Avid Symphony Input and Output Guide • Part 0130–05443–01• February 2003 Contents

Avid® Symphony™

Input and Output Guide

™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,883,670; 5,905,841; 5,929,836; 5,929,942; 5,930,445; 5,946,445; 5,987,501; 5,995,115; 6,016,152; 6,018,337; 6,023,531; 6,035,367; 6,038,573; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,130,676; 6,134,607; 6,137,919; 6,141,007; 6,141,691; 6,157,929; 6,198,477; 6,201,531; 6,211,869; 6,223,211; 6,239,815; 6,249,280; 6,269,195; 6,301,105; 6,317,158; 6,317,515; 6,327,253; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc. Copyright © 2003 Avid Technology, Inc. and its licensors. All rights reserved. The following disclaimer is required by Apple Computer, Inc. APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc.

Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.

THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

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Avid Symphony Input and Output Guide • Part 0130–05443–01• February 2003 Contents

Using This Guide ...... 23 Who Should Use This Guide ...... 23 About This Guide ...... 24 Symbols and Conventions ...... 24 If You Need Help ...... 26 Related Information ...... 27 If You Have Documentation Comments ...... 28 How to Order Documentation...... 28 Avid Educational Services ...... 28

Chapter 1 Planning a Project ...... 29 Working with Multiple Formats ...... 30 Working with 24p Media ...... 30 Working with 25p Media ...... 31 Types of Projects ...... 32 Planning a Video Project ...... 33 Planning a 24p or 25p Project ...... 36 NTSC and PAL Image Sizes ...... 37 24-fps Film Source, SDTV Transfer, Multiformat Output ...... 38 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output ...... 41 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output ...... 44 Alternative Audio Paths ...... 47 NTSC Audio and Video Synchronized During Transfer...... 48 NTSC Audio and Video Digitized Separately ...... 49 PAL Audio and Video Synchronized During Transfer (PAL Method 1)...... 50 PAL Audio and Video Digitized Separately (PAL Method 2) . . . 51 Audio Transfer Options for 24p PAL Projects...... 52 Planning a 23.976p NTSC Project ...... 53 Working in a 23.976p NTSC Project...... 54 Creating a 23.976p Project ...... 54 Film Settings ...... 54 Digitizing...... 54 Bins ...... 54 Import ...... 55 Digital Cut Tool...... 55 23.976-fps Film Transfer or HD Video Source, SDTV Downconversion, Multiformat Output...... 55 Limitations for 23.976p Projects ...... 59 Planning a DV Project (Windows Only)...... 60 Understanding DV ...... 60 DV Workflows ...... 61 Starting a DV Project ...... 63 Editing in DV...... 64 Planning an MPEG Project (Windows Only) ...... 64 MPEG Workflows ...... 65 Starting an MPEG Project ...... 67 Editing in MPEG ...... 68 Film Project Considerations ...... 68 Film Shoot Specifications ...... 68 Viewing Dailies ...... 69 Film Dailies Method ...... 70 Video Dailies Method ...... 71

Chapter 2 Film-to-Tape Transfer Methods ...... 73 Understanding the Transfer Process ...... 73 Transferring 24-fps Film to NTSC Video ...... 74 Stage 1: Transferring Film to Video ...... 75 Frames Versus Fields ...... 75

6 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video ...... 75 Part 2: Slowing the Film Speed to 23.976 fps ...... 77 Maintaining Synchronized Sound ...... 78 Stage 2: Digitizing at 24 fps ...... 79 Transferring 24-fps Film to PAL Video ...... 80 PAL Method 1 ...... 80 PAL Method 2 ...... 82 How the Avid System Stores and Displays 24p and 25p Media...... 82 Displaying Media While Editing ...... 83 Displaying Media During a Digital Cut ...... 84 Film-to-Tape Transfer Guidelines...... 84 Film-to-Tape Transfer Options ...... 85 Transfer Quality ...... 85 Additional Film Transfer Aids ...... 86

Chapter 3 Logging...... 89 Preparing Log Files for Import ...... 90 Compatible Log Formats ...... 90 Using Avid Log Exchange to Convert Log Files...... 91 Converting Log Files with Avid Log Exchange (Windows) . . . . 92 Using Drag-and-Drop Conversion for Log Files (Windows) . . . 96 Converting Log Files with Avid Log Exchange (Macintosh) . . . 97 Using Drag-and-Drop Conversion for Log Files (Macintosh). . 101 Creating Avid Logs...... 101 Applications for Creating Avid Logs...... 102 Required Information for Logging ...... 102 Creating an Avid Log...... 103 Transferring Bins from MediaLog...... 103 Transferring Bins (Windows) ...... 103 Transferring Bins (Macintosh) ...... 104 Associating the Bin with Your Project ...... 105 Double-Checking the Log Files ...... 105 Importing Shot Log Files...... 106 Setting the Pulldown Phase ...... 108

7 Logging Directly into a Bin ...... 111 Tips for Logging Preroll, Logging Timecode, and Naming Tapes. . 112 Logging with an Avid-Controlled Deck ...... 114 Pausing the Deck While Logging ...... 118 Using a Memory Mark...... 119 Logging with Non-Avid-Controlled Decks ...... 120 Logging Film Information...... 122 Displaying Film Columns ...... 123 Entering Pulldown Information ...... 124 Determining the Pulldown Phase ...... 126 Modifying the Pulldown Phase Before Digitizing ...... 127 Entering Frames-per-Second Rates for PAL Transfers ...... 129 Entering Key Numbers ...... 129 Entering Additional Timecodes (Option)...... 130 Entering the Ink Number (Option)...... 131 Entering Additional Film Data ...... 131 Modifying Clip Information Before Digitizing ...... 132 Exporting Shot Log Files ...... 132

Chapter 4 Preparing to Digitize ...... 135 Preparing the Hardware for Digitizing ...... 136 Selecting Settings ...... 137 Media Creation Settings ...... 137 Setting Drive Filtering...... 138 Selecting a Video Resolution and Drives ...... 139 Digitize Settings Dialog Box ...... 141 Digitize Settings: General Tab ...... 141 Selecting the Preroll Method ...... 145 Digitizing Across Timecode Breaks ...... 147 Digitize Settings: Media Files Tab ...... 147 Digitizing to Multiple Media Files ...... 149 General Settings...... 150 Transfer Settings for Film Projects ...... 151 Configuring Decks...... 153 Deck Settings Options ...... 158

8 Deleting Deck Configuration Elements ...... 160 Setting Deck Preferences...... 160 Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode ...... 162 Entering Capture Mode ...... 163 Setting Up the Digitize Tool ...... 164 Selecting a Deck in the Digitize Tool ...... 166 Selecting a Source Tape ...... 167 Selecting Source Tracks ...... 168 Setting the Video and Audio Input ...... 169 Setting the Pulldown Switch...... 170 Film Project Pulldown and Transfer Settings...... 171 Selecting a Resolution in the Digitize Tool...... 173 Selecting Color or Monochrome in the Digitize Tool ...... 173 Selecting a Target Bin ...... 174 Selecting the Target Drives ...... 174 Targeting a Single Drive ...... 175 Targeting Separate Drives for Audio and Video ...... 175 Targeting a Drive Group ...... 176 Interpreting the Time-Remaining Display...... 177 Selecting a Custom Preroll ...... 177 Preparing for Audio Input ...... 178 Establishing Sync for Audio-Only Input ...... 178 Checking for a Valid Digital Sync Signal ...... 179 Adjusting Audio Project Settings ...... 180 Saving the Audio Project Settings as Site Settings ...... 184 Selecting the Audio File Format...... 184 Using the Audio Tool ...... 186 Resizing the Audio Tool...... 188 Adjusting the Reference Level...... 188 Selecting a Peak Hold Option ...... 190 Adjusting Audio Input Levels ...... 191 Creating Tone Media ...... 192 Calibrating the Eight-Channel Audio I/O Device ...... 193 Changing the Audio Hardware Calibration Setting ...... 195

9 Calibrating Input Channels for the Audio I/O Device ...... 196 Calibrating Output Channels for the Audio I/O Device...... 198 Using the Console Window to Check Audio Levels ...... 198 Preparing for Video Input ...... 199 Using the Factory Preset Buttons...... 201 Calibrating Video Input ...... 202 Limitation When Using Consumer Decks or Decks Without Time-Base Correctors ...... 208 Saving Video Input Settings ...... 209 Saving a Custom Default Setting for the Video Input Tool ...... 211 Adjusting Video Levels for Tapes Without Color Bars ...... 211 Digitizing Preparations Check List ...... 212

Chapter 5 Digitizing...... 215 Before You Begin Digitizing ...... 216 Special Digitizing Procedures ...... 217 Logging Errors to the Console Window ...... 217 Creating Subclips On-the-Fly ...... 218 Adding Locators On-the-Fly ...... 219 Adding Clip Names and Comments On-the-Fly ...... 220 Controlling Decks from the Keyboard...... 221 Mapping the Record Button ...... 222 Digitizing and Logging at the Same Time ...... 222 Digitizing from a Mark IN to a Mark OUT ...... 223 Setting Both Marks...... 224 Setting Only One Mark...... 225 Digitizing On-the-Fly ...... 225 Autodigitizing ...... 228 Digitizing from a Non-Avid-Controlled Deck ...... 230 Digitizing with Time-of-Day Timecode ...... 232 Digitizing with External Timecode ...... 232 Digitizing to the Timeline ...... 234 Patching When Digitizing to the Timeline ...... 235 Digitizing Video Without Pulldown into a 24p NTSC Project...... 236 Recording DV Through a 1394 Connection (Windows Only) ...... 237

10 Recording Through MPEG SDTI-CP (Windows Only) ...... 237 Batch Digitizing from Logged Clips...... 239 Preparing to Batch Digitize ...... 239 Resizing the Digitize Tool ...... 239 Preparing Settings for Unattended Batch Digitizing ...... 240 Digitize Settings: Batch Tab ...... 241 Batch Digitizing Clips ...... 243 Redigitizing Your Material...... 246 Redigitizing Master Clips and Subclips ...... 246 Redigitizing Sequences ...... 247 Saving Two Versions of a Sequence When Redigitizing. . . . . 247 Using Decompose When Redigitizing ...... 248 Redigitizing the Sequence Without Using Decompose ...... 249 Relinking Clips by Key Number ...... 251 Modifying the Pulldown Phase After Digitizing ...... 254 Digitizing During the Film-to-Tape Transfer ...... 257 Preparing to Digitize in Telecine Slave Mode ...... 259 Selecting the VTR Emulation Serial Port (Telecine Slave Mode) ...... 259 Understanding VTR Emulation Settings (Telecine Slave Mode) ...... 260 Selecting VTR Emulation Settings...... 262 Selecting Digitize Settings for Telecine Slave Mode ...... 263 Digitize Tool Controls for Telecine Slave Mode ...... 264 Selecting Telecine Slave Mode ...... 266 Selecting a Source Tape Name...... 267 Digitizing and Logging in Telecine Slave Mode ...... 267 Formatting and Setting the Virtual Tape Timecode (Telecine Slave Mode) ...... 268 DV Scene Extraction (Windows Only) ...... 270 Setting Up DV Scene Extraction Before Digitizing ...... 270 Setting Up DV Scene Extraction After Digitizing ...... 272

11 Chapter 6 Multicamera Planning and Digitizing ...... 273 Developing a Postproduction Model ...... 274 Tape Numbering Schemes...... 274 Tape Numbering for Video Productions ...... 274 Tape Numbering for Film Productions ...... 275 Production Paths ...... 275 Production Paths for Video Productions ...... 275 Production Paths for Film Productions...... 276 Managing Audio ...... 277 Audio for Videotape Productions ...... 278 Audio for Film Productions ...... 279 Digitizing Workflow ...... 280 Digitizing Methods...... 283 Logging Tips ...... 283 Autodigitizing Tips ...... 284 Storage Tips ...... 284 Checking the Bins ...... 286 Replacing Missing Clips ...... 286 Deleting Extra Clips ...... 286 Checking Audio and Image Quality ...... 287

Chapter 7 Importing Files ...... 289 Preparing to Import Files...... 289 Working with Mixed-Resolution Projects...... 290 Creating and Using Import Settings ...... 290 Creating a New Import Setting ...... 291 Modifying an Existing Import Setting ...... 292 Import Settings Options ...... 293 Importing Files...... 302 Using the Drag-and-Drop Method to Import Files ...... 306 Importing Photoshop Graphics ...... 307 Importing Single-Layer Photoshop Graphics ...... 307 Importing Multilayered Photoshop Graphics...... 308 Understanding Multilayered Graphics Import...... 308 Importing Multilayered Files ...... 312

12 Importing Editcam Files ...... 314 Reimporting Files ...... 316 Batch Import Dialog Box ...... 316 Starting the Reimport Process ...... 318

Chapter 8 Generating Output ...... 321 Preparing for Output...... 321 Establishing Sync for Output ...... 322 Calibrating for Video Output...... 323 Using the Factory Preset Buttons ...... 323 Basic Video Output Calibration ...... 324 Advanced Video Output Calibration ...... 328 Preparing for Audio Output ...... 332 Setting the Calibration Tone ...... 332 Calibrating Global Output Levels...... 334 Adjusting Output on Eight-Channel Audio Systems ...... 334 Preparing Record Tapes ...... 337 Frame-Accurate Recording ...... 337 Manual Recording ...... 338 Recording Bars and Tone ...... 338 Enabling Assemble-Edit Recording ...... 339 Using the Digital Cut Tool...... 341 Selecting a Deck in the Digital Cut Tool...... 343 Previewing a Digital Cut...... 344 Creating a Custom Countdown Display ...... 345 Recording a Digital Cut to Tape (Remote Mode)...... 347 Recording a Digital Cut to Tape (Local Mode)...... 351 Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects...... 354 Selecting Output Formats for 24p and 25p Projects ...... 354 Selecting Output Formats for 23.976p Projects...... 357 Selecting the Timecode Format for Output ...... 358 Indicating the Destination Timecode Rate...... 360 Selecting DSK Title Formats ...... 362 Performing an Insert Edit with Pulldown ...... 362

13 Digital Cuts and Audio ...... 363 Changing the Default Pulldown Phase for Sequences...... 364 Using EDL Manager ...... 365 Using the Matchback Option ...... 366 How Matchback Works...... 366 Matchback Limitations ...... 367 Using FilmScribe ...... 368 Using VTR Emulation ...... 368 Enabling VTR Emulation ...... 369 Using VTR Play Emulation ...... 371 Using Direct Record Emulation...... 373

Chapter 9 Exporting Frames, Clips, or Sequences ...... 375 Understanding Export ...... 376 Preparing to Export a Sequence ...... 377 Exporting Frames, Clips, or Sequences ...... 378 Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences...... 382 Customizing Export Settings ...... 384 Preset Export Templates ...... 384 Creating a New Export Setting ...... 384 Export Settings Dialog Box Options ...... 385 Exporting OMFI and AAF Files ...... 386 Exporting Through OMF Interchange ...... 387 Exporting Through AAF ...... 387 Selecting an OMFI or an AAF Transfer Method ...... 388 Exporting As an OMFI or an AAF File ...... 389 OMFI and AAF Export Settings Options...... 391 Exporting As an MPEG File (Windows Only) ...... 393 Creating Files for a DVD ...... 396 Creating Files for a DVD (Windows)...... 397 Creating Files for a DVD (Macintosh)...... 399 Creating Files for iDVD ...... 400 Creating Files for DVD Studio Pro (Macintosh Only) ...... 401

