DOCSLIB.ORG

Field Recorder Workflow Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Field Recorder Workflow Guide Field Recorder Workflow Guide Version 7.2 Copyright © 2006 Digidesign, a division of Avid Technology, Inc. All rights reserved. This guide may not be duplicated in whole or in part without the express written consent of Digidesign. Avid, Digidesign, and Pro Tools are either trademarks or registered trademarks of Avid Technology, Inc. in the US and other countries. All other trademarks contained herein are the property of their respective owners. Product features, specifications, system requirements, and availability are subject to change without notice. PN 9329-55679-00 REV A 07/06 contents Chapter 1. Introduction . 1 Field Recorder Terminology . 1 Supported Field Recorder Audio Files and Metadata. 2 Displaying Field Recorder Metadata in Pro Tools . 2 DigiBase Support for Field Recorder Metadata . 3 Chapter 2. Field Recorder Workflows . 5 Ensuring Metadata of Source Files Have Been Preserved . 5 Receiving Source Files . 5 Importing Source Files into Pro Tools . 6 Displaying Multichannel Files from a Field Recorder in the Region List. 9 Choosing an Alternate Channel for a Specific Region . 9 Appendix A. Overview of Production Workflows. 11 Terminology . 11 Film Workflow . 13 Video and Fully Non-Linear Workflows. 15 Contents iii iv Field Recorder Workflow Guide chapter 1 Introduction Pro Tools 7.2 adds support for importing multi- Digital Field Recorders channel audio files and metadata recorded by field recorders, as well as new post-production A field recorder, also known as a hard disk loca- workflows for using these files. tion audio recorder, is a device used by a produc- tion sound mixer during a film or video shoot to make a multichannel recording of multiple mi- crophone inputs recorded simultaneously. Field Recorder Terminology Depending on the capabilities and settings of a This section provides a brief glossary of terms field recorder, multichannel recordings can in- used in this guide. clude one or more tracks (up to 32) and are saved as monophonic or polyphonic audio files Metadata on a hard drive, DVD-RAM, or Flash media. Metadata is used to describe the following: Multichannel recordings made by a field re- corder should be encoded with start and end • Information embedded in a media file. This time stamps representing SMPTE time code, lin- may include scene, take, sample rate, bit ear time code (or LTC). Most field recorders also depth, region names, the name of the video- allow manual entry of additional types of meta- tape from which the media file was captured, data, including Channel Name/Number, Scene, and even time code values. Take, Circled Take, User Bits, and more. • Information embedded in Pro Tools sessions or other sequences, including what files are Pro Tools can import monophonic and poly- used, where they appear in a timeline, and au- phonic files and certain types of metadata en- tomation. tered on field recorders. (Polyphonic files will be converted to multiple monophonic files.) • For AAF or OMF sequences, information about automation (clip-based gain or key- frame gain). Chapter 1: Introduction 1 Production Sound Mix Supported Field Recorder For each multichannel recording made by a field Audio Files and Metadata recorder, the production sound mixer may des- ignate a production sound mix comprising either a Pro Tools supports the following audio files re- representative channel or a mixdown of other corded by field recorders: selected channels in the recording. • OMF-wrapped media The production sound mix is intended to func- • MXF tion as a general reference of all audio recorded • Broadcast WAV (BWF) files with the following within an individual multichannel recording, metadata: and is typically used by the Avid editor when as- • Both BEXT and iXML chunks sembling a sequence. • BEXT metadata but no iXML metadata Broadcast WAV Files (BWF) A WAV file containing a BEXT chunk is known Displaying Field Recorder as a Broadcast WAV file (or BWF) while still Metadata in Pro Tools maintaining a .WAV file extension. Broadcast WAV files can contain both BEXT and iXML You can enable or disable the display of field re- chunks, or a BEXT chunk by itself. corder metadata within regions in the Timeline and the Region List. BEXT and iXML Chunks To enable or disable the display of field recorder BEXT and iXML chunks are sets of metadata metadata in playlists:, do the following found within a Broadcast WAV file. ■ From View > Region, select or deselect either of the following options: Caveats • Channel Name The following caveats apply to handling of im- • Scene and Take ported metadata from field recorders. • The BEXT specification as described here adds To show or hide field recorder metadata in the some features that conform to standards used Region List: by Avid applications and Pro Tools—specifi- 1 Click the Region List pop-up menu, and cally, Description metadata is interpreted dif- choose Show. ferently. 