a
Media Composer® and Film Composer® Release 7.1 Release Notes
This document describes new features, hardware and software requirements, compatibility issues with previous releases, software installation instructions, utility information, and documentation infor- mation. It also lists fixed bugs and all known remaining bugs or limita- tions. n If you are upgrading to Release 7.1, read about important changes described in “Compatibility with Prior Releases” on page 29.
Contents
Symbols and Conventions ...... 5 New Features in Release 7.1 ...... 5 Your Projects Can Conform with Symphony ...... 5 Windows-Compatible File Names Setting ...... 8 Effect Mode Improvements...... 9 Improved Speed, Quality, and Performance ...... 10 Showing or Hiding Interface Graphics on the Client Display . . . 11 New Tab-Delimited Cut List Template ...... 11 ALE Log Cleaning Option...... 12 Batch Importing the Master Clip ...... 12 System Utilities ...... 13 Enhancements to Release 7.0.x Series ...... 14 Title Tool Support for 16 x 9 Mode ...... 14
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Field–Based Effects Editing ...... 14 Improved Import Settings Controls ...... 15 Graphics Import Enhancements ...... 15 Enhancements to the Fast-Save Option for Titles ...... 17 Title Tool Enhancement for Typing Crawling Title Text...... 17 Restoring Media with the Avid/Mezzo Archiver Software . . . . 18 Hardware and Software Requirements ...... 18 Macintosh Operating System...... 19 Ethernet Network ...... 19 Built-in RAM ...... 20 Changing the Memory Allocated to the Application...... 22 Troubleshooting Memory Allocation Problems ...... 23 Requirements for Using AVRs...... 25 Requirement for Using Editcam Media with Release 7.1 ...... 25 Required Libraries and Extensions ...... 25 PCI Peripheral Board Revision History ...... 27 Using the Avid System Test ...... 28 Compatibility...... 29 Compatibility with Prior Releases...... 29 Compatibility with Symphony ...... 33 Compatibility with Avid Xpress for Macintosh ...... 34 Compatibility with Avid Xpress for Windows NT...... 34 Compatibility with Broadcast Products ...... 34 Verifying the Macintosh Operating System Version...... 35 Obtaining the Macintosh Operating System ...... 36 Guidelines for Installing the Macintosh Operating System . . . . 37 Choosing the Avid Drive and Restarting...... 37 Installing the Avid Composer System Software ...... 38 Preliminary Information...... 38 Installation Procedure ...... 39 Checking Virtual Memory and Cache Size ...... 42 Disabling Hard Disk Sleep Mode ...... 42 Custom Installations ...... 42
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Running Updaters ...... 44 Avid Software Utilities ...... 44 Special Notes ...... 46 Overfilling of the Internal Drive with Project Backup Files. . . . . 46 Warning Regarding Your Application Key ...... 47 Startup Times ...... 47 Disabling the System-Wide Platinum Appearance ...... 47 Disabling Serial Arbitrator Extensions ...... 48 Using the Reveal File Feature ...... 49 Rerendering Effects ...... 49 Choosing a Controller in the Serial Ports Tool...... 49 Video Input Signal for the Serial Digital I/O Board ...... 50 Changes to AVIDdrive Utility 2...... 51 Erasing and Partitioning Drives...... 51 DigiSystem INIT ...... 52 VTR Emulation Cable ...... 52 Transferring Files ...... 53 TCP/IP Settings ...... 53 Three-Perforation Film Stock ...... 54 Custom Installation of EDL Manager Release 7.1 ...... 54 Norton Utilities ...... 55 Avid Codec, AVRs, and Compression Ratios ...... 56 Third-Party Fibre Channel ...... 57 MediaShare SCSI ...... 57 Viewing Disk Space Statistics ...... 57 Replacing Clips That Contain Invalid Data ...... 58 Recording with a TAO Media Systems Device ...... 59 Documentation Changes ...... 60 Changing Project and User Names ...... 60 Deleting Slates, Takes, and Script Marks ...... 60 Putting a Subclip in a Bin ...... 60 MultiCamera Mode ...... 61 Interpolating Position for Script Integration ...... 61
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Avid System Utility ...... 62 Getting Started Guide and Tutorial ...... 62 Using the Media Conversion Tool ...... 65 Choosing the Audio File Format ...... 67 Calibrating Global Output Levels ...... 67 AudioSuite Plug-ins and Time Compression/Expansion...... 67 Importing Audio Files to Pro Tools or AudioVision ...... 68 Importing Photoshop Files with Transparency...... 71 Reimporting an OMF Composition with Media...... 71 Film Composer Help System Correction ...... 72 Picture of Keyboard...... 72 Turning Off Word Stemming in the Help System ...... 73 Transferring Help to Another Macintosh ...... 73 Fixed Bugs ...... 74 Known Bugs...... 83 General ...... 83 Systems Installed with the 3D Effects Option ...... 84 OMF Import/Export ...... 84 QuickTime Import/Export...... 86 Digitizing ...... 86 Editing ...... 87 Grouping and Multicamera ...... 87 Audio...... 88 PAL ...... 88 Effects ...... 88 Titles...... 89 Film ...... 90 Media Tool ...... 93 FieldPak...... 93 Hardware and Software Limitations ...... 94
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Symbols and Conventions
These release notes use the following symbols and conventions:
The term “Avid Composer system” represents both Media Composer and Film Composer. ✔ A check mark indicates a bug that has been fixed.
✘ An X indicates a known bug or limitation. Where appropriate, a workaround is provided.
n A note provides important related information, reminders, recommendations, and strong suggestions.
c A caution means that a specific action you take could cause harm to your computer or cause you to lose data.
w A warning describes an action that could cause you physical harm. Follow the guidelines in the manual or on the unit itself when han- dling electrical equipment.
New Features in Release 7.1
This release offers many new features as well as performance, speed, and quality improvements.
Your Projects Can Conform with Symphony
You can move a project between Avid Composer Release 7.1, which runs on the Macintosh® platform, and Avid’s Symphony™ product, which runs on the Windows NT® platform.
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The Symphony documentation contains detailed information on trans- ferring projects between both platforms.
Preparing a Project for Transfer to Symphony
When you move a project from either an Avid Composer system Release 7.1 and later (or Avid Xpress Release 2.1 and later) to Symphony, consider the following guidelines: • Set the audio file format to AIFF if your system supports it. If you do not specify this setting, and your project has Sound Designer II™ (SDII) audio, you can export the audio media as an OMF® file. • Use file names that are compatible with Windows NT. This includes project, bin, title, and other file names. See “Windows- Compatible File Names Setting” on page 8. • Any title in a project must use the same font and exact same font name on both the Macintosh and Windows NT platforms. If the fonts have slightly different names, you must replace the font. For example, the name Times New Roman on the Macintosh platform is different from Times New Roman Regular on the Windows NT platform. Therefore, you would have to replace the font. Symphony, which recognizes when a title uses a font it does not have, prompts you to replace the font and then records the replacement information for future use. If you return that title to an Avid Composer system, the new font information will be associated with the title. You must reapply the Macintosh font to restore the title to its original Macintosh condition. TrueType® and PostScript® fonts offer the best results. • AVX™ plug-in effects must be the same on both systems. Plug-ins currently available on both platforms are: - Ultimatte® from Ultimatte Corporation - Boris FX™ from Artel Software • Determine how to transfer the files (network, diskette, or other method).
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Limitations for transferring projects to Symphony include: • To transfer video media, you must first export it as an OMF file (maximum 2-GB file size) and then import the file into Symphony. • AudioSuite plug-in effects can be transferred, but cannot be adjusted further unless you render the audio clips or sequences and then export them in OMF or AIFF format and then import them into Symphony. Alternatively, you can leave the effects unrendered but add a comment describing the effect in the sequence. • Crawling titles will not transfer. Symphony inserts a placeholder for them. You can re-create the crawling title by using another tool.
Preparing a Project for Transfer to Media Composer or Film Composer
When you move a project from Symphony to an Avid Composer sys- tem Release 7.1 or later, consider the following guidelines: • Set the audio file format to AIFF. If you do not specify this setting, and your project contains WAV audio, you can export the audio media as an OMF file. • Any title in a project must use the same font and exact same font name, on both the Macintosh and Windows NT platforms. If the fonts have slightly different names, you must replace the font. For example, the name Times New Roman on the Macintosh platform is different from Times New Roman Regular on the Windows NT platform. Therefore, you would have to replace the font. If you do not replace the font when you transfer a project to Media Composer or Film Composer, the font will be replaced with the Macintosh system font. • AVX plug-in effects must be the same on both systems. Plug-ins currently available on both platforms are: - Ultimatte from Ultimatte Corporation - Boris FX from Artel Software
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• Determine how to transfer the files (network, diskette, or other method).
Limitations for transferring projects to either Media Composer or Film Composer include: • Keyframed color effects do not appear in Media Composer or Film Composer. The effect displays the values associated with the first keyframe. • You cannot transfer video media in an OMF file from Symphony to Media Composer or Film Composer.
Exchanging Files with QuickTime Macintosh Applications
Symphony includes software for exchanging files with QuickTime® applications on Macintosh systems. This software is shipped on a Macintosh diskette that accompanies the Symphony installation CD. For more information, insert the diskette in a Macintosh system and open the readme file.
Windows-Compatible File Names Setting
To be more compatible with Symphony and the Windows NT plat- form, a new setting in Media Composer and Film Composer prevents you from using restricted characters in file names and automatically adds the correct file name extensions to files for your project. The set- ting “Use file names compatible with Windows®” is located on the General settings dialog box. The setting is disabled by default. When you enable it, the application adds the file name extension .avp to project files and .avb to bin files when they are saved, as well as to existing files.
If you open a file that does not have an Avid file name extension while you are in a project that has the Windows–compatible setting enabled, the file will be renamed with the correct extension when it is saved.
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Effect Mode Improvements
Two new methods are available for closing the Effect Editor: you can either double-click a source clip listed in a bin or close a project.
Other Effect mode improvements include: the Escape key exits Effect mode; step keys are enabled even if no effect is selected; and the New Tape dialog box floats above the Effect Palette.
In addition, effects in Release 7.1 conform with those in Symphony, and three new effect parameters are available.
Effects in Release 7.1 Conform with Effects in Symphony
Effects in Release 7.1 behave the same as they do in Symphony. There- fore, you can easily move between Macintosh and Windows NT plat- forms. Some effects, however, behave differently in 7.1 than they do in earlier releases of Media Composer and Film Composer. See “Effects Issues” on page 31.
Effect Parameters
In previous releases, the Reverse parameter had inconsistent meaning depending on which effect you used. For example, in some effects it meant reverse direction or in others it meant reverse the background and foreground layers. Table 1 shows the new parameters.
Table 1 New Effect Parameters
Parameter Description
Reverse Animation This parameter is available for all effects except for Paint and Animatte™ effects. It causes the entire effect to be reversed, including the direction of movement as well as the incoming and outgoing sources. This option effectively creates a mir- ror image of the sequence of keyframes for the effect as they appear in the Effect Preview monitor’s position bar.
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Table 1 New Effect Parameters (Continued)
Parameter Description
Swap Sources This parameter applies to key effects (such as Chroma Key and Luma Key), 3D effects, and the PIP (Picture-in-Picture) effect only. Swap Source swaps the image source for the foreground and background layers of the effect.
Invert, Invert reverses the key. Invert Key Invert Key applies to the following key effects only: • Chroma Key effect (2D or 3D) — inverting the key displays the key color regions while showing the background image source through the fore- ground image area. • Luma Key effect (2D or 3D) — inverting the key displays the background image source through the darker areas rather than the lighter areas of the foreground image source. • Matte Key effect (2D and does not apply to imported Matte Key) — invert- ing the key effectively reverses the black and white areas of the alpha chan- nel so that foreground and background are reversed.
Improved Speed, Quality, and Performance
Various effects now render more quickly. These include Luma Key, Chroma Key, Matte Key, and Picture-in-Picture effects. Also, the performance of cycle time between digitizing clips is improved.
Cleaning databases now occurs only when you exit the application, thereby making the application run more quickly. In previous releases, this process happened during various other actions, such as when you closed the Digitize tool, or when you used the Finder.
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Showing or Hiding Interface Graphics on the Client Display
In the User Interface Setting dialog box, select “Show Graphics on Client Display” to display the raw client video output along with the interface graphics such as marks and grids. Deselect this option to hide the marks and grids.
New Tab-Delimited Cut List Template
A new cut list template is available for generating tab-delimited files, which describe a sequence. The tab-delimited files can be imported into most database programs. Only assemble lists and pull lists are supported with this template.
To open the template: 1. Open the Cut List Tool by choosing Cut List from the Output menu. 2. Select Global. 3. Select Tab_Delimited from the Template menu.
Most fields that appear in the tab-delimited list can be selected from the Cut List Options window. Fields that can appear are:
Projecta Reel Ink Start and End List Titlea Labroll Aux Ink Start and End Event Number Scene & Take Address TC Clip Name Slate Custom Column from Bin Duration in Framesa KN Start and End a. This field always appears in the tab-delimited list.
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You can select a maximum of two of the following sets of timecodes: • Film TC Start and End • Sound TC Start and End • Aux TC 1 Start and End • Aux TC 2 Start and End • Aux TC 3 Start and End • Aux TC 4 Start and End • Aux TC 5 Start and End
The resulting list will have a header containing the names of the fields that appear, followed by the event list, with one line per event.
ALE Log Cleaning Option
Version 2.8 of Avid Log Exchange (ALE) offers a new Relaxed option for cleaning logs. If you use the Clean option without the Relaxed option, the end timecode is removed from any clip that overlaps the start of the next clip. If you use the Relaxed option, the log can contain breaks in the increasing timecode order of clips. A group of clips can be listed starting at one timecode and another group can be listed after that but starting at an earlier timecode. Using the Relaxed option avoids incorrect overlap comparisons between the two clips.