14 Using an AppleScript Script to Create a DVD (Macintosh Only) . . . 404 Adding and Removing Applications for Creating DVDs...... 405 Exporting Video in DV Stream Format ...... 406 Exporting QuickTime Movies ...... 409 Exporting As a QuickTime Movie...... 410 QuickTime Movie Export Options ...... 412 Selecting QuickTime Movie Format Options ...... 415 Exporting As a QuickTime Reference Movie ...... 422 QuickTime Reference Export Options ...... 424 Using Avid Codecs for QuickTime ...... 427 Exporting with an Avid Meridien Codec or the Avid DV Codec 427 Exporting As an AVI File (Windows Only) ...... 430 AVI Settings Options (Windows Only) ...... 432 AVI Video Compression Dialog Box Options (Windows Only). . . . 435 Using the Avid Codec for AVI (Windows Only) ...... 437 Installing the Avid Codecs for QuickTime or AVI on Other Systems . . 439 Copying the Avid Codecs for QuickTime to Another Windows System (Windows) ...... 440 Copying the Avid Codecs for QuickTime to Another Macintosh System (Macintosh) ...... 441 Installing the Avid Codec for AVI on Another Windows System . . 442 Downloading Avid Codecs for QuickTime ...... 443 Exporting from a Third-Party QuickTime or AVI Application...... 444 Exporting Tracks As Audio Files...... 444 Exporting As a Graphic File ...... 447 Sending Material Out for Review ...... 456 Reviewing Material...... 456 Opening R&A Files in the Locators Window ...... 457 Displaying Information in the Locators Window ...... 458 Using Locator Colors with R&A Files ...... 459

15 Chapter 10 Exchanging Files with Avid Applications ...... 461 Compatibility Between Applications ...... 462 Transferring from Avid Xpress DV ...... 463 Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1 ...... 464 Transferring Projects and Media ...... 464 Before You Begin ...... 465 Step 1: Transfer Project Files and Media Files...... 466 Transferring Project Information Only ...... 466 Transferring Video Media...... 467 Transferring Audio Media...... 468 Step 2: Open the Project and Relink or Redigitize ...... 468 Step 3: Import Graphics ...... 469 Step 4: Re-create the Title Media...... 470 Redefining a Font Replacement...... 472 Turning Off Downstream Keys (DSK) ...... 473 Step 5: Render Non-Real-Time Effects ...... 474 Transferring Audio Files ...... 475 Exporting the Sequence Without Audio Media ...... 476 Exporting the Sequence with Embedded Audio Media...... 477 Transferring Sound Designer II Audio Files from Macintosh Systems...... 478 Options for File Transfers ...... 478 Transferring a Project Using Shared Storage...... 479 Transferring Project Files and Media Files Using Nonshared Storage ...... 479 Devices and Methods for Transferring Files...... 482 Transferring Files Between Macintosh Systems ...... 482 Transferring Files Between Windows Systems ...... 484 Transferring Files Between Macintosh and Windows Systems 486 Nonshared Storage Issues for Cross-Platform Collaboration. . . . . 487 Using AvidLinks ...... 488 Transferring Projects and Bins Using AFE Files...... 490

16 Appendix A File Format Specifications ...... 493 Graphics (Image) Files ...... 493 Preparing Graphics Files for Import ...... 496 Graphics File Import Specifications ...... 496 Screen Resolution for Imported Graphics and Sequences ...... 500 Animation Files...... 503 Audio File Formats ...... 507 OMFI Files ...... 508 Field Ordering in Graphic Imports and Exports ...... 510

Appendix B Resolutions and Storage Requirements ...... 515 Compression and Avid Editing Systems...... 515 Screen Resolution ...... 516 Compression and Resolutions ...... 517 Mixing Resolutions...... 517 Avid Resolutions ...... 517 DV Resolutions ...... 518 MPEG Resolution ...... 519 Advantages to Mixing Resolutions ...... 519 Resolution Groups and Image Quality ...... 520 Video Streams ...... 520 Compression Specifications...... 520 Resolution Specifications: Interlaced...... 521 Resolution Specifications: Progressive ...... 522 Multicamera Resolutions ...... 523 DV Resolutions ...... 525 MPEG 50 Resolution ...... 526 Storage Requirements ...... 527 Estimating Drive Space Requirements ...... 527 Estimated Storage Requirements ...... 528 Estimated Storage Requirements: Interlaced ...... 529 Estimated Storage Requirements: Progressive...... 532 Estimated Storage Requirements: DV...... 536 Estimated Storage Requirements: MPEG 50 ...... 536 Maximizing Drive Space...... 537

17 Managing Storage to Improve Playback Performance ...... 538

Appendix C Avid Log Specifications ...... 539 Understanding Avid Log Specifications...... 539 Avid Log Specifications ...... 540 Global Headings ...... 540 Column Headings ...... 542 Data Entries ...... 545 Sample Avid Log ...... 548

Appendix D Preserving Information in the Vertical Blanking Interval. . . 551 Line Ranges ...... 551 Preserving Vertical Blanking Information ...... 552 Using a Partial Wipe Operation to Insert or Delete Vertical Blanking Information...... 554 Potential Problems with Preserving Vertical Blanking Information . . . . 555 Preserving Vertical Blanking Information Can Affect Compressed Video Quality ...... 556 Effects Can Modify the Vertical Blanking Information...... 557 Cross-Format Conflicts with Respect to Black Levels ...... 557

Appendix E MPEG SDTI-CP Technical Information...... 559 SDTI-CP and SMPTE Type D-10 ...... 559 MPEG SDTI-CP Restrictions ...... 560 Supported VTRs for MPEG SDTI-CP ...... 561

Index ...... 563

18 Figures

Figure 1 Workflow: Video Project with Video Source...... 34 Figure 2 Workflow: Video Project with HD Source, SDTV Downconversion ...... 35 Figure 3 Offline Workflow: 24-fps Film Source, SDTV Transfer . . .39 Figure 4 Online Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output ...... 40 Figure 5 Offline Workflow: 24-fps Film or HDTV Source, SDTV Downconversion ...... 42 Figure 6 Online Workflow: 24-fps Film or HDTV Source, SDTV Downconversion, Multiformat Output ...... 43 Figure 7 Offline Workflow: 25-fps Film or HDTV Source, SDTV Downconversion ...... 45 Figure 8 Online Workflow: 25-fps Film or HDTV Source, SDTV Downconversion, Multiformat Output ...... 46 Figure 9 NTSC Audio and Video Synchronized During Transfer ...... 48 Figure 10 NTSC Audio and Video Digitized Separately...... 49 Figure 11 PAL Audio and Video Synced During Transfer (PAL Method 1) ...... 50 Figure 12 PAL Audio and Video Digitized Separately (PAL Method 2) ...... 51 Figure 13 Offline Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV Downconversion ...... 56 Figure 14 Online Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV Downconversion, Multiformat Output . . .57 Figure 15 NTSC Audio and Video Digitized Separately (23.976p Project) ...... 58 Figure 16 Workflow: DV Project with Mixed Sources...... 63 Figure 17 Workflow: MPEG Project with Mixed Sources ...... 67 Figure 18 Film Dailies Method ...... 70 Figure 19 Video Dailies Method...... 71 Figure 20 Workflow: Telecine Slave Mode ...... 258

19 Tables Table 1 Film Shoot Specifications ...... 68 Table 2 Ratio of Film to Video ...... 76 Table 3 Ratio of Film to Video with FPS ...... 77 Table 4 Compatible Log Formats ...... 90 Table 5 Drive Filtering Options ...... 139 Table 6 Digitize Settings: General Tab ...... 142 Table 7 Digitize Settings: Media Files Tab ...... 148 Table 8 Deck Settings Options ...... 158 Table 9 Deck Preferences Options ...... 161 Table 10 Film Project Pulldown and Transfer Settings ...... 172 Table 11 Audio Project Settings Options...... 181 Table 12 Audio Tool Components...... 187 Table 13 Video Input Tool Components ...... 200 Table 14 Luminance Settings for Video Input ...... 207 Table 15 Function Keys Available When Digitizing ...... 217 Table 16 Locators Mapped to Function Keys ...... 220 Table 17 J-K-L Functions for Deck Control ...... 221 Table 18 Digitize Settings: Batch Tab ...... 241 Table 19 VTR Emulation Settings: Telecine Emulation ...... 261 Table 20 Telecine Slave Mode Controls ...... 266 Table 21 Import Settings: Image Tab ...... 294 Table 22 Import Settings: OMFI Tab ...... 299 Table 23 Import Settings: Shot Log Tab ...... 301 Table 24 Support for Photoshop Layer Options ...... 311 Table 25 Support for Photoshop Special Layer Types ...... 312 Table 26 Video Format Output Parameters...... 325 Table 27 Luminance Settings for Video Output...... 327 Table 28 24p and 25p Project Output Options ...... 355 Table 29 Audio Play Rates for 24p and 25p Projects ...... 357 Table 30 Audio Play Rates for 23.976p Projects...... 358 Table 31 VTR Emulation Settings: Record and Play Emulation...... 370 Table 32 Export Settings Dialog Box Options ...... 385

20 Table 33 Export Settings Dialog Box: OMFI and AAF Settings Options ...... 391 Table 34 iDVD Options (Macintosh Only)...... 401 Table 35 DVD Studio Pro Options: (Macintosh Only) ...... 403 Table 36 Export Settings Dialog Box: DV Stream Options...... 406 Table 37 Selecting a QuickTime Export Option ...... 409 Table 38 Export Settings Dialog Box: QuickTime Movie Options ...... 412 Table 39 QuickTime Movie Format Options ...... 416 Table 40 Export Settings Dialog Box: QuickTime Reference Options ...... 424 Table 41 Export Settings Dialog Box: AVI Settings Options (Windows Only) ...... 432 Table 42 AVI Video Compression: Dialog Box Options (Windows Only) ...... 435 Table 43 Export Settings Dialog Box: Audio Settings Options ...... 446 Table 44 Export Settings Dialog Box: Graphic Format Settings Options ...... 449 Table 45 Export Settings Dialog Box: Graphic Export Settings Options ...... 454 Table 46 Exporting Sequences Without Audio Media ...... 476 Table 47 Exporting Sequences with Embedded Audio Media . . . .477 Table 48 Avid Symphony Default Folder and File Locations (Windows)...... 480 Table 49 Avid Symphony Default Folder and File Locations (Macintosh)...... 480 Table 50 Options for Transferring Files Between Macintosh Systems ...... 482 Table 51 Options for Transferring Files Between Windows Systems ...... 484 Table 52 Options for Transferring Files Between Macintosh and Windows Systems ...... 486

21 Table 53 Available Avid Applications for AvidLinks Export ...... 489 Table 54 Graphics File Import Specifications ...... 497 Table 55 Graphic Import Frame Sizes: Interlaced...... 501 Table 56 Graphic Import Frame Sizes: Progressive ...... 502 Table 57 Graphic Import Frame Sizes: MultiCamera ...... 502 Table 58 Graphic Import Frame Sizes: DV ...... 502 Table 59 Animation File Import Specifications ...... 504 Table 60 QuickTime File Import and Export Specifications...... 505 Table 61 AVI File Import and Export Specifications ...... 506 Table 62 OMFI File Import Specifications ...... 508 Table 63 Recommended Field Settings for Two-Field Import and Export ...... 511 Table 64 Avid Resolution Groups ...... 518 Table 65 DV Resolution Groups ...... 518 Table 66 Resolution Specifications: Interlaced ...... 521 Table 67 Resolution Specifications: Progressive ...... 523 Table 68 Multicamera Resolution Specifications: Video (Interlaced) Project ...... 524 Table 69 Multicamera Resolution Specifications: Progressive Project ...... 525 Table 70 Resolution Specifications: DV ...... 525 Table 71 Resolution Specifications: MPEG 50 ...... 526 Table 72 Estimated Storage Requirements: Interlaced...... 529 Table 73 Estimated Storage Requirements: Progressive ...... 533 Table 74 Estimated Storage Requirements: DV ...... 536 Table 75 Estimated Storage Requirements: MPEG 50...... 537 Table 76 Avid Log Global Headings ...... 541 Table 77 Avid Log Column Headings ...... 542 Table 78 Avid Log Data Headings...... 545

22 Using This Guide

The Avid Symphony Input and Output Guide presents information to help you bring material into your Avid system and send material out. Material for input includes video footage, film footage transferred to video, graphic images, audio, and other elements you use to create a sequence. Material for output includes sequences, clips, individual frames, and audio, either as a work in progress or as a finished piece.

This guide includes information on planning projects, logging information into bins, digitizing footage, and generating output. It also includes information on importing files, exporting files, and exchanging projects between Avid® Symphony™ systems. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.

Who Should Use This Guide

This guide is intended for editors at all levels of experience, particularly video editors who are unfamiliar with film-originated projects and editors responsible for the input and output stages of a project. Using This Guide

About This Guide

The Contents lists all topics included in the book. They are presented with the following overall structure: • Chapters 1 and 2 present conceptual information to help you plan a project and understand the film-to-tape transfer process. • Chapters 3 through 9 include conceptual information and step-by-step procedures for all aspects of input and output. • Chapter 10 includes conceptual information and step-by-step procedures on exchanging files between Avid systems. • The appendixes include supplementary material covering file format specifications, resolutions and storage requirements, Avid log specifications, information about the vertical blanking interval, and MPEG SDTI-CP technical information. •An index at the end of this manual helps you locate the information you need.

Symbols and Conventions

Unless noted otherwise, the material in this document applies to the Windows® 2000 and Mac OS® X operating systems. When the text applies to a specific operating system, it is marked as follows: • (Windows) or (Windows only) means the information applies to the Windows 2000 operating system. • (Macintosh) or (Macintosh only) means the information applies to the Mac OS X operating system.

The majority of screen shots in this document were captured on a Windows 2000 system, but the information applies to both Windows 2000 and Mac OS X systems. Where differences exist, both Windows 2000 and Mac OS X screen shots are shown.

24 Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.

> This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command.

t This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.

k This symbol represents the Apple or Command key. Press and hold the Command key and another key to perform a keyboard shortcut.

Margin tips In the margin, you will find tips that help you perform tasks more easily and efficiently.

Italic font Italic font is used to emphasize certain words and to indicate variables.

Courier Bold font Courier Bold font identifies text that you type.

Click Quickly press and release the left mouse button (Windows) or the mouse button (Macintosh).

Double-click Click the left mouse button (Windows) or the mouse button (Macintosh) twice rapidly.

25 Using This Guide

Symbol or Convention Meaning or Action

Right-click Quickly press and release the right mouse button (Windows only).

Drag Press and hold the left mouse button (Windows) or the mouse button (Macintosh) while you move the mouse.

Ctrl+key Press and hold the first key while you press the k+key second key.

If You Need Help

If you are having trouble using Symphony: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check the release notes supplied with your Avid application for the latest information that might have become available after the hardcopy documentation was printed. 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Center at www.avid.com/support. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Center to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read/join online message-board discussions. 5. For Technical Support, please call 800-800-AVID (800-800-2843). For Broadcast On-Air Sites and Call Letter Stations, call 800-NEWSDNG (800-639-7364).