2 From the Show submenu, select or deselect ei- • When you import multiple files in which the ther of the following options: same metadata are populated with different • Channel Name values, Pro Tools imports the value that is first present based on the following order: • Scene and Take • Avid OMF-wrapped media or MXF media When enabled in the Region List, Scene and • Any iXML chunk metadata in a BWF Take metadata are added to every region when • Any BEXT chunk metadata in a BWF available in the corresponding audio file. 2 Field Recorder Workflow Guide About Tape and Sound Roll DigiBase Support for Field Metadata Recorder Metadata Avid application and field recorders use Tape to DigiBase displays the following metadata from represent different kinds of metadata: Avid uses multichannel recordings made with field re- Tape to store the telecine videotape name, while corders. a BWF file with a BEXT chunk or iXML chunk • Duration uses Tape to store the name of the sound roll. • File Comment To avoid this overlap, Pro Tools preserves Tape • Date Modified metadata from the Avid and populates Sound • Date Created Roll with Tape metadata from BWF audio files. • # Channels • Format • Sample Rate • Bit-Depth • Original Time Stamp • User Time Stamp • Tape • TC Rate (renamed from FPS) • Channel Names • Scene • Take • Shoot Date • Sound Roll • Sound Roll TC • Sound Roll TC Rate • User Bits • Tape ID • Project • Circled • Clip Name To show or hide field recorder metadata in DigiBase browsers: ■ Start-click (Windows) or Control-click (Mac) the column header and select or deselect either of the following options: • Channel Name • Scene and Take Chapter 1: Introduction 3 4 Field Recorder Workflow Guide chapter 2 Field Recorder Workflows Using Pro Tools to work with field recorder files from a film, video, or digital shoot involves the Receiving Source Files following steps: When involved in the audio post-production of 1 Before receiving source files, ensure that meta- edited video sequences, you need both of the data have been preserved. following sets of source files: • AAF or OMF sequence with an edited pro- 2 Receive source files. duction sound mix synced to video (such 3 Import source files into Pro Tools. as referenced QuickTime movies or Avid video) 4 Replace edits from the production sound mix with audio from different takes of the same • Alternate source files representing multi- scene. channel recordings from a field recorder You will receive these files either separately (from the Avid video editor and production Ensuring Metadata of Source sound mixer) or together as part of an AAF or Files Have Been Preserved OMF sequence export including alternate source audio (from the Avid video editor). Before you receive source files, it is critical to en- sure that the files have been prepared properly Separate Deliveries of Source at each phase of the production process so that their original metadata are preserved. Files When you receive an AAF or OMF sequence If the original metadata have not been pre- from the Avid editor and alternate source audio served, you cannot successfully complete the from the production sound mixer, you must im- workflows described in this chapter. port them separately before Pro Tools will be For detailed information about preserving able to match them together. metadata during the production process, see See “Importing an AAF or OMF Sequence Appendix A, “Overview of Production into Pro Tools” on page 6 and “Importing Workflows.” Alternate Source Audio Directly into Pro Tools” on page 8. Chapter 2: Field Recorder Workflows 5 Single Delivery of Source Files Alternate Source Audio in Timeline Auto-Synced to Edited Production Sound Mix The alternate When you receive only an AAF or OMF se- source audio in the Avid Bin has been auto- quence from an Avid editor, this generally synced to the edited located sound mix, and all means that the sequence also contains alternate audio channels reside in the Avid Timeline. source audio recorded by the field recorder. When you import this type of sequence into If you are not sure the AAF or OMF se- Pro Tools, the edited video, edited production quence also contains the alternate source sound mix, and all alternate source audio will be audio, contact the Avid editor to ensure that available to import directly into the Timeline. they were properly included. Alternate Source Audio Not Auto-Synchronized to There are three methods the Avid editor may use Edited Production Sound Mix In the Avid appli- to prepare the files before exporting them: cation, the alternate source audio has not been • Alternate source audio has been auto- auto-synced to the edited production sound mix synced in the Avid Bin but not placed on residing in the Avid Timeline. the Timeline In such a case, the AAF or OMF sequence • Alternate source audio has been auto- does not contain or reference the alternate synced in the Avid Bin and placed on the source audio when imported into Timeline Pro Tools—the Avid editor must auto-sync • Alternate source audio has not been auto- the alternate source audio to the edited pro- synced and resides only in the Avid Bin duction sound mix, then re-deliver the se- quence to you.
