounted on the satellite: 8 Click the Video Details tab, and select Link to (Don’t Export) Media from the Export Method 1 On the Pro Tools system, do one of the follow- pop-up menu. ing: • Create a session with the desired name and ensure that the frame rate matches the frame rate of the AAF sequence. – or – Export Settings dialog (Video Details tab) • Open an existing session into which you wish to import the AAF sequence. 9 Click the Audio Details tab, and select one of the following options from the Export Method 2 On the satellite system, open the project con- pop-up menu: taining the sequence you wish to export.

3 Open the bin containing the sequence you want to export.

Chapter 3: Video Satellite Workflows 41 Consolidate Media This option is faster and uses 13 Click Save. less storage because only those parts of the audio files which are actually used in the sequence are This creates an OMFI MediaFiles folder (for OMF copied. You have the option to add “handles” media) or Avid MediaFiles folder (for MXF me- on either end of the files in case you need to ex- dia) in the Pro Tools session folder on the audio tend them once in Pro Tools. storage. The AAF sequence will be also be created in the session folder. The AAF sequence Copy All Media This option is slower and uses must be in the same folder as the media folders more storage, but allows you access to the full in order to relink properly. file once in Pro Tools. If this export is an update 14 In Pro Tools, choose File > Import > Session to an existing sequence where you copied in- Data. stead of consolidated, only new files will be copied as long as you are exporting the AAF to the 15 Locate the AAF sequence exported from same session folder. Media Composer, and click Open.

16 In the Import Session Data dialog, do the following: • Under Audio Media Options, select Link to Source Media (Where Possible). Export Settings dialog (Audio Details tab) – and – 10 In the Media Destination section, do the fol- • Under Video Media Options, select Link to lowing: Source Media. • Select Folder from the Audio pop-up menu. 17 Under the Source Tracks section of the Im- – and – port Session Data dialog, do the following: • Select the Use Same Folder As AAF File op- • To import the metadata (cuts and clip tion. names) exported from a video satellite into a new video track, select New Satellite Track. (The video itself will not be imported.) • To import video into a new video track in Pro Tools, select New Video Track (SD video only, Avid video peripheral required.) • For each audio track you want to import, select New Track. Export Settings dialog (Media Destination section)

11 Click Save.

You can also click Save As to save the Ex- port settings you just created. See “Saving, Source Tracks browser Recalling, and Using Export Settings to Ex- port AAF Sequences” on page 44 for details. 18 Select any other options, and click OK.

12 In the Export As dialog, select the desired ses- The AAF opens in Pro Tools. sion folder on the Pro Tools audio storage.

42 Video Satellite Guide Exporting an Avid Sequence as an 7 Click the Video Details tab, and select Link to AAF Sequence with Video Storage (Don’t Export) Media from the Export Method Mounted on the Pro Tools System pop-up menu.

This section describes how to export an AAF sequence for Pro Tools when the video storage is mounted on the Pro Tools system.

To export an AAF sequence for Pro Tools with Export Settings dialog (Video Details tab) video storage mounted on the Pro Tools system: 8 Click the Audio Details tab, and select Link to 1 On the satellite system, open the project con- (Don’t Export Media) from the Export Method taining the sequence you wish to export. pop-up menu.

2 Open the bin containing the sequence you wish to export.

3 Drag the sequence into the Record Monitor to place it in the Timeline. Export Settings dialog (Audio Details tab)

4 Select and right-click the sequence, and 9 Click Save. choose Export. 10 In the Export As dialog, save the AAF se- 5 In the Export As dialog, click Options. quence to a convenient location on the video storage.

We recommend that you create a “Drop Box” folder on the root of the video storage for exchanging files. Do not save the AAF sequence in any of the media folders.

11 Click Save.

Media Composer saves the AAF sequence file to the destination folder.

12 On the Pro Tools computer, choose Windows Export As dialog > Workspace. 6 In the Export Settings dialog, do the following: • Make sure the Export As pop-up menu is set to AAF. • Enable the Include All Video Tracks in Se- quence option. • Enable the Include All Audio Tracks in Se- quence option. Pro Tools Workspace browser

Chapter 3: Video Satellite Workflows 43 13 Do one of the following: For each audio track you want to import, select • If you have not opened a session in New Track. Pro Tools, navigate to the AAF sequence in the Workspace browser, and double-click it to open it. – or – • If you are creating a new session into which Source Tracks browser to import the AAF, select the file format, 16 Select any other options, and click OK. sample rate and bit depth matching those properties in the original files referenced by The AAF opens in Pro Tools. the AAF sequence. Name the Session and save it to your dedicated audio storage.

14 In the Import Session Data dialog, do the fol- Saving, Recalling, and Using lowing: Export Settings to Export AAF • Under Audio Media Options, select Copy Sequences from Source media. To save Media Composer export settings: – and – • Under Video Media Options, select Link to 1 In Media Composer, right-click a sequence in Source Media, (to import metadata only) or any bin and choose Export. Copy from Source Media (to import the 2 In the Export As dialog, click Options. video data, SD only, Avid video peripheral required)

15 Under the Source Tracks section of the Im- port Session Data dialog, do one of the following: •If you chose Link to Source Media in the Video Media Options section, select New Satellite Track. This will import the metadata (cuts and clip names) exported from a video satellite into a new video track. (The video itself will not be imported.) – or – Export As dialog •If you chose Copy from Source Media in the 3 In the Export Settings dialog, choose the de- Video Media Options section, select New sired export options. Video Track. This will import video into a 4 Save As new video track in Pro Tools. Click .

44 Video Satellite Guide 5 In the Save Export Setting dialog, type a name To import an AAF sequence into Media Composer for your setting, and click OK. from a volume supporting direct playback: 1 If the AAF sequence you received contains linked media, copy the media as follows: • Copy all OMF video files and OMF- wrapped WAV or AIFF files to the OMFI Me- diaFiles folder. Save Export Settings dialog – and – To recall Media Composer export settings: • Copy all MXF files to the Avid MediaFiles folder. 1 In Media Composer, right-click a sequence in any bin and choose Export. 2 Refresh the media database by doing one of the following: 2 In the Export As dialog, select your custom- • Launch Media Composer. ized Export Setting from the Export Setting pop- up menu. – or – • Choose File > Refresh Media Directories

3 In Media Composer, open the bin where you Opening an AAF Sequence for want to import the AAF sequence. (If the bin is Playback on a Video Satellite already open, click inside it to make it the active System window.) 4 File > Import You can open an AAF sequence for playback on Choose . a video satellite system from volumes that do or 5 Locate the AAF sequence on the volume sup- do not support direct playback. porting direct playback.

One of the following occurs: Importing an AAF Sequence into Media Composer from a Volume • If you imported an AAF sequence that refers to Supporting Direct Playback external (linked) media, the sequence appears in the bin. Volumes supporting direct playback can include • If you imported an AAF sequence with embed- local video storage or Unity. ded media, Media Composer automatically copies the embedded media to the designated media file folders.

6 When the sequence appears in the bin, drag the sequence into the Record Monitor to place it in the Timeline.

Chapter 3: Video Satellite Workflows 45 Importing an AAF Sequence into Importing an AAF Sequence with Media Composer from Volumes Embedded Media into Media Composer Not Supporting Direct Playback To import an AAF sequence with embedded media This section describes how to import an AAF se- from a volume that does not support direct quence stored on a volume that is not suitable playback: for playback in Media Composer (such as a DVD 1 In Media Composer, open the bin where you or Ethernet-mounted network volume). want to import the AAF sequence. (If the bin is already open, click inside it to make it the active Importing an AAF Sequence with Linked window.) Media in Media Composer 2 Choose File > Import. Before opening an AAF sequence that links to 3 Locate the AAF sequence. media which is not embedded in the sequence file, you must manually copy the media to the The media from the AAF is copied to the desig- satellite video storage. nated media files folder, and the sequence is ready to play back in Media Composer. To copy an AAF sequence with linked media to the satellite video storage: 4 When the sequence appears in the bin, drag the sequence into the Record Monitor to place it 1 Copy all media files to the satellite video stor- in the Timeline. age, as follows: • Copy all OMF video files and OMF- wrapped WAV or AIFF files to the OMFI Me- Importing an AAF Sequence into diaFiles folder. Pro Tools from Volumes Supporting Direct Playback – and – • Copy all MXF files to the Avid MediaFiles This section describes how to use Pro Tools to folder. import an AAF sequence from a volume suitable for direct playback (such as local audio storage 2 Refresh the media database by doing one of or Unity). the following:

• Launch Media Composer. To import an AAF sequence into Pro Tools from a – or – volume supporting direct playback: • Choose File > Refresh Media Directories 1 In Pro Tools, choose File > Open Session.