26 Related Information

Related Information

The following documents provide more information about your Avid Symphony system: • Avid Symphony Release Notes (for both Windows 2000 and Mac OS X platforms) • Avid Symphony and Composer Products Site Preparation Guide for the Windows 2000 Professional Operating System • Avid Symphony and Composer Products Site Preparation Guide for the Mac OS X Operating System • Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System • Avid Symphony and Composer Products Setup Guide for the Mac OS X Operating System • Avid Products Getting Started Guide • Avid Symphony Quick Reference for the Windows 2000 Operating System • Avid Symphony Quick Reference for the Mac OS X Operating System • Avid Symphony Editing Guide • Avid Symphony Effects Guide • Avid Symphony Color Correction Guide • Avid Symphony Online Publications This online collection provides electronic versions of most documents listed in this section, as well as documents for related Avid applications. You can view these documents with Adobe® Acrobat® Reader®, which you can install from the CD-ROM. • Avid Symphony Help The Help system provides all the information included in the Avid Symphony Editing Guide, the Avid Symphony Input and Output Guide (this document), the Avid Symphony Effects Guide, and the Avid Symphony Color Correction Guide supplied with your system. The

27 Using This Guide

Help operates in a Web browser. To open the Help, select Help > Symphony Help in the Symphony application. For information on using Help, click the Using Help button in the Help system.

If You Have Documentation Comments

Avid Technology continuously seeks to improve its documentation. We value your comments about this guide, the Help, the Online Publications CD-ROM, and other Avid-supplied documentation.

Simply e-mail your documentation comments to Avid Technology at [email protected]

Please include the title of the document, its part number, and the specific section you are commenting on in all correspondence.

How to Order Documentation

To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative.

Avid Educational Services

For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).

28 Chapter 1 Planning a Project

This chapter presents suggested workflows and other information that can help you plan your film-originated or video-originated project. This chapter includes the following topics: • Working with Multiple Formats • Working with 24p Media • Working with 25p Media • Types of Projects • Planning a Video Project • Planning a 24p or 25p Project • Planning a 23.976p NTSC Project • Planning a DV Project (Windows Only) • Planning an MPEG Project (Windows Only) • Film Project Considerations Chapter 1 Planning a Project

Working with Multiple Formats

Avid systems offer you a flexible approach to finishing your project, whether it originates as video or film.

For video projects, you can use the offline capabilities of the Media Composer® or Film Composer® system and the Total Conform capabilities of the Symphony system to produce the highest quality, uncompressed broadcast masters.

For film and 24-fps or 25-fps HDTV (high-definition television) projects, you can use the Media Composer or Film Composer system’s Universal Offline Editing capabilities to digitize footage at 24 fps or 25 fps and edit the content in its native frame rate. Then use the Symphony system’s film-tape-film-tape (FTFT) and Total Conform capabilities to finish and deliver uncompressed NTSC, PAL, 4:3, 16:9, and letterbox formats, as well as frame-accurate film cut lists and edit decision lists (EDLs), all from the same 24p (24-fps progressive) or 25p media.

Working with 24p Media

With new DTV (digital television) formats expanding the options for content distribution, there is renewed interest in the oldest format in the industry: 24-fps film. In addition to its common, worldwide format, film provides the highest resolution master for archiving purposes. Through a telecine transfer and the digitizing process, the Avid system digitizes and stores film frames as 24-fps progressive media, or 24p.

For more information Progressive media is composed of single frames, each of which is about the film-to-tape vertically scanned as one pass. The Avid system creates 24p media by transfer process, see combining (deinterlacing) two video fields into a single full, reconstructed Chapter 2. frame. For NTSC film-to-tape transfers, the system creates 24p media by removing the extra fields inserted by the 2:3 pulldown process and by creating progressive frames.

Working in 24p simplifies digital editing of film or other 24-fps-originated content, such as HDTV video that has been downconverted to ITU-R 601 digital video. In addition, 24p media requires less storage and processing

30 Working with 25p Media

power than 30-fps media. Because 24p provides a common production format for multiversion, multiformat delivery; it promises to become the new universal format for all film and video content.

An important aspect of the 24p format is that it allows you to output either NTSC or PAL video from the same project.

For more information, see “How the Avid System Stores and Displays 24p and 25p Media” on page 82.

Working with 25p Media

The 25p format is primarily for use in countries where PAL video is standard. When you transfer 25-fps film footage to 25-fps PAL video, no modifications are necessary due to matching frame rates.

The 25-fps feature provides the following advantages: • Simultaneous input of video and audio in sync • Frame-accurate ink number tracking • Digital cut recording directly to videotape • Frame-accurate cut lists and change lists • Frame-accurate audio EDLs for online editing of audio tracks • Frame-accurate EDLs for assembling footage from the transfer or for preparing an online show master

The source for 25p is typically 25-fps film or 25-fps HDTV format. The methods for creating and storing 25p media are the same as for 24p. For an example of a 25p project workflow, see “25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output” on page 44. n You can digitize the audio directly from the original Nagra reels or DAT tapes, and sync within the Avid system. For more information, see “Alternative Audio Paths” on page 47.

31 Chapter 1 Planning a Project

Types of Projects

When you start a project on your Avid system, you need to decide on a project type. Select your project type based on your source footage. If your Avid system includes support for 24p and 25p projects, you can select one of the following options from the New Project dialog box:

For information on • 24p NTSC: For film-originated footage or other 24-fps footage, creating a new project, transferred to NTSC videotape see the editing guide or Help for your Avid • 23.976p NTSC: For film-originated or other 24-fps footage in which system. you want to use digital audio, or for footage which has been shot at 23.976 • 30i NTSC: For NTSC video-originated footage (30 fps) • 24p PAL: For film-originated footage or other 24-fps footage, transferred to PAL videotape • 25p PAL: For 25-fps film-originated footage or other 25-fps footage, transferred to PAL videotape • 25i PAL: For PAL video-originated footage (25 fps)

In these options, 23.976p, 24p, and 25p designate 23.976-fps, 24-fps, and 25-fps progressive media. For these projects, your source footage is digitized and stored as 23.976, 24, or 25 full, discrete frames per second. In the 30i NTSC and 25i PAL options, the i represents interlaced frames played at 30 fps or 25 fps. An interlaced frame consists of two fields, each of which contains one-half the scan lines of the frame. Interlaced frames are standard for NTSC and PAL video media.

For 30i NTSC projects and 25i PAL projects, you can select the Matchback option, which lets you digitize and edit film-originated footage at 30 fps or 25 fps and “match back” to a cut list for conforming your edit to film. For more information, see “Using the Matchback Option” on page 366.

Your Avid system also includes features that enable you to digitize and edit multicamera projects. For more information, see Chapter 6 and the editing guide or Help for your Avid system.

32 Planning a Video Project

Planning a Video Project

An Avid video project is one that digitizes and stores 30-fps NTSC or 25-fps PAL media as digital video that conforms to the ITU-R 601 standard (SDTV or standard-definition TV). Possible workflows for video projects are: • Video source (Figure 1) • High-definition (HD) source with SDTV downconversion (Figure 2)

In these workflows, offline editing is done on a Media Composer or Film Composer system, and finishing is done on a Symphony system. Alternatively, you can use a Media Station XL system to digitize footage or output a finished master. For more information, see the Avid Media Station XL Workflow Guide. For information about the Media Station XL product, contact your Avid representative or visit the Avid Web site. n You cannot create 24p or 25p media or multiple output formats from video footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film or HD.

33 Chapter 1 Planning a Project

1. (Option) Import a Source footage: log file to create a bin. (Step 1) Beta- Log cam NTSC 30 fps or PAL 25 fps

2. If you imported a log Betacam or file, batch digitize in (Step 2) the Media Composer or Digital Betacam VTR Film Composer offline system. Otherwise, log and digitize, or digitize on-the-fly. Media Composer or Film Composer offline editing (Step 3) system 3. Complete offline edits and create a final sequence.

Source footage: Beta- cam NTSC 30 fps or 4. Copy project PAL 25 fps (Step 4) information from the Proj offline system to the Symphony online Betacam or system. Digital Betacam VTR (Step 5)

5. Batch digitize the sequence in an online resolution in the Symphony (Step 6) Symphony system. finishing system

6. Use Symphony to finish the project.

25-fps or (Step 7) Beta- 30-fps master cam

7. Create a master tape (NTSC or PAL, depending on your Figure 1 Workflow: Video Project with Video Source source footage).

34 Planning a Video Project

1. (Option) Import a log file to create a bin. (Step 1) HD source footage: Log HD NTSC 30 fps or 2. If you imported a log PAL 25 fps file, batch digitize in the Media Composer or (Step 2) Film Composer offline HD VTR system. Otherwise, log and digitize, or digitize on-the-fly. Use an HD VTR or other Media Composer equipment to or Film Composer downconvert the HD (Step 3) offline editing source. system

3. Complete offline edits and create a final sequence. HD source footage: HD (Step 4) NTSC 30 fps or Proj PAL 25 fps 4. Copy project information from the offline system to the HD VTR Symphony online (Step 5) system.

5. Downconvert the source footage and (Step 6) batch digitize the Symphony sequence in an online finishing system resolution in the Symphony system.

6. Use Symphony to finish the project. (Step 7) Beta- EDL cam

25-fps or EDL for conformed 7. Create a master tape 30-fps master HDTV master (NTSC or PAL) or EDL for conforming an Figure 2 Workflow: Video Project with HD Source, SDTV HDTV master. Downconversion

35 Chapter 1 Planning a Project

Planning a 24p or 25p Project

A 24p or 25p project is one that uses 24p or 25p media, which is created and stored in the Avid system. In most cases, the source footage is film shot at 24 fps (for 24p) or 25 fps (for 25p), but new technology is introducing 24p and 25p videotape formats, both for cameras and VTRs. For 24p or 25p videotape, you need to use a 24p VTR to downconvert the high-definition format of HDTV to SDTV digital video for digitizing by the Avid system. n The 24p cameras and VTRs can typically work with either 24p or 25p footage.

Two possible workflows for 24p projects are: • “24-fps Film Source, SDTV Transfer, Multiformat Output” on page 38 • “24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output” on page 41

For information about a typical 25p workflow, see “25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output” on page 44.

For film productions that screen dailies, the paths might be somewhat different. For more information, see “Viewing Dailies” on page 69.

Alternatively, you can use a Media Station XL system to digitize footage or output a finished master. For more information, see the Avid Media Station XL Workflow Guide. For information about the Media Station XL product, contact your Avid representative or visit the Avid Web site.

36 Planning a 24p or 25p Project

NTSC and PAL Image Sizes

The Universal Mastering capabilities of your Avid system let you create both NTSC and PAL master tapes from the same project. If you plan to output both formats, consider the following information.

In the Avid system, NTSC video uses a 4:3 aspect ratio with a screen display of 720 x 486 pixels, except for DV and MPEG footage, which use a screen display of 720 x 480 pixels. PAL video uses the same aspect ratio, but includes an additional 90 horizontal lines for a total screen display of 720 x 576. During the process of creating a digital cut, the Avid system resizes the video image to the appropriate screen dimensions. For example, if you are working in an NTSC project and want to output PAL video, the Avid system resizes the NTSC video image to the larger PAL screen dimensions. This is the same process used in other standalone standards converters.

Because PAL has more horizontal lines of resolution than NTSC, resizing from PAL to NTSC results in better quality, especially for imported graphics. If you plan to output both NTSC and PAL versions of a sequence, consider using PAL film-to-video transfer and graphics sized for PAL. Your choice will depend on other production requirements, such as audio workflow and hardware availability. n The Avid system's Title tool uses downstream-key (DSK) capabilities to apply the correct title to each output format for your project. For more information, see the effects guide or Help for your Avid system.

37 Chapter 1 Planning a Project

24-fps Film Source, SDTV Transfer, Multiformat Output

The workflow shown in Figure 3 and Figure 4 illustrates a possible path for film footage shot at the standard 24 fps, transferred to SDTV (standard definition television or ITU-R 601) video, and digitized at 24 fps. Figure 3 shows the offline stage of the workflow, using a Media Composer or Film Composer system with Universal Offline Editing. Figure 4 shows the online stage, using a Symphony system, film-tape-film-tape relinking (FTFT), and multiple output formats.

With this workflow, the sound recording is synchronized as part of the telecine transfer. For alternative audio workflows, see “Alternative Audio Paths” on page 47.

For details on the telecine transfer process, see Chapter 2.

You can digitize directly from film during the film-to-tape transfer process by using Telecine Slave mode with VTR record emulation. For more information, see “Digitizing During the Film-to-Tape Transfer” on page 257.

38 Planning a 24p or 25p Project

1. The telecine process Telecine transfer process uses one-light or best- light transfer and syncs picture and sound to Nagra or DAT playback system create ITU-R 601 video. The process DAT adds 2:3 pulldown to Film shot film footage to create Sound at 24 fps an NTSC videotape, or recording uses 4.1% speedup for (Nagra or Telecine controller and record deck PAL videotape. The DAT) telecine process also (Step 1) creates a shot log (for example, a FLEX file). Digital Betacam, D5, 2. Convert the shot log DCT, or D1 format (Step 2) Log Beta- file with Avid Log cam (NTSC or PAL) Exchange (ALE), then import the shot log file into Media Composer or Film Composer to Digital Betacam, D5, DCT, or D1 VTR create a bin or bins. (Step 3)

3. Batch digitize the footage in an offline resolution, based on the Media Composer shot log. The Avid or system removes the 2:3 Film Composer pulldown and creates offline system 24p media. (Step 4)

4. Edit at 24 fps, apply Pull list Pan and Scan and other (Step 5) effects, and create a Proj final sequence.

5. Create a floppy disk with project To the Symphony To the telecine information for transfer system system to the Symphony online system. Create a 24p pull list for another telecine process, to Figure 3 Offline Workflow: 24-fps Film Source, SDTV Transfer retransfer footage used in the final edit.

39 Chapter 1 Planning a Project

6. The telecine process uses the pull list and a full color-corrected From the Telecine transfer process (picture only) transfer to create NTSC (Step 6) offline or PAL videotape with system selects from the original negative (picture only). The Pull list process also creates a new shot log file. Film shot at 24 fps 7. Copy the project From the information from the offline (Step 7) floppy disk to the system Symphony online system. Digital Betacam, D5, Proj Beta- DCT, or D1 format cam 8. Convert the new shot (NTSC or PAL) log with ALE and (Step 8) Log import it into the Symphony system. Digital Betacam, D5, DCT, or D1 VTR (Step 9) 9. Batch digitize in an online resolution, based Symphony on the new shot log online file. (Step 10) system 10. Relink the sequence and clips by key numbers (FTFT) and complete any other Cut list finishing. (Step 11) Beta- or Beta- or cam cam 11. Generate multiple formats. For NTSC and NTSC 29.97 fps PAL 25 fps PAL, the system 4:3 or 16:9 4:3 or 16:9 reinserts the pulldown or re-creates the Conformed film cut speedup. For conforming film, it creates a 24p cut list. Figure 4 Online Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output

40 Planning a 24p or 25p Project

24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output

This workflow is based on film or video footage shot at 24 fps and planned for HDTV (high-definition television). Different workflows are being developed for this new technology, which includes 24p tape formats, VTRs, and cameras. This workflow presents one possible path.

Figure 5 shows the offline stage of the workflow, using a Media Composer or Film Composer system with Universal Offline Editing. Figure 6 shows the online stage, using a Symphony system with Universal Mastering and multiple output formats.

With this workflow, the sound recording is synchronized as part of the telecine transfer. For alternative audio workflows, see “Alternative Audio Paths” on page 47.

For details on the telecine transfer process, see Chapter 2.

41 Chapter 1 Planning a Project

1. Source videotape comes either from a Telecine transfer process telecine transfer or a 24-fps video camera. Nagra or DAT playback system The telecine process transfers 24-fps film DAT footage at 1:1 (no Film shot pulldown). It also Sound at 24 fps recording creates a shot log (for Telecine controller (Nagra or example, a FLEX file). and record deck DAT) HD 24 2. For telecine transfer (Step 1) projects, convert the shot log file with ALE Video shot by 1:1 transfer and import it into 24-fps camera 24-fps HD Media Composer or (Step 2) HD 24 Film Composer to Log format create a bin or bins.