Batch Importing the Master Clip
When an imported Matte Key, shown as an effect icon in the bin, is batch imported, the precompute master clip that the effect references will be imported. This allows you to more easily find this precompute master clip and reimport it. By batch importing the master clip that the effect references, any edits made with this effect will also be linked to the new import unless the sequence has been consolidated or decom- posed with the “Imported clips” option selected.
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System Utilities
The following new system utilities are supported in Release 7.1: • Avid Codec version 7.1 supports AVR 2s through AVR 77, as well as compression ratios that are compatible with those of Windows NT–based Avid systems. • QuickTime Version 3.0. • A new version of the Avid System Test application is automati- cally installed in the Utilities folder via the Easy Install option. n The Avid System Utility is no longer part of the utilities applications. Board functions that it performed are now performed by the Avid System Test.
The Avid System Test allows you to view a profile of the Avid sys- tem configuration and run various system-level tests. Enhance- ments to the Avid System Test include: - Support for testing Revision A of the 2D effects board, and improvements to the “Playback Aladdin PIP” test. - Incorporation of functions previously performed by Avid System Utility Version 3.3.3. These functions include allowing you to view alphanumeric rather than a hexadecimal repre- sentation of the board revisions for the Advanced JPEG board (Janus), the 3D effects interface board (Boa/Python), and the 2D effects board (Mandrill). You can also view HUB revision for the video baseboard (TARGA® 2000), the serial digital video I/O board (D1 daughter board), and the Advanced JPEG interface board (Avid gasket).
For information on using these utilities, see the Avid System Test Setup and User’s Guide.
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Enhancements to Release 7.0.x Series
Enhancements made to the previous release and that are now part of Release 7.1 are described in this section.
Title Tool Support for 16 x 9 Mode
For more information The Title tool now supports the 16 x 9 aspect ratio for display of NTSC on HDTV and the and PAL footage. The 16 x 9 option allows you to display the full 16 x 9 option, see the Avid Media Composer aspect ratio of wide-screen video, often used for offline editing of User’s Guide or the video transferred from the high-definition television (HDTV) format. Avid Film Composer User’s Guide. When you select the 16 x 9 option in the Composer settings, the Title tool increases its maximum horizontal size, and saved titles appear correctly in the Source and Record monitors set to 16 x 9. n Because the 16 x 9 aspect ratio extends the horizontal dimensions of the foot- age, when you first open the Title tool in 16 x 9 mode, you must use the Video Pan tool (with the hand icon) to pan back and forth to view footage on the sides. Click the Maximize button in the upper right corner of the Title tool window to automatically resize the tool to fit the monitor.
Field–Based Effects Editing
For more information You now have greater control over each field of an effect while in on Intraframe™ editing, Effect mode. You can now view all fields of video effects and add key- see the Avid Media Composer and Film frames to individual fields. You can also expand the Effect Preview Composer Effects Guide. monitor’s position bar to better view and manipulate multiple key- frames. Field-based effects editing is especially useful during Intraframe editing.
Single-Field Step
When you enter Effect mode, the timecode display in the upper right corner of the Effect Preview monitor displays an additional “.1” or “.2”
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to indicate which field you are viewing and manipulating when work- ing with two-field media such as AVR 70 or AVR 75. You can use the Step Forward or Step Back keys to step through the fields. Keyframes are attached to fields and will interpolate between them.
Effect Preview Monitor Scale Bar
The Effect Preview monitor in Effect mode now contains a pop-up scale bar for expanding or contracting your view of the position bar containing the effect keyframes.
To scale the Effect Preview monitor’s position bar: 1. Click and hold on the small box located on the left side of the posi- tion bar. A scale bar pops up. 2. Continue to hold down the mouse button and drag to the left or right to expand or contract the position bar.
Improved Import Settings Controls
The import setting “Import sequential files” has been renamed to “Autodetect sequential files” and is now set by default. With this option set, when a file selected for import is part of a sequence of files, the entire sequence of files is automatically imported. If the option is not set, only the selected file is imported.
Graphics Import Enhancements
Import options “Force to Fit Screen” and “Maintain Aspect Ratio” in the Import Settings dialog box have been replaced by the following three options: • Aspect Ratio, Pixel Aspect: Use CCIR, non-square creates a full- screen image from the import, scaling the graphic if necessary.
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For example, any graphic created using a 3:4 aspect ratio, includ- ing one with square pixel dimensions of 640 x 480 or one with non- square pixel dimensions of 720 x 486, will be imported as a full- screen image. Larger or smaller images, such as a 320 x 240 image, are also scaled to fit the screen. Use this option, which is similar to Force to Fit Screen, if your graphics are correctly sized. • Aspect Ratio, Pixel Aspect: Maintain, square maintains the aspect ratio of the graphic as well as its relative size on screen. If the graphic has dimensions smaller than full screen, or does not have a 3:4 aspect ratio, empty regions of the screen are filled with alpha channel for keying over a background. For example, a square graphic with square pixel dimensions of 320 x 320 will be imported as a square that occupies roughly a quarter of the screen, centered. • Aspect Ratio, Pixel Aspect: Maintain & Resize, square scales the imported graphic to fill the frame, while maintaining the visual square pixel aspect ratio of the graphic (without distorting the visual dimensions of the graphic). For example, a graphic with the 3:4 aspect ratio of the screen, regardless of its size, will be scaled to full screen. A square-shaped graphic, however, will be scaled until the vertical dimension reaches full height of the screen, while the remaining areas on the left and right of the horizontal dimension are filled with black.
Import of small, square pixel graphics has also been improved. In Release 7.0.1, when importing a small square pixel graphic the black border areas would not be keyed out, so the underlying video would not show through the key. Now, when you import a graphic with alpha that has black borders due to importing a small square pixel image, the border regions are automatically created as alpha channel.
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Enhancements to the Fast-Save Option for Titles
You can now load and edit “fast-saved” titles into a sequence. These titles will play as black in the Source monitor, and be labeled as “Media Offline” (if you step into one, the result is a “Media Offline” slide). c Be sure to re-create media for all “fast-save” titles before exporting the sequence using OMF, or before creating any EDLs from the sequence. In addition, avoid putting unrendered rolling or crawling titles into compositions.
In addition, the Bin menu now contains the command “Select Unren- dered Titles.” Choose this command to highlight each unrendered title in the bin.
When you render the selected titles, the label in the bin changes from “(unrendered): Title Type: User Title” to “Title Type: User’s Title” where Title Type is either Title, Crawling Title, or Rolling Title.
In addition, the command Recreate Title Media in the Clip menu is now active when selected bin entries exist. Only the unrendered titles will be chosen from all selected bin entries and will be regenerated using the current compression setting in the Compression tool. After the title media is re-created, the system deletes the unrendered ver- sions of the titles from the bin.
Title Tool Enhancement for Typing Crawling Title Text
A new menu command, Make Crawl in the Object menu, improves the workflow for creating crawling titles in the Title tool by allowing you to create and edit the text on a single page before converting it to a long crawling title in the lower-third region of the screen that extends beyond the Title tool window.
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To use the Make Crawl feature in the Title tool: 1. Click the Crawl [C] button. 2. Select the Text tool. 3. Click in the Title window and start typing text for the crawling title. The text wraps around each time you reach the right margin of the current page of the title. 4. After you’ve finished entering text and making corrections, choose Make Crawl from the Object menu. The text is converted to a single line of text, extending to the right, and the text object is repositioned one pixel above the safe title area on the screen.
Restoring Media with the Avid/Mezzo Archiver Software
You can now restore media files from tape by using the Avid/Mezzo Archiver software while the Avid Media Composer or Film Composer software is running — that is, without having to close and then restart the application during a restore operation.
Previously, when you used the Avid/Mezzo Archiver to restore media files from tape, if the Media Composer or Film Composer application was running, it would attempt to read each of the temporary files cre- ated by the Avid/Mezzo Archiver software during the process and would display an error message repeatedly. You no longer need to close the application to avoid this condition.
Hardware and Software Requirements
The following sections provide information about the operating sys- tem, random access memory (RAM) requirements, required libraries, Avid processor boards, and Avid System Test.
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Macintosh Operating System
Release 7.1 requires one of the following Macintosh operating systems: • Version 7.6.1, 8.0, or 8.1 for the Power Macintosh® 9600 with a 350-MHz, 300-MHz, 233-MHz, or 200-MHz processor • Version 7.6.1, 8.0 or 8.1 for the Power Macintosh 9500 with a 233-MHz, 200-MHz, 150-MHz, or 132-MHz processor c Other versions have not been tested and might cause problems. For more information, see “Verifying the Macintosh Operating System Version” on page 35. c Make sure your drive has sufficient space. Otherwise, the Macintosh might crash if you export any of the following file formats:
Alias® IFF QRT TARGA BMP PCX™ Rendition TIFF Chyron® Photoshop™ SGI Wavefront™ Cineon® Pixar® Softimage® X Windows System® Framestore PNG Sun Raster™ YUV
Ethernet Network
If you have MediaShare™ F/C, the Avid systems in your environment must be connected to a Class C Ethernet network. You can use either a 10 megabits per second (Mb/s) or a 100 Mb/s network.
If you use the AvidNet™ Transfer Tool, your system also must be con- nected to an Ethernet network.
For more information about connecting to a network, see the Avid Media Composer Products Site Preparation, the MediaShare F/C Setup and User’s Guide, and the AvidNet Peer-to-Peer Setup and User’s Guide.
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Built-in RAM
Built-in RAM refers to the physical random access memory installed in your Macintosh system. Memory requirements vary, depending on what applications you are running. Table 2 shows the RAM require- ments for Release 7.1.
Table 2 Built-in Memory Requirements
Installed Application Minimum Requirements
Required:
Media Composer or Film Composera 110 MB
Mac® OS 8.x 17 MB
Digidesign® Audio Engine (DAE) 20 MB (for AudioSuite Plug-Ins)b
Recommended 10 MB free 10 MB
Optional:
EDL Manager 12 MB
AvidNet 10 MB
Help System 3 MB
AVX Plug-Ins 5 MB
Total Minimum 187 MB
Total Recommended 192 MB
a. You can launch Media Composer or Film Composer with less than the required minimum, but optimal performance might be compromised.
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b. Your system is installed with DAE; 20 MB of memory is necessary to accommodate DAE when you launch the Avid Composer system. If you do not plan to use AudioSuite Plug-Ins, you may disable DAE and use its memory allotment for another application. For more information about DAE, see “Digidesign AudioSuite Plug-Ins” in the Avid Media Composer and Film Composer What’s New for Release 7.0.
New memory kits are available from Avid for updating your existing RAM configurations. For details, see your Avid sales representative.
Supported RAM Configurations
Avid always recommends installing the same size and speed RAM from the same manufacturer in paired slots in all Macintosh CPUs. The following RAM configurations are supported.
Macintosh 9600 Macintosh 9500
Type 168 pin, 5 V, 70 ns or 168 pin, 5 V, 70 ns or faster DRAM DIMMs faster DRAM DIMMs Banks 66 Modules/Bank 22 Built-in RAM 00 Standard Configuration 96, 120, or 192 MB 56 MB Largest Chip Size 32 MB 32 MB FPM Yes Yes EDO Yes Yes Mix FPM & EDO No No Parity Not applicable Not applicable Interleaving Yes Yes
To take advantage of interleaving, you must have the same size and speed chip in paired banks.
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Changing the Memory Allocated to the Application
When you install Release 7.1, the “Preferred” default memory setting for the application is 110,000 KB (110 MB). Release 7.1 does not require any more memory than prior 7.x Releases, but performance might be improved. n If you have a system that has less than 192 MB of RAM, change the default memory settings for Release 7.1 back to their original “Minimum” and “Preferred” values. If performance problems persist, you might need to obtain more RAM.
You might need to increase the Preferred size if you are working on large projects with Media Composer or Film Composer.
If you increase the amount of memory allocated to the application, make sure to leave enough memory to run the Macintosh operating system and other applications, such as EDL Manager, AvidNet, and Help. The operating system’s need for memory is dynamic; therefore, the operating system might require more memory when running cer- tain processes.
To change the amount of memory allocated to the application: 1. Click the application icon to highlight it. 2. Choose Get Info from the File menu.
The Media Composer Info or Film Composer Info window opens.
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Minimum size
Preferred size
3. Double-click the number in the Preferred size text box. 4. Type the amount of memory you want to allocate to Media Composer or Film Composer. n Do not set the Preferred size to less than the Minimum size. 5. Click the close box in the upper left corner to close the Media Composer Info or Film Composer Info window.
Troubleshooting Memory Allocation Problems
If you have problems launching or running Media Composer or Film Composer after adjusting the memory allocation, click the desk- top and choose About This Computer from the Apple® menu. About This Computer shows the total built-in memory installed in your sys-
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tem, how much memory the operating system currently is occupying, and the largest unused block.
Depending upon the amount of free memory you have allocated to Media Composer or Film Composer, one of the following problems might occur when you launch Release 7.1: • A screen message warns you to close other applications to make more memory available. For more information on allocating mem- ory to the application, see your Macintosh documentation. • The application might not launch and you might see an error mes- sage stating that the system was unable to load one of the required libraries. The error message indicates that not enough free mem- ory is available to run Media Composer or that the required librar- ies are not installed in the system. For more information on allocating memory to the application, see your Macintosh docu- mentation. For information on installing the required libraries, see “Required Libraries and Extensions” on page 25.