Load more

Recommended publications
  • AI Media Analytics Readme
    Avid® | AI Media Analytics Version 2018.9 ReadMe Important Information Avid® recommends that you read all the information in this ReadMe file thoroughly before setting up an Avid | AI Media Analytics environment. This ReadMe describes the required installation and configuration for running Avid | AI Media Analytics using Microsoft Azure Video Indexer. Additional information on MediaCentral | Cloud UX and MediaCentral | Asset Management is available online in guides. For more information about Azure Video Indexer, refer to Microsoft documentation. Important: Search the Avid Knowledge Base at http://www.avid.com/learn-and-support for the most up-to-date ReadMe file, which contains the latest information that might have become available after the documentation was published. Revision History Date Revised Changes Made September 28, 2018 First publication Contents About Avid | AI Media Analytics . 2 Installing the Media Analytics Packages. 4 Assigning Media Analytics Rights . 7 (Optional) Enabling the Media Analytics Processing Trigger . 8 (Optional) Enabling Media Analytics Processing for Additional Asset Types. 9 Creating Provider Configuration Profiles . 11 Triggering Media Analytics Processes by Using a Watch Folder Import. 16 Triggering Media Analytics Processes in MediaCentral | Cloud UX . 19 Monitoring Media Analytics Processes in the Process App . 20 Searching for Media Analytics Results in the Search App . 21 Displaying Media Analytics Results in the Markers Tab . 24 About Avid | AI Media Analytics About Avid | AI Media Analytics Avid | AI Media Analytics provides a framework that automates content indexing, such as facial detection, scene recognition, and speech-to-text conversion, by using third-party capabilities. The current version provides support for Microsoft Cognitive Services (Azure Video Indexer) and includes a Media Analytics API for additional providers.
    [Show full text]
  • Avid Technology Announces Q2 2020 Results
    Avid Technology Announces Q2 2020 Results August 3, 2020 68% Year-Over-Year Subscription Revenue Growth Driven by Continued Increase in Paid Subscriptions with Net Increase of 24,000 Subscriptions in the Quarter Operating Income Increased 214% Year-Over-Year from Improved Gross Margin and Significantly Reduced Operating Expenses BURLINGTON, Mass., Aug. 03, 2020 (GLOBE NEWSWIRE) -- Avid® (NASDAQ: AVID), a leading technology provider that powers the media and entertainment industry, today announced its second quarter 2020 financial results. During the second quarter, the Recurring Revenue components of the company’s business were resilient despite the COVID-19 global pandemic. The Company reported record subscription revenue of $16.4 million, up 68% year-over-year and maintenance revenue was stable, resulting in 8.5% year-over-year growth in Annual Contract Value. Also, in the quarter, Avid significantly improved its profitability as a result of higher gross margin coupled with a more efficient cost structure. The year-over-year improvement in gross margin of 760 basis points was a result of a greater portion of revenue coming from higher-margin software in the quarter and benefits from expense reductions in non-material cost of sales. Profitability was also enhanced by the $11 million year-over-year reduction in operating expenses in the quarter, which the Company will continue to closely manage towards the target of at least a $30 million reduction for fiscal 2020. For the second quarter, total revenue declined year-over-year, as the non-Recurring Revenue portions of the Company’s business related to product and professional services continued to be negatively impacted by weaker demand as a result of the COVID-19 global pandemic, which has caused the postponement or cancellation of many live music and major sporting events, and the temporary suspension of many film and television productions.