3. Batch digitize the footage in an offline resolution, based on the (Step 3) 24p HD VTR shot log. Use a 24p such as an HDW-F500 VTR deck to downconvert HDTV to ITU-R 601 video. The deck adds Media Composer 2:3 pulldown (NTSC) or or 4.1% speedup Film Composer (PAL). The Avid offline system system removes the (Step 4) extra pulldown fields and creates 24p media. Pull list (Step 5) 4. Edit at 24 fps, apply Proj Pan and Scan or other effects, and create a final sequence. To the Symphony To the telecine 5. Create a 24p pull list system system for another telecine process, to retransfer footage used in the final edit. Create a Figure 5 Offline Workflow: 24-fps Film or HDTV Source, floppy disk with project SDTV Downconversion information for transfer to the Symphony online system.

42 Planning a 24p or 25p Project

6. For film-originated Telecine transfer process (picture only) projects, the telecine From the (Step 6) process uses the pull offline list and full color- system corrected transfer to create HDTV videotape Pull list with selects from the original negative Film shot (picture only). The at 24 fps process also creates a new shot log file. From the (Step 7) offline 7. Copy the project system information to the HD 24 Symphony online HD 24 system. Proj Video shot by Log 24-fps camera 8. For telecine transfer (Step 8) projects, convert the new shot log file with ALE and import it into the Symphony system. (Step 9)

9. Batch digitize in an Symphony online resolution, based online on the new shot log system file. Downconvert (Step 10) either the telecine transfer tape or HDTV source tape. Cut list 24p EDL (Step 11) Beta- Beta- 10. Relink the sequence cam or cam or or EDL and clips by key numbers (FTFT) and NTSC 29.97 fps PAL 25 fps complete any other 4:3 or 16:9 4:3 or 16:9 finishing. Conformed HD film cut 11. Generate multiple formats for output. For Conformed NTSC and PAL, the HDTV master Symphony system reinserts pulldown or re-creates the speedup. For conforming film, it Figure 6 Online Workflow: 24-fps Film or HDTV Source, SDTV creates a 24p cut list. Downconversion, Multiformat Output For HDTV, it creates a 24p EDL for use in an online suite.

43 Chapter 1 Planning a Project

25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output

This workflow is based on film or video footage shot at 25 fps and planned for HDTV (high-definition television). Different workflows are being developed for this new technology, which includes 25p tape formats, VTRs, and cameras. This workflow presents one possible path.

Figure 7 shows the offline stage of the workflow, using a Media Composer or Film Composer system with Universal Offline Editing. Figure 8 shows the online stage, using a Symphony system with Universal Mastering and multiple output formats.

With this workflow, the sound recording is synchronized as part of the telecine transfer. For more information about digitizing and synchronizing audio, see “Alternative Audio Paths” on page 47. n For NTSC output this method slows the audio by 4 percent. If you plan to output to both NTSC and PAL, you might want to shoot at 24 fps and use 24p instead of 25p.

For details on the telecine transfer process, see Chapter 2.

44 Planning a 24p or 25p Project

1. Source videotape comes either from a Telecine transfer process telecine transfer or a 25-fps video camera. Nagra or DAT playback system The telecine process transfers 25-fps film DAT footage at 1:1 (no Film shot pulldown). It also Sound at 25 fps recording creates a shot log (for Telecine controller (Nagra or example, a FLEX file). and record deck DAT) HD 25 2. For telecine transfer (Step 1) projects, convert the shot log file with ALE Video shot by 1:1 transfer and import it into 25-fps camera 25-fps HD Media Composer or (Step 2) HD 25 Film Composer to Log format create a bin or bins.

3. Batch digitize the footage in an offline resolution, based on the (Step 3) 25p HD VTR shot log. Use a 25p deck to downconvert HDTV to ITU-R 601 video. The deck does Media Composer not need to add or pulldown or speed up Film Composer the audio since the offline system footage will remain at (Step 4) 25 fps. The Avid system creates 25p media. Pull list (Step 5) Proj 4. Edit at 25 fps, apply Pan and Scan or other effects, and create a final sequence. To the Symphony To the telecine system system 5. Create a 25p pull list for another telecine process, to retransfer footage used in the Figure 7 Offline Workflow: 25-fps Film or HDTV Source, final edit. Create a SDTV Downconversion floppy disk with project information for transfer to the Symphony online system.

45 Chapter 1 Planning a Project

6. For film-originated Telecine transfer process (picture only) projects, the telecine From the (Step 6) process uses the pull offline list and full color- system corrected transfer to create HDTV videotape Pull list with selects from the original negative Film shot (picture only). The at 25 fps process also creates a new shot log file. From the (Step 7) offline 7. Copy the project system information to the HD 25 Symphony system. HD 25 Proj Video shot by 8. For telecine transfer Log 25-fps camera projects, convert the (Step 8) new shot log file with ALE and import it into the Symphony system. (Step 9) 9. Batch digitize in an online resolution, based Symphony on the new shot log online file. Downconvert system either the telecine (Step 10) transfer tape or HDTV source tape.

Cut list 25p EDL 10. Relink the sequence (Step 11) Beta- Beta- and clips by key cam or cam or or EDL numbers (FTFT) and complete any other NTSC 29.97 fps PAL 25 fps finishing. 4:3 or 16:9 4:3 or 16:9

Conformed 11. Generate multiple HD film cut formats for output. For NTSC, the system Conformed inserts 2:3 pulldown HDTV master and slows down the audio by 4%. No adjustment is needed for PAL. For film, it Figure 8 Online Workflow: 25-fps Film or HDTV Source, SDTV creates a 25p cut list. Downconversion, Multiformat Output For HDTV, it creates a 25p EDL for use in an online suite.

46 Planning a 24p or 25p Project

Alternative Audio Paths

The workflows in this section illustrate four alternative paths for digitizing and synchronizing audio: • NTSC Audio and Video Synchronized During Transfer • NTSC Audio and Video Digitized Separately • PAL Audio and Video Synchronized During Transfer (PAL Method 1) • PAL Audio and Video Digitized Separately (PAL Method 2)

The Avid system provides multiple formats for output. These workflows illustrate which formats are appropriate for audio-only, and which formats are appropriate for video with audio.

47 Chapter 1 Planning a Project

NTSC Audio and Video Synchronized During Transfer

This method uses audio and video synced in the telecine system and transferred to NTSC videotape (see Figure 9).

1. The telecine process Telecine transfer process syncs picture and sound to create NTSC ITU-R 601 video. The process Nagra or DAT playback system adds 2:3 pulldown, DAT slows the film speed to 23.976 fps (labeled 24 fps), and slows the Sound Film shot recording at 24 fps audio to 44056 Hz or (Nagra or Telecine controller 47952 Hz (digital) or DAT) and record deck 59.94 Hz (analog). (Step 1)

2. Digitize the footage Digital Betacam, Beta- in the Avid system. Set cam D5, DCT, or D1 the pulldown switch in format tape the Digitize tool to 0.99. The system (Step 2) Digital Betacam, digitizes video and D5, DCT, or D1 audio at the slowed- deck down speed, removes the 2:3 pulldown, and creates 24p media. Avid video editing (Step 3) system 3. Edit and finish at 24 fps. During editing, audio plays at the original rate of Digital cut at 44100 Hz or 48000 Hz Digital cut at 23.976 (NTSC) or (digital) or 60 Hz DAT 24 fps (NTSC) or (Step 4) Beta- 25 (PAL) for (analog). 24 fps (PAL) for cam broadcast master audio transfer

4. Select one or more outputs, depending on your project needs. Figure 9 NTSC Audio and Video Synchronized During Transfer

48 Planning a 24p or 25p Project

NTSC Audio and Video Digitized Separately

With this method, you digitize audio and video separately, and then synchronize them in the Avid system (see Figure 10).

1. The telecine process Telecine transfer process (picture only) creates NTSC ITU-R 601 video. The process adds 2:3 pulldown and (Step 1) slows the film speed to 23.976 fps (labeled 24 fps). For effects work, some footage can Film shot be transferred and at 24 fps digitized without pulldown (frame-to- frame). (Step 2) DAT 2. Digitize the audio. If Digital Betacam, Beta- audio was transferred at cam D5, DCT, or D1 Sound format tape 29.97 fps, set the recording pulldown switch in the (Nagra or DAT) Digitize tool to 0.99. Digital Betacam, For field audio at 30 D5, DCT, or D1 (Step 3) fps, set the pulldown deck switch to 1.0.

3. Digitize the picture Avid video footage in the Avid editing system. The system system (Step 4) removes the 2:3 pulldown and creates 24p media.

Digital cut at Digital cut at (Step 5) DAT 4. Use the AutoSync™ 24 fps (NTSC) or Beta- 23.976 (NTSC) feature to sync picture 24 fps (PAL) for cam or 25 (PAL) for and sound. Edit and audio transfer broadcast master finish at 24p.

5. Select one or more Figure 10 NTSC Audio and Video Digitized Separately outputs, depending on your project needs.

49 Chapter 1 Planning a Project

PAL Audio and Video Synchronized During Transfer (PAL Method 1)

This method uses audio and video synced in the telecine system and transferred to PAL videotape. This method is known as PAL Method 1. It is most commonly used for 24-fps film footage that is intended for PAL TV broadcast (see Figure 11).

1. The telecine process Telecine transfer process syncs picture and sound (Step 1) to create PAL ITU-R Nagra or DAT 601 video (25 fps). The playback system process adds 4.1% speedup.

DAT Film shot at 24 fps Telecine controller and record deck Sound recording (Nagra or DAT) 2. Digitize the footage in the Avid system. The Digital Betacam, Beta- system creates frame- cam D5, DCT, or D1 to-frame 24p media. format tape (Step 2) Digital Betacam, D5, DCT, or D1 3. Edit and finish at deck 24p. During editing and playback, audio is scrubbed to play at Avid video editing 44100 Hz or 48000 Hz. (Step 3) During playback or system digital cut at 25 fps, audio plays at 44100 Hz or 48000 Hz. Digital cut at 25 fps (PAL) or (Step 4) Beta- 23.976 fps (NTSC) cam for broadcast 4. Select one or more master outputs, depending on your project needs. Figure 11 PAL Audio and Video Synced During Transfer (PAL Method 1)

50 Planning a 24p or 25p Project

PAL Audio and Video Digitized Separately (PAL Method 2)

With this method, you digitize audio and video separately, and then synchronize them in the Avid system. This method is known as PAL Method 2 (see Figure 12).

Telecine transfer process (picture only)

1. The telecine process creates PAL ITU-R 601 (Step 1) video without sound (MOS). The process adds 4.1% speedup. Film shot at 24 fps

DAT 2. Digitize the audio (Step 2) (without speedup) in Digital Betacam, Sound the Avid system. D5, DCT, or D1 recording Beta- cam format tape (Nagra or DAT)

Digital Betacam, D5, DCT, or D1 (Step 3) 3. Digitize the picture deck footage in the Avid system. The system creates 24p media. Avid video editing 4. Use the AutoSync system (Step 4) feature to sync picture and sound. Edit and finish at 24p. During editing, audio plays at Digital cut at 44100 Hz or 48000 Hz. Digital cut at 25 (PAL) or (Step 5) DAT 24 fps (PAL) or Beta- 23.976 (NTSC) cam 24 fps (NTSC) for for broadcast 5. Select one or more audio transfer master outputs, depending on your project needs. Figure 12 PAL Audio and Video Digitized Separately (PAL Method 2)

51 Chapter 1 Planning a Project

Audio Transfer Options for 24p PAL Projects

When you create a 24p PAL project, you must specify the appropriate audio transfer rate for the project. (This is not necessary for a 25p PAL project because there is no film speedup during the transfer.) The New Project dialog box provides Audio Transfer options that allow you to select either Film Rate or Video Rate. This value is project specific and should not be changed after you create the project unless you have a specific element that you need to transfer at a different rate. n The Audio Transfer options are also located in the Film Settings dialog box and can be changed after the project is created. See “Transfer Settings for Film Projects” on page 151.

The Audio Transfer options are: • Film Rate (100%): Select this option when your 24-fps film footage has been transferred MOS (roughly translated as “without sound”) to 25 fps by speeding up the film, and the audio comes in separately at 100 percent of the actual speed (PAL Method 2). • Video Rate (100%+): Select this option when your 24-fps film footage has been transferred to 25 fps by speeding up the film, and the audio is synchronized to the video picture. This means that the audio speed is increased by 4.1 percent (PAL Method 1). n The Info tab in the Project window allows you to view the audio transfer rate you selected when you created the project. The actual audio transfer rate might be different from the display if you used the Film Settings dialog box to change the audio transfer rate.

52 Planning a 23.976p NTSC Project

Planning a 23.976p NTSC Project

Avid editing systems that include 24p support include a 23.976p NTSC project type. This project type is especially designed for capture and output of digital audio that has been transferred or recorded at 48 kHz, in sync with picture at 23.976 fps. A 23.976p project lets you maintain digital standards for all NTSC input and output at 23.976 fps.

Select this project type for one of the following reasons: • Your film and audio sources have been synced in the telecine process and transferred to Digital Betacam® or other digital videotape formats. Audio from digital videotapes can now be directly input and output through the AES/EBU connections on the Meridien™ I/O box. • Your audio and video sources have been shot at a camera rate of 23.976 fps. This rate is used for film (film-based television) or 24p HD video (television or feature film). These sources can be downconverted to standard NTSC without further audio slowdown. Audio recorded at 48 kHz can remain at 48 kHz throughout the project. n The 23.976 fps frame rate is sometimes referred to as 23.97 fps or 23.98 fps. n The 23.976 fps frame rate is in direct proportion to the NTSC broadcast frame rate of 29.97 fps, which is used for film-to-tape transfer to the Avid editing system. For more information, see “Transferring 24-fps Film to NTSC Video” on page 74.

53 Chapter 1 Planning a Project

Working in a 23.976p NTSC Project

The following sections describe how working in a 23.976p project affects tools and settings.

Creating a 23.976p Project

To create a 23.976p project: 1. Click New Project in the Select User and Project dialog box. 2. Type the name of your new project in the text box. 3. Click the Format pop-up menu, and select 23.976p NTSC. 4. Click the Film Type pop-up menu, and select a film-gauge tracking format. If the source tapes were shot as video (such as 1080p/24 HD recorded at 23.976 fps), ignore the Film Type pop-up menu. 5. Click OK.

Film Settings

The Edit Play Rate and Audio Source Tape TC Rate options do not appear in the Film Settings dialog box. Edit Play Rate is automatically set at 23.976 fps. The Audio Source Tape TC Rate does not apply to 23.976p projects because you cannot digitize 30 fps audio in a 23.976p project.

Digitizing

Audio from digital videotapes can now be directly input and output through the AES/EBU connections on the Meridien I/O box.

The pulldown indicator on the Meridien I/O box never lights when working in a 23.976p project.

The pulldown switch in the Digitize tool is not used and does not appear.

Bins

The FPS column displays 23.976 rounded up to 23.98.

54 Planning a 23.976p NTSC Project

Import

Audio you import must be in sync with picture at 23.976 fps.

Digital Cut Tool

All output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not usable. Use this output rate for animations and other special applications. 24 fps NTSC, 24 fps PAL, and 25 fps PAL all require a sample-rate conversion, so high-quality audio is not guaranteed. For more information about output audio rates, see “Selecting Output Formats for 23.976p Projects” on page 357.