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Requirements for Using AVRs
Avid MediaShare F/C provides a shared storage environment for up to nine Avid systems. MediaShare F/C users can simultaneously play the same shared media files and audio files. Users can also work in a nonshared single-user environment. For the drive striping require- ments to use for different AVRs, see the AVIDdrive Utility 2 User’s Guide.
To minimize the possibility of problems when you work with AVR 75 or AVR 77, observe the following precautions: • Use only striped MediaShare F/C drives. • Render all real-time effects. • Render all real-time audio EQ effects.
Requirement for Using Editcam Media with Release 7.1
If you upgrade to Release 7.1 and need to acquire Editcam™ media with the Desktop FieldPak® Adapter for editing in Media Composer or Film Composer, you must reinstall the Control Panel named Mac-PC Manager™ that allows compatibility between the Desktop FieldPak Adapter and your Avid Media Composer or Film Composer system.
The Mac-PC Manager Control Panel is available on the installer disk that came with the Desktop FieldPak Adapter.
Required Libraries and Extensions
The libraries and extensions in this section must be installed on your Macintosh for the Avid Composer system application to launch.
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The following libraries are installed automatically in the Supporting- Files folder within your application folder during the Easy Install: •AVX •DB •GT • HIIP® •MT •Universal
The following files are installed automatically in the Extensions folder during the Easy Install. • Pinnacle libraries (you need the Pinnacle libraries even if you do not have the 3D Effects option) - PGENIE.NDR -SVI.CF • PIM3.slib • Trillium Utilities
If a library or extension is missing and you attempt to launch the Avid Composer application, an error message appears stating that the required item is missing.
The following files are installed by Apple with the operating system: • ObjectSupportLib • QuickTime Version 3.0 or later • QuickTime PowerPlug
If one of these files is missing and you attempt to launch the Avid Composer application, an error message appears stating that the required item is missing.
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n The QuickTime and QuickTime PowerPlug extensions are also available in the QuickTime folder inside the Utilities folder.
The following additional files are installed automatically in the Exten- sions folder during the Easy Install: • DigiSystem_INIT •AVIDstripe™
If the DigiSystem_INIT is missing, a message appears during startup warning you that you cannot use the audio board. If the AVIDstripe extension is missing, you can launch the application but you will not be able to mount striped drives.
PCI Peripheral Board Revision History
Table 3 lists the minimum revision levels of PCI peripheral boards required to run your Avid Composer system on the Macintosh. To determine board revision levels by using the Avid System Test, see the Avid System Test Setup and User’s Guide.
Table 3 PCI Peripheral Board Minimum Revision Levels
PCI Peripheral Board on a Minimum Level Macintosh 9500 or 9600 System for Release 7.1
Avid video board set B
Betacam video I/O board A
Serial digital video I/O board A
Advanced JPEG interface board A
Advanced JPEG board Aa
Advanced JPEG board with multicam play A
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Table 3 PCI Peripheral Board Minimum Revision Levels
PCI Peripheral Board on a Minimum Level Macintosh 9500 or 9600 System for Release 7.1
2D effects board A
External 3D effects interface board A
Internal 3D effects interface board A
Eight-channel audio board A
Two-channel audio board A
MediaShare F/C controller D
(ATTO) Dual-channel SCSI controller Hardware Rev 2
(ATTO) Single-channel SCSI controller A
(ATTO) Single -hannel differential SCSI controller A
a. You need Revision B or greater of the Advanced JPEG board to play two streams of AVR 75 or AVR 77.
Using the Avid System Test
The Avid System Test, located in the Utilities folder, allows you to view a profile of the Avid system configuration and test system boards. It displays information about the operating system, mounted volumes, system extensions, control panels, and peripheral boards. For information on using this test, see the Avid System Test Setup and User’s Guide.
You can see a visual representation of drive space in the Hardware Tool window. Use Avid System Test to view all other system informa- tion.
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n The Avid System Utility is no longer part of the utilities applications. Board functions that it performed are now performed by the Avid System Test.
Compatibility
This section outlines compatibility issues with prior releases, Avid Xpress™ for Macintosh, Symphony, and Avid broadcast prod- ucts.
Compatibility with Prior Releases
This section addresses ompatibility issues with prior releases and focuses on general issues and effects issues.
General Issues
Release 7.1 is compatible with previous releases according to issues in the following list. • Projects and bins created with Releases 5.01 and later can be used with Release 7.1. However, projects and bins created in Release 4.5 or earlier cannot be used with this release. c Release 5.x user folders are compatible with Release 7.1 and can be brought forward. However, after you open a user setting in Release 7.1, you cannot return those elements to a version earlier than 7.1.
• Media digitized in Release 6.5.3 and earlier cannot be used with Release 7.0 or later without first converting the media. Earlier releases use Media File Manager (MFM), and releases starting with 7.0 use Media Stream Manager (MSM).
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For digitizing instructions, see “Redigitizing Your Material” in Chapter 7 of the Avid Media Composer User’s Guide or Avid Film Composer User’s Guide. You can bring bins forward from Releases 6.5 and 5.5 to Release 7.1; media must be converted by using the Conversion tool in the Utilities folder. This utility works on a per-folder basis for bringing 6.x MediaFiles media into OMFI MediaFiles media. The Conversion tool does not enable 7.1 bins and media to be brought backward to Release 6.5.3. Backward compatibility is available by doing an OMFI export from Media Composer or Film Composer Release 7.1, and importing these files back into Release 6.5.3. OMF file transfer is supported only if both the send- ing and the receiving systems are running OMF Version 2.0. For more information about media conversion, see “Media Conversion tool” in the Avid Media Composer and Film Composer What’s New for Release 7.0. n AVR 70 and AVR 75 files created within Media Composer or Film Composer Release 7.1 cannot be played on Release 6.5.3 systems. Also, OMF export of rolling and crawling titles is not supported in OMF Version 2.0. c Consider finishing any projects digitized on an Avid Composer sys- tem Release 6.5 or earlier system before upgrading to Release 7.1. If you upgrade now, make time to redigitize or convert all your media.
• Site settings from prior releases are compatible with Release 7.1 and can be brought forward. However, once you open a project using the site settings, you cannot return the settings to a previous version. • If you upgrade to Release 7.1, you might notice that some options listed in the Console window in prior releases are no longer dis- played. This occurs because a number of those options are now standard features.
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Effects Issues
Effects in Release 7.1 are designed to conform with Symphony effects. Although most effects created in Release 7.1 are compatible with prior releases, some effects, particularly those using Reverse Animation, will not appear the same if you move them between Release 7.1 and earlier releases. If the effect renders differently, you will have to re-create it for that specific release.
Moving an Effect from Release 7.1 to an Earlier Release
With Reverse Animation enabled, the following effects render differ- ently when you create the effect in Release 7.1 and then view it in an earlier release. (If an effect is not listed, then it looks the same in Release 7.1 and in earlier releases.) • Blend—These effects behave differently: Fade to Color Fade from Color Picture-in-Picture (also behaves differently with Swap Sources) • Box Wipe—All effects • Conceal—All effects • Edge Wipe—All effects • Key—In Reverse Animation, Swap Sources, and Inverse Key, these effects behave differently: Luma Key Matte Key In addition, Chroma Key is not compatible with Release 7.0.2 and earlier. Editing a Release 7.1 Chroma Key in Release 7.0.2 and ear- lier will produce a message. The workaround is to reapply the Chroma Key effect in Release 7.0.2. • L-Conceal—All effects • Matrix Wipe—All effects • Peel—All effects
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• Push—All effects In addition, black filler appears as a different color in these effects: Bottom Left to Top Right Bottom Right to Top Left Top Right to Bottom Left Top to Bottom The workaround is to delete the effect and apply a new Push effect, or render the effect in 7.1 before going back to the earlier release. • Shape Wipe—All effects • Spin—All effects In addition, black filler appears as a different color in these effects: X Spin Y Spin The workaround is to delete the effect and drop another effect on, or render the effect in 7.1 before going back to the earlier release. • Squeeze—All effects
In addition, when you move the following effects from Release 7.1 to an earlier release, they will have these results: • Titles—Might be truncated or might render in a different font • Squeeze Horizontal Centered transposes to Vertical Centered Vertical Centered transposes to Horizontal Centered n Although 3D effects behave the same when you move them from Release 7.1 to 7.0.2, if you then edit the effect in Release 7.0.2, you will receive an error mes- sage. To edit the effect in 7.0.2, you will have to restart the application. This is a known bug.
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Moving an Effect from an Earlier Release to Release 7.1
The following groups of effects created in Release 7.0.2 and earlier will not appear exactly the same in Release 7.1, if they are keyframed and have Reverse Animation enabled: •Blend •Box Wipe • Conceal • Edge Wipe •L-Conceal •Matrix Wipe •Peel • Push • Spin
In addition, when you move the following effects from an earlier release to Release 7.1 they will transpose: • Sawtooth Wipe Horizontal Open transposes to Vertical Open Horizontal transposes to Vertical Vertical Open transposes to Horizontal Open Vertical transposes to Horizontal • Squeeze Horizontal Centered transposes to Vertical Centered Vertical Centered transposes to Horizontal
Compatibility with Symphony
You can move a project between Release 7.1 of an Avid Composer system and a Symphony system. However, you cannot move media
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between them. Instead, you must first move the project and then redigitize the media.
Symphony is not compatible with Release 7.0.x of Media Composer and Film Composer.
For more information, see the Symphony documentation as well as “Your Projects Can Conform with Symphony” on page 5.
Compatibility with Avid Xpress for Macintosh
If you plan to move 3D effects between Avid Xpress for Macintosh and Media Composer systems, use the Xpress 3D Effect category on the Avid Composer system. This is a special category of 3D effects that is compatible with Avid Xpress.
If you use the 3D Warp effect from the Blend category, render the effects in Media Composer before bringing them into Avid Xpress. You cannot further manipulate those effects in Avid Xpress.
Compatibility with Avid Xpress for Windows NT
You can move a project between Release 7.1 of an Avid Composer system and Avid Xpress for Windows NT. However, you cannot move media between them. Instead, you must first move the project and then redigitize the media.
Compatibility with Broadcast Products
Media Composer 7.1 bins and media are not compatible with Avid broadcast products. Additionally, Avid broadcast bins and media are not supported with Media Composer 7.1.
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If you require bin and media compatibility with Avid broadcast prod- ucts, you should continue to use Media Composer 6.5.3.
Bin and media compatibility exists between Media Composer 6.5.3 and broadcast products as shown in Table 4.
Table 4 Bin and Media Compatibility
Standalone Release MediaServer™ Release Products Number Client Products Number
NewsCutter® 3.8.1 or earlier NewsCutter 4.0 or earlier
Single-Channel 3.7.3 or 3.9 or AirPlay 4.0 or earlier AirPlay® earlier
Multichannel 3.7.3 or 3.9.1 or Media Recorder® 4.0 or earlier AirPlay earlier
If you purchased Release 7.1 and require broadcast product compati- bility, contact your Avid sales representative.
Verifying the Macintosh Operating System Version
To find out if you have the correct version of the Macintosh operating system (OS), go to the Finder and choose About This Computer from the Apple menu. The operating system shown in the illustration is Mac OS 8.0.
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If you do not have the correct version of the Macintosh OS, obtain and load the operating system as described in the following section.
Obtaining the Macintosh Operating System
The Avid Media Composer products Release 7.1 CD-ROM does not include a copy of the Macintosh OS software. Two methods are avail- able for getting a newer version of the Macintosh OS: • Install the software from the Macintosh CD-ROM. You receive this CD-ROM when you purchase a new Power Macintosh. Follow the instructions in “Guidelines for Installing the Macintosh Operating System” on page 37 of these release notes. • Obtain the OS from an Apple Computer dealer. Copies are avail- able on CD-ROM.
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Guidelines for Installing the Macintosh Operating System
Use the following guidelines for installing a new Macintosh OS: • Check the internal hard drive and repair any problems by using Apple Disk First Aid™ or Norton Disk Doctor™ Version 3.5.2. c Failure to repair any problems found on the internal drive could result in a corrupt installation.
n Symantec’s Norton Disk Doctor™ Version 3.5.2 will not repair hierarchical file structure (HFS+) problems under Mac OS 8.1. Avid recommends you use the Disk First Aid utility that ships with the Mac OS to repair drive file sys- tems. This does not affect earlier versions of the Mac OS. c Symantec’s Norton Utilities® Version 4.0 for the Macintosh platform can cause your Avid Composer system to crash or can create dupli- cate volumes. Avid recommends that you do not use this version of Norton Utilities.
• Start the Macintosh from the Macintosh CD-ROM and perform a clean system software installation by following the instructions provided in the user guide supplied with the Macintosh. • Make sure the Destination Disk is the internal hard drive (usually named Avid). • Disable the system-wide platinum appearance. See “Disabling the System-Wide Platinum Appearance” on page 47.
Choosing the Avid Drive and Restarting
If you changed your startup disk to install the OS, restart the Macintosh from the internal hard drive, using the following steps: 1. Choose Startup Disk from the Control Panels on the Apple menu. 2. Select the internal hard drive (usually the Avid drive).
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3. Close the window and restart your Macintosh. The system starts up from the Avid drive.
Installing the Avid Composer System Software
You can install the Media Composer or Film Composer on a new sys- tem that has new hardware, or upgrade to Release 7.1 from a PCI sys- tem running Release 6.1 or 6.5. For a list of supported systems, see “Macintosh Operating System” on page 19.