    [Show full text]
  • Avid Media Composer Basics Guide • 0130-07971-02 • September 2009
    Avid® Media Composer® Basics Guide ™ make manage move | media Avid ® Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,986,584; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,130,676; 6,134,607; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191; 6,928,187; 7,043,058; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; 7,403,561; 7,433,519; 7,512,885; 7,545,957; D352,278; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912.
    [Show full text]
  • Pro Tools | Quartet Your Personal Professional Music Studio
    Pro Tools | Quartet Your personal professional music studio For musicians, engineers, producers, sound designers, and audio post professionals who demand a complete audio/MIDI creative solution, Pro Tools® | Quartet enables you to turn your Mac or PC into a high-performance yet portable music and audio production studio. Featuring industry-standard Pro Tools software and the best-in-class Quartet by Apogee 12x8 audio interface, Pro Tools | Quartet provides everything you need to create professional- level productions that will help you stand out from the crowd—from first note to final mix. And now it’s more affordable and an even better value than ever—bundle the interface with a full Pro Tools license and get a free year of upgrades included at no additional charge, or choose a lower cost 1-year Pro Tools subscription and get all upgrades included throughout your subscription. Plus, both options come with your choice of two additional premium Avid plug-ins at no extra charge. Top Rear Create with industry-standard Pro Tools Sound Amazing® with Quartet • Work with the award-winning toolset trusted by audio pros worldwide • Record performances in 24-bit/192 kHz resolution • Write, play, practice, record, edit, mix, and master music faster • Connect mics, instruments, and more to high-quality I/O: • Get seamless integration with Quartet by Apogee for optimized control o Four combination mic/instrument/line inputs • Create large, richly detailed sessions easily with 64-bit performance o Eight channels of ADAT/SMUX input via Toslink • Track
    [Show full text]
  • Avid Filmscribe User's Guide
    Avid® FilmScribe™ User’s Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 6,061,758; 6,532,043; 6,546,190; 6,636,869; 6,747,705.
    [Show full text]
  • Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev
    Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media .
    [Show full text]
  • Avid Announces New Five-Year Agreement with Microsoft Azure to Bring More Media Companies to the Cloud
    Avid Announces New Five-Year Agreement with Microsoft Azure to Bring More Media Companies to the Cloud May 4, 2020 Strategic Cloud Partners Build on Early Success to Help Media Companies with Content Workflows in the Cloud; Partners Respond Swiftly to Help Customers Work Remotely Amid the COVID-19 Global Health Pandemic BURLINGTON, Mass., May 04, 2020 (GLOBE NEWSWIRE) -- Leading media and entertainment technology provider Avid® (Nasdaq: AVID) today announced it has renewed its cloud collaboration with Microsoft. Over the course of the new five-year strategic alliance agreement Avid will continue to develop and deploy its cloud-based solutions on Microsoft Azure. Since launching their initial collaboration, Avid and Microsoft have helped some of the world’s largest media companies to break new ground by moving their film and television content workflows into the cloud, which has enabled teams, including hundreds of editors, journalists and other contributors to collaborate on movies, TV shows and other content on a global scale. The renewed alliance continues the companies’ mutual commitments and investments in technology, product development and go-to-market efforts globally. Together, Avid and Microsoft have already produced several essential media workflows running in the cloud, including collaborative editing, content archiving, active backup and production continuity. Since the onset of the COVID-19 global health pandemic, Avid and Microsoft have also mobilized rapidly to aid numerous Avid clients urgently needing to transition their production personnel to working remotely from their homes in order to keep entertainment and news content pipelines flowing. Available solutions for remote working include the highly-scalable and secure Avid | Edit On Demand™ virtualized production environment, featuring Avid Media Composer® video editing software and Avid NEXIS® storage running on Azure.