23.976-fps Film Transfer or HD Video Source, SDTV Downconversion, Multiformat Output

This workflow is based on film transferred at 23.976 or video footage shot at 23.976 fps and planned for HDTV (high-definition television). This workflow presents one possible path.

Figure 13 shows the offline stage of the workflow, using a Media Composer or Film Composer system with Universal Offline Editing. Figure 14 shows the online stage, using a Symphony system with Universal Mastering and multiple output formats.

With this workflow, the sound recording is synchronized as part of the telecine transfer. For a workflow in which video and audio are digitized separately, see Figure 15.

For details on the telecine transfer process, see Chapter 2.

55 Chapter 1 Planning a Project

1. Source videotape comes either from a Telecine transfer process telecine transfer or video shot at 23.976. Nagra or DAT playback system The telecine process syncs audio and DAT transfers film footage at Film shot 1:1 (no pulldown). It Sound at 24 fps or recording also creates a shot log. Telecine controller 23.976 fps (Nagra or and record deck 2. For telecine transfer DAT) projects, convert the (Step 1) 23.976 shot log file with ALE and import it into Media Composer or 1:1 transfer at Video shot at 23.976 fps 23.976 fps Film Composer to (Step 2) 23.976 create a bin or bins. Log (Digital Betacam tape) 3. Batch digitize the footage in an offline resolution. Use a 24p deck to downconvert (Step 3) 24p HD VTR HDTV to ITU-R 601 such as an HDW-F500 VTR video. The deck adds 2:3 pulldown for video but maintains audio at Media Composer 48 kHz. The Avid or system removes the Film Composer extra video pulldown offline system fields, maintains audio (Step 4) at 48 kHz, and creates 23.976p media. Pull list (Step 5) 4. Edit at 23.976 fps, Proj apply Pan and Scan or other effects, and create a final sequence. To the Symphony To the telecine 5. For film, create a system system pull list for another telecine process, to retransfer footage used in the final edit. Create Figure 13 Offline Workflow: 23.976-fps Film Transfer or HDTV a floppy disk with Source, SDTV Downconversion project information for transfer to the Symphony online system.

56 Planning a 23.976p NTSC Project

6. For film-originated Telecine transfer process (picture only) projects, the telecine From the (Step 6) process uses the pull offline list and full color- system corrected transfer to create videotape with Pull list selects from the original negative Film shot at (picture only). The 24 fps or process also creates a 23.976 fps new shot log file. From the (Step 7) offline 7. Copy the project system information to the 23.976 Symphony online 23.976 system. Proj Video shot at Log 23.976 fps 8. For telecine transfer (Step 8) projects, convert the new shot log file with ALE and import it into the Symphony system. (Step 9)

9. Batch digitize in an Symphony online resolution, based online on the new shot log system file. Downconvert (Step 10) either the telecine transfer tape or HDTV source tape. Cut list 24p EDL (Step 11) Beta 10. For film, relink the or or EDL sequence and clips by key numbers and NTSC 29.97 fps complete any other 4:3 or 16:9 finishing. Conformed HD film cut 11. Generate multiple formats for output. For Conformed NTSC video, the HDTV master Symphony system reinserts pulldown. For conforming film, it creates a 24p cut list. Figure 14 Online Workflow: 23.976-fps Film Transfer or HDTV For HDTV, it creates a Source, SDTV Downconversion, Multiformat Output 24p EDL for use in an online suite.

57 Chapter 1 Planning a Project

Figure 15 illustrates a workflow in which you digitize audio and video separately, and then synchronize them in the Avid system.

1. The telecine process Telecine transfer process (picture only) transfers film footage at 1:1 (no pulldown). For film shot at 24 fps, the (Step 1) process slows the film speed to 23.976 fps (labeled 24 fps). Film shot at 2. Digitize the audio 24 fps or into the Avid system 23.976 fps (no pulldown). Field audio should be DAT recorded at 48 kHz. If (Step 2) shot at 48.048 kHz, it 1:1 transfer at Sound recorded at 23.976 fps must be referenced to 23.976 48 kHz (DAT) (Digital 48 kHz outside of the Betacam tape) Avid system. 24p HD VTR 3. Digitize the picture such as an footage in the Avid (Step 3) HDW-F500 VTR system. Use a 24p deck to downconvert to ITU-R 601 video. The deck adds 2:3 pulldown Avid video for video. The Avid editing system removes the system (Step 4) extra video pulldown fields and creates 23.976p media.

4. Use the AutoSync Digital cut at Digital cut at feature to sync picture (Step 5) DAT 23.976 for Beta 23.976 (NTSC) and sound. Edit and audio transfer for broadcast finish at 23.976p. master

5. Select one or more outputs, depending on your project needs. Figure 15 NTSC Audio and Video Digitized Separately (23.976p Project)

58 Planning a 23.976p NTSC Project

Limitations for 23.976p Projects

Be aware of the following limitations: • For film projects shot at 24 fps, audio must be “pulled down” or “slowed down” before it can be captured into a 23.976p project. The user does not have the choice of capturing non-pulled-down audio. Unlike 24p NTSC projects, where the audio pulldown switch can be set to 1.0 or 0.99 to support either 24 fps or 23.976 fps, 23.976p projects do not use the audio pulldown switch. These 23.976p projects can only support 48 kHz audio that is in sync with 23.976-fps picture on a 29.97-fps transfer tape. • Media created in 24p projects and media created in 23.976p projects are not compatible. If you start working in one type of project and then decide to switch to the other, you need to recapture all video and audio media. You cannot relink video media or audio media across the two project types. • OMF and AAF files that are output from a 23.976p project look slightly different from those from a 24p project. The edit rates will show up as 23.976 fps in these files. c Because of the way project information is stored, previous versions of Avid editing systems do not recognize 23.976p projects as being different from 24p projects. You can open 23.976p projects in previous versions, however, none of the media can play because of the different internal edit rates. Projects are not corrupted by opening them in older versions of the software (unless you try to modify clips or edit sequences). If necessary, you can redigitize the media in the 24p project.

59 Chapter 1 Planning a Project

Planning a DV Project (Windows Only)

For more information, The DV/MPEG option (Windows only) allows you to record, edit, and see “DV Resolutions” output DV media. Avid systems with this option support the following DV on page 525. (digital video) formats: • DV 25 4:1:1 (NTSC and PAL) • DV 25 4:2:0 (PAL) • DV 50 4:2:2 (NTSC and PAL)

These resolutions appear, along with other Avid resolutions, wherever a list of resolutions appears (for example, in the Video Resolution pop-up menu of the Media Creation dialog box). The exact list depends on whether you are working in an NTSC or PAL project. n Symphony systems equipped with the DV/MPEG option must have a Z6 3D effects board installed before you can record and edit DV media. Symphony systems with a Meridien Mercedes 3D effects board do not support DV media. A separate MPEG option is available for Symphony systems with a Meridien Mercedes 3D effects board.

Understanding DV

DV refers to a video compression format that can be transferred through equipment that conforms to IEEE Standard 1394. This equipment (cameras, video and audio decks, cables, connectors, and processing boards) is sometimes referred to as FireWire® or i.LINK®. IEEE 1394 connections let you transfer digital data (both video and audio) directly from a DV camera or deck to an Avid system with no conversion losses.

When you configure the Avid system for a DV camera or deck, you need to select OHCI (for example, from the Video pop-up menu in the Digitize tool). The OHCI (Open Host Controller Interface) specification is a standardized way of interacting with the 1394 bus. The IEEE 1394 interface that conforms to the specification can provide a connection between a computer and a DV camera or deck that will operate in a standard way.

60 Planning a DV Project (Windows Only)

The Avid system does not use the default Microsoft® OHCI driver, but instead uses a custom OHCI driver. Whenever you connect a new DV device (camera or deck), the Avid system automatically links the device to the custom OHCI driver. For more information on linking a DV device, see the release notes for your Avid system. For information on physically connecting a DV device, see the Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System.

DV Workflows

There are several workflows for DV projects: • You can work in native DV. - Use a FireWire connection to record DV footage directly from a camera or deck. - Use any Avid editing features to edit in DV format. - Output to a DV deck. • You can work with ITU-R 601 digital media or analog media that is recorded through the Meridien I/O box. - The Avid system converts the video to a supported DV resolution (DV 25 or DV 50). - Edit in DV format. - Output to a DV deck, to a digital deck, or to an analog deck, depending on your requirements. • You can work in a DV project with mixed sources. - Record native DV footage. - Record ITU-R 601 or analog media that is converted to DV format. - Edit in DV format. - Output to a DV deck, to a digital deck, or to an analog deck, depending on your requirements. • You can work in a DV project that will be cut as film. - Create a matchback project.

61 Chapter 1 Planning a Project

- Use a FireWire connection to record DV footage directly from a camera or deck. - Edit in native DV format. - Use the FilmScribe™ application to output a cut list. DV resolutions and OHCI input and output are not available in progressive projects. • You can work in an Avid Unity™ MediaNetwork environment. You can edit in DV while sharing DV footage with other DV systems. For example, in a broadcast facility, you can use an Avid editing system with the DV/MPEG option to create long form and promo programs from the material that is gathered for news, while other editors use Avid NewsCutter® systems to create the new stories. n Symphony systems with the DV/MPEG option support and record DV 25 media. Symphony systems with the DV/MPEG option support DV 50 media, but cannot record it in its native format (they can record SDI or analog video and compress it as DV 50). To record and edit DV 50 footage in its native format, the editing system must be part of an Avid Unity MediaNetwork network, along with a NewsCutter system. Record the footage on the NewsCutter system and then use Avid Unity MediaNetwork to access and edit the media.

For information about DV input and output, see the following sections: • “Configuring Decks” on page 153 • “Setting Up the Digitize Tool” on page 164 • “Recording DV Through a 1394 Connection (Windows Only)” on page 237 • “Using the Digital Cut Tool” on page 341 n Systems with the DV/MPEG option support recording and digital cut of 44.1-kHz and 48-kHz audio only. They do not support recording and digital cut of 32-kHz (12-bit) audio. If you are recording DV audio, set your camera or deck to record 16-bit audio (48 kHz).

Figure 16 shows a possible workflow for a DV project. This workflow uses both DV media and Betacam media as source footage.

62 Planning a DV Project (Windows Only)

Source footage: (Step 1) V D Beta- NTSC 30 fps or 1. (Option) Import a cam Log PAL 25 fps log file to create a bin.

DV Betacam, Digital Betacam, 2. Connect your camera or deck or other VTR equipment. For SDI or (Step 2) analog video, use the Meridien I/O box. For Avid DV video, use the 1394 Meridien I/O box connection.

1394 connection (Step 3) Avid editing 3. Digitize footage to system with the create DV 25 media. If DV/MPEG option you imported a log file, batch digitize. (Step 4) Otherwise, log and digitize or digitize on-the-fly. Avid Meridien I/O box 4. Complete edits and create a final sequence. DV deck Betacam, (Step 5) Digital Betacam, or other VTR

5. Output a master tape: 25-fps or DV Beta- DV, analog, digital, or cam 30-fps master all three. Output NTSC or PAL, depending on your source footage. Figure 16 Workflow: DV Project with Mixed Sources

Starting a DV Project

When you start a DV project, select either NTSC or PAL, depending on the format of your media. If your system includes 24p and 25p support, select either NTSC 30i or PAL 25i. If you are planning to use your footage to create film, select the Matchback option. For more information about starting a project, see the editing guide or Help for your Avid system.

63 Chapter 1 Planning a Project

Editing in DV

In general, you edit DV footage in the same way you edit any other footage. However, consider the following: • You can mix NTSC DV resolutions (DV 25 and DV 50), or you can mix PAL DV resolutions (DV 25 and DV 50). However, you cannot record a digital cut to a DV deck with mixed DV resolutions. You need to perform a mixdown first. You can record mixed DV resolutions to an SDI or to an analog deck. • You cannot mix NTSC and PAL resolutions, and you cannot mix DV resolutions with other uncompressed or compressed resolutions.

The DV/MPEG option gives you real-time effects. If you are recording a digital cut to a DV camera or a DV deck, you need to render all effects. If you are recording through the Meridien I/O box to a digital deck or to an analog deck, the system maintains real-time effects.

Planning an MPEG Project (Windows Only)

Symphony systems with the DV/MPEG option or the MPEG option support MPEG 50 (NTSC and PAL) as a media format (Windows only). MPEG 50 is a resolution specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony® MPEG IMX™ VTRs. For more information on MPEG 50, see “MPEG 50 Resolution” on page 526.

The MPEG 50 resolution appears, along with other Avid resolutions, wherever a list of resolutions appears (for example, in the Video Resolution pop-up menu of the Media Creation dialog box).

Systems with the DV/MPEG option do not record and output native MPEG media unless equipped with the optional MPEG SDTI-CP board. This board, which allows capture of MPEG IMX media, is available as an option for Symphony and Media Composer systems (Windows only). For more information, see Appendix E.

64 Planning an MPEG Project (Windows Only)

You can also create MPEG 50 media through the SDI or analog video inputs of the Meridien I/O box.

You can share MPEG 50 media with other Avid editing systems through an Avid Unity MediaNetwork workspace. In this way, a system that cannot record and output native MPEG 50 media can access and edit MPEG 50 media.

You can select MPEG 50 as a resolution in the Media Creation dialog box (Digitizing, Titles, Import, and Mixdown tabs) and in the Digitize tool. n You cannot mix MPEG 50 with any other resolutions.

MPEG Workflows

There are several workflows for MPEG projects: • You can work in native MPEG 50. - Use the optional MPEG SDTI-CP board to record footage directly from an MPEG IMX deck. - Use any Avid editing features to edit in MPEG 50 format. - Output to an MPEG IMX deck through SDTI-CP. • You can work with ITU-R 601 digital media or analog media that is recorded through the Meridien I/O box. - The Avid system converts the video to MPEG 50 media. - Edit in MPEG 50 format. - Output to an MPEG IMX deck, to a digital deck, or to an analog deck, depending on your requirements. • You can work in an MPEG project with mixed sources. - Record native MPEG 50 footage - Record ITU-R 601 or analog media that is converted to MPEG 50 format.

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- Edit in MPEG 50 format. - Output to an MPEG IMX deck, to a digital deck, or to an analog deck, depending on your requirements. The MPEG 50 resolution and MPEG SDTI-CP input and output are not available in 24p or 25p projects. • You can work in an Avid Unity MediaNetwork environment. You can edit in MPEG 50 while sharing MPEG 50 footage with other systems. For example, in a broadcast facility, you can use a Media Composer system with the DV/MPEG option to create long form and promo programs from the material that is gathered for news, while other editors use Avid NewsCutter systems to create the new stories. • You can work in a workgroup environment with Avid Unity TransferManager. For example, in a broadcast facility, you can send your final MPEG 50 sequence to a playback device, such as Avid AirSPACE™, using the Send to Playback option.

For information about MPEG 50 input and output, see the following sections: • “Configuring Decks” on page 153 • “Setting Up the Digitize Tool” on page 164 • “Recording Through MPEG SDTI-CP (Windows Only)” on page 237 • “Using the Digital Cut Tool” on page 341

Figure 17 shows a possible workflow for an MPEG project. This workflow uses both MPEG media and Betacam media as source footage.

66 Planning an MPEG Project (Windows Only)

V Source footage: (Step 1) D Beta- NTSC 30 fps or 1. (Option) Import a cam Log PAL 25 fps log file to create a bin.