Preliminary Information
Verify that the version of the Macintosh OS is a supported version. See “Verifying the Macintosh Operating System Version” on page 35. New systems are shipped with the current version of the Macintosh OS installed, but you should still verify that you have the current version. c This installation overwrites any prior release of Media Composer or Film Composer software that is loaded. If you prefer, you can save the old release of the Avid Composer system software by renaming the folder on the Avid drive that contains the application. This also saves the old Attic, Settings, and SupportingFiles folders. n If you have problems installing the software when using these instructions, try turning off any virus-checking extensions or other system-monitoring software running on your Avid system. Use the Extension Manager to turn off these applications, and then repeat the installation process.
After installing the software, use the Extension Manager to turn on any virus-checking extension or other system-monitoring software that you nor- mally run on your Avid system, and restart the system.
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Installation Procedure
This section uses Media Composer as an example. Use the same proce- dure for Film Composer installations.
To install Media Composer: 1. Restart your Avid system. 2. Quit any applications that open automatically at startup. 3. Insert the Avid Media Composer Products CD-ROM. The MC/FC 7.1 Installers window opens.
4. Double-click either the MC7.1 (Media Composer) or FC7.1 (FilmComposer) Installer icon.
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A splash screen introduces the Installer.
5. Click “Click here to continue.”
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The Installer window opens.
Avid drive icon
Avid Composer system icon
6. Drag the Avid Composer system icon to the Avid drive icon. The installation takes several minutes. A Restart message appears.
7. Click Restart.
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8. Install the MediaShare F/C software from the MediaShare F/C 2.0 CD-ROM. For installation procedures, see the MediaShare F/C Setup and User’s Guide.
Checking Virtual Memory and Cache Size
You must turn off virtual memory and set the cache size to run the Media Composer or Film Composer software. If you have not already done so, do the following: 1. Choose the Memory Control Panels from the Apple menu. 2. Set the Cache Size to 96K. 3. Turn off virtual memory and close the window. 4. Restart your Macintosh.
Disabling Hard Disk Sleep Mode
The Macintosh OS has an Energy Saver control panel that can put your system, display, or hard drives into Sleep mode when you don’t use them for a designated period of time. If the internal hard drive goes into Sleep mode while your Avid Composer system is running, the system might hang or crash.
Disable the hard disk Sleep mode on your Avid Composer system by choosing Energy Saver from the Control Panels list, and setting “Put the system to sleep when it’s inactive for” to Never.
Custom Installations
You can perform a custom installation to install particular files from the installation CD-ROM. For example, you might want to install only the EDL Manager files. You can also reinstall an individual component of the Avid Composer system if it becomes lost or damaged.
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To perform a custom installation: 1. Open the Avid Composer system Installer window by following the steps in “Installation Procedure” on page 39. 2. Click Show Other Installations.
Click here
The dialog box displays items that can be installed individually.
Avid drive icon
Items you can install
3. Click any item that you want to install. To install multiple items, Shift-select additional items. 4. Drag the highlighted items to the Avid drive icon.
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The system proceeds with the installation. After the installation is complete, the system asks whether you want to install additional items or quit the installation procedure.
Running Updaters
After you install a new release, Avid recommends that you run the EPCI Updater on your SCSI board, the Drive Updater on your hard drive, and the Targa ROMupdater on your video board. They are located in the Utilities folder and will upgrade the firmware to the most recent version.
Avid Software Utilities
Table 5 lists Avid software utilities, current revision levels, and in which folder the utilities are located.
Table 5 Software Utilities Revisions
Software Version Installed Folder Location
Avid Codec (extension) 7.1 System Folder/Extensions and Utilities/Backup System Files
ADU2 2.1 Utilities
AVIDstripe 3.6.2 Utilities/ATTO and System Folder/Extensions
AvidLogExchange 2.8 Utilities/ALE
AVIDstartup_A 2.5 System Folder/Startup Items
Avid System Test 2.01 Utilities/AvidSystemTest
CommCloser — Utilities
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Table 5 Software Utilities Revisions (Continued)
Software Version Installed Folder Location
CompactPro™ 1.51 Utilities/Compact Pro
Conversion Tool 7.1 Utilities/Conversion Tool
DigiSystem_INIT 3.2.2 Utilities/Backup System Files and System Folder/Extensions
Disinfectant 3.7.1 Utilities
Disinfectant INIT (extension) 3.7.1 System Folder/Extensions
Disk First Aid 8.2 Utilities
Display Name Registry 1.0b1 Utilities
Dongle Dumper 4.0.0 Utilities
DriveUpdater 5.7.4 Utilities
EDL Manager 7.1 EDL Manager
EDLxfer 3.2 Utilities
EPCI Updater 1.3.9a3 Utilities/ATTO
FreeTerm 3.0b3 Utilities/FreeTerm
MacsBug 6.5.4a4 System Folder
MediaReaderLoader 1.2.0 Utilities/Media Reader
MoviePlayer 2.5 Utilities/QuickTime
Targa ROMupdater 2.4 Utilities/ABVB Setup
QuickTime (extension) 3.0 Utilities/QuickTime
QuickTime PowerPlug 3.0 Utilities/QuickTime
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Table 5 Software Utilities Revisions (Continued)
Software Version Installed Folder Location
SCSI Probe 3.5 System Folder/Control Panels
StorEx 1.3 Utilities/StorEx
SVI.CF 3.2.0.83 System Folder/Extensions
Vantage™ 1.6.1 System Folder/Apple Menu Items
Vantage Installer 1.6.1 Utilities/Vantage Utilities/External Functions
VXDOSinit 1.0 System Folder/Extensions
Special Notes
This section contains important information about system-level changes that affect the way your Media Composer or Film Composer software and hardware operate.
Overfilling of the Internal Drive with Project Backup Files
In releases earlier than Release 7.0, a total of 30 backup files (.bak) were saved for all projects. The default in Release 7.x is for Avid Composer to save 30 backup files for each project. If you experience disk-full problems—you cannot save a bin or you lose something you thought was saved—your internal disk might be filling up with project backup files.
Since you can delete a project from the Finder, the Avid Composer sys- tem does not know that it should delete the corresponding .bak file from the attic. Therefore, you must manually delete these backup files.
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c When you delete projects from the Composer Projects folder, you must also delete the corresponding project folders from the Attic folder. Otherwise, those orphaned attic folders will contribute to filling up your internal drive because they are not automatically deleted.
Warning Regarding Your Application Key
For information about The application key, commonly referred to as a dongle, attaches to the installing the applica- Apple Desktop Bus (ADB) port on your keyboard and allows your tion key, see the Avid Media Composer Products Avid Composer application to operate. Protect your application key Setup Guide. from loss or theft; your Avid Composer system cannot function with- out it, and acquiring a new key from Avid involves a fee.
Startup Times
Your PCI Media Composer system will take at least 30 seconds from the time you restart the computer to the time it takes to display the Welcome to Macintosh screen. This is normal behavior.
Disabling the System-Wide Platinum Appearance
If you are running Mac OS 8.0 or 8.1, Avid recommends that you dis- able the “System-wide platinum appearance” option in the Appear- ance control panel. The platinum appearance might cause problems with the Avid Composer system graphical user interface (GUI).
To disable the System-wide platinum appearance option: 1. Open the Control Panels folder in the System Folder on the Avid drive. 2. Double-click Appearance. The Appearance control panel appears.
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3. Deselect the System-wide platinum appearance option. 4. Close the Appearance control panel. 5. Restart the Avid system.
Disabling Serial Arbitrator Extensions
The OpenTpt Serial Arbitrator and Serial Port Arbitrator extensions can cause problems when you use the modem port for deck control. The error message “Modem port is in use by another application” might appear.
OpenTpt Serial Arbitrator is installed automatically with Mac OS 8.0 and 8.1. Serial Port Arbitrator is installed as part of Apple Remote Access, an option you can choose when you install the OS.
If the error message appears, restart the Macintosh: 1. Quit the Avid Composer system. 2. Disable OpenTpt Serial Arbitrator and Serial Port Arbitrator with the Extensions Manager. 3. Restart the Macintosh.
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Using the Reveal File Feature
Reveal File allows you to select a clip in a bin and automatically open its related media file. Make sure AppleScript® is loaded and active on the Macintosh before using the Reveal File feature.
Rerendering Effects
When you use the Media Conversion tool to convert MFM files to MSM files, media you created by rendering effects in MFM do not convert to MSM. You need to rerender any effects that do not convert into MSM. All files that do not get converted are logged in the Media Conversion tool log.
Choosing a Controller in the Serial Ports Tool
The Serial Ports tool has changed for Release 7.1. You need to specify a controller type and its serial port if you are going to use a controller. You can specify the AvidDroid controller, the Steenbeck, or the Manual User Interface (MUI). You no longer choose a controller from the Deck Settings dialog box.
Choose a controller.
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For more information about choosing a controller, see “Choosing a Controller in the Serial Ports Tool” in the Avid Media Composer and Film Composer What’s New for Release 7.0.
Video Input Signal for the Serial Digital I/O Board
You can now launch the Media Composer without a video deck con- nected. However, if you want to use the Digitize tool to digitze video, make sure you have a valid video input signal.
On systems that use the serial digital I/O (SDI) board, the video input must be initialized before you digitize material. If a video input signal is not properly connected to the system before you open the Digitize tool, the quality of the video image will be affected either when you monitor the input signal or on digitized images. Make sure the Digitize tool is closed or the Video Track button is not selected when you are not monitoring a tape. n This does not mean the board is bad or needs to be replaced. It simply means that no valid video signal exists on the input side.
To compensate for the lack of input and to ensure proper video input calibration, use one of the following methods: • Connect the video input signal before you open the Digitize tool. • If the Digitize tool is already open, connect the video input signal to the system and then toggle the video track in the Digitize tool to cause the system to reinitialize the video input. c Make sure the Digitize tool is closed or the Video Track button is not selected when you connect or reconnect the video. Otherwise, the system can freeze.
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If you encounter one of the following messages, relaunch the Media Composer: DVR_2490_REG_ERR DVR_22070_REG_ERR DVR_BT281_ERR DVR_DSP_TIMEOUT_ERR
If you are playing a clip or sequence and then click in the Digitize tool, the video might change to black and one of the following messages might appear: DVRVO_BUSY DVROFIFO_BUSY
To refresh the video, click in the Record monitor or replay the media.
Changes to AVIDdrive Utility 2
AVIDdrive™ Utility 2 v2.x (ADU 2) adds support for the Desktop FieldPak Adapter. When you use ADU 2 with the FieldPak Adapter, you can now move the mounted FieldPak to a Raw state (no file sys- tem) and then place a Macintosh file system on the FieldPak. This allows you to use the FieldPak like any other Macintosh hard drive. Later, when you move the FieldPak back to the camera, you must rein- itialize the FieldPak for use with the camera.
Erasing and Partitioning Drives
Use the AVIDdrive Utility 2 to erase and partition Avid iS MediaDrives and MediaShare F/C drives. The utility is described in the AVIDdrive Utility 2 User’s Guide.
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On SCSI-based systems, use the AVIDdrive Utility to erase and parti- tion iS MediaDrives. The utility is described in the AVIDdrive Utility User’s Guide. c Repartitioning your drive will overwrite data currently on the drive.
DigiSystem INIT
The Avid Composer system ships with DigiSystem INIT Version 3.2.2, which you can use with any version of the Avid Composer system on a PCI system. If you install a Digidesign product that uses this INIT, you can alternate between using the Digidesign product and the Avid Composer system without having to rearrange system extensions and restart the system.
Make sure only one DigiSystem INIT is present in the extensions folder. If a difference in the file name exists, such as the presence or absence of an underscore (_), between the words “DigiSystem” and “INIT,” the Digidesign installer will not overwrite Avid’s installer, and both will remain in the extensions folder. You should remove or dis- able the older version by using the Extensions Manager control panel.
VTR Emulation Cable
VTR emulation permits you to use the Avid Composer system as a source for a linear edit controller. It makes the Avid system look like a video deck to the edit controller. This feature requires a special cable, much like the existing deck control cables. For more information, con- tact your Avid sales representative.
For more information on VTR emulation, see Chapter 19 in the Avid Media Composer User’s Guide or Chapter 20 in the Avid Film Composer User’s Guide.
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Transferring Files
Media Composer Release 7.1 includes the new AvidNet Transfer Tool, Version 3.1. In previous releases, this product was called AvidNet Peer-to-Peer. n Version 3.1 of the AvidNet Transfer Tool must be present on both the sending and receiving systems to enable file transfer. For more information on compat- ibility issues affecting transfer, see “Compatibility” on page 29.
Media Composer Release 6.5.3, AudioVision® 3.x and 4.0, and Avid’s broadcast products are equipped with older versions of the Transfer Tool. You must upgrade to Version 3.1 of the Transfer Tool to enable file transfers between these products and Media Composer 7.1. For more information about purchasing the Transfer Tool, contact your Avid sales representative. n If you want to stop AvidNet Transfer Tool from launching automatically whenever your Avid application starts, simply move the Transfer Tool folder to another volume on your computer. To reinstate automatic launch, simply return the folder to its original location.
TCP/IP Settings
If you use AvidNet, or use MediaShare F/C with or without AvidNet, make sure TCP/IP starts before you start the Avid Composer system. This action will prevent TCP/IP from reducing the amount of contigu- ous free memory.
To set the loading option for TCP/IP: 1. Choose Control Panels from the Apple menu. 2. Choose TCP/IP from the Control Panels list. The TCP/IP window opens. 3. Choose User Mode from the Edit menu.
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The User Mode dialog box appears. 4. Select either Advanced or Administration Mode, and click OK. 5. Click the Options button. The TCP/IP options dialog box appears. 6. Make sure that the “Load Only When Needed” option is not checked, and click OK. 7. Close the TCP/IP window. 8. Restart your system. TCP/IP loads automatically.