    [Show full text]
  • Avid Film Composer and Universal Offline Editing Getting Started Guide
    Avid® Film Composer® and Universal Offline Editing Getting Started Guide Release 10.0 a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Film Composer and Universal Offline Editing Getting Started Guide • Part 0130-04529-01 • Rev. A • August 2000 2 Contents Chapter 1 About Film Composer and Media Composer Film Composer Overview. 8 About 24p Media . 9 About 25p Media . 10 Editing Basics . 10 About Nonlinear Editing. 10 Editing Components. 11 From Flatbed to Desktop: Getting Oriented. 12 Project Workflow . 13 Starting a Project . 14 Editing a Sequence . 15 Generating Output . 16 Chapter 2 Introduction Using the Tutorial. 17 What You Need . 19 Turning On Your Equipment . 19 Installing the Tutorial Files . 20 How to Proceed. 21 Using Help. 22 Setting Up Your Browser . 22 Opening and Closing the Help System . 22 Getting Help for Windows and Dialog Boxes. 23 Getting Help for Screen Objects . 23 Keeping Help Available (Windows Only) . 24 3 Finding Information Within the Help . 25 Using the Contents List . 25 Using the Index . 25 Using the Search Feature . 26 Accessing Information from the Help Menu. 27 Using Online Documentation . 29 Chapter 3 Starting a Project Starting the Application (Windows). 31 Starting the Application (Macintosh). 32 Creating a New User . 33 Selecting a Project . 33 Viewing Clips . 34 Using Text View. 35 Using Frame View. 36 Using Script View . 37 Chapter 4 Playing Clips Opening a Clip in the Source Monitor. 39 Displaying Tracking Information . 40 Controlling Playback. 44 Using the Position Bar and Position Indicator . 45 Controlling Playback with Playback Control Buttons . 46 Controlling Playback with Playback Control Keys .
    [Show full text]
  • Avid Technology 2008 Investor Day
    Avid Technology 2008 Investor Day October 27th, 2008 Safe Harbor Statement Please note that remarks made during this presentation may include forward-looking statements, as defined by the Private Securities Litigation Reform Act of 1995. Any statements contained in this presentation that are not statements of historical fact may be deemed to be forward-looking statements. There are a number of factors that could cause actual events or results to differ materially from those indicated by these forward- looking statements, such as competitive factors, including Avid’s ability to anticipate customer needs, pricing pressures, Avid’s ability to execute its strategic plan, and adverse changes in general economic or market conditions, particularly in the content-creation industry. Other important events and factors appear in Avid’s filings with the U.S. Securities and Exchange Commission. In addition, the forward-looking statements included in this presentation represent our estimates only as of today and should not be relied upon as representing our views as of any subsequent date. Avid undertakes no obligation to review or update these forward-looking statements. A historical reconciliation of the GAAP to non GAAP reconciliation is available on www.avid.com in our quarterly earning press releases. For purposes of understanding our future business model, we are providing some forward-looking analysis on a non-GAAP basis. Our GAAP financial measures are not, however, accessible on a forward-looking basis and the differences between our future
    [Show full text]
  • Avid and Digital Content Producer Team up for ''Perfect Pitch'' Contest
    Avid and Digital Content Producer Team Up for ''Perfect Pitch'' Contest Contest challenges participants to submit a 60-second pitch; winner to receive assistance in bringing film to the silver screen TEWKSBURY, Mass.--(BUSINESS WIRE)--Jan. 17, 2008--Avid Technology, Inc. (Nasdaq: AVID) today announced that it is collaborating with Digital Content Producer to launch "The Perfect Pitch" contest - a competition that challenges participants to submit a video of a compelling 60-second pitch detailing a film they'd like to get made. The contest will run through April 1, 2008, and one grand-prize winner will receive a package valued at more than $25,000, which will include: a trip to the Sundance Producers Conference; an opportunity to have a trailer of their film cut by a leading Hollywood trailer house; consulting time with distribution and cinematography experts, and a filmmakers production pack (e.g., computer workstation, camera, editing software and hardware, third-party plug-ins, etc.). The contest will kick off at the Sundance Film Festival in Park City, UT this week, where Avid will set up a "live" pitch area in the New Frontier on Main St., and film contestants who want to deliver their pitches in person. All entries - whether captured at Sundance or submitted via the Web - will be available for public viewing and voting on digitalcontentproducer.com. "There are so many talented filmmakers looking to make connections in the industry, but they lack the financial resources and rolodex of contacts to get a start," said Jeff Stewart, vice president of marketing for Avid's Video Division.