2. Connect your Betacam, MPEG IMX Digital Betacam, equipment. For SDI or deck or other VTR analog video, use the (Step 2) Meridien I/O box. For MPEG video, use the Avid optional MPEG Meridien I/O box SDTI-CP board. MPEG SDTI-CP connection 3. Digitize footage to (Step 3) Avid editing create MPEG 50 system with MPEG support media. If you imported and optional a log file, batch MPEG SDTI-CP digitize. Otherwise, log (Step 4) board and digitize or digitize on-the-fly.

Avid 4. Complete edits and Meridien I/O box create a final sequence.

MPEG IMX Betacam, 5. Output a master tape: (Step 5) deck Digital Betacam, MPEG, analog, digital, or other VTR or all three. Output NTSC or PAL, depending on your 25-fps or DV Beta- source footage. cam 30-fps master

Figure 17 Workflow: MPEG Project with Mixed Sources

Starting an MPEG Project

When you start an MPEG project, select either NTSC or PAL, depending on the format of your media. If your system includes 24p and 25p support, select either NTSC 30i or PAL 25i. If you are planning to use your footage to create film, select the Matchback option. For more information about starting a project, see the editing guide or Help for your Avid system.

67 Chapter 1 Planning a Project

Editing in MPEG

In general, you edit MPEG footage in the same way you edit any other footage. However, consider the following: • You cannot mix MPEG 50 with any other resolutions. • If you are recording a digital cut to an MPEG IMX deck through SDTI-CP, you need to render all effects. If you are recording through the Meridien I/O box to a digital deck or to an analog deck, the system maintains real-time effects.

Film Project Considerations

This section presents information that could be useful when planning film projects that you will edit on an Avid system.

Film Shoot Specifications

Use the guidelines in Table 1 to help you plan for film shoots.

Table 1 Film Shoot Specifications

Element Supported Formats Notes

Film type 16mm Use Standard 16mm or Super 16mm. Super 16’s aspect ratio closely matches 16:9.

35mm: 2, 3, 4, and 8 perf 16mm, 35mm 4 perf, and 35mm 3 perf are supported as projects in the Avid system. 65mm: 5, 8, 10, and 15 perf The remaining formats are supported through ink numbers and auxiliary ink numbers, which you select in the Film Settings dialog box. For more information, see the editing guide or Help for your Avid system.

Film wind B-wind Always use camera rolls with key numbers in ascending order.

68 Film Project Considerations

Table 1 Film Shoot Specifications (Continued)

Element Supported Formats Notes

Audio media 1/4-inch audiotape (Nagra) Use to record analog audio.

DAT or DA88 (digital audiotape) Use to record digital audio.

Audio timecodes 30-fps drop-frame or non-drop- Use for NTSC transfer projects, and for frame generating audio EDLs.

25-fps timecode Use for PAL transfer projects, and for generating audio EDLs in the PAL format.

Audio sync to in-camera timecode Use for automatic syncing of sound with (Aaton® or Arri® 24-fps timecode) picture in the Avid system.

Sync methods Clapsticks Use for manual syncing of sound with picture.

Electronic slate (smart slate) Use for semiautomatic syncing.

In-camera timecode, with audio Use for automatic, “slateless” syncing in the sync telecine.

Slate information Camera roll, scene and take, shoot Mark sound-roll ID as a backup. date, sound-roll ID

Sound-roll cues Sound-roll ID, date, start and end Include verbal time-of-day cues as a backup. time-of-day timecode

Viewing Dailies

Viewing dailies is a critical part of the film production process. With an Avid system, there are two different ways to produce dailies. •The film dailies method relies on work print for screening, transferring, and creating conformed cuts during editing. •The video dailies method relies on videotape transfers from negative for screening, transferring, and creating conformed cuts during editing.

69 Chapter 1 Planning a Project

Film Dailies Method

The film dailies method involves the procedures shown in Figure 18. Specifics, such as tape formats, vary depending on facilities and needs.

1. Prepare work print ...... for the circled ...... (selected) takes. Negative Work print (Step 4) 2. Sync work print with (Steps 1 and 2) ...... audio mag track, and Mag track KEM roll assemble each take on a roll with ink numbers. (Step 3) 3. Screen the film Screening dailies before telecine transfer.

4. Mount and transfer the rolls to tape in telecine. Telecine

5. (Option) Enter ink (Step 5) numbers manually into Beta- cam the Avid system after you digitize, to match the ink number on the Transfer work print.

(Step 6) Cut list 6. Generate ink-number lists for preparing cuts from the work print, Conformed cut and key-number lists for conforming the negative. Figure 18 Film Dailies Method

When you work with film dailies and work print, the advantages are: • You can screen the dailies immediately after the lab work. • You can use work print previews to view the full film aspect ratios, resolutions, and contrast ranges. For this reason, film dailies are often preferred for feature film projects.

The disadvantage is that the magnetic track and work print require additional facilities, procedures, and costs.

70 Film Project Considerations

Video Dailies Method

The video dailies method involves the procedures shown in Figure 19. Specifics, such as tape formats, vary depending on facilities and needs.

1. Prepare film negative for the circled ...... (selected) takes...... Nagra or DAT Negative playback system 2. Transfer reels of Assembled takes negative synced to (Steps 1 and 2) audio in telecine. Telecine controller Generate a and record deck simultaneous online Sound transfer, or create the recording online transfer from selects after editing the sequence. 1 ” Screening Beta- 3. Screen the videotape (Step 3) cam dailies after the Transfer transfer. Tra nsfer

4. Import existing key numbers and timecode (Steps 4 and 5) information into the Avid system, then digitize.

5. Edit using the Avid (Step 6) system. Cut list 1 Beta- ” cam EDL 6. Record a digital cut to preview the Conformed cut sequence with effects, Preview Master or generate EDLs for editing the videotape transfers. Figure 19 Video Dailies Method

Alternatively, generate a matchback list of selects for printing selects and conforming negative.

71 Chapter 1 Planning a Project

The advantage of working with video dailies and film negative is that you can avoid the cost of work print until the finishing stages, or altogether. The disadvantage is you are limited to the aspect ratio, resolution, and contrast range of video previews. For this reason, video dailies are preferred for television projects, but you can also use this method to economize on a feature film production.

72 Chapter 2 Film-to-Tape Transfer Methods

To capture and edit film-originated footage in your Avid system, you must transfer the footage to videotape. This chapter presents the following information about film-to-tape transfer methods: • Understanding the Transfer Process • Transferring 24-fps Film to NTSC Video • Transferring 24-fps Film to PAL Video • How the Avid System Stores and Displays 24p and 25p Media

To help you plan the transfer, this chapter includes the following sections: • Film-to-Tape Transfer Guidelines • Film-to-Tape Transfer Options

Understanding the Transfer Process

You have your film rolls from the day’s shooting, and you’re ready to edit on your Avid system. To digitize that footage into the system, you first need to transfer the film to videotape. This process uses a special film projector called a telecine (the term loosely translates as “video-film”). The telecine is usually part of a production system that includes audiotape recorders, a controller, and other equipment. Chapter 2 Film-to-Tape Transfer Methods

After you’ve decided on a telecine facility and have supplied your requirements (see “Film-to-Tape Transfer Guidelines” on page 84 and “Film-to-Tape Transfer Options” on page 85), the telecine facility performs the film-to-tape transfer. The steps in the process differ, depending on whether you include audio and whether the transfer produces NTSC or PAL videotapes. The following sections describe these steps. n You can digitize directly from film during the film-to-tape transfer process by using Telecine Slave mode with VTR record emulation. For more information, see “Digitizing During the Film-to-Tape Transfer” on page 257.

Transferring 24-fps Film to NTSC Video

If you use an NTSC transfer, the film-to-video process takes place in two stages: • Stage 1: Transferring Film to Video • Stage 2: Digitizing at 24 fps

The following illustration shows a simplified view of the NTSC film-to- video transfer process. For information about this workflow, see “Planning a 24p or 25p Project” on page 36.

Telecine 2:3 pulldown Digitize and reverse 23.976 fps pulldown to 24 fps. Beta- cam Stage 1 Stage 2 Betacam or Film shot at 24 fps Digital Betacam video signal 29.97 fps Avid editing system at 24 fps

74 Transferring 24-fps Film to NTSC Video

Stage 1: Transferring Film to Video

The NTSC film-to-video transfer occurs as a two-part process: the telecine adds extra frames during transfer and, at the same time, slightly reduces the film’s running speed.

Frames Versus Fields

To understand how the telecine transfers film to videotape, you need to understand the relationship between frames and fields.

An NTSC video image consists of 525 horizontal lines of information. The electron gun on a video monitor displays the odd-numbered lines first and then the even-numbered lines. Each full scan of odd-numbered or even- numbered lines constitutes a field. At 30 fps, each field takes 1/60th of a second to display; therefore, an entire frame of two fields is scanned each 1/30th of a second. The combination of these two fields (odd and even) is called interlacing.

A film frame, in contrast, is one full picture; it has no fields. The telecine process takes each film frame and creates a two-field video frame.

Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video

Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in frame rates between film and video prevents a direct frame-to-frame transfer.

To compensate, the telecine process creates an extra six frames every second (the difference between 24 and 30). That is, it creates five video frames for every four film frames. But remember, each video frame is subdivided into two video fields. To be more precise, the telecine creates ten video fields (the equivalent of five video frames) for every four film frames. This is referred to as a 4:5 ratio. Table 2 states this relationship between film and video.

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Table 2 Ratio of Film to Video

Film Video

24 fps 30 fps

4 frames 5 frames (10 fields)

The telecine uses a method known as pulldown to create the extra frames. As each film frame moves through the telecine projector, it is held in place (pulled down) while a specific number of fields are recorded on videotape. To transfer four film frames to ten video fields, the telecine process alternates between creating two and three video fields per film frame (referred to as 2:3 pulldown). To transfer four film frames to ten video fields, the telecine pulls down the first film frame and records two video fields, pulls down the second film frame and records three video fields, and repeats the process.

The four frames in each series are referred to as A, B, C, and D. The standard method for identifying the resulting fields is to label them as A1, A2, B1, B2, and so forth. The following diagram illustrates the 2:3 pulldown process.

Four film frames Five NTSC video frames (ten fields)

A1 odd A A2 even Timecode change B1 odd B2 even B Timecode change B3 odd C1 even Timecode change C C2 odd D1 even Timecode change D D2 odd D3 even

76 Transferring 24-fps Film to NTSC Video

The telecine alternates between capturing odd-numbered and even- numbered fields. For example, B1 and B3 both contain the odd-numbered scan lines of the B film frame. Later in the transfer process, when the Avid system digitizes the fields, it must capture an odd-numbered and an even- numbered field for each frame.

When you view the resulting video, you get the impression that you are watching the video at 24 fps even though it is playing at 30 fps (or more precisely, at 29.97 fps).

Part 2: Slowing the Film Speed to 23.976 fps

NTSC video, the broadcast standard used in the United States, Japan, and other countries, plays at an actual rate of 29.97 fps, although it is usually referred to as 30 fps.

An accurate conversion requires exact adherence to the 4:5 ratio, but this ratio breaks down when you compare 24 fps to 29.97 fps. To achieve a true 4:5 ratio, the film frame rate is slowed down to 23.976 fps. The telecine process makes this correction automatically, slowing NTSC video 0.1 percent from the original film speed, so that the video plays at 99.9 percent of its original speed.

Table 3 adds this new ratio.

Table 3 Ratio of Film to Video with FPS

Film Video

24 fps 30 fps

4 frames 5 frames (10 fields)

23.976 fps (0.999 x 24) 29.97 fps (0.999 x 30)

77 Chapter 2 Film-to-Tape Transfer Methods

Maintaining Synchronized Sound

In most cases, the sound for your production has been recorded on a digital audio system, such as a DAT (digital audiotape), or ¼-inch tape system, such as a Nagra recorder. You need to synchronize the sound with the picture and make sure they are in sync in the Avid system. You can take one of three basic paths: • Transfer the original sound recording to mag track, sync the mag track to the film work print, and transfer both to videotape through a telecine process. • Sync the original sound recordings to picture during the telecine process, and transfer both to videotape. • Transfer only the picture through the telecine process, digitize picture and sound separately, and sync them in the Avid system.

If the telecine transfers sound along with picture (one of the first two paths), the sound is slowed by 0.1 percent to maintain sync with the picture. The reference signal slows from 60 Hz to 59.94 Hz and the rate at which the audio is recorded changes from 44100 Hz to 44056 Hz, or from 48000 Hz to 47952 Hz.

Optionally, you can transfer only picture, and digitize the original audio directly into the Avid system. This approach can save telecine expense and give you better quality audio. For more information, see “Alternative Audio Paths” on page 47.

78 Transferring 24-fps Film to NTSC Video

Stage 2: Digitizing at 24 fps

The telecine has converted your film footage into video running at 29.97 fps. Now you’re ready to use the digitizing process to input the material as a 24p NTSC project.

To digitize audio During the digitizing process, the Avid system reverses the pulldown transferred at 29.97 fps procedure to capture the film footage at 24 fps. It removes the extra fields (video rate) you must added by the pulldown process to create full-frame, 24p media. The set the pulldown switch to 0.99 in the Digitize digitize process captures video and audio at the slowed-down speed tool. For more (0.999). information, see “Setting the Pulldown The following illustration shows each stage of the film-video-24p process. Switch” on page 170.

Four film frames Five NTSC video frames (ten fields) Four digitized frames

A1 odd A A A2 even B1 odd B2 even B B B3 odd Skip this field. C1 even C C C2 odd D1 even D D2 odd D D3 even Skip this field.

Film at 24 fps Betacam or Digital Betacam 24p media at 24 fps 29.97 fps

If you have transferred sound along with picture, the Avid system captures audio at the slowed-down speed. Then during editing and playback, the system speeds up the play rate by 0.1 percent to play in sync with the 24-fps video. Audio plays at 44100 Hz (44.1 kHz) or 48000 Hz (48 kHz).

Now you can edit the material at 24 fps on the Avid system. This approach ensures that all your edits correspond to true film frames so you see an accurate representation of the finished film.

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Transferring 24-fps Film to PAL Video

If you use a PAL transfer, the film-to-video process also takes place in two stages: • Stage 1: Transfer the film to videotape by speeding up the film rate during the telecine process. • Stage 2: Digitize the transferred videotape into the Avid system at the sped-up rate.

The following illustration shows a simplified view of the PAL film-to- video transfer process. For information about this workflow, see “Planning a 24p or 25p Project” on page 36.

Telecine transfer with Digitize 4.1% speedup Beta- cam Stage 1 Stage 2

Betacam or Film shot at 24 fps Digital Betacam video signal 25 fps Avid editing system at 24 fps

There are two approaches to synchronizing sound, which are often referred to as PAL Method 1 and PAL Method 2.

PAL Method 1

With PAL Method 1, you synchronize sound with picture during the telecine process.

Stage 1: Transferring Sound and Picture to Videotape

Some PAL film-to-tape As with an NTSC film-to-tape transfer, the telecine process creates two transfers use pulldown. video fields for each film frame. However, because the film rate of 24 fps This method is not is close to the PAL video rate of 25 fps, most PAL film-to-tape transfers currently supported in Avid systems. involve simply speeding up the frame rate. This speedup changes the frame rate from 24 to 25 (an increase of 4.1 percent). There is no pulldown that creates extra fields.

80 Transferring 24-fps Film to PAL Video

With PAL Method 1, there are two ways to sync sound with picture in the telecine process: • Transfer the original sound recording to mag track, sync the mag track to the film work print, and transfer both to videotape through a telecine process. • Sync the original sound recordings to picture during the telecine process, and transfer both to videotape.