Three-Perforation Film Stock
Release 7.1 of Film Composer and the Avid Log Exchange (ALE) shot log conversion application now support 35mm film that is shot in three-perforation (3-perf) film format stock.
Custom Installation of EDL Manager Release 7.1
If you have installed previous versions of EDL Manager at other work- stations, be sure to upgrade all copies to EDL Manager Release 7.1.
For PCI systems, you can custom install EDL Manager Release 7.1 directly to a targeted hard drive on systems with a CD-ROM drive. To move the EDL Manager application to a system without a CD-ROM drive, use a file compression application such as CompactPro to com- press the files in the EDL Manager folder into self-extracting archive files. Then copy the files onto diskettes for transfer to another system. Compress the application and supporting files separately. For com- plete EDL Manager installation instructions, see the Avid EDL Manager User’s Guide.
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Norton Utilities
Norton Disk Doctor can be used to correct hierarchical file structure problems and to locate problem media files on media drives. n Under Mac OS 8.1, Symantec’s Norton Disk Doctor Version 3.5.2 will not repair hierarchical file structure (HFS+) problems. This does not affect HFS Standard format. c Symantec’s Norton Utilities Version 4.0 for the Macintosh platform can cause your Avid Composer system to crash or can create dupli- cate volumes in the user interface. Avid recommends not using Ver- sion 4.0 of Norton Utilities.
Install Norton Utilities Version 3.5.2. Perform a custom installation and install only the Repair and Recovery Utilities, and the Startup Disk Builder.
If any of the following Norton Utilities are installed, disable them: • FileSaver™ • DiskLight™ • Norton CrashGuard • Fastback Scheduler • Backup Scheduler • Partition Extension
To disable the Norton Utilities: 1. Choose Extensions Manager from the Control Panels list. 2. Click the utility name so that the check mark disappears. 3. Restart the system.
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c Do not run Speed Disk™ (or any other similar programs that defrag- ment or optimize drives) on hard drives that contain Avid media files because it can corrupt the files, leaving them unusable. n You can run Norton Disk Doctor and Speed Disk on the internal hard drive. Always backup your data first.
c Make sure to check for viruses on a regular basis.
Avid Codec, AVRs, and Compression Ratios
Avid Codec Version 7.1, which is new in Release 7.1, is supported on the Power Macintosh platforms, but is not supported on Macintosh systems that contain the Motorola® 68K processor. n If your Macintosh has the 68K processor, you can continue to use the previous version of the codec, which was called the Media Composer QuickTime Codec, but you will not be able to access media from Symphony systems.
The new Avid Codec supports AVR 2s through AVR 77, as well as compression ratios that are compatible with those of Symphony.
Compression ratios compatible with Symphony use the notation x:1. The value of x indicates the level of compression that is applied to the image data. For example, a 3:1 ratio compresses the original data to one-third of its uncompressed size. A lower number to the left of the colon indicates a lower compression ratio. The new Avid Codec offers three groups of compression ratios: • Single-field — 15:1s, 4:1s, 2:1s • Two-field — 20:1, 3:1, 2:1 • Uncompressed — 1:1
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The Avid Codec can encapsulate media files for import from and export to QuickTime applications or Symphony systems, which use the AVI file format.
Third-Party Fibre Channel
Avid does not support third-party Fibre Channel products with Media Composer or Film Composer Release 7.1.
MediaShare SCSI
MediaShare SCSI has not been qualified for use with Media Composer or Film Composer Release 7.0 or 7.1.
Viewing Disk Space Statistics
Turning off disk space calculation increases the speed at which new bins open and are saved. Your application launches with disk space calculation turned off.
To view statistics on the calculation of disk space for your current session: 1. Choose Console from the Tools menu.
To turn off disk space 2. Type the following command in the text box: calculation after turning it on, type togglestatspace togglestatspace again in the Console Disk space statistics for the current session appear in the current text box. session file. You can find the file in the Statistics folder within your project folder. For more information on viewing statistics, see “Info Display Changes” in Chapter 2 of the Avid Media Composer and Film Composer What’s New for Release 7.0.
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Replacing Clips That Contain Invalid Data
This release fixes a problem that sometimes occurred when you used either Media Composer or MediaLog™ to log clips without a deck connected to the system. The problem included the following behaviors: • Setting the Deck Preference “When no tape in deck log as Drop Frame” and then attempting to log clips to a source tape would result in either non-drop-frame timecodes or the error SM_DF_NDF_MISMATCH. • Logging clips to a source tape that was created in a previous log- ging session would result in the error SM_DF_NDF_MISMATCH. • Importing an ALE file with clips that belong to a source tape that was created in a previous logging session would result in the error SM_DF_NDF_MISMATCH.
Release 7.1 fixes these problems. However, if you are still receiving the SM_DF_NDF_MISMATCH error when you attempt to log or digitize additional clips from the same source tape, your clips might have invalid data on them (because the clips were generated using a release that contained the bug).
To resolve the problem and to replace the bad clips with good ones: 1. Identify the name of the source tape on which you are unable to create new clips (either by logging or digitizing), for example “Tape 001.” 2. Create a new bin for temporary use. 3. Find all the clips that come from the problematic source tape and copy them into the new bin. 4. Activate the new bin window and select the Headings item under the Bin menu. 5. Choose Select All to display all the bin headings for the new bin; this will prevent you from losing data such as auxiliary timecodes and key numbers associated with the source tape.
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6. Select all the clips in the bin and export them as a shot log. 7. Go to the Tape Select dialog box in the Digitize tool and edit the tape name from “Tape 001” to something else that you will not be using, such as “Tape 001 unused.” You can verify that the name has been changed by activating the new bin window and using the Tidy Up Columns command from the Bin menu to refresh the bin display; the modified tape name should appear in the Tape col- umn. 8. With the new bin still active, import the shot log that you just cre- ated, making sure that none of the import options for combining or merging events are selected.
When the import is complete you will have a new set of clips that refer to the original source tape but are separate from the original clips. The clips that have “Tape 001” as their source tape are the good clips and the ones that have “Tape 001 unused” as their source tape should be discarded.
Recording with a TAO Media Systems Device
Previously, a timecode issue affecting the L-Port422 model from TAO Media Systems would not allow you to properly control a Control-L camcorder or VCR. Release 7.1 now allows you to load a new machine template and use the L-Port422 to control devices that use the Control-L protocol, including many DV and Hi-8 camcorders and VCRs. c The machine template for use with the L-Port442 has not been fully tested at this time and is not supported by Avid.
• For more information on the L-Port422, you can visit the TAO Media Systems Web site at: http://www.taosys.com. • To acquire the latest machine template for use with the device, contact Avid Customer Support.
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Documentation Changes
This section describes errors and additions to the documentation since Release 7.0.
Changing Project and User Names
The Help system as well as Chapter 1 of both the Avid Media Composer User’s Guide and the Avid Film Composer User’s Guide describe the pro- cedure for changing project and user names. The procedure errone- ously states that the system automatically renames files within the folder. c When you change a user name or project name, make sure you change the name of the folder and all files in the folder that have the old name. The system does not automatically change the names of corresponding files in the folder.
Deleting Slates, Takes, and Script Marks
Chapter 11 of the Avid Media Composer User’s Guide and the Avid Film Composer User’s Guide describes the deletion of slates, takes, and script marks from the script window by using script integration.
You cannot undo deletion of slates, takes, and script marks.
To restore one of these elements after deletion, follow the instructions in Chapter 11 for adding slates to the script window, adding takes to slates, or applying script marks to takes.
Putting a Subclip in a Bin
The shortcuts section of the Avid Media Composer and Film Composer Quick Reference states that using the “Option + Subclip” key combina-
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tion will put the subclip into the last selected bin. Instead, using this key combination will display a dialog box. From the dialog box, you can choose where you want the subclip stored.
MultiCamera Mode
The MultiCamera Mode section of Chapter 18 of the Avid Media Composer User’s Guide and Avid Film Composer User’s Guide describes what to do after loading a “group clip” into the Source monitor. This should say what to do after loading a “multigroup clip” into the Source monitor.
Interpolating Position for Script Integration
Interpolate Position is a new option in the Script menu and in the Script Settings dialog box. Use this option to match a clip to a take, and to see where a particular line in the script would appear in the clip footage.
When you turn on Interpolate Position, the length of the take in the script is matched to the length of the clip in the Source monitor. The position indicator in the Source monitor corresponds to wherever you click in the take.
If you set a script mark in the take, the portions of the take on either side of the script mark are matched to the portions of the clip on either side of the IN mark in the Source monitor. For more information about scripts and script marks, see Chapter 11 of the Avid Media Composer User’s Guide and the Avid Film Composer User’s Guide.
To turn on Interpolate Position, do one of the following: • Choose Interpolate Position from the Script menu. • Choose Script from the Settings scrolling list in the Project window, click Interpolate Position, and then click OK.
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Click here.
Avid System Utility
The Avid System Utility is no longer part of the utilities applications. Board functions that it performed are now performed by Avid System Test. Therefore, board functions described in “Chapter 4, Avid System Utility” in the Avid System Test Setup and User’s Guide, are now per- formed by Avid System Test.
Getting Started Guide and Tutorial
Significant changes were made in timecode for the PAL tutorial. In addition, one page needs to be updated for both NTSC and PAL customers.
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PAL Customers Only
Please use the following timecode changes when you go through the tutorial. The new PAL timecode changes are underlined. The page numbers refer to the hardcopy version of the book.
Page 7-13
Step 6 should read “Mark an IN point in the first half of the clip, 18 frames (4 seconds for PAL)...”
Page 7-15
Table 7-2, Mark Points for Boat Shop Clips, should read:
Clip Name Mark IN Point Duration
draw knife cu 05:02:08:09 1:16 (NTSC) 1:13 (PAL)
chiseling 04:11:34:22 00:16 (NTSC) PAL 04:11:36:21 00:13 (PAL)
hammering 04:05:10:08 1:00
drilling 04:04:47:25 1:00 PAL 04:04:48:21
planing cu 04:10:05:17 2:00 PAL 04:10:07:04
planing ms 04:09:24:00 3:19 (NTSC) PAL 04:09:25:14 3:16 (PAL)
sanding 04:06:52:03 3:12 (NTSC) 3:10 (PAL)
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Clip Name Mark IN Point Duration
wood burning 04:14:24:02 6:15 (NTSC) 6:12 (PAL)
two dories 01:11:03:03 1:22 (NTSC) PAL 01:11:04:10 1:18 (PAL)
rowing in mist 01:02:38:29 1:22 (NTSC) 1:18 (PAL)
dories ws 01:06:38:26 4:00
dories to models 04:25:22:28 3:23 (NTSC) 3:19 (PAL)
sign 05:06:52:01 10:00 (NTSC) PAL 05:06:44:07 10:00 (PAL)
Page 7-19
Step 5 should read “Open the draw knife ms clip in the Source moni- tor and mark an IN point around 2.5 seconds (7.5 seconds for PAL)...”
Page 7-24
Step 7 should read “Click the Trim Right One Frame button under the Source monitor until you hear a change in loudness around the sev- enth frame (third frame for PAL)...”
Page 9-15
Step 3 should read “Set an IN mark at 00:00:02:12 (at the beginning of the clip for PAL).”
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PAL and NTSC Customers
The changes are underlined.
Page 8-17
For both PAL and NTSC customers, make the following changes: • Step 4 “Click in the Record monitor, then type +1:00 on the numeric keypad...” • Step 9 “Click in the Record monitor, then type –15 on the numeric keypad...” • Step 11 “Drag the Level slider all the way to the right to display 100.
Using the Media Conversion Tool
This section describes the correct use of the Media Conversion tool, and includes a list of restrictions and special considerations.
To convert media: 1. Double-click the Conversion tool application icon located in the Conversion folder of the Utilities folder on the Avid drive (the sys- tem’s internal drive). 2. Click the Source folder Find button to navigate to the folder of files you want to convert. 3. Locate the 6.x MediaFiles folder or the OMFI MediaFiles folder you want to convert on your media drive. 4. Click the Destination folder Find button to navigate to the media drive where you want the converted files to go. n If you select just the media drive (without selecting a folder), an OMFI MediaFiles folder will be created for you.
5. Select a Source Format and a Destination Format.
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n If you select MFM Media as your source format, MSM Media becomes your default Destination Format.
6. Choose the Audio and Video format. When the Destination For- mat is MSM Media, the defaults are already selected. 7. Click Convert to convert the media files. A progress bar appears. 8. When the conversion is completed, select another folder to convert or click Quit to exit the tool. The Media Conversion tool creates a log file in a folder labeled Logs inside the Conversion folder in the Utilities folder. This log of the converted files can be read using any word processing or text editing software package such as SimpleText.
Tips and Guidelines for Media File Conversion
Consider the following tips and restrictions: • All the files must be in either MSM or MFM format. Do not mix files of different types in the Source folder for conversion. • The media drive where you create the Destination folder for the converted files must have at least as much available storage space as the size of your Source folder containing the original files. • Consider using a media drive for the Destination folder for the converted files that does not already have an OMFI MediaFiles folder to allow the system to automatically create an OMFI Media- Files folder for the newly converted files. • If a number of errors occur in the conversion process for no appar- ent reason, consider splitting the source files up into smaller groups in separate folders, and convert the folders one at a time. • Most precompute media files for effects won’t convert. • If an audio file in the AIFF format does not convert correctly, con- sider reimporting the audio file in the SD2 format, and reediting the file into your sequence.
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• After converting, relink all the master clips first, before relinking sequences. • Occasionally, clips edited into a sequence from other projects or clips that have had their tape names modified will not convert properly.