3 Choose File > Import, and locate the AAF se- 2 In the Open Session dialog, locate the AAF sequence on the video storage. quence you want to import.

3 Click Open.

46 Video Satellite Guide 4 Under the Source Tracks section of the Import • To import video into a new video track in Session Data dialog, do the following: Pro Tools, select New Video Track (SD video • To import the metadata (cuts and clip only, Avid video peripheral required.) names) exported from a video satellite into • For each audio track you want to import, a new video track, select New Satellite Track. select New Track. (The video itself will not be imported.) • To import video into a new video track in Pro Tools, select New Video Track (SD video only, Avid video peripheral required.) • For each audio track you want to import, Source Tracks browser select New Track. 5 Select a volume suitable for playback, and click Save.

Pro Tools copies the audio files to the audio drive where your session is saved. Source Tracks browser The AAF sequence is ready to play back in The AAF sequence is ready to play back in Pro Tools. Pro Tools. Importing an AAF Sequence from a Importing an AAF Sequence into Volume that Cannot Be Mounted Pro Tools from Volumes Not on Pro Tools Supporting Direct Playback This section describes how to import an AAF se- This section describes how to use Pro Tools to quence into Pro Tools from a volume that can- import an AAF sequence stored on a volume not be mounted on the Pro Tools computer. that is not suitable for direct playback (such as a DVD or Ethernet-mounted network volume). To import an AAF sequence into Pro Tools from a volume that cannot be mounted on Pro Tools:

To import an AAF sequence into Pro Tools from a 1 Mount the Pro Tools audio storage on the volume not supporting direct playback: video satellite computer, as described in “Cross- 1 In Pro Tools, choose File > Open Session. Mounting Media Storage on Remote Systems” on page 29. 2 In the Open Session dialog, locate the AAF sequence you want to import. 2 Export the AAF sequence from Media Com- poser to the Pro Tools audio storage, as de- 3 Click Open. scribed in “Exporting an Avid Sequence as an 4 Under the Source Tracks section of the Import AAF Sequence with Audio Storage Mounted on Session Data dialog, do the following: the Satellite” on page 41. • To import the metadata (cuts and clip names) exported from a video satellite into a new video track, select New Satellite Track. (The video itself will not be imported.)

Chapter 3: Video Satellite Workflows 47 In addition, the Video Satellite option must be Using a Video Satellite in an enabled on the Media Composer system, and Avid Interplay Environment the systems must be connected (as described in “Connecting Media Composer to Pro Tools” on Since Avid Interplay sequence exchange is based page 26). entirely on AAF sequences, opening and exchanging AAF sequences with a video satellite Running other applications simultaneously system connected to Avid Interplay requires the with Media Composer can cause unpredict- same steps as exchanging regular AAF sequences able behavior, including AV sync problems, as described in the DigiTranslator Guide. frame dropping and audio stuttering. It is suggested that you not launch other appli- For additional information on Pro Tools support cations when Media Composer 3.x is run- for Interplay, see the Pro Tools Avid Interplay ning. This can occur with or without the use Guide. of Satellite mode.

Caveats for Connecting Pro Tools Connecting Pro Tools and a and a Video Satellite Video Satellite The following caveats apply to connections be- In order for Pro Tools and the video satellite to tween Pro Tools and video satellites: synchronize their transports, they must be • Quitting a Pro Tools application that is acting linked. Before linking can occur, however, you as administrator to a video satellite releases must establish basic communication channels the video satellite so that it can be linked to between them. When the Pro Tools and the other Pro Tools systems. video satellite systems have established this communication, they are connected. • If you quit Pro Tools while a satellite is connected, Pro Tools attempts to re-connect to To connect the Pro Tools and video satellite sys- the same satellite on relaunch. tems, they must first be connected using Ether- • When linked to a Video Satellite, Pro Tools net (as described in “Making Ethernet Connec- does not chase MIDI Time Code (MTC). tions with Video Satellite Systems” on page 25).

48 Video Satellite Guide Troubleshooting the Satellite Connection Matching Media Composer and Pro Tools Settings in a If the satellite does not appear in the Adminis- Video Satellite System trator pop-up menu, verify the following: In order to accurately synchronize playback be- 1 Ensure that Media Composer is fully tween Pro Tools and Media Composer, the fol- launched. lowing parameters must be correctly matched: 2 In Media Composer, go to the Project window • Media Composer Project Type and Pro Tools Settings > Video Satellite. and choose Ensure that Time Code Rate, Clock Reference, and Video Video Satellite Mode is enabled. Format 3 In the Satellite page of the Pro Tools Peripher- • Pro Tools Audio Pull-Up setting and als dialog, select a different Ethernet port from Media Composer Edit Play Rate the Interface menu. Many computers have more • Time Code Format (Drop Frame or Non-Drop than one Ethernet port or “interface”. The inter- Frame) face selected here must be the one connected to the same network as the satellite. For Pro Tools to play in sync with Media Com- 4 In the Project window in Media Composer, poser as a video satellite, all of these settings are click the Settings tab, then double-click Video interdependent. A mis-match in any of these Satellite Settings and check that the TCP/UDP settings will cause Pro Tools to display an error Port is the same as the TCP/UDP Port shown in message. the Satellite pane in the Pro Tools Peripherals di- Media Composer Starting TC time code setting alog. (Both ports default to 28282.) and the Pro Tools session start do not have to 5 If the TCP/UDP port settings are the same, ver- match exactly, but should usually be close. ify with your network administrator that the When working with 24p and 23.976 projects, port shown is not being blocked on the net- Media Composer defaults to displaying frames work. mapped to 29.97 fps timecode. In order to keep 6 Check that all Ethernet cables are completely the Pro Tools and Media Composer time code plugged in and working. In most cases, there are displays in sync when working in 24p or 23.976 LEDs that show activity at the Ethernet ports. projects, click the time code display above the Record monitor and choose Sequence > Time- 7 Video satellite playback will not function in code > 24 > Mas. the following conditions: • Certain dialogs are open in either Pro Tools To avoid sync problems during later stages or Media Composer. of post production, it is strongly recom- • Media Composer is not the active applica- mended in most cases to change the settings tion. in Pro Tools to match those of the sequence • Pro Tools does not have an open session, or open in Media Composer. Media Composer does not have an open sequence.

Chapter 3: Video Satellite Workflows 49 Matching the Media Composer 4 Select a time code setting from the Time Code Project Type to Pro Tools Time Rate pop-up menu that is compatible to the Code Rate, Clock Reference, and Media Composer Project Type setting. Video Ref Format 5 Make sure that a compatible clock source is This section explains how to match the available and connected correctly. Media Composer Project Type to the Pro Tools 6 Select the connected clock reference from the Time Code Rate, Clock Reference, and Video Clock Reference pop-up menu. Format (described in Table 1 on page 52). 7 Select a compatible video format from the To ensure that your video satellite system will play Video Ref Format pop-up menu. back or capture using the proper settings: Video Ref Format cannot be changed for 1 In Media Composer, click the Format tab in most HD frame rates. the Project window.

2 Select the desired setting from the Project Matching Audio Pull-Up and Edit Type pop-up menu. Play Rate

In most cases, changing the By default, Media Composer plays back se- Media Composer project type is not advis- quences at the frame rate specified in the name able and may not be possible. You should of the project type. For example, a 25i PAL proj- change the Pro Tools Time Code Rate un- ect plays at 25 fps. The notable exception is 30i less you are creating an SD down-convert NTSC, which actually plays at 29.97 fps. from an HD project. See the Pro Tools Ref- When working with 23.976, 24p NTSC, 24p erence Guide. PAL, and 25p PAL projects, you can change the playback rate (known as the Edit Play Rate) with- The Project Type setting is also determined out affecting other properties in order to slow when creating a new project in down or speed up playback slightly. This is the Media Composer. video equivalent of the audio pull-up/down setting in Pro Tools. 3 In Pro Tools, choose Setup > Session.

50 Video Satellite Guide To change the Edit Play Rate:

1 In the Settings tab of the Project window, open the Film and 24P setting.

Film and 24P Setting dialog

2 Select an Edit Play Rate matching your configuration according to Table 1 on page 52.

24p projects (PAL and NTSC) use a default Edit Play Rate that does not match the project rate. 24p PAL defaults to 25 fps and 24p NTSC defaults to 23.976 fps.

Chapter 3: Video Satellite Workflows 51 Compatibility Table

The following table describes compatibility between Avid Project Format and Edit Play Rate, and Pro Tools Time Code Rates, Audio Pull Up/Down Rate, Clock Reference, and Video Format. Table 1. Rate and Sync Ref Compatibility between Avid and Pro Tools

Media Composer Pro Tools

Edit Mojo DX or Mojo or PT Avid Project PT Audio Rate SYNC I/O SYNC HD Video Play Nitris DX Mojo SDI Timecode Format Pull Up/Down Video Ref Ref Format Rate Video Ref Video Ref Rate

23.976p 23.976 NTSC NTSC 23.976 None NTSC NTSC NTSC 24 NTSC NTSC 24 0.1% Up NTSC NTSC 24p NTSC 24 NTSC NTSC 24 None NTSC NTSC 23.976 NTSC NTSC 23.976 0.1% Down NTSC NTSC 30i NTSC 29.97 NTSC NTSC 29.97 Variable NTSC NTSC 24p PAL 24 PAL PAL 24 None PAL PAL 25 PAL PAL 25 4% Up PAL PAL 25p PAL 25 PAL PAL 25 None PAL PAL 24 PAL PAL 24 4% Down PAL PAL 25i PAL 25 PAL PAL 25 None PAL PAL 720p/23.976 23.976 720p/59.94* n/a 23.976 None NTSC 720p/59.94 (or NTSC) 720p/25 25 720p/50 n/a 25 None PAL 720p/50 (or PAL) 720p/29.97 29.97 720p/59.94 n/a 29.97 None NTSC 720p/59.94 (or NTSC) 720p/50 50 720p/50* n/a 25 None PAL 720p/50 (or PAL) 720p/59.94 59.94 720p/59.94* n/a 29.97 None NTSC 720p/59.94 (or NTSC) 1080p/23.97 23.976 1080p/23.98sF n/a 23.976 None NTSC 1080p/23.97 6 (or NTSC) 1080p/24 24 1080p/24sF n/a 24 None PAL or 1080p/24 NTSC (or PAL or NTSC) 1080p/25 25 1080p/25sF (or n/a 25 None PAL 1080p/25 (or 1080i/50)* 1080i/50 or PAL)

52 Video Satellite Guide Media Composer (continued) Pro Tools (continued)

Edit Mojo DX or Mojo or PT Avid Project PT Audio Rate SYNC I/O SYNC HD Video Play Nitris DX Mojo SDI Timecode Format Pull Up/Down Video Ref Ref Format Rate Video Ref Video Ref Rate

1080p/29.97 29.97 1080i/59.94 n/a 29.97 None NTSC 1080i/59.94, 1080psf- 29.97 (or NTSC) 1080i/50 50 1080i/50* n/a 25 None PAL 1080i/50, 1080psf-25 (or PAL) 1080i/59.94 59.94 1080i/59.94* n/a 29.97 None NTSC 1080i/59.94, 1080psf- 29.97 (or NTSC)

*Although Media Composer standalone supports locking the video peripheral to black burst or tri-level sync at these HD rates, Video Satellite will only support locking the Media Composer video peripheral to tri-level sync when using these HD rates.

Chapter 3: Video Satellite Workflows 53 To change audio pull up/down settings in Pro Tools: In some project formats, Media Composer can be configured for Drop Frame or Non- 1 In Pro Tools, choose Setup > Session. Drop Frame, while the corresponding 2 From the Time Code Settings section of the Pro Tools time code rate can only be set to Session Setup window, select a rate from the Au- Non-Drop Frame. In such cases, dio Rate Pull Up/Down pop-up menu. Media Composer sends Non-Drop time code information to Pro Tools, even if it is set to Drop Frame. The following project formats in Media Composer exhibit this behavior: 23.976p NTSC, 24p NTSC, and 720p/23.976.

If the numbers in the TC fields are separated by semi-colons instead of colons, the project is set Pull Up/Down section of the Session Setup window to Drop Frame. 3 Click OK to apply the new pull up/down rate to the session.

Matching Time Code Format (Drop Frame or Non-Drop Frame) Starting TC field Pro Tools and Media Composer must be set to the same time code format (either Drop Frame or Non-Drop Frame). Session Start field To ensure time code format settings are Time compatible: Code Rate 1 In Pro Tools, choose Setup > Session. If the Time Code rate pop-up menu displays “DF” after the frame rate, Pro Tools is set to Drop Frame. Clip Info dialog (Media Composer, top) and a portion of the Session Setup window (Pro Tools, bottom) 2 In Media Composer, right-click the Record monitor, and choose Get Clip Info.

Right-clicking the Record monitor

54 Video Satellite Guide 3 If both time code formats do not match, do one of the following: In some cases, starting playback from Media Composer at a point which is more • To force Pro Tools to match the time code than a minute earlier than the start of the format of Media Composer, select the com- Pro Tools session may fail. Change the patible time code format from the Time Pro Tools session start time to be earlier. Code Rate pop-up menu. – or – To set the default start time for new sequences in • To force Media Composer to match the Media Composer: time code rate of Pro Tools, type semi-co- 1 In the Project window, click the Settings tab lons (Drop Frame) or colons (Non-Drop and then double-click the General setting. Frame) between the numbers in the Start- 2 Type in the desired starting time code in the ing TC field, and press Enter. Default Starting TC field. Matching Media Composer Starting TC Time Code Setting and Pro Tools Session Start

In almost all cases, the first frame of video is located at the start of the Media Composer sequence. However, Pro Tools sessions often have silence at the head to create countoffs or silence.

For example, a Media Composer sequence may start at 1:00:00 while the matching Pro Tools session starts at 00:55:00—allowing five seconds of silence before the audio starts. In this case, General Settings dialog Media Composer parks on the first frame of To change the start time of an existing sequence video and waits for Pro Tools to reach 1:00:00 in Media Composer: before it begins to play the video. Regardless of 1 In Media Composer, open the bin containing their respective start times, Pro Tools and the existing sequence. Media Composer will always play at the same time code values unless an offset has been en- 2 If needed, re-size the bin window so that you tered in the Video Satellite Offset field in the can see the Start column of the bin window. Media Composer Video Satellite Settings window. Start column Therefore, it is not required that the Media Composer sequence and Pro Tools session start at the same time in order to play in sync.

Bin window (Name and Start columns shown)

Chapter 3: Video Satellite Workflows 55 3 In the Start column for the sequence for 2 In the Video Satellite Offset field, type a posi- which you want to set a new start time, type the tive value that matches the amount of delay in new start time using semi-colons (for Drop the monitors. You may need to try a few differ- Frame) or colons (for Non-Drop Frame), and ent settings. press Enter.

4 Click OK to confirm. Linking or Unlinking Pro Tools Compensating for Different Sequence and a Video Satellite Start Times in Pro Tools and a Video Satellite After you have connected Pro Tools and a video satellite to each other and configured them as You can compensate for any offsets that might outlined in chapter 2, you can control their be- occur if the start times of an Avid sequence dif- havior with controls in the Pro Tools and fer between Media Composer and Pro Tools. Media Composer transports.

To compensate for different sequence start times: Standard Pro Tools MachineControl Option functionality is unaffected and independent 1 Setup > Session In Pro Tools, go to . The Ses- from the video satellite transport operations. sion Setup window will appear. However, chasing MIDI Machine Control or 2 In the External Time Code Offset section, MIDI time code while linked to a video sat- compensate for the offset between Pro Tools and ellite is not supported. Video Satellite as follows: When linked, Pro Tools and Media Composer • If the start time of the video satellite se- support the following transport operations: quence falls before the start time of the Pro Tools sequence, type a positive time • With audio playback: code value into the Satellite Offset field. •Play • If the start time of the video satellite se- • Half-speed Play quence falls after the start time of the • Loop Play Pro Tools sequence, type a negative time • Shuttle code value into the Satellite Offset field. •Scrub •Record Compensating for Monitor- • Loop Record Induced Output Delay • FF/REW (with the Audio During FF/RW Many monitors add a delay to the video output preference turned on in Pro Tools)) of one or more frames. You can compensate for • Without audio playback: this delay by advancing the video output by the •Locate necessary number of frames. •Nudge

To set the number of frames to offset video output: • Selecting

1 In Media Composer, choose Settings > Video Satellite Settings.

56 Video Satellite Guide When using the J, K and L keys to shuttle in To link or unlink other satellite systems: Media Composer, Pro Tools will play audio at 1x Click the corresponding Satellite Link button forward, but not in reverse, or any of the other in the Transport window. possible playback speeds. To link or unlink the video satellite system from Trim, Color Correction and Effects modes within Media Composer, do one of the following: in Media Composer are not supported with Video Satellite. Click the Satellite Link button to change it to a linked (green) or unlinked (grey) state. Link Controls – or –

When a Pro Tools system is configured as an ad- Press Shift-Alt-L (Windows) to toggle the link ministrator, the following controls can be state between linked and unlinked. shown in the Transport window:

Link Button Controls the link status of the local Video system. Satellite Link button Satellite Link Buttons control the link status of the other satellite systems. On every system, one Video Satellite Link button in Media Composer of these buttons corresponds to that system’s main link button. Link buttons flash briefly when establishing the network clock. Link buttons highlight to indicate linked status.

To display linking controls in the Transport If Media Composer shows an error dialog, window: the Satellite Link button for the Video Satellite in Pro Tools will turn red. Hold Choose View > Transport > Synchronization and the cursor over the link button to view View > Transport > Expanded. the dialog. To dismiss the dialog, shift- click the video satellite system’s Satellite Link button Link button.

Satellite Link buttons Linking controls in the Pro Tools Transport window

To link or unlink the local Pro Tools system:

Click the Link button in the Transport window.

Chapter 3: Video Satellite Workflows 57 Controlling Linking with a Control For more information, see the HD Setup Guide as Surface well as the guide for your Pro Tools audio interface. To toggle the link button on the Pro Tools system (ICON and C|24): For connections without an Avid video peripheral, do one of the following: Press Command + the Online button (Mac) or Control + Online (Windows) on the control sur- For FireWire-based connections, connect the face. FireWire cable directly to the Firewire port on the Media Composer system. To toggle the Satellite Link buttons (D-Control or D-Command only): Since video and audio are streamed in one signal over FireWire, it is not necessary to connect any 1 Press Command + the Modes button (Mac) or audio inputs. Control + Modes on the control surface to display all linked systems in the softkeys display. If you are capturing video using Firewire, you must capture both audio and video into 2 The Modes button will light up. Pressing Media Composer, because a single FireWire ca- Modes again will exit the Satellite Link mode. ble provides both video and audio. This audio 3 The softkeys corresponding with each ma- can then be exported over to Pro Tools if de- chine can then be pressed to link or unlink that sired. machine. Capturing Audio and Video Caveats Capturing Audio and Video with a Video Satellite System The following caveats apply to capturing audio and video with a video satellite system: You can use a video satellite system to capture • Due to technical limitations, when capturing audio to Pro Tools and video media to Media video from a device being controlled using a Composer in a single pass. 1394 connection, audio sync will be up to 3/4 of a frame out of sync. Before Capturing Audio and Video • If you want to capture a 29.97 telecine video tape to a 24 fps project, you must first capture Before capturing audio and video from tape, en- both audio and video on Media Composer sure that you have made the following connec- and then export the audio back to Pro Tools. tions. See “Capturing Audio and Video” on page 63. For manually exporting an AAF Sequence, see For connections with an Avid video peripheral, do the Avid Media Composer Guide. the following:

1 Connect the desired outputs of the video deck to the corresponding inputs on the video peripheral.

2 Connect the audio source to the inputs of your primary Pro Tools audio interface

58 Video Satellite Guide Configuring Pro Tools and a Configuring Media Composer for Media Composer Video Satellite Capturing into an Existing Sequence for Capturing To configure a Media Composer video satellite for Before configuring Pro Tools and Media Com- capturing into an existing sequence: poser for synchronized capturing, ensure that 1 In Media Composer, open the existing se- the two applications have matching settings. quence into which you want to capture new me- For detailed information, see “Matching dia. Media Composer and Pro Tools Settings in a Video Satellite System” on page 49. 2 Drag the sequence to the record monitor to load it into the timeline. Configuring Pro Tools for Capturing 3 Check that both Pro Tools and within a Video Satellite System Media Composer are set to the same drop/non- drop frame setting. To configure Pro Tools for capturing audio: 4 Use the Mark In control to set an In point on 1 In Pro Tools, choose Setup > Session, and en- the Timeline at which you want to begin captur- sure the following: ing. • Clock Source pop-up menu is set to SYNC. – and – Media Composer places captured video at the In point in the timeline. However, that • Clock Reference pop-up menu is set to may not equal the video's time code position Video Reference (SD) or Video Reference on the tape, which is determined by the In (HD). point set in the Capture Tool. For example, – or – if the In point on the Capture Tool is set to • If Clock Reference pop-up menu is set to 1:00 and the In point in the timeline is set another source, like Word Clock, make sure to 0:30, Media Composer starts capturing that the Ref Present LED is lit, and that the when the tape reaches 1:00—but places the clock reference that the SYNC is locked to captured video in the timeline beginning at matches that of the VTR. 0:30—causing a 30-second offset.

2 Route the audio inputs to the desired tracks. To keep the captured video in sync with the 3 Record enable the audio tracks to which you source tape, the In point in the timeline want to capture audio. should be the same as the In point in the Capture Tool. 4 Click the Record Enable button in the Trans- port. You are now ready to configure the Capture Tool. See “Configuring the Capture Tool” on You are now ready to configure Media Com- page 61. poser for capturing into a new or existing sequence. If you want to capture to a location in a sequence that falls in the Timeline after the last frame of media, you need to artificially extend the sequence.

Chapter 3: Video Satellite Workflows 59 To artificially extend the sequence in the Timeline: 2 Select Clip > New Sequence. 1 In Media Composer, open the existing sequence into which you wish to capture new media.

2 Add at least one frame of media to the end of the current Timeline.

3 Place the cursor at the leading edge of that me- Pop-up menu above Record Monitor dia. 3 In the Project window, click the Settings tab 4 Click above the Source monitor to display the and then double-click the General setting. pop-up menu, and select Load Filler to load 2 minutes of filler into the Source. 4 In the Default Starting TC field, do one of the following to set the default start time for a new 5 Mark In/Out points for the desired amount of sequence: filler, and use the Splice button to insert filler • If you want the sequence to begin captur- into the sequence. ing at the same time code location as the 6 Repeat as needed until the Timeline is long beginning of the Pro Tools session, set the enough. start time of the capture to be equal to the Session Start in Pro Tools (Setup > Session Once you have created this “filler” se- in Pro Tools). quence, you can save it and use it for the – or – same purpose on other projects. • If you want to sequence to begin capturing Configuring Media Composer for at a time code location that falls after the Capturing Directly into a New Empty Pro Tools session start, set the start time of Sequence the capture to be later than the Session Start in Pro Tools. When you capture into an empty sequence, Media Composer uses the default start time set in the General setting of the Settings tab.

To configure a Media Composer video satellite for capturing directly into a new sequence:

1 If there is a sequence open, click above the Re- cord Monitor to display a pop-up menu, and select Clear Monitor.

General Settings dialog

You are now ready to configure the Capture Tool. See “Configuring the Capture Tool” on page 61.

60 Video Satellite Guide Configuring the Capture Tool 3 Ensure that all the reveal triangles on the left side of the Capture Tool window are pointing To configure the Capture Tool for manual capture: down so that all of the controls are visible.

1 If you are capturing using a firewire-based If necessary, click the Capture/Log Mode button Avid video peripheral, ensure that the Device to select Capture mode (CAP). setting is set to DNA by doing one of the following. Record Capture/Log Toggle Source Overwrite button Mode button button button • Click the DNA/1394 button in the Time- line.

DNA/1394 button Video Audio Video Audio Time Code record record input input Enable enable enable source source

Capture Tool (Record controls)

DNA/1394 button (showing both DNA and 1394 status) 4 If necessary, enable control of the tape deck by clicking the Toggle Source button so that it does – or – not display a circle with a slash. • Select Special > Device > DNA. 5 Below the Record button, click the record en- 2 To open the Capture Tool, choose Tools > Cap- able buttons for the video and time code inputs. ture. (V is for video and TC is the time code channel).

The TC (time code) button should always be enabled, even though no time code is being recorded.

Reveal Do not record enable the audio inputs unless triangles you want to use Media Composer instead of Pro Tools to capture audio.

6 To capture the clip directly into the Timeline without affecting the position of any existing material (analogous to Slip edit in Pro Tools), click Overwrite. This mode is selected by default when Satellite Mode is enabled in Media Com- poser. Capture Tool

Chapter 3: Video Satellite Workflows 61 7 Choose the video input source from the Video Input pop-up menu. Delay Audio

Bin pop- Res pop-up Source up menu menu pop-up menu

Tape Name pop- up menu Toggle Video Storage storage Capture Tool (Transport controls) Capture Tool (Storage controls) 12 Ensure that Delay Audio is set to 0 Frames.

8 From the Bin pop-up menu, select the bin 13 Insert the tape into the VTR. where you wish the captured clips to appear. Media Composer will present a list of tapes already associated with this project and ask you This setting does not affect where the cap- which tape you have inserted. tured files are stored. All captured media files are stored in the OMFI Media Files folder (for OMF media) or Avid MediaFiles folder (for MXF media) on the volumes selected in the storage pop-up menus. A bin in Media Composer is analogous to the Audio or MIDI region lists in Pro Tools, except that a project in Media Composer may have an unlimited number of bins, and clips may be organized between the bins as best suits the user.

9 From the Res pop-up menu, choose the resolution of video you wish to capture. Select Tape dialog 10 Click the Toggle Storage button so that one volume is showing, and select the volume where 14 Do one of the following: the video media will be stored. The available re- • Select one of the displayed tape names and cording time for each volume displays next to it. click OK. 11 If the VTR is not correctly identified in the – or – Source pop-up menu, choose Auto-Configure • Click New to add a new tape to the list. from the source pop-up menu, then click Yes to auto-configure the VTR with the Capture Tool This will be helpful if you ever need to re- and display the name of the VTR. capture the same video.

62 Video Satellite Guide 15 To check your inputs and levels, do the following: Mark Out Go to Out • Click Play on the transport controls. Video Mark In Go to In should appear in the Record Monitor and your client monitor.

When digitizing DV25 video through the Clear DV port, nothing will appear in the client Display monitor. However, the digitized clip will be captured correctly.

– and – Mark Memory Go To Memory • Check audio input levels in Pro Tools. Duration

You are now ready to capture. Record

Mark In and Mark Out controls (and Record button) Capturing Audio and Video

To capture audio and video: If Media Composer displays an error message regarding mis-matched frame rates, you 1 Ensure the Capture Tool has been configured may have mis-matched time code formats or for capturing. (See “Configuring the Capture play rates. See “Matching Media Composer Tool” on page 61.) and Pro Tools Settings in a Video Satellite 2 Ensure that Pro Tools has been properly con- System” on page 49 for more information. nected and linked to the video satellite. (See “Connecting Pro Tools and a Video Satellite” on You can capture without first entering an In page 48.) point, but this is not advised because of un- 3 Use the Mark In and Mark Out controls to se- predictable delays between clicking the Re- lect a specific portion of video you want to cap- cord button and actually capturing video. ture from tape, and click Record. (See “Selecting After you click Record, Media Composer cues a Portion of Video to Capture” on page 64.) the VTR. Media Composer and Pro Tools drop into record mode at the appropriate moment.

The flashing red light indicates recording is in progress.

During recording, video may appear out of synchronization with audio. However, audio and video will be synchronized during playback.

4 Click the Record button again (or press the ESC key) to stop.

Chapter 3: Video Satellite Workflows 63 Selecting a Portion of Video to Capture Mark Out Go to Out The Mark In and Mark Out controls in the Cap- ture Tool let you select a portion of video to cap- Mark In Go to In ture from the tape.

To select a portion of video to capture: Clear 1 In the Capture Tool, use one of the following Display methods to mark the position where you want the capture to begin: • Press the Spacebar (or click Play) to start playback on the VTR, and click Mark In at Mark Memory Go To Memory the desired position. Duration • Use the Transport controls to queue the Mark In and Mark Out controls tape to the position at which you wish to start capturing, and click Mark In. The exact length of the clip to be captured ap- • Type a time code value in the Mark In field. pears in the Duration display. 3 You can also do the following: You can capture without first entering an In point, but this is not advised because of un- • To automatically queue the tape to the predictable delays between clicking the Re- Mark In point, click Go to In. cord button and actually capturing video. • To automatically queue the tape to the Mark Out point, click Go to Out. 2 Use one of the following methods to mark the • To automatically mark a specific frame (not position where you want the capture to end: to be reflected in the capture), click Mark • If the VTR is playing back, click Mark Out Memory. at the desired position. • To clear any of the Mark In, Mark Out, or • Use the Transport controls to queue the Mark Memory points, click Clear Display tape to the position at which you wish to next to the appropriate button. end capturing, and click Mark Out. • To begin capturing at a specific point for a • Type a time code value in the Mark Out specific duration, type time code values in field. the Mark In and Duration fields. • To end capturing at a specific point for a specific duration, type time code values in the Mark Out and Duration fields. • To begin an open-ended capture with no definitive stopping point, type a time code value in the Mark In field.

64 Video Satellite Guide 4 You are now ready to begin capturing, as described in “Capturing Audio and Video” on Digitizing from an EDL page 63. When you begin capturing, the VTR Media Composer includes Avid EDL Manager queues to the In point and begins capturing software, which lets you open an EDL from an- video, then stops automatically when it reaches other editing application, create a Media Com- the Out point. poser sequence from that EDL, then re-digitize the sequence. Playing Back Captured Audio and Video with a Video Satellite System When using this procedure with a video satellite, you must capture the audio to Once you have finished capturing with a video Media Composer and then export an AAF se- satellite system, the captured clip appears in the quence referencing or containing the embedded Record Monitor and in the Timeline. Audio ap- audio to Pro Tools. pears in the Pro Tools Timeline.

To view the captured clip, do the following: Laying Back Audio and Video Click Play (or press the Spacebar) in Pro Tools to Tape or Media Composer. While outputting video from Pro Tools using an Avid video peripheral, the video is intended for Re-Digitizing an Existing monitoring purposes only, and is not suitable Sequence for professional layback or broadcast, video output from Media Composer is full broadcast qual- Media Composer can open sequences created ity. You can use Media Composer linked to on other Avid editing systems. However, you Pro Tools when you need to output both audio may first want to re-digitize some or all of the and video to tape. media files because they were the wrong resolution, or missing. To minimize the chance of dropped frames, it is recommended that all effects be ren- When using this procedure with a video satel- dered before performing a layback. lite, you must capture the audio to Media Composer and then export an AAF se- When laying back to an SDI VTR or 1394 quence referencing or containing the embedded device that requires audio and video to be audio to Pro Tools. combined in a single stream, you must export the audio to Media Composer from Pro Tools or combine audio and video signals using a third-party summing device, and then lay back the final sequence to tape.

Chapter 3: Video Satellite Workflows 65 To record audio and video to tape from 6 Drag the sequence you want to record to tape Media Composer and Pro Tools simultaneously: from the bin to the Record Monitor.

1 Make sure that your system is set up as fol- 7 Select Output > Digital Cut. The Digital Cut Tool lows: appears. • Pro Tools and the Media Composer video satellite computers are linked. • Audio outputs on the Pro Tools|HD audio interface are connected to the appropriate audio inputs on the VTR. • Video outputs from Media Composer system are connected to the VTR. • If you are using deck control, the deck control cable from Media Composer is connected to the VTR, and the VTR is set to Remote mode.

When using Media Composer in Satellite mode for 24p and 23.976 projects, only the 24 and 23.976 Output Formats are sup- Digital Cut Tool ported. The 29.97 Output Format (+25% 8 If you want to set In and Out points for a dig- playback speed with no pulldown) is not ital cut. supported in Satellite mode for 24p and 23.976p projects. 9 Do one of the following: • Select the Entire Sequence option to record 2 Insert a video tape into your VTR. the entire sequence. 3 To ensure that the tape deck is properly con- – or – figured, refer to the following topic in • Deselect the Entire Sequence option and set Media Composer Help (Help > Avid the In and Out points in the Timeline. Media Composer Help): Configuring a Deck or Mul- tiple Decks. 10 If you are laying back over a FireWire (1394) connection (Special > Device > IEEE 1394), select 4 Do one of the following: the appropriate output mode from the Output • Select one of the displayed tape names and Mode pop-up menu as follows: click OK. • If all of the media on your Timeline is – or – DV25, or if it is all DV50, and all of your ef- • Click New to add a new tape to the list. fects are rendered, you can achieve a slightly higher quality of output by select- 5 If you are capturing using a FireWire-based ing DV25 or DV50 as appropriate. Avid video peripheral, ensure that the Device setting is set to DNA. See “Configuring the Cap- – or – ture Tool” on page 61 for further information. • Otherwise, you must select the RT DV25 or RT DV50 options to render and transcode all of your video to that format.

66 Video Satellite Guide 11 Select the Stop on Dropped Frames option if 16 If you selected Remote mode, use the Record you want Media Composer to automatically Track buttons on the right to select which audio stop the tape if the audio and video does not re- and video tracks to enable for recording on the cord correctly. tape.

12 Select the Add Black At Tail option, and type 17 Click the yellow Preview button to check that the amount of black you want added to the end all of the tracks you selected are playing and that of the sequence. the insert points on the tape are correct.

13 Select one of the following from the Deck 18 Do one of the following: Control options: • To record using Local mode, press play and record on the VTR. When ready, click the Local mode You will initiate recording manu- Record button in the Digital Cut window. ally. – or – Remote mode Media Composer will start the • To record using Remote mode, press Record VTR and drop into record at the specified time in the Digital Cut window. code. Media Composer will queue the tape, play, 14 If you chose Remote mode, select one of the then drop in at the appropriate location. following options: When doing a Digital Cut with an Sequence Time Starts recording based on se- Avid Mojo DX or Nitris DX video periph- quence time. For example, if the sequence starts eral, Output Mode should be set to “Real at 1:00:00 in the Timeline, Media Composer will Time” when using non-firewire video out- start recording when the tape reaches 1:00:00. puts, for best A/V sync performance.

Record Deck Time Starts recording wherever the VTR is currently parked. Be sure to record at least a few seconds of black to the tape before performing a digital Mark In Time Starts recording at the address en- cut. This will guarantee that the video tape tered in the top window to the right of the trans- is correctly formatted when your digital cut port controls. starts.

15 In the Source Track buttons, select the top video track. Only the selected video tracks and the video tracks below it will be recorded.

Source Record Record Preview Track Track Enable buttons buttons

Selected Source tracks

Chapter 3: Video Satellite Workflows 67 3 Import the Pro Tools audio into the Exporting Audio and Video as Media Composer sequence, and integrate it into a Digital Movie from a Video the track.

Satellite 4 See the Media Composer guides for details on If you have audio and video media with a video importing and synchronizing audio in Media satellite system and you want to create a Quick- Composer. Time or Windows Media digital movie, you must first get the audio from Pro Tools into To export a sequence as a digital movie: Media Composer. 1 Select the sequence you want to export in the bin and drag it to the Record Monitor. Exporting audio and video from a video satellite system to a digital movie involves the following 2 Render all effects in the Timeline as described steps: in the Avid Media Composer Guide.

1 Move the audio to the Media Composer ma- 3 Select the Track Enable buttons for the video chine and cut it into the video sequence. and audio tracks to export.

2 Export the sequence as a digital movie. 4 Choose File > Export.

5 Type a name and select the destination. To get the audio from Pro Tools to the Media Composer video satellite: 6 Choose the type of file you want to export 1 Ensure that the Pro Tools system can deliver from the Export Setting pop-up menu. files easily to the Media Composer video satel- 7 Click Options, and configure the settings as lite computer through shared storage (such as desired. Unity or Ethernet-mounted network volume), a mounted audio or video storage drive, or a DVD. 8 Click Save or Save As. 9 In the Export As dialog, click Save. See “Cross-Mounting Media Storage on Re- mote Systems” on page 29. On a Windows system, if you experience errors when exporting QuickTime movies, 2 Export audio files from Pro Tools using one of open QuickTime Player, go to Preferences > the following methods: Advanced, and choose Safe mode (GDI • Bounce the audio tracks to disk. only). • Mix back to internal tracks. • Export the selected tracks as an AAF with audio embedded.

See the Pro Tools Reference Guide for details on exporting audio from Pro Tools.

68 Video Satellite Guide index

Symbols audio “ghost” files 32 sample-rate accuracy 10 audio and video Numerics capturing using a satellite system 58, 63 1080 video exporting as a digital movie requirements for playback 2 from a satellite system 68 supported frame rates 3 playing captured media on satellite 65 720p video sync issues supported frame rates 3 caused by DVI output 29 caused by multiple applications 48 A audio I/O AAF sequences connecting 16 definition of 7 Audio Pull Up/Down setting export settings for 44 changing 54 exporting from Media Composer (satellite only) matching to Edit Play Rate setting 49 w/audio drive mounted on satellite 41 Audio Pull-Up and Edit Play Rate 50 w/video drive mounted on Pro Tools 43 audio storage importing into Media Composer (satellite only) exporting an AAF sequence from Media from a non-playback volume 46 Composer with audio storage from a playback volume 45 mounted on the satellite 41 importing into Pro Tools (satellite only) mounting on Windows Vista 35 from a non-mountable volume 47 mounting on Windows XP 35 from a non-playback volume 47 mounting Windows XP media storage 34 from a playback volume 46 reasons for mounting on video satellite 30 Media Composer support for 7 sharing on Mac for mounting on Windows 30, opening for playback on a satellite system 45 33 Pro Tools support for 7 audio stuttering (causes) 48 receiving an AAF sequence 36 authorizing AAF/OMF sequences (see AAF sequences) Pro Tools 25 accuracy automation compensating for client monitor delay 56 vs. Avid automation gain 5 frame rate 10 automation gain (Avid) sample rate 10 vs. Pro Tools automation 5 Adrenaline AV sync issues connecting to a VTR 17 caused by DVI output 29 support for 12 caused by multiple applications 48 artifacts 2, 29

Index 69 Avid C supported project types 3 Capture Tool video codecs 3 configuring for a satellite system 61, 66 Avid Adrenaline (see Adrenaline) example of 61 Avid DV video 3 captured video Avid MediaFiles folder time code sync with source tape 59 disabling Simple File Sharing 20 capturing location of 8 audio and video Avid Mojo (see Mojo) using a satellite system 63 Avid Mojo SDI (see Mojo SDI) before capturing with a satellite 58 Avid Nitris DX (see Nitris DX) caveats for video satellite systems 58 Avid sequences configuring the Capture Tool artificially extending in the Timeline 60 for a satellite system 61, 66 capturing CAT5e Ethernet cables into an empty sequence 60 requirements for video satellite systems 25 into an existing sequence 59 caveats changing the start time of existing 55 for satellite capturing 58 copying to satellite video storage 40 interlaced HD projects 3 definition of 5 video satellite system caveats 48 exporting as a digital movie 68 changing exporting as an AAF sequence Audio Pull Up/Down setting 54 w/audio drive mounted on satellite 41 Edit Play Rate setting 51 w/video drive mounted on Pro Tools 43 start time of an existing sequence 55 opening on a satellite system 36 video output settings (for a project) 27 from a non-play volume 40 video quality 27 from Unity w/Pro Tools not streaming 38 client monitor on local/Unity storage with Pro Tools not definition of 5 streaming 37 Clip Info dialog 54 overview 36 clips with Pro Tools playing from Unity 37 definition of 5 selecting a portion of 64 Clock Reference setting setting the default start time for 55 matching to Project Type setting 49 Avid video peripherals codecs 3 connecting to a VTR 17 connecting video reference to 18 compatibility system requirements 11 frame-rate video and sample-rate audio 10 Media Composer and Pro Tools settings 52 compensating B for monitor delay 56 Best Performance video quality 27 for video satellite offsets 56 bins configuring definition of 5 a satellite system for capturing 59 Bounce to Disk an empty sequence for capturing 60 vs. video mixdown (Avid) 5 an existing sequence for capturing 59 Capture Tool for a satellite system capture 61, 66 connection between satellite and Pro Tools 25 Connect to Server dialog 34

70 Video Satellite Guide connecting subclip 5 a video satellite system to a LAN 26 Timeline 5 audio I/O 16 Unity 4 Ethernet cables for satellite systems 25 video stutter 29 Media Composer delay 56 to a Pro Tools system 25 diagrams to a VTR 16 video satellite system 16 Pro Tools to a video satellite 48 Digital Cut Tool 66 video I/O 16 digital movie video reference 18 exporting from a satellite 68 VTR with no Avid video present 17 direct connection, between Pro Tools and a Control surfaces satellite 25 accessing Satellite Link buttons from 58 disabling linking and unlinking the main system from 58 Simple File Sharing 20 cross-mounting Display Both Fields option 28 choosing a configuration for 30 definition of 29 DNA/1394 button 61 Mac OS X media storage on Windows Vista 35 DNxHD video 2 Mac OS X media storage on Windows XP 35 documentation 12 reasons for 29 domain Windows Vista media storage sharing Windows XP media storage on 31 on Windows Vista 35 down-converting Windows XP media storage reasons for 2 on Mac OS X 34 Draft video quality 27 on Windows XP 35 drivers installing for nVidia 20 D Drop frame default start time matching settings on a satellite system 49 setting for new Avid sequences 55 DV codec 3 definition DV25 video 3 AAF sequences 7 and a blank client monitor 63 Avid sequence 5 DV50 video 3 bins 5 DVC Pro 25 video 3 client monitor 5 DVCPRO HD video 2 clips 5 DVI connecting (Pro Tools and a satellite) 48 and playback limitations 2, 29 cross-mounting 29 frame-tearing 29 Interplay 4 E ISIS 4 Edit Play Rate setting linking (Pro Tools and a satellite) 48 changing 51 media data 8 matching to Audio Pull Up setting 49 MediaNetwork 4 editing metadata 9 frame-rate accuracy with video 10 OMF media and sequences 7 sample-rate accuracy with audio 10 projects 5 embedded media Record Monitor 5 definition of 8 remote system 29 vs. linked media 9 Source Monitor 5

Index 71 Ethernet connections I making for video satellite systems 25 importing Expand Luminance for Computer Displays 28 AAF sequence into Media Composer (satellite) Export As dialog 37, 39, 41, 43, 44 from a non-playback volume 46 export settings from a playback volume 45 saving and recalling 44 AAF sequence into Pro Tools (satellite) Export Settings dialog 38, 39, 41 from a non-mountable volume 47 exporting from a non-playback volume 47 AAF export settings 44 from a playback volume 46 AAF sequence from Media Composer (satellite) IMX video 2 w/audio drive mounted on satellite 41 installing w/video drive mounted on Pro Tools 43 Media Composer audio and video as a video satellite system 15 as a digital movie from a satellite 68 nVidia drivers 20 Avid sequence as AAF sequence (satellite) interlaced HD projects 3 w/audio drive mounted on satellite 41 Interplay w/video drive mounted on Pro Tools 43 definition of 4 external media (see linked media) using with a satellite system 48 ISIS system F definition of 4 FireWire capturing with in a satellite system 58 J Flip On Vertical Sync option 28 JFIF codec 3 frame rates accuracy with Avid video editing 10 L supported frame rates 3 launching vs. refresh rates 29 online help 3 frame-dropping (caused by running other limitations applications with Media Composer) 48 DVI playback 2, 29 frame-tearing Pro Tools Drop Frame limitations 54 definition 29 link controls 57 preventing 28 control surface access to 58 Full Screen Playback Settings dialog 28 displaying 57 Full video quality 27 link button 57 full-screen playback Media Composer error behavior 57 changing output settings for 28 Satellite Link buttons 57 DVI output limitations 2, 29 linked media vs. embedded media 9 G linking General Settings dialog 55, 60 Pro Tools and a satellite (definition of) 48 guide conventions 12 Pro Tools and a satellite (procedure) 56 locations H of MXF media 8 of OMF media 8 hardware locking supported hardware 12 Pro Tools to a video satellite (see linking) HD video luminance, changing 28 supported frame rates 3

72 Video Satellite Guide M Project Type setting 49 Mac OS X setting Sync Lock 18 “ghost” files caused on Windows 32 Starting TC Time Code setting 49 sharing storage for mounting on Windows 30, supported frame rates 3 33 Time Code Format setting 49 MachineControl Timeline 5 troubleshooting satellite connections 49 configuring with a VTR 17 video quality settings 27 effects of satellite on 56 video satellite (see video satellite system) Map Network Drive dialog 35 media data matching definition of 8 Pro Tools and Media Composer settings 49 media files 8 media and metadata 9 Avid default locations for 8 Media Station|PT Media Composer uninstalling 19 capturing upgrading to Media Composer from 19 satellite (see video satellite system) media storage caveats for satellite systems 48 cross-mounting (reasons for) 29 changing video output settings 27 mounting on Windows Vista 35 compensating for monitor delay 56 mounting on Windows XP 34, 35 configuring mounting Windows XP storage on Mac 34 for satellite capturing 59 sharing configuring as a video satellite 26 on Mac (for mounting on Windows) 30, 33 connecting on Windows (for remote mounting) 31 to a VTR 16 to Pro Tools (via Ethernet cable) 25 Media Tool to Pro Tools (via satellite link) 48 disabling simple file sharing for 20 cross-mounting (reasons for) 29 MediaNetwork system Drop Frame setting 49 definition of 4 Edit Play Rate setting 49 metadata errors showing in Pro Tools 57 definition of 9 exporting AAF sequences (satellite system) Mojo w/audio drive mounted on satellite 41 connecting to a VTR 17 w/video drive mounted on Pro Tools 43 connecting video reference to 18 full-screen playback settings 27 support for 12 importing AAF sequence (satellite system) Mojo DX from a non-playback volume 46 connecting to a VTR 17 from a playback volume 45 support for 12 installing 19 Mojo SDI installing as an upgrade from Media Station|PT connecting to a VTR 17 19 connecting video reference to 18 installing as an upgrade from older version 20 setting Sync Lock for 18 Interplay support for 4 support for 12 linking and unlinking from within 57 system requirements 11 linking to Pro Tools 56 mounting (see cross-mounting) matching settings to Pro Tools 49 MPEG30 video 2 monitor output delay 56 MXF support for 6 MPEG40 video 2 Non-Drop Frame setting 49 MPEG50 video 2 OMF support for 7 Multi-Cam file support 3

Index 73 MXF codec 3 overview MXF media opening a sequence on a satellite system 36 definition of 6 video satellite system 15 folder locations 8 video codecs 2 P PAL N black burst generator 12 native HDV support 2 frame rates 3 Nitris DX monitor 2, 5, 29 connecting to a VTR 17 NTSC 50 support for 12 time code format 54 Non-Drop frame playback matching settings for a satellite system 49 AAF sequence on a satellite system 45 NTSC Avid sequence on a satellite system 36 Audio Pull-Up and Edit Play Rate 50 of captured media on satellite system 65 black burst generator 12 plug-ins frame rates 3 vs. Avid real-time audio effects 5 monitor 2, 5, 29 Pro Tools time code format 54 Audio Pull Up setting 49 nVidia drivers authorizing Video Satellite option 25 installing 20 Clock Reference setting 49 configuring as a link administrator 26 O configuring with a satellite for capturing 59 connecting offset to a satellite (via Ethernet cable) 25 setting for video satellite start times 56 to a satellite (via satellite link) 48 OMF media cross-mounting (reasons for) 29 definition of 7 documentation 12 folder locations 8 Drop Frame setting 49 Pro Tools support for 7 importing an AAF sequence (satellite) OMF sequences (see AAF sequences) from a non-mountable volume 47 OMFI MediaFiles folder from a non-playback volume 47 disabling Simple File Sharing 20 from a playback volume 46 location of 8 Interplay support 4 online help 3 link controls 57 OP1a video 2 accessing mini-link buttons from a control surface 58 opening displaying 57 AAF sequence on a satellite system 45 linking and unlinking systems 57 from a non-playback volume 46 linking and unlinking systems from a con- from a playback volume 45 trol surface 58 Avid sequence on a satellite system 36 Media Composer error behavior 57 from a non-playback volume 40 linking to a video satellite 56 from local/Unity storage w/Pro Tools not matching to satellite settings 49 streaming 37 MXF support for 6 from Unity (Pro Tools not streaming) 38 Non-Drop Frame setting 49 with Pro Tools playing from Unity 37 OMF support for 7 sequences on a satellite system (overview) 36 reasons for mounting video storage on 30 output monitor, changing 28 Session Start setting 49

74 Video Satellite Guide Time Code Rate setting 49 S Video Format setting 49 sample-rates Video Satellite option 25 accuracy in Pro Tools 10 Pro Tools Avid Interplay Option Save Export Settings dialog 45 definition of 4 saving Project Type export settings for AAF sequences 44 matching to Pro Tools settings 49 SD video supported 3 supported frame rates 3 project types Select Tape dialog 62 supported 3 Select the volume dialog 34 projects selecting changing video output settings for 27 portion of a sequence 64 definition of 5 serial 9-pin cable Properties dialog using to connect satellite to a VTR 17 Sharing tab 31, 32, 33 Session Setup window 54 Session Start setting Q matching to satellite settings 49 quitting Pro Tools setting and effect on a satellite 48 default start time for new Avid sequences 55 satellite start time offset 56 R Sync Lock (for Avid Mojo SDI) 18 real-time audio effects sharing vs. Pro Tools plug-ins 5 Mac OS X media storage recalling for mounting on Windows XP 30, 33 export settings for AAF sequences 44 Windows Vista media storage receiving for mounting on remote system 31 AAF sequences 36 Windows XP media storage Record Monitor for mounting on remote system 31 definition of 5 on a domain 31 on a workgroup 32 Reference changing from Sync Lock 18 Sharing and Security command 31, 32 refresh rates Sharing tab (Properties dialog) 31, 32, 33 vs. video frame rates 29 Simple File Sharing remote system disabling 20 choosing a cross-mounting configuration 30 Source Monitor cross-mounting media storage (reasons for) 29 definition of 5 cross-mounting Windows Vista media storage source tape 31 and time code sync w/ captured media 59 cross-mounting Windows XP media storage 31 start time definition of 29 changing for an existing sequence 55 running other applications with Media Composer Starting TC Time Code setting (issues with) 48 matching to Session Start setting 49 storage configuration choosing for cross-mounting 30 storage systems Unity 4

Index 75 stutter Time Code Format definition 29 matching to Media Composer 49 subclips Time Code Rate setting definition of 5 matching to Project Type setting 49 support Timeline AAF sequences 7 definition of 5 Avid Adrenaline 12 transcoding Avid Interplay 4 reasons for 2 Avid Mojo 12 troubleshooting Avid Mojo DX 12 satellite connections 49 Avid Mojo SDI 12 Avid Nitris DX 12 U Avid video peripherals 11 frame rates 3 Unity MXF media 7 definition of 4 OMF 7 unlinking Pro Tools and a satellite (see linking) project types 3 sync issues V avoiding with satellite system 49 video Sync Lock frame-rate accuracy 10 setting for Avid Mojo SDI 18 Video Format setting sync offsets 2, 29 matching to Project Type setting 49 synchronizing video I/O Pro Tools and Media Composer settings 49 connecting 16 time code on captured video/source tape 59 video mixdowns System authorization dialog 34 vs. Bounce to Disk 5 video output settings T changing for a project 27 table changing for full-screen playback 28 Media Composer and Pro Tools settings 52 Video Output Tool 18 tape video quality time code offset during capture 59 changing 27 terminology 5 Video Quality icon 27 time 49 video reference time code connecting 18 and metadata 9 Video Satellite option and Pro Tools Drop Frame limitations 54 authorizing 25 compatibility table 52 video satellite system compensating for start time offsets 56 and quitting Pro Tools during satellite link 48 forcing a match on a satellite system 55 avoiding sync issues 49 matching between Pro Tools/satellite 55 capturing audio and video with 58, 63 matching format for 54 CAT5e Ethernet cables 25 matching Pro Tools and Media Composer 49 caveats regarding 48 mis-matched time code 63 configuring for capturing 59 setting Avid capture start 60 configuring the Capture Tool 61, 66 sync w/captured media & source tape 59 connecting Pro Tools to a satellite 48 Time Code Enable button (Capture Tool) 61 connecting to a LAN 26 video satellite caveats for 49 copying a sequence to video storage 40

76 Video Satellite Guide cross-mounting remote storage 29 video stutter effects on MachineControl 56 definition 29 exporting Avid sequence as AAF volumes (see media storage) w/audio drive mounted on satellite 41 VTR w/video drive mounted on Pro Tools 43 configuring with MachineControl 17 importing AAF sequence into Pro Tools connecting from a non-mountable volume 47 to an Avid video peripheral 17 from a non-playback volume 47 with no Avid video peripheral present 17 from a playback volume 46 linking Pro Tools and a video satellite 56 making Ethernet connections for 25 W matching Pro Tools to satellite settings 49 website 13 monitoring audio from 16 Windows opening an Avid sequence “ghost” files from Mac volume 32 from a non-playback volume 40 installing nVidia drivers 20 from a playback volume 36 sharing Mac OS X media storage for 30, 33 from local/Unity storage w/Pro Tools not Windows Vista streaming 37 cross-mounting media storage on 35 Unity but Pro Tools not streaming 38 disabling nVidia driver service on 21 with Pro Tools playing from Unity 37 Windows XP opening sequences for playback (overview) 36 cross-mounting media storage on 35 overview of system 15 disabling nVidia driver service on 21 playback of captured audio and video 65 disabling Simple File Sharing 20 reasons for mounting audio storage on 30 Map Network Drive dialog 35 setting the video satellite offset 56 Properties dialog 31, 32 sharing Mac storage (for Windows mount) 30, word clock 33 locking to in lieu of video reference 59 sharing Windows Vista media storage 31 workgroup sharing Windows XP media storage 31 sharing Windows XP media storage on 32 support for embedded video AAF 7 Workspace browser 43 support for embedded video OMF 7 troubleshooting satellite connections 49 using with Interplay 48 video storage copying a sequence to 40 exporting an AAF sequence from Media Composer with video storage mounted on Pro Tools 43 mounting on Windows Vista 35 mounting on Windows XP 35 mounting Windows storage on Mac 34 reasons for mounting on Pro Tools system 30 sharing Mac OS X media storage (for mounting on Windows XP) 30, 33

Index 77 78 Video Satellite Guide

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