In either case, the telecine process speeds up sound at the same rate as picture: 4.1 percent.

Stage 2: Digitizing at 24 fps

After you’ve received the PAL transfer tapes, the next step is digitizing the footage in a 24p PAL project. During the digitizing process, the Avid system digitizes the material at the PAL rate of 25 fps, capturing every picture frame. It stores the two video fields as a single progressive frame, which you edit at 24 fps. n You must digitize audio along with video at the PAL rate of 25 fps if you want to use audio that was transferred along with picture during the telecine process. You set the Audio Transfer rate as Video Rate (100+%) in the New Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects” on page 52.

Select this option in the You have the option of playing back the footage at 24 fps or 25 fps. If you Film Settings dialog select 24 fps, the system slows both the picture and the sound by box. For more 4.1 percent for playback. This approach lets you edit at the original film information, see “Selecting Settings” on rate, but the slowdown creates a limitation for audio. Because you digitize page 137 and the the audio at a rate faster than playback, some audio samples are duplicated editing guide or Help during playback, and sound quality is compromised. for your Avid system. If you select 25 fps, there is a different limitation with audio. Because you are playing back at the sped-up rate (4.1 percent), the audio pitch rises slightly. This is usually acceptable for broadcast, so PAL Method 1 is primarily used for PAL television broadcast.

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PAL Method 2

With PAL Method 2, you digitize sound and picture separately.

Stage 1: Transferring Picture to Videotape

Some PAL film-to-tape With PAL Method 2, you use the same telecine process for picture (create transfers use pulldown. a video frame of two fields for each film frame, speed up rate by This method is not 4.1 percent). The difference is that you do not synchronize sound as part of currently supported in Avid systems. the telecine process.

Stage 2: Digitizing at 24 fps

Now that you have your picture-only videotapes (at the rate of 25 fps) and your source recording tapes, you need to follow a two-step process: 1. Digitize the picture to create 24p media. 2. Digitize the sound at the film rate of 24 fps. n When you created the project, you set the Audio Transfer rate as Film Rate (100%) in the New Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects” on page 52.

In most cases, you will choose to edit at 24 fps. The sound will maintain source quality (44.1 kHz and 48 kHz) and will play in sync with 24-fps video.

PAL Method 2 is used primarily for film projects.

How the Avid System Stores and Displays 24p and 25p Media

When the Avid system digitizes video that has been transferred from film (or video shot at 24 fps), it creates 24p media. It creates this media by capturing the video fields, by dropping extra pulldown fields (NTSC transfers only), by combining (deinterlacing) two fields for each film frame (A1+A2, B1+B2, and so forth), and by storing the fields together as

82 How the Avid System Stores and Displays 24p and 25p Media

a full frame. The system always stores media as a fully reconstructed, progressive frame. It is the construction of this full frame that gives you the flexibility to create multiformat output.

You typically use 25p media when digitizing film or video shot at 25 fps. In this case, the system also stores the media as a fully reconstructed, progressive frame. The difference is that there is no need for pulldown fields since there is a 1:1 correspondence between the source tape and the digitized frames.

Displaying Media While Editing

When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit Play), the system separates (interlaces) the progressive frames into fields and does the following:

Choose your preference • On the Source, Record, Playback, or pop-up monitor, the system for playback in the displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on your Film Settings dialog project and editing preference. box. For more information, see the • On an NTSC monitor, the system does one of two things: editing guide or Help for your Avid system. - If playing at 23.976 fps (audio pulldown ON), the system performs a 2:3 pulldown that replicates the telecine pulldown, and displays the interlaced media at 29.97 fps. - If playing at 24 fps (audio pulldown OFF), the system performs a 2:3 pulldown, drops every 1000th frame in the Client monitor, and displays the interlaced media at 29.97 fps. • On a PAL monitor, the system does one of two things: - If playing at 24 fps, the system duplicates two fields per second to display the interlaced media at 25 fps. - If playing at 25 fps, the system performs a 4.1 percent speedup, maintains 1:1 transfer of film frames to video frames, and displays the interlaced media at 25 fps. For 25p projects, 25 fps is the only playback rate. The playback rate is 1:1 with no speed change.

83 Chapter 2 Film-to-Tape Transfer Methods

By default, the system uses a mode called Fast Frame Display (available from the Special menu), which displays one field of the progressive frame. You can display the full frame if necessary, such as when checking for dropouts created during the film-to-tape transfer, and step through frame by frame. However, the display will be slower. For more information, see the section on detecting video dropouts in the effects guide or Help for your Avid system.

Displaying Media During a Digital Cut

The Digital Cut tool lets you output multiple formats at various play rates, all from 24p and 25p media. When you click the Play Digital Cut button, the system displays the sequence as described in the previous section, depending on your selection in the Digital Cut tool. For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 354.

Film-to-Tape Transfer Guidelines

Observe the following general guidelines when transferring film to tape: • Instruct the telecine facility to record timecode on the address track. • Instruct the facility to use only a telecine transfer process when transferring to NTSC videotape. Do not use a film chain or any other transfer device. • PAL transfers do not require pulldown, so you can use either a telecine or a film chain. However, quality is much better on a telecine. • Transfer all of the project’s source film footage to disk or tape by using either the NTSC or PAL method. - For NTSC projects, you can mix footage transferred at 24 fps (23.976 fps) or 30 fps (29.97 fps), and mix sound transferred at 1.0 or 0.99.

84 Film-to-Tape Transfer Options

n Do not mix 24-fps and 30-fps transfers on the same transfer tape. - For PAL projects, you cannot mix audio that has been transferred at 4.1 percent speedup (PAL Method 1) with audio that has not been sped up (PAL Method 2). n PAL film-to-tape transfers that use pulldown are not currently supported in Avid systems.

Film-to-Tape Transfer Options

This section describes options for transfer quality and various screening and editing aids you can request during the transfer process, based on the considerations of budget and available facilities.

Transfer Quality

The quality of the film-to-tape transfers depends upon several options for the telecine transfer. The transfer-quality options available from a telecine facility include: • One-light: This transfer involves a single setting of color correction values, resulting in the simplest, fastest, and least-costly type of transfer. One-light transfers are often used during offline stages of editing. • Best-light: This transfer involves optimum settings of the color-grade controls, but without scene-by-scene color correction. Best-light transfers are an intermediate level in terms of both quality and cost. • Timed (scene-by-scene): This transfer involves color correcting each scene or shot during transfer. Timed transfers are the most expensive and time consuming. This option sets up the proper black and white levels so that you can perform a tape-to-tape color correction from the source tapes, if needed.

85 Chapter 2 Film-to-Tape Transfer Methods

For more information You can use the film-tape-film-tape feature to perform two separate on the film-tape-film- telecine processes for a project: tape option, see “Relinking Clips by • Perform a one-light or best-light transfer to obtain the most material Key Number” on for the initial edits. page 251. • After editing is complete, perform a timed, fully color-corrected transfer of the clips that will be used in the final cut.

After you perform the final telecine operation, you can digitize at a finishing resolution, such as 1:1 (uncompressed).

Additional Film Transfer Aids

The transfer facility might have available one or more of the following production aids, which you can include in your film-to-tape transfer: • Automatic logging: Whenever possible, you should instruct the facility to log tracking information directly into a computer database program. Logs generated automatically are more accurate than manual logs and can be imported easily into the Avid system (see “Preparing Log Files for Import” on page 90). A log file typically indicates the relative timecode, key numbers, and pullin (“A” frames) for each clip that will be digitized. • A keypunch at the head of each camera roll: Ask the lab or transfer house to punch the head of each camera roll at the zero frame and give you a list of the corresponding key numbers. After you have digitized, you can match this list with your digitized material to check for potential transfer errors. • Burn-in code: If the transfer facility is equipped with a timecode or film-code character generator, you can instruct the facility to display or “burn-in” tracking codes on the videotape transfer. Burn-in code provides visual feedback for logging and tracking footage. c Burn-in code cannot be removed from the image and should be used only for the offline stage of a project.

86 Film-to-Tape Transfer Options

• 16:9 wide-screen format: The Avid system supports the 16:9 wide- screen display format. You can either shoot your footage by using a 16:9 lens, or transfer the footage anamorphically to display a larger area of the film aspect ratio during offline and online editing. Also, this aspect ratio lets you create media that takes advantage of new 16:9 monitors that conform to SDTV and HDTV standards.

87 Chapter 2 Film-to-Tape Transfer Methods

88 Chapter 3 Logging

When you import shot log files or log directly into a bin, you provide the Avid system with frame-accurate clip information used to digitize the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project. The following sections provide techniques for preparing log information before digitizing: • Preparing Log Files for Import • Importing Shot Log Files • Setting the Pulldown Phase • Logging Directly into a Bin • Logging Film Information • Modifying Clip Information Before Digitizing • Exporting Shot Log Files Chapter 3 Logging

Preparing Log Files for Import

Preparing log files for importing into a bin can involve one or more of the following methods: • Convert a log file generated by a telecine or other film-to-tape transfer system, as described in “Using Avid Log Exchange to Convert Log Files” on page 91. This is the most accurate method for providing the Avid system with frame-accurate clip information for digitizing the transferred source tapes. • Use a word processor or standard text editor to create and import logs, as described in “Creating Avid Logs” on page 101. •Use the MediaLog™ application to log the material and transfer the bins directly into the Avid system, as described in “Transferring Bins from MediaLog” on page 103.

Consider double-checking any log files before you import them. See “Double-Checking the Log Files” on page 105.

Compatible Log Formats

Table 4 lists the log formats that can be imported directly or converted for import using Avid Log Exchange (ALE).

Table 4 Compatible Log Formats

Log Format Requirements File Name Extension

AatonBase Conversion required .atn or .atl

Avid Log Import directly .ale

CMX EDL Conversion required .cmx

Evertz Conversion required .ftl

Excalibur Conversion required .ale or .flx

90 Preparing Log Files for Import

Table 4 Compatible Log Formats (Continued)

Log Format Requirements File Name Extension

FLEx Conversion required .flx

Keyscope Conversion required .ksl

Log Producer Conversion required .llp

Log right Import directly .ale

OSC/R (Macintosh® Conversion required .asc only)

OLE (Windows only) Conversion required .odb

Using Avid Log Exchange to Convert Log Files

You can use the ALE utility included with your system to quickly convert shot log files created by other sources.

You can then import the files directly into bins, as described in “Importing Shot Log Files” on page 106.

The ALE utility allows you to: • Modify the text in a log file. • Convert log files of different formats to ALE files (see “Compatible Log Formats” on page 90). • Convert an ALE file to either an ATN or FLX file.

Any options you set in the ALE utility are saved each time you close the ALE utility.

When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the

91 Chapter 3 Logging

file Nations1.atn is converted to Nations1.ale, Nations1_2.ale, Nations1_3.ale, and so on. The converted output files are stored in the folder containing the original input file.

Converting Log Files with Avid Log Exchange (Windows)

To convert a log file to an ALE file: 1. Click the Start button, and select Programs >Avid > Avid Log Exchange. The Avid Log Exchange window opens.

2. Select File > Open. The Open dialog box opens. 3. Double-click the file you want to convert. 4. Depending on the type of file you are opening, one of the following occurs: - If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window. - If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens. Select an option from the following table.

92 Preparing Log Files for Import

Click To

Display & Save Open the file in the Avid Log Exchange window and change the file to the Windows format.

Display Only Open the file in the Avid Log Exchange window, but not change the file.

Ignore Display the file as is without changes.

The file appears in the Avid Log Exchange window. For specific - If the file type is not recognized, the Select File Type dialog box information on the opens. Select the type of file you are converting and click OK. various file types shown here, see The file appears in the Avid Log Exchange window. “Compatible Log Formats” on page 90. 5. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2. After you import the log into an Avid bin, the system digitizes all tracks shown in this column when batch digitizing.

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6. Select Options > Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected. When you select Clean, the utility removes the end timecode from any clip that overlaps the start of the next clip. 7. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the Clean function from deleting the clips. This occurs when you shoot footage across the midnight hour and the first half of the film has 24 hours and the second half has 0 hours. 8. Select Convert > ALE. The default output selection is the ALE format. This is the required format for import into an Avid bin. The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format.

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9. (Option) Select the original file from the Window menu if you want to convert the file again using different options. 10. Select File > Close. If you made changes in the editor, a message box opens.

11. Click Yes. The converted file is stored in the same folder as the original log file.

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Using Drag-and-Drop Conversion for Log Files (Windows)

Use this shortcut to convert any type of file into an ALE file.

To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility (see “Converting Log Files with Avid Log Exchange (Windows)” on page 92). The current options are used when you perform drag-and-drop conversion. 2. Create a shortcut for the ALE utility. 3. Open the folder that contains the files you want to convert, positioning the folder so the Shortcut icon for the ALE utility is visible. 4. Select the files you want to convert.

5. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button. 6. Depending on the type of files you are converting, one of the following occurs: - If the file type is recognized by the ALE utility, a message box opens, indicating the conversion was successful. - If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you are converting and click OK. A message box opens, indicating the conversion was successful. - If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK. A message box opens, indicating the conversion was successful.

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7. Click OK to close the message box. The converted files have the same file names as the original files, except the file name extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid format. The converted files are stored in the folder containing the original log files.

Converting Log Files with Avid Log Exchange (Macintosh)

You can use the ALE utility included with your system to quickly convert shot logs that are created during a film-to-tape transfer. You can then import the files directly into bins, as described in “Importing Shot Log Files” on page 106.

To convert a log file to an ALE file:

1. Select Go > Applications, open the ALE folder, and double-click the ALE icon. The Avid Log Exchange dialog box opens.

Files you can convert Files you can generate

Clean option

Track selection

Convert button Quit button

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For specific 2. Select the type of file you want to convert from the Input list. information on the various file types If you are not sure of the type of file, select the Automatic option. ALE shown here, see will determine the type of file based on the file name. “Compatible Log Formats” on page 90. 3. Select the type of file you want to create from the Output list. The default output selection is the Avid Log Exchange (.ale) format. This is the required format for import into an Avid bin. 4. Select the tracks to include in the Tracks column of the log. After you import the log into an Avid bin, the system digitizes all tracks shown in this column when batch digitizing. 5. Select the Clean option if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips. When you select the Clean option, the utility removes the end timecode from any clip that overlaps the start of the next clip. 6. If you selected the Clean option, you can also select the Relaxed option to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the Clean function from deleting the clips. This occurs when you shoot footage across the midnight hour and the first half of the film has 24 hours and the second half has 0 hours. 7. Click the Convert button to open the Select File To Convert dialog box. 8. Open the drive and folder that contain the files you want to convert.

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Location of the files

File to be converted

9. Double-click the input file name. If you selected a file type, ALE converts the file immediately. If you selected the Automatic option, a message box opens and asks you to confirm the file type.

10. Click the button for the selected file type. A message box opens.

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11. Do one of the following: t Click the This File Only button to convert only the file you selected to the format you selected. t Click the All Files button to convert all files you select in this session to the format you selected. If you click All Files, the message boxes will not open the next time you double-click a file. ALE stores the converted file in the same folder as the original input file.

Converted file Input file

The original file name extension is replaced by the extension for the new format. The .ale files can be imported only into Avid products.

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Using Drag-and-Drop Conversion for Log Files (Macintosh)

To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility (see “Converting Log Files with Avid Log Exchange (Macintosh)” on page 97). The current options are used when you perform drag-and-drop conversion. 2. Insert the floppy disk into the floppy drive, if the files you want to convert are stored on a floppy disk. 3. Open the folder that contains the Avid Log Exchange icon. 4. Open the folder that contains the files you want to convert, positioning the folder so the Avid Log Exchange icon is visible. 5. Select the files you want to convert.

6. Drag the selected files to the Avid Log Exchange icon, and release the mouse button. The system converts the files to Avid format, adding the .ale file name extension to the new file names.

Creating Avid Logs

You can prepare an Avid log on any type of IBM®-compatible or Macintosh computer by using a word processing application or a text editor. To ensure accuracy, you must follow the Avid log specifications described in Appendix C.

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Applications for Creating Avid Logs

You can use any word processing application or text editor to create Avid logs. However, you must save the file as a text document (ASCII format).

Windows systems ship with a text editor called WordPad.

To open WordPad: t Click the Start button, and select Programs > Accessories > WordPad.

Mac OS X systems ship with a text editor called Text Edit.

To open Text Edit: t Select Go > Applications, and double-click Text Edit.

To create a text document in Text Edit: t Select Format > Make Plain Text.

Required Information for Logging

When logging manually, you should document the following information: • Identify the source tape for each shot. • Document each clip’s name, start timecode, and end timecode. • In the case of NTSC transfer tapes for film projects, you must supply pulldown information in the Pullin column of the bin before you can digitize.

This is the minimum information required to digitize successfully. You can also add other information such as comments, auxiliary timecodes, or key numbers for film projects. You can make a separate log file for each videotape, or log clips from several different videotapes in one log.

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Creating an Avid Log

To create an Avid Log by using a word processor or text editor: 1. Enter shot log information according to the specifications described in Appendix C. 2. Save your file as a text file in the Save As dialog box. You can use the file name extension .txt, but it is not required. c The Avid system only accepts text files (ASCII format). After you double-check the log, import it into the Avid system. For more information, see “Importing Shot Log Files” on page 106.

Transferring Bins from MediaLog For information on The MediaLog program is a standalone application that speeds the process specific MediaLog of creating and importing log information from a Windows or Macintosh procedures, see the computer. MediaLog mirrors the Avid system interface for creating Avid MediaLog User’s Guide. projects, bins, and clip information in the bin, and includes serial deck control for logging directly from tape. n The version of MediaLog for your platform (Windows or Macintosh) is included with your Avid system. To order a different version of MediaLog, contact your Avid representative.

If you log your source footage by using MediaLog, you can transfer the bins directly to the Avid system for batch digitizing by moving the bin files. You can also import the logs by using the same procedure as you would for other Avid-compatible log formats, as described in “Importing Shot Log Files” on page 106.

Transferring Bins (Windows)

To transfer bins from MediaLog: 1. Save the MediaLog bins to a floppy disk. If you are using MediaLog for Macintosh, make sure the disk is DOS-formatted or that your Windows system can mount Macintosh- formatted disks by using a third-party utility.

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If your MediaLog folders are available through a server or other networked source, then locate the MediaLog folder there instead. 2. Insert the floppy disk from MediaLog into the Avid system’s floppy drive. 3. Open the project folder in which you want to store the MediaLog bins. This folder is usually located in the following folder, depending on how the application was installed: drive:\Program Files\Avid\Symphony\Avid Projects 4. Double-click the My Computer icon and double-click the Floppy Disk icon. 5. Ctrl+click the bins in the floppy disk window, and select Edit > Copy. 6. Click the project folder window, and select Edit > Paste.

Transferring Bins (Macintosh)

To transfer bins from MediaLog: 1. Save the MediaLog bins to a floppy disk. If your MediaLog folders are available through a server or other networked source mounted on your desktop, then locate the MediaLog folder there instead. 2. Quit the Avid application. 3. Open the project folder in which you want to store the MediaLog bins. This folder is usually located in Macintosh HD/Users/Shared/Avid Projects 4. Insert the floppy disk from MediaLog into the Avid system’s floppy drive. 5. Double-click the Floppy Drive icon. 6. Shift+click the bins in the Directory window and drag them into the project folder.

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Associating the Bin with Your Project

To associate the transferred bins with your project: 1. Restart the Avid application and open your project. 2. Associate the imported bins with your project by doing the following: a. Select File > Open Bin. b. Locate the new bin by using the Open Bin dialog box. c. Double-click the bin to open it within your project. The new bin appears in the Bins scroll list in the Project window.

The bins you have imported contain master clips only with no associated media files. Before you can view or manipulate these clips, you must create the associated media files by batch digitizing the source material. For information about batch digitizing, see “Batch Digitizing from Logged Clips” on page 239.

Double-Checking the Log Files

When importing shot logs for video, the Avid system compares the video duration to the video out minus the video in. When importing film shot logs, the system compares the key number out minus the key number in.

Open the Console If the system detects a discrepancy, it reports the error to the Console and window by selecting does not bring the clip into the bin. The best way to ensure that clips are Tools > Console. For not discarded on import is to double-check the logs for discrepancies in more information, see the editing guide or duration and marks. Help for your Avid system.

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Importing Shot Log Files

You can also import an You can import any log created or converted to meet Avid log EDL to a bin for use in specifications (see “Creating Avid Logs” on page 101). For film projects, digitizing. For more most telecine and other film-to-tape transfer systems generate a log you information, see the Avid EDL Manager can import directly to the bin, after you convert it to .ale format by using User’s Guide. the ALE utility. Even if the telecine facility supplies you with an .ale file, you should process it through the ALE utility, using the Clean function. For more information, see “Using Avid Log Exchange to Convert Log Files” on page 91.

You can combine or merge events while importing a log so that fewer master tapes require digitizing, as described in this section.

To import shot log files into a bin: 1. If you have created Import settings for importing shot log files, select the Import setting you want to use from the Settings scroll list. See “Creating and Using Import Settings” on page 290. 2. Open the bin in which you want to store the imported files. Click anywhere in an open bin to select it, or create a new bin for the shot log import. 3. Select File > Import. The Select Files to Import dialog box opens.

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Windows

Look in pop-up menu

Source file list

Files of Type pop-up menu

Macintosh

Directory pop-up menu

Source file list

Show pop-up menu

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4. Click the Options button to open the Import Settings dialog box, if you want to select options for combining events on import. For information on Import settings, see “Import Settings Options” on page 293. 5. After selecting the appropriate options, click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box. 6. Do one of the following: t If you are importing an .ale file, click the Files of type pop-up menu and select Shot Log (Windows), or click the Show pop-up menu and select Shot Log Documents (Macintosh). t If you are importing a text file, click the Files of type pop-up menu and select All Files (Windows), or click the Show pop-up menu and select Any Documents (Macintosh). 7. Use the Look in pop-up menu (Windows) or Directory pop-up menu (Macintosh) to locate the folder containing the source file. 8. Select the source file from the list and click the Open button. When the system finishes importing the file, the clips appear in the selected bin.

Setting the Pulldown Phase

For information about If you are logging or digitizing 24-fps sources (film-to-tape transfers, the pulldown process, media downconverted from 1080p/24 footage, or both), you can set the see “Transferring 24- pulldown-to-timecode relationship for a transferred tape in the Film fps Film to NTSC Video” on page 74. Settings dialog box.

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Set Pulldown Phase option

You set this relationship by selecting the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer.

The following illustration shows the relationship between film frames and video frames.

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Four film frames Five NTSC video frames (ten fields)

A1 odd A A A2 even B1 odd B B2 even B B3 odd X C1 even C C2 odd C D1 even D D2 odd D D3 even

n This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it. See “Entering Pulldown Information” on page 124.

The Set Pulldown Phase setting lets you log, batch digitize, and digitize- on-the-fly more easily, because the correct pulldown phase of any IN point for a particular tape is automatically determined. Setting the correct pulldown phase prevents inaccuracies in cut lists and matchback EDLs. It also prevents incorrectly digitized clips that appear to stutter when played in 24p NTSC projects.

For example, if you set the pulldown phase of 00:00:00:00 as A (indicating that the A frame is located at timecodes ending in 0 or 5), any timecode you log will calculate its pulldown phase based on the same sync point, regardless of where you set the IN point. If you use the Digitize tool to log a clip that starts at 01:00:10:01, the Avid system automatically enters B in the Pullin column of the bin. If you digitize on-the-fly starting at 01:00:10:01 (a B frame), the system begins to digitize at the next A frame, in this case, 01:00:10:05. c The Set Pulldown Phase feature does not work if you digitize from a mark IN.

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For information about The pulldown-to-timecode relationship might vary from tape to tape, or fixing an incorrectly within the same tape, depending on how the footage was transferred. If you logged sync point, see find that a tape requires a different pulldown phase, you can change the “Modifying the Pulldown Phase After setting in the Film Settings dialog box, or use the Modify Pulldown Phase Digitizing” on dialog box before digitizing (see “Modifying the Pulldown Phase Before page 254. Digitizing” on page 127.

To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you are digitizing film-to-tape transfers, check the transfer log. t If you are digitizing tapes that have been downconverted from 1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion. t If you still cannot determine the pulldown phase, see “Determining the Pulldown Phase” on page 126. 2. Double-click Film in the Settings scroll list of the Project window. 3. Select the option Set Pulldown Phase of Timecode 00:00:00:00 and then click the pop-up menu, and select the correct pulldown phase (A, B, X, C, D). 4. Click OK.

Logging Directly into a Bin

You can log clips directly into a bin by using the Digitize tool in one of two ways described in this section:

For complete • Log directly into a bin with an Avid-controlled deck for information on working semiautomated data entry. with bin headings and clip information, see • Log manually during or after viewing of footage offline with a the editing guide or non-Avid-controlled deck or other source. Help for your Avid system.

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Tips for Logging Preroll, Logging Timecode, and Naming Tapes

Observe the following important guidelines for preroll, timecode formats, and naming of tapes when logging prior to digitizing.

Logging Preroll

Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 seconds for Betacam playback, 5 seconds for 3/4-inch U-matic playback, and 6 seconds for DV playback. n You set the default preroll for tape playback by using Deck Settings. For more information, see Table 8 on page 158.

Logging Timecode

Within an NTSC project, check the timecode format of each tape (drop- frame versus non-drop-frame timecode) when you are logging without a tape in the deck. Log drop-frame timecode by using semicolons (;) between the hours, minutes, seconds, and frames. Log non-drop-frame timecode with colons (:). n To change the logged timecode format, select Clip > Modify. For information, see “Modifying Clip Information Before Digitizing” on page 132.

Naming Tapes

When entering tape names in the Digitize tool, consider the following: • Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include uppercase and lowercase characters. The maximum length of a name is 32 characters. • It is possible to have a single tape listed as several different tapes if you alter the case of the letters. For example, if you type a single name as TAPE, Tape, and tape on three different occasions, all three names will appear. This can cause significant problems in keeping track of clips when batch digitizing, redigitizing, and generating an EDL. Select a case convention and maintain it throughout a project.

112 Logging Directly into a Bin n If you want your Avid system to consider master clips as coming from the exact same tape, you should try to select that tape name from the Select Tape dialog box. If you do not see the tape you are looking for, but know you have online media from that tape, you should click the Scan for Tapes button. For more information, see “Logging with an Avid-Controlled Deck” on page 114.

• It is important that you devise a naming scheme for your tapes. For example, tapes with similar names can be easily sorted and viewed together in a bin. However, it can be difficult to distinguish among numerous tapes with similar names when trying to locate a specific tape quickly. Name tapes based upon the amount and complexity of your source material. • If you are planning to generate an edit decision list (EDL) for import into an edit controller for online editing, double-check the controller’s specifications beforehand. Some edit controllers will truncate source tape names to as few as six characters, while others will eliminate characters and truncate to three numbers. Alterations like these at the EDL stage might cause the system to identify different source tapes with similar names in the same way, causing you to lose track of source material.

Naming a New Tape from the Keyboard

You can name a new tape without taking your hands off the keyboard.

To create a new tape name by using a keystroke in Digitize mode: 1. Select Tools > Digitize. The Digitize tool opens. 2. Put a tape in the deck or click the Source Tape Display button. The Select Tape dialog box opens. 3. Press Ctrl+N (Windows) or k+N (Macintosh). A new tape name text box opens. 4. Type the new tape name.

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5. Press Enter (Windows) or Return (Macintosh) to register the tape name. 6. Press Enter (Windows) or Return (Macintosh) or click OK to close the Select Tape dialog box.

Logging with an Avid-Controlled Deck

For information about When you log with a compatible tape deck controlled from within your connecting a Avid system, you can automate part of the logging process by using compatible deck to buttons to enter frame-accurate timecode information from the deck. This your system, see the setup guide for your method is more accurate than manual entry because timecodes are Avid system. transferred directly from tape to the bin.

To log clips directly into a bin from an Avid-controlled deck: 1. Make sure the deck is properly connected and turned on. 2. Open the bin where you want to store the clips. 3. Select Tools > Digitize. The Digitize tool opens. Playback from the deck is displayed in the Client monitor. n If your system has the DV/MPEG option (Windows only), and you are using a deck connected through an MPEG SDTI-CP board or a board with a 1394 connection (OHCI input), footage is not displayed in the Client monitor until you click the Digitize button and start the recording process. See “Recording DV Through a 1394 Connection (Windows Only)” on page 237 and “Recording Through MPEG SDTI-CP (Windows Only)” on page 237.

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Digitize/Log Mode button

Mark IN button

Channel Selection buttons

Clip Name text box Clip Comment text box

Timecode display

Deck controls Deck Selection pop-up menu Source Tape Display button

n If you forget to connect and turn on the power to the deck before opening the Digitize tool, you can reinitialize deck control after turning it on by clicking the Deck Selection pop-up menu, and selecting Check Decks.

4. If the Digitize tool is not currently in Log mode, click the Digitize/Log Mode button until the LOG icon appears. 5. Click the Deck Selection pop-up menu, and select a deck. For more information, see “Selecting a Deck in the Digitize Tool” on page 166. 6. Insert your tape into the deck. The Select Tape dialog box opens. You can select the option “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session. n Because the media file database does not open when you start your Avid system, tape names of all online media files do not appear automatically.

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n If the tape name you are searching for does not appear in the Select Tape dialog box, click the Scan for Tapes button. Tape and project names are listed.

New tape name

List of tapes

Show Tapes option

For guidelines when 7. Provide the system with a tape name in one of the following ways: naming tapes, see “Naming Tapes” on t Select the name of the tape from the list in the Select Tape dialog page 112. box and click OK. t Click New if the tape is not in the list. A new tape name line appears in the dialog box. Type the new name and click OK. The tape name is displayed in the Digitize tool. A message that the system is waiting for you to mark an IN point is displayed in the message bar. 8. Set either an IN point or an OUT point for the clip you want to log using one of the following methods: t If you want to keep the deck running while you log: Start the Mark IN deck. At the point where you want to start the clip, click a Mark IN button (you can use either the Mark IN button in the upper left of the Digitize tool or the Mark IN button in the lower right) or press the F4 key. The deck continues to play.

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n If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 118.

t If you want to cue your source tape to the start or end point: Mark IN Use the deck controls in the Digitize tool to cue your source tape Mark OUT to the start or end point. Click a Mark IN button or the Mark OUT button in the lower right of the Digitize tool. t Go to IN If you want to log using timecode: If the footage starts at a known IN point or ends at a known OUT point, type the timecode Go to OUT in the text box next to the Mark IN button or the Mark OUT button. Then enter the mark by pressing the Go to IN button or the Go to OUT button, which scans the tape forward to the mark, or by pressing Enter (Windows) or Return (Macintosh).

Mark OUT After you