Choosing the Audio File Format
Choosing the Audio File Format sections of the Avid Media Composer User’s Guide (page 6-28) and the Avid Film Composer User’s Guide (page 6-30) list that audio is written in the chosen file format when you “Import files by using the Import dialog box.” This is incorrect. An audio file retains its format when imported.
Calibrating Global Output Levels
The caution at the top of page 19-20 in the Calibrating Global Output Levels sections of the Avid Media Composer User’s Guide and page 20-11 of the Avid Film Composer User’s Guide should say: c You should leave the output level at the default setting of 0 dB. Adjust the level only when necessary to raise or lower the overall volume based on the headroom parameters of the record format, or consistently overmodulated or undermodultated source material. This affects all channels regardless of hardware.
AudioSuite Plug-ins and Time Compression/Expansion
Appendix A of the Avid Media Composer User’s Guide states that you should not use any Digidesign AudioSuite Plug-ins that use time com- pression because the output would have a different sample duration than the original file. You can use the time compression/expansion plug-ins as long as you perform an audio mixdown on the results. The reasons for this are described in the following paragraphs.
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The problem stems from the fact that the length of the audio segment does not change. Specifically, when performing time expansion, the audio portion that is expanded past the length of the audio segment is truncated. Time compression, pads out the remaining length of the file with silence.
If you use time compression (for example, to speed up the audio), you should trim out the silence. However, if the time compression Audio- Suite effect should ever become unrendered, rerendering the effect reintroduces the silence. This means that you would have to re-create the effect from scratch. Therefore, Avid recommends performing an audio mixdown of the time compression effect before continuing to edit.
Importing Audio Files to Pro Tools or AudioVision
This section describes how to import audio files to Pro Tools® and AudioVision.
Media Composer products and Avid Xpress support both AIFF and Sound Designer II (SD2) audio file formats. If you know that you will be exporting audio files to Pro Tools or AudioVision, make sure you use SD2 format.
Exporting SD2 Audio Files to AudioVision
If all of your audio files are in SD2 format, use the following proce- dure: 1. Choose Export from the File menu. 2. Choose OMFI Composition. 3. Change the top pull-down menu on the Export dialog box to AudioVision. The system displays the default settings.
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With Media Check Box
When you choose SD2 or AudioVision from the menu, the With Media check box is selected and inactive. This means that the OMF composi- tion contains links to the media files created by Media Composer or Avid Xpress. You will need to bring the drives to the AudioVision system. Either rename the OMF MediaFiles folder to MediaFiles or place the OMF MediaFiles folder inside the MediaFiles folder on the AudioVision system.
If you plan to use the video on the AudioVision system, convert the video by using the Media Conversion tool. In the Media Conversion tool, perform an MSM to MFM conversion and select the Video format only. For a description of the Media Conversion tool, see the Avid Media Composer and Film Composer What’s New for Release 7.0.
Exporting SD2 Audio Files to Pro Tools
If all of your media files are in SD2 format, use the following proce- dure: 1. Choose Export from the File menu. 2. Choose OMFI Composition. 3. Choose SD2 from the top pull-down menu. 4. Choose Version OMFI 2.0.
When you choose SD2 or AudioVision from the pull-down menu, it means that the OMF composition contains links to the media on the drives. Bring the drives to your Pro Tools system. Do not change the names of any folders or directories that contain the media files.
Before you use the files in Pro Tools, you need to process them with OMF Tools 2.0.4. For information on this product, see the Digidesign Web site at http://www.digidesign.com.
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Exporting AIFF Audio Files to AudioVision
If your media files are AIFF or a mixture of SD2 and AIFF, use the fol- lowing procedure: 1. Choose Export from the File menu. 2. Choose OMFI Composition. 3. Change the top pull-down menu to Standard-AIFC. 4. Choose Audio Only from the second pull-down menu. 5. Choose Version OMFI 1.0. 6. Make sure that With Media is checked.
When you choose Standard-AIFC from the pull-down menu, With Media means that the OMFI file that gets created will have both the SD2 and AIFF audio media embedded in it.
If you plan to use the video on the AudioVision system, convert the video by using the Media Conversion tool. In the Media Conversion tool, perform an MSM to MFM conversion and select the Video format only. For a description of the Media Conversion tool, see the Avid Media Composer and Film Composer What’s New for Release 7.0.
Exporting AIFF Audio to Pro Tools
If you have AIFF audio or a mixture of AIFF and SD2 audio, use the following procedure: 1. Choose Export from the File menu. 2. Choose OMFI Composition. 3. Change the top pull-down menu to Standard-AIFC. 4. Choose Audio Only from the second pull-down menu. 5. Choose Version OMFI 2.0. 6. Make sure the With Media box is checked.
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When you choose Standard-AIFC from the pull-down menu, With Media means that the OMF file that gets created will have both the SD2 and AIFF audio media embedded in it.
Before you use the files in Pro Tools, you need to process them with OMF Tools 2.0.4. For information on this product, see the Digidesign Web site at http://www.digidesign.com.
Importing Photoshop Files with Transparency
Release 3.0 and later of Adobe® Photoshop allow you to create a trans- parent background for an image by turning off the background layer before saving in the Photoshop file format (.ps). However, the transparency in such images does not import correctly into Media Composer products.
To import graphic images that include regions of transparency from Photoshop into Media Composer products, create a fourth alpha chan- nel before saving the file. For more information on creating alpha channels, see the Photoshop documentation.
Reimporting an OMF Composition with Media
If you want to reimport an OMF composition with media at a new AVR, you must first delete all the media created when you imported the composition the first time.
To reimport an OMF file with a new AVR: 1. Open the bin containing the previously imported sequence. 2. Choose Set Bin Display from the Bin menu and select the Show Reference Clips option. 3. Select the sequence and all master clips associated with the sequence. 4. Press the Delete key.
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5. In the Delete dialog box, make sure all the clips and media files for the sequence are selected, then click OK to delete them. 6. Import the OMF file again using procedures described in the Avid Media Composer User’s Guide or the Avid Film Composer User’s Guide.
Film Composer Help System Correction
In the Film Composer Help, the descriptions of Film Rate and Video Rate are reversed in the topic “Choosing Film Rate Options in the Dig- ital Cut Tool.” The correct wording is as follows: • Film Rate (100%) simulates the telecine pull-down process for NTSC output, slowing the play rate and adding fields to adapt the 24-fps film rate to a 29.97-fps video rate. Use this option with the Pull Down switch on the Video Slave Driver™ set to x0.99. • Video Rate (100%) outputs the video synced to a normal film pro- jection rate for the audio (with no pull-down). The system drops approximately 1 frame for every 1000 frames to simulate a full 30-fps (rather than 29.97) playback rate to sync with 44.1 kHz or 49 kHz audio output. Use this option with the Pull Down switch on the video Slave Driver set to x1.00. This is useful, for example, in sound stage productions needing to playback 24-fps sound in sync with 24-fps video, when outputting a 24-fps film sequence to 25-fps PAL videotape, or when output- ting video for syncing with full-projection rate audio in AudioVision.
Picture of Keyboard
The Avid Media Composer and Film Composer Quick Reference has an incorrect picture of the keyboard. To see a picture of the current key- board, chose Keyboard from the Settings scroll list in the Project window.
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Turning Off Word Stemming in the Help System
The Find function of the Avid Composer Help system gives more com- plete results if the Word Stemming option is turned off.
To turn off Word Stemming:
1. With an Avid Composer system window active, click the question mark in the menu bar and choose Media Composer or Film Composer Help. 2. Go to the Find tab. 3. Click the Options button. 4. Deselect the Word Stemming option. 5. Click OK.
Transferring Help to Another Macintosh
You can copy the Help files to another Macintosh system, such as a PowerBook, and then use the Help independently of the Avid Composer system. You need the following: • 10 MB of hard disk space for Media Composer • 13 MB of hard disk space for Film Composer
To copy Help from the Avid Composer system to another Macintosh system: 1. Create a new folder on the target Macintosh system to which you are copying. 2. Copy the following files to the new folder: • mchelp.hlp (for Media Composer) or fchelp.hlp (for Film Composer) Both files are in the Help folder in the Avid Composer folder • mchelp.cnt or fchelp.cnt (also from the Help folder)
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• QuickHelp (from the System Folder) • QuickHelp Preferences (from the System Preferences folder) 3. On the target Macintosh, move QuickHelp to the System folder and move QuickHelp Preferences to the System Preferences folder. 4. Start Help by double-clicking on the mchelp.hlp icon.
If you have a problem starting Help: 1. Launch QuickHelp by double-clicking the QuickHelp icon. 2. Open mchelp.hlp or fchelp.hlp from the File menu.
Fixed Bugs
Known bugs that have been fixed are listed in this section. ✔ The deck control shuttle slider, in the Digitize tool, would not easily attain 1x shuttle speed. This has been fixed. Now, if the shuttle speed is close to 1x, the slider will “snap” to 1x. ✔ Cut lists for sequences composed of subclips were displaying incorrect clip names; the name of the first subclip was used for all subclips. This has been fixed. ✔ In some instances, when a Transition effect was applied to a clip as Segment effect, it would appear in the Optical list portion of cut lists as Roll/Crawl Title. This problem has been fixed. ✔ Digitizing audio-only clips via DIGITAL (in PAL film projects, 24 and 25 fps) no longer causes the message “Waiting for stable audio clock.” ✔ Importing QuickTime movies with alpha channels was taking too long. This problem has been fixed.
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✔ When attempting to open some bins from versions earlier than 7.0, the system would crash. This problem has been fixed.
✔ Digitizing audio only was offset from the timecode between 0.16 of a frame to 0.50 of a frame. The offset occurred regardless of digitizing on-the-fly or with a mark IN point. This problem has been fixed. ✔ An error occurred in the user parameter list when you added mark IN or mark OUT in the Source monitor if the clip already had marks. This problem has been fixed. ✔ Creating a title, saving it as unrendered, and then loading the unren- dered title into the Source monitor caused problems: an error dis- played regarding creating files in the OMFI MediaFiles directory; and temporary (tmp) files of 0 KB size were listed in the same level as the OMFI MediaFiles folder. This problem has been fixed. ✔ In Multicamera, if you digitize over timecode breaks, the clips that were created were too long, which caused the message DIGITIZE_TOO_SHORT. This problem has been fixed. ✔ Keycode counts were limited by the present maximum of 9000+01 feet in 3-perforation projects. This also caused Shot log import as well as cut list problems. This problem has been fixed. ✔ In some instances, digitizing a clip on-the-fly in Capture mode, load- ing the clip into the source (while still in Capture mode), playing the source clip, and then putting the deck in play, caused an error as soon as you pressed the digitize button. This problem has been fixed. ✔ The second field of video line 21 is black on Genie 3D effects board systems. This problem has been fixed.
✔ Phantom add edits are no longer intermittently being generated in segment mode editing
✔ Previously, you could not “fast save” a title after modifying it in the Title tool. This problem has been fixed.
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✔ Setting the deck preroll for longer than 10 seconds was unavailable in Release 7.0.x. This feature is now available.
✔ OMF 2.0 audio tracks now import correctly. Previously, tracks contain- ing fades and automation gain lost information and changed the dura- tion of the sequence on import. ✔ Previously, in the Title tool, when you created a multiple line title, adjusted its leading and kerning, and then created another object, you could not group the objects without causing the leading and kerning to disappear. This problem has been fixed. ✔ After editing a title and trying to save it, an insufficient space message (LVG_INSUFFIENT_SPACE) appeared. If you tried to save the title to another drive, the title did not save and Media Composer exited the Title tool. This problem has been fixed. ✔ Variable-speed play and mouse shuttling no longer produce the “JPEG_cons_av” error.
✔ The waveform and vectorscope areas in the Video Input tool now redraw themselves after Media Composer is hidden and then unhid- den or after a window is placed over those areas. ✔ When playing back a video track (at 60 fps or higher or –30 fps or higher) and one or more audio tracks in a sequence, the error DIGI_INIT_OVERRUN is no longer produced. ✔ Previously in the Consolidate dialog box, if you selected “Delete original media files when done” for imported audio (AIFF or QuickTime) and then you clicked Cancel, the result was a broken link between the master clip and associated media files. Attempting to relink was not successful and the associated media files appeared in the Media tool, but the master clip did not appear in the Media tool. Additionally, attempting to play back any sequence containing the affected clips resulted in the error PMM_Insufficient_Media. This problem has been fixed.
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✔ In some instances, if a sequence containing a group clip was consoli- dated to a drive other than the original media drive, the new group clip created would not link to the media made during the consolida- tion process but instead linked to the original media files. This prob- lem has been fixed. ✔ Previously, exporting a QuickTime file in two-field resolution and using Animation or None compression appeared to have duplicated fields. This problem has been fixed. ✔ In Media Composer AVR 12 is not an option in the Compression Tool dialog box on Media Composer Offline systems.
✔ Locked volumes were incorrectly allowing write access in actions such as render, digitize, consolidate, and import. Consequently you were erroneously allowed to select one of these locked volumes, which resulted in the message “Volume full” instead of “Volume locked” being displayed. This problem has been fixed. ✔ Previously, two dissolves rendered from the same sequence produced identical names if rendered to different volumes. If rendered to the same volume, a number would be added to the name. Both situations prevented you from copying media and thereby destroying media. This problem has been fixed. ✔ Exporting a PICT (multiple clip) sequence stopped in the middle and produced an error message. Then, trying to quit Media Composer pro- duced the message “Error Occurred During Exit Method.” This prob- lem has been fixed. ✔ Using the J-K-L keys to play back media resulted in stutters and jumps, which did not allow you to easily find sections or mark an accurate IN point. The performance has been fixed. ✔ The Title tool display window was off by several scan lines. This prob- lem has been fixed.
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✔ Cutting an unrendered fast-save title into a sequence and exporting an OMF composition of that sequence, produced an error message. This problem has been fixed. ✔ If you do not have the MultiCamera option, MultiCamera Mode is no longer listed on the Special menu.
✔ In some instances, track buttons in the Timeline had an unusual appearance. This problem has been fixed.
✔ Previously, when converting an ALE file to an ATN file where the log represented a transfer done at 24 fps, the output ATN file contained incorrect header information relating to the telecine speed and audio timecode rate. This problem has been fixed. ✔ J-K-L scrubbing for systems that have either internal or external 3D effects interface hardware now works in reverse or above 1x; it plays frames at a rate comparable with previous releases when scrubbing outside an effect. Scrub through an effect is unchanged. ✔ Previously, when exporting for AudioVision with media, the “With Media” option would be checked and dimmed. It would place links to SD2 files in the exported OMFI file, creating SD2 files if necessary. Now the “With Media” option will embed AIFF audio into the exported OMFI file. Unchecking “With Media” will place links to SD2 files in the exported OMFI file, creating SD2 files from AIFF files if necessary. ✔ AudioVision can now use all AudioVision OMFI audio exports.
✔ Mixed down audio media can now have track labels from 1 to any number; linking will be done correctly.
✔ In some instances, a possible slowdown in the Media Composer occurred as the number of files in the Project folder increased. This problem has been fixed. Media Composer no longer scans the Statis- tics folder for new bins and projects. Also, a fixed limit of 25 has been
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imposed on the number of Statistics files that any project retains. When the limit is reached, Media Composer deletes the oldest file over the limit. To keep older files, you must archive them manually. ✔ The Timeline now maintains its zoom setting between edits, and the position indicator centers itself in the Timeline. Previously, if you man- ually adjusted the zoom of the Timeline to view a specific portion of the sequence, the zoom setting would be lost after the next edit. ✔ Previously, if you opened a copy of a project that had open bins, the original bins opened instead of the copies, and were listed in the “Other Bins” italic folder. If the originals were not found, the copies still would not be opened automatically. This problem has been fixed. Now, copied projects (such as backed up, or put on CD) that have open bins will open the correct copied bins, rather than attempting to open the original bins. In addition, folders that are open when the project closes will preserve that open state. ✔ Previously, batch digitize did not always load the correct video input setting. Now, the application always loads the video input setting that has the same name as the tape, if a name exists, even when the tape is already in the deck. If a setting of the same name is not found, or a set- ting named “Default” is not found, the application leaves the Video Input tool controls alone; you can set them as you like. ✔ Previously, using the Media Conversion tool for AudioVision did not always relink the audio media after being converted. This problem has been fixed. Consider the following guidelines: • When you convert from Media Stream Manager (MSM) to Media File Manager (MFM) media, select AIFC as the audio format. • Drag the original audio files to the MediaFiles folder in an audio drive. • Drag the converted video media files to a MediaFiles folder in a video drive.
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✔ In some cases, the system froze when it rendered a software Picture-in-Picture effect. This problem has been fixed.
✔ Previously, inverting Chroma Key and Luma Key effects did not work. This problem has been fixed.
✔ Previously, inverting Picture-in-Picture when used as a transition effect did not work correctly. This problem has been fixed.
✔ Previously, the real-time Chroma Key effect became a non-real-time effect after restarting the system. This problem has been fixed.
✔ Previously, fade effect level percentage values were not being dis- played in cut lists. The values have been restored.
✔ When the application is launched, the Console window no longer dis- plays instances of the error message “Version Numbers in VERS resource do not match GET INFO string.” ✔ Previously, the Cross-Platform option for exporting QuickTime movies resulted in movie files that were incompatible with other operating systems. This problem has been fixed. Now, movies can be stored on non-Macintosh servers, and played or manipulated on other operating systems that support QuickTime. ✔ In some instances, the error message CRUMB_WRONG_PARENT appeared after a series of steps involving adding a locator to a master clip, editing it into a sequence in a different bin, closing the bin, consolidating the master clip, and then quitting and restarting the Media Composer. This problem has been fixed. ✔ Printing out the Locators window if it contained more than seven loca- tors, dropped every eighth locator. This problem has been fixed
✔ Rendering audio effects in a 4-perforation film project caused the mes- sage CM_OFFSET_OUT_OF_RANGE. This problem has been fixed.
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✔ In some instances, batch digitizing caused the error message TC_UNEXPECTED_PHYSMOB. This happened when the option “Digitize the tracks logged for each clip” in the Digitize Settings dialog box was not checked and when the track lights selected did not select all tracks in the clip being digitized. This problem has been fixed. ✔ Some combinations of OMF import or export, coupled with ejecting drives, changing projects, opening and closing bins, and deleting the imported clips could cause the application to crash. This problem has been fixed. However, to reimport a master clip with media, you must first delete the given master clip from all open bins. ✔ In some instances, overlapping numbers and other font and character problems have occurred in the Timecode Display window. These prob- lems have been fixed. ✔ Rendered or previewed audio for any given AudioSuite effect appeared to come from an earlier part of the original master clip. This problem has been fixed. Now, the correct samples are processed. ✔ After copying files on the desktop level, or other actions that cause media creation or deletion, volumes on the desktop could not be ejected. The system had not completely closed all the files on the drive to be ejected. This has been fixed. ✔ Relinking media of master clips and sequences sometimes caused the application to crash. This has been fixed. Now, relinking will link the master clips first and then the sequences. ✔ Imported Matte keys now correctly switch to non-real-time when the position parameter is changed.
✔ Previously, the Client Display always showed the marks and grids along with the video output. This problem has been fixed. Now a new check box on the Interface Settings allows you to show or hide these marks and grids.
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✔ In Releases 7.0 through 7.0.2, the Horizontal, Vertical, Horz Open, and Vert Open were incorrectly named. They have been renamed correctly to Vertical, Horizontal, Vert Open, and Horz Open, respectively. ✔ In some instances, batch digitizing audio-only clips in PAL method 2 film projects caused an error message (DIG_TOO_SHORT). This has been fixed. ✔ Previously, when you batch digitized clips at AVR 2s, the first clip dig- itized at AVR 2s but then the resolution switched to 2m for the remain- ing clips. This has been fixed. ✔ Previously, inserting an edit to tape produced a duplicate field at the IN point when the tape was played back. This has been fixed.
✔ Previously, when you copied media from one drive to another while the application was running, rebuilding the database did not always allow the media to be available for relinking. This has been fixed. ✔ Previously, bin images in Frame mode were not being updated when a drive was ejected or mounted. This has been fixed.
✔ Previously, if a Media Reader was connected to a Media Composer system (that did not have the Film option), decoding VITC informa- tion during digitizing caused the Media Composer to crash. This prob- lem has been fixed. ✔ Previously, if you worked in a PAL film project and used the Media Reader to decode a 24-fps timecode into the Film TC column, the timecode that displayed in the Film TC column was 25 fps rather than 24 fps. This problem has been fixed. ✔ Sliders for AVX plug-in effects were not displaying correctly when the value changed. The older value was written over by the newer value resulting in an unreadable number. In some cases, the minus sign was left behind when moving from negative to positive numbers. Also, when manually entering a value for sliders, decimal points were not understood. These problems have been fixed.
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✔ Previously, in the Effect Editor, enabling a group within a parameter pane did not perform as expected for AVX plug-in effects. This has been fixed. ✔ For AVX effects that use Media Composer parameter controls, AVX now calculates current positions correctly.
Known Bugs
This section describes known bugs listed by functional category. When a workaround exists, it appears in the paragraph directly following the bug description. The most recently found bugs appear at the begin- ning of each category. n If you encounter a problem with your system, consult these release notes to see if a known bug or workaround associated with your problem exists before contacting Avid Customer Support.
General
✘ A bin with the size of 0 KB and a .write file name extension shows up in the project window after an error forces you to quit the Avid Composer system.
Workaround: If a bin with the .write file name extension appears, delete the .write bin and drag the original bin from the Attic folder. ✘ The first clip of the sequence sets the AVR category, except if the first clip is a video mixdown, then the second clip sets the AVR. In this case, the sequence takes the AVR of the second clip.
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Systems Installed with the 3D Effects Option
✘ The opacity of a stamp holds for the duration of the effect only; the opacity goes back to 100 after the effect ends.
Workaround: Lower the level of the foreground opacity slider before the stamp. ✘ A Release 7.0.1 composition exported with media through OMFI will lose effect information for Fade to Color and Fade from Color effects. They will show blank icons with blue dots when they are imported; stepping through won’t show any effect. ✘ Editing an effect in Release 7.0.2 that you created and moved from Release 7.1 will cause an error. Although the effect behaves the same when you move it from Release 7.1 to 7.0.2, if you then edit the effect in 7.0.2, you will receive an error.
Workaround: To edit the effect in 7.0.2, restart the application.
OMF Import/Export
✘ Sequences that contain OMF 2.0 title media generated in 6.x do not import into 7.1. They are not generated in the same way.
Workaround: Export the title media from 6.x as an OMF 1.0 media file. ✘ If you try to export certain file formats to a drive that has insufficient space, the Macintosh will freeze. Sufficient space depends on the options you have set such as destination size (height and width), sequential files, export format, and so forth. The file formats are: Alias, BMP, Chyron, Cineon, Framestore, IFF, PCX, Photoshop, Pixar, PNG, QRT, Rendition, SGI, SoftImage, SunRaster, Targa, TIFF, Wavefront, X Window system, and YUV.
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✘ If you are bringing an EQ or AudioSuite effect forward to Pro Tools by using OMF, only the source media not the rendered effect media is brought forward. Any adjustments to the source audio beyond fades will need to be redone in Pro Tools. ✘ The Avid Composer system does not correctly import a Photoshop graphic created on a transparent background that uses a blend to transparency. The blended portion is imported as a soft white outline.
Workaround: Files created with the same blending to an alpha channel will look correct. ✘ If you import an OMF file with alpha composition and change the resolution on import, you might encounter problems if you delete the media clip and then attempt to reimport the file to the same bin. If you attempt to reimport the same file to the same bin (or to a differ- ent bin while the first bin is open), the system imports the composition but not the media.
Workaround: Close the bin, open another bin, and import the file to the new bin. You can also try closing and relaunching the Avid Com- poser application and then reimporting the file. ✘ You cannot export AVR 70 or AVR 75 from Release 7.0.1 to Release 6.x versions of the Avid Composer application. Release 7.0.1 versions of AVR 70 and AVR 75 are not compatible with earlier releases. ✘ You cannot export an OMF composition to a remote volume if you do not have write permission to the root level of the volume. You will receive an “Unable to export the bin file” message and the system might create a file that cannot be deleted until you quit the Avid Com- poser application.
Workaround: Make sure you have write permission to the root level if you are going to export an OMF composition to a remote volume.
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✘ Exporting audio from Release 7.x to Release 6.5.x might cause the error message “Source clip in MMOB references NULL FMOB.” This happens if you have the With Media box checked on the Export File Type dialog box.
Workaround: Using the master clip or sequence that has the error, export it twice and then import it: 1. Export with the options “Tiff Video” and “Video Only” selected. 2. Export with the options “Standard” and “Audio Only” selected. 3. Import those two files into Release 6.5.x.
QuickTime Import/Export
✘ OMF support is not in Apple’s QuickTime 3.0.
Digitizing
✘ Locators in subclips are in the wrong place after batch digitizing.
✘ On systems with a 2D effects board, Option-clicking for clip info in the Digitize tool doesn’t work.
✘ Digitize allows capture to begin on a mismatched tape. If you have a non-drop-frame (NDF) tape and a portion of the tape is drop-frame (DF), the DF portion cannot be digitized due to the NDF designation of the source. The message “The source tape is non-drop-frame but a drop frame tape was expected. Please insert the correct non-drop frame tape” appears. Once you click OK, digitizing will abort.
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✘ On systems that use the serial digital I/O (SDI) board, the video input must be initialized before you digitize material. If a video input signal is not properly connected to the system before you open the Digitize tool, the quality of the video image will be affected either when you monitor the input signal or on resulting digitzed images.
Workaround: See “Video Input Signal for the Serial Digital I/O Board” on page 50.
Editing
✘ Creating a sequence from the contents of the Clipboard and loading it into the Record monitor causes an error. (You create a sequence from the Clipboard contents by clicking the sequence icon on the Clip- board monitor and dragging it to a bin.) You might receive an error message or the system might hang. If the error message occurs or the system hangs, exit to the Finder and restart the Avid Composer sys- tem.
Grouping and Multicamera
✘ Do not mix multicam AVRs in a group or multigroup clip. The result can be poor playback image quality.
✘ The in/out “iL” markers don’t display when you are in Quad Split mode.
✘ If you apply a Picture-in-Picture effect to a V1 only multicam sequence and play it back, what you see is playback of the black background only. ✘ When you use the Decompose command on a sequence that contains group or multigroup clips, the media will remain linked to the origi- nal clips.
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Audio
✘ When you record an audio-only digital cut, the audio might be slightly out of sync. In most cases, the audio will be slightly out of sync with the timecode. ✘ When clips are digitized as audio only, the filler level is at 15 IRE when loaded in the monitor.
Workaround: Cut a piece of video in so there is an AVR for reference, then take the video out after you have finished digitizing. ✘ Can’t import 8-bit AIFF or SD2 audio.
✘ Aggressive moving of the faders before an Automation Gain record- ing begins can result in a DIGI_INIT_OVERRUN error. If you move the faders a lot before recording starts, the system might become over- loaded with extraneous volume-adjust messages.
PAL
✘ The Avid Composer system does not warn you if you import method 2 clips into a method 1 project. Since the audio play rate between method 1 and method 2 PAL projects is different, audio from a method 1 project will not play in a method 2 project.
Effects
✘ When you adjust the crop sliders on a lower track of a multitrack composite, the top level is still rendered and plays incorrect parame- ters for the track you just adjusted. This does not happen when you directly manipulate effects, use position sliders, or add a keyframe, unless you adjusted the crop first and the change did not register.
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✘ The opacity slider for the stamp effect only works for the duration of the effect. This is a limitation for the stamp effect. After you finish playing the effect, the stamp opacity returns to the default value.
Workaround: If you want to create a stamp effect with a specific opac- ity, you can use keyframes before and after you create the stamp. Just before you create the stamp, change the foreground opacity to the level you want. After you create the stamp, use another keyframe to change the foreground opacity back to 100%. ✘ The system sometimes displays inappropriate messages when encountering a disk full situation when you are creating effects. For example, when you re-create a title, the system might display the mes- sage “AMEFS_FILE_SIZE_EXCEEDED” when the disk becomes full. ✘ When Maintain Aspect Ratio is selected, an import that is not full frame will have black borders. These black borders will inhibit a graphic with alpha from being totally keyed out, or if the alpha is inversed, will key out more than it should.
Workaround: Crop the borders if they are not keyed out. ✘ If an audio or video dissolve is created on a transition where one of the clips is currently offline, that effect will not “unrender”; or in the video case, return to real-time if the media is then relinked or brought online. This prevents you from being able to use “Render In to Out.”
Titles
✘ Stamped titles take on the attributes of any real-time color effects on the track below it. This happens, for example, if you play a stamped title on V2 and over a color effect on V1.
Workaround: Render the color effect first and then put on the stamp.
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✘ Aborting the creation of a title causes the error message: “base_user_abort.”
✘ Systems with older Advanced JPEG boards might display vertical lines with titles. This only happens on upgraded systems with older boards that do not support AVR 77. The problem might happen when you single step, play backward, or fast play through a title. It can also happen when you render the top layer of a sequence containing a title.
Workaround: Either render the sequence by selecting all tracks between IN/OUT marks or change the image by decreasing the fore- ground intensity slightly (for example, from 100% to 99%). ✘ The Macintosh freezes when you attempt to create a text-only DSK rolling title greater than 32,767 characters long.
Workaround: Separate the title into smaller titles.
Film
✘ The QuickHelp files are different for Media Composer and Film Composer installations. If Media Composer is installed on a sta- tion that has a Film Composer dongle, the wrong QuickHelp file set is installed.
Workaround: To use QuickHelp for Film Composer, install Film Composer on an edit station that has a Film Composer dongle. Do not install Media Composer and rename the help files. That is not a work around because those are not Film Composer help files. ✘ If Comments and Locators are selected in the optical list, they also show up in the assemble list.
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✘ If in the Cut List tool you get an optical list in Optical Block format, and select Show Transition Effects as Cuts from the Assemble List options, you might receive an error message when you view the list. For example, if you create a sequence with three cuts, place dissolves on the two transitions, and then place a segment effect such as a flop, blow-up, or paint, on the third shot, it will happen.
Workaround: Use the Columnar format. ✘ If you do a digital cut with Burn-In with the Media Reader/Reader 1 set to LTC, the footage count that is burned in is incorrect. The field count repeats when the frame count changes improperly.
Workaround: Set the Media Reader to VITC during the digital cut. ✘ If you start at the head of a sequence and type +10000, you only go to +1000.
Workaround: Type +5000 twice. ✘ Burn-in on digital cut is off by a field at video rate. If you do a digital cut at video rate with Enable Burn-in on, the timecode is correct when the burn-in starts, but the edgecode incorrectly starts at 00 1999+ 15. ✘ Creating a title while in MultiCamera mode causes display prob- lems when playing. After saving the title, it’s placed in the Source monitor and you remain in MultiCamera mode. When you play the sequence the quad image from the Source monitor plays on top of the image in the Record monitor, causing a flickering effect.
Workaround: If you leave MultiCamera mode, and then return to it, the sequence plays fine. ✘ Confusing error message digitizing with Media Reader. If you set the Media Reader Tool to decode bits of VITC and then you digitize from a tape that doesn’t have VITC, at the end of digitizing a clip, you receive the message “SM_FILM _ROLL_MISMATCH.” The clip is not digitized.
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✘ A motion effect over 200 fps causes a cut list error in PAL film. Workaround: Set the motion effect to less than 200 fps. ✘ When you create a new PAL project, and select film options, the next dialog box incorrectly defaults to 25 fps. It should default to 24 fps.
✘ Switching from 2-line to 3-line project settings in the Media Reader tool, then switching back to 2-line, causes the original 2-line settings to be corrupted. Reselecting custom settings doesn’t correct them, you have to re-create your settings. ✘ You can’t digitize if Media Reader is set to Start/End timecode and no VITC is incoming. The error SM_DF_NDF_MISMATCH will dis- play. No clip is digitized. ✘ You can’t change cut list counting if you use settings from unlike projects. For example, if you create and save a cut list view setting in a 35mm project then open a 3-perforation project by using the 35mm project setting, when you switch the Show Durations As to 3-perfora- tion, the cut list still counts as 35mm.
Workaround: When you want to switch counting, close one project and then reopen the different project. ✘ If you enter the wrong key number when you are digitizing, the error message you see is unclear. (The error message is “SM_FILM_ROLL_MISMATCH.”) If you see that error message, try reentering the key numbers. ✘ The text processor, Vantage, might have problems opening and printing very large cut lists.
Workaround: Open the cut list in another word processor, such as Microsoft® Word, ClarisWorks®, or BBedit™. ✘ The Cut List window status is not saved as part of the Workspace User settings.
Known Bugs Part 0130-03026-01 Rev. A Release 7.1 Release Notes 93
✘ If you choose Modify from the Clip menu, select Set Key Number Generic (Prefix), and then click OK, you will receive an error message if you hadn’t entered any key numbers when you created the clip. The error message is “CM_NO_SOURCE.” ✘ Field width in Burn-In tool does not work on Digital Cut.
✘ Audio track information appears incorrectly in exported ALE. For example, if you create a clip with VA1-2, A4 then export it in ALE for- mat, the log displays only tracks A1-2.
Media Tool
✘ You can’t delete audio clips from the Media tool if their track desig- nation is above A8.
Workaround: Drag the clip to a bin and delete it from the bin. ✘ Opening the Media tool in Frame view with PAL and NTSC media on your system might take some time, because the 3D hardware has to switch the frame rate for every clip that has a different frame rate. This only happens with the 3D effects board. Systems with the 3D effects module will display black in frames that have a different frame rates from the hardware setup.
FieldPak
✘ FieldPak clips digitized in EditCam and imported into Media Com- poser from the DeskTop FieldPak Adapter display a half line of active video 2 lines early, at line 261 instead of line 263.
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Hardware and Software Limitations
Some of the limitations in this section are in Avid products and some are in third-party products used with your Avid Composer system. ✘ Opening projects on a mounted network volume causes problems. Documentation indicates that you can do this successfully.
Workaround: Sharing volumes across a network is not suggested. ✘ Media Composer Release 7.1 supports real-time AVR 77 playing at up to 500 KB per frame. Portions of 2-stream AVR 77 images exceed- ing 500 KB per frame might require rendering. ✘ Timeline scrolling can introduce playback delays that might adversely affect the performance of the VTR emulation feature. If you are using VTR emulation, you should turn off “Scroll While Play- ing” in Timeline settings. ✘ On occasion, the following message might appear: Exception: 3D_EFFECTS_UNDERRUN
This happens in rare situations while playing two or more 3D effects within close proximity of each other.
Workaround: Render one or more of the 3D effects. ✘ The 888 audio peripheral is limited to acquiring the digital sync from channels 1 and 2. To use channels 3 through 8, you must have a valid digital signal coming in on either channels 1 or 2.
If the “DIGITAL” LED is solid, there is a valid digital signal to sync to. If the LED is blinking, then the 888 is using a default sample rate (most likely the Video Slave Driver. If you do not have a valid digital sync source, recording side effects include: the correct material that is jittery, random garbage, or silence.
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✘ Switching deck control cables from a VTR deck to a PCM-7030 or PCM-7050 DAT deck can cause the error: SBV_UNKNOWN_COMMAND
Workaround: There are two ways to solve this problem: • Eliminate the need to swap cables by using two cables: attach the PCM-70x0 deck to one serial port, and the other deck to the other serial port. • Create two deck configurations and switch between them when switching the deck cables. a. Duplicate the Deck Configuration setting in the settings list. b. Name one setting “PCM DAT.” Open it and configure it for your VTR deck. c. Name the other setting “VTR deck.” Open it and configure it for your VTR deck. d. When switching cables, switch the configuration to the appro- priate deck. ✘ The Mitsubishi 21-inch high resolution monitor displays two hori- zontal lines at one-third and two-thirds of the screen display. The first line appears across all video loaded in the Source monitor and Record monitor. This is a function of the Mitsubishi monitor, not the Avid Composer application. ✘ When changing the memory allocated to the Media Composer appli- cation by using Get Info from the File menu, the Media Composer Info window displays the wrong preferred memory size. This is a function of the Mac OS 8.0 operating system.
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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. 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; 5,715,018; 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; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.
© 1998 Avid Technology, Inc. All rights reserved. Attn. Government User(s). Restricted Rights Legend U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Soft- ware or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable. Electromagnetic Compatibility FCC Notice This device complies with Part 15 of the FCC Rules. Operation is subject to the following two condi- tions: (1) This device may not cause harmful interference, and (2) this device must accept any inter- ference received, including interference that may cause undesired operation.
This equipment has been tested and found to comply with the limits for a Class A digital device, pur- suant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed in accor- dance with the instruction manual, may cause harmful interference to radio communications. Opera- tion of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. Canadian ICES-003 This Class A digital apparatus meets all requirements of the Canadian Interference Causing Equip- ment Regulations.
Cet appareil numérique de la classe A respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Declaration of Conformity (according to ISO/IEC Guide 22 and EN 45014) Application of Council Directives: 73/23/EEC, 89/336/EEC. Standards to which Conformity is Declared: EN 60950: 1992 + A1 + A2 + A3 + A4, IEC950: 1992 + A1 + A2 + A3 + A4: 1993 Mod., CISPR 22:1985 / EN 55022:1988 Class A (1), EN 50082-1:1997, IEC801 -2, -3, -4. Manufacturer’s Name: Avid Technology Inc., 1925 Andover Street, Tewksbury, MA 01876, USA. European Contact: Nearest Avid Sales and Service Office or Avid Technology International B.V., Sandyford Business Center, Unit 3, Dublin 18, Ireland. Type of Equipment: Information Technology Equipment. Product Name: Media Composer, Film Composer, Avid Xpress for the Macintosh Operating System, Avid Xpress Plus for the Macintosh Operating System, Avid Xpress Deluxe for the Macintosh Oper- ating System, Avid Xpress Elite for the Macintosh Operating System. Base Model Numbers: 1000,
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9000, MC Offline, Media Station. Product Options: All. Year of Manufacture:1998. (1) The product was tested in a typical Avid Media Composer configuration.
I, the undersigned, hereby declare that the equipment specified above conforms to the above Directives and Standards.
George R. Smith, Director of Quality Engineering
Trademarks AirPlay, AudioVision, Avid, Digidesign, FieldPak, Film Composer, HIIP, Media Composer, Media Recorder, NewsCutter, OMF, Pro Tools, and Softimage are registered trademarks and AniMatte, AVIDdrive, AvidDroid, AvidNet, AVIDstripe, Avid Xpress, AVX, Intraframe, MediaLog, MediaServer, MediaShare, Sound Designer II, Symphony, tools for storytellers, and Video Slave Driver are trademarks of Avid Technology, Inc., or its subsidiaries or divisions.
Apple, AppleScript, ClarisWorks, Mac, Macintosh, Power Macintosh, QuickTime, and TrueType are trademarks of Apple Computer, Inc., registered in the United States and other countries. Disk First Aid is a trademark of Apple Computer, Inc. Alias is a registered trademark and Wavefront is a trademark of Alias|Wavefront, a division of Silicon Graphics Limited. Boris FX is a trademark of Artel Software, Inc. BBedit is a trademark of Bare Bones Software, Inc. Chyron is a registered trade- mark of Chryron Corporation. Cineon is a registered trademark of Eastman Kodak Company. Com- pactPro is a trademark of Bill Goodman. Norton Utilities is a registered trademark and DiskLight, FileSaver, Norton Disk Doctor, and Speed Disk are trademarks of Symantec. DragInstall is a regis- tered trademark of Ray Sauers Associates, Inc. Editcam is a trademark of Ikegami Tsushinki, Co., Ltd. Mac-PC Manager is a trademark of Software Architects, Inc. Microsoft and Windows NT are registered trademarks of Microsoft Corporation. Motorola is a registered trademark of Motorola Cor- poration. PCX is a trademark of Zsoft Corporation. Photoshop and PostScript are trademarks of Adobe Systems Incorporated or its subsidiaries and may be registered in certain jurisdictions. Pixar is a registered trademark of Pixar Animation Studios. QuickHelp is a trademark of Altura Software, Inc. Sony is a registered trademark of Sony Corporation. Sun Raster is a trademark of Sun Microsys- tems, Inc., in the United States and other countries. TARGA is a registered trademark of Truevision, Inc. Ultimatte is a registered trademark of Ultimatte Corporation. Vantage is a trademark of Baseline Software, Inc. X Windows System is a trademark of X Consortium, Inc. All other trademarks con- tained herein are the property of their respective owners.
Printed in USA
a tools for storytellers™
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Copyright and Disclaimer Part 0130-03026-01 Rev. A