    [Show full text]
  • Avid Artist | Dnxiq
    Avid Artist | DNxIQ Avid Artist | DNxIQ™ is a powerful, professional video I/O interface designed to simplify and accelerate your entire HD, high-res, and Ultra HD workflow. Available as standalone hardware or bundled with industry-standard Media Composer® software, Avid Artist | DNxIQ enables you to capture, monitor, and output media quickly—in the highest quality possible. And because the interface, which includes hardware by Blackmagic Design, is designed to be open and flexible, you can use it with Avid and other creative tools too. Only Avid Artist | DNxIQ includes Audio Punch-in for Media Composer via the front panel mic input, and baseband hardware encoding of Avid DNxHR media. Capture and play back stunning high-resolution video Key features Create and deliver rich, detailed media in the highest quality imaginable, from • Capture and play back SD, HD, Ultra HD, 2K, and first ingest to final output. Avid Artist | DNxIQ features advanced 12G-SDI, 4K media optical and HDMI 2.0 connections that enable you to work with HD, 2K, • Edit faster and more efficiently with onboard media Ultra HD, and 4K material. It supports frame rates up to 60 fps, bit depth up encoding and conversion to 12 bits, and 2D or stereoscopic 3D media. And because it comes jam- • Work with your favorite creative tools, including packed with a wide array of analog and digital connections, it can be used Media Composer, DaVinci Resolve, Apple Final Cut with just about every camera, deck, display, and device you have or want. Pro, and Adobe Premiere Pro • Connect a wide range of video and audio gear Create with your favorite video and audio tools through a host of connections, including: With support for an ever-growing list of Avid and third-party media tools, Avid • Four sets of 4 SDI connectors—4 in, 4 loop, Artist | DNxIQ is an easy and ideal fit for any production environment.
    [Show full text]
  • Avid Media Composer and Film Composer Release 7.0 Release
    Media Composer® and Film Composer® Release 7.0 Release Notes This document describes compatibility issues with previous releases, hardware and software requirements, software installation instruc- tions, and summary information on system and memory require- ments. This document also lists Þxed bugs and all known remaining bugs or limitations. n Release 7.0 does not support the Assistant Station or the Film Cutter, nor will they be supported in future releases. n If you are upgrading to Release 7.0, read about important changes to the soft- ware and hardware described in ÒCompatibility with Prior ReleasesÓ on page 14. Part 0130-01308-01 Rev. A 2 Release 7.0 Release Notes Contents Symbols and Conventions . 5 New Features. 6 Hardware and Software Requirements . 6 Macintosh Operating System. 6 Ethernet Network . 6 Avid System Test . 7 Built-in Random Access Memory (RAM) . 7 Changing the Memory Allocated to the Application . 9 Troubleshooting Memory Allocation Problems . 10 Requirements for Using AVRs. 12 Required Libraries . 12 PCI Peripheral Board Revision History . 13 Compatibility. 14 Compatibility with Prior Releases. 14 Compatibility with Avid Xpress . 16 Broadcast Product Compatibility . 16 Verifying the Macintosh Operating System Version . 17 Obtaining the Macintosh Operating System . 18 Guidelines for Installing the Macintosh Operating System . 18 Choosing the Avid Drive as Your Startup Disk and Restarting . 19 Installing the Avid Composer System Software . 19 Preliminary Information. 19 Installation Procedure . 20 Checking Virtual Memory and Cache Size . 23 Disabling Hard Disk Sleep Mode . 23 Custom Installations . 23 Running Updaters . 24 Avid Software Utilities. 25 Special Notes . 27 Part 0130-01308-01 Rev.
    [Show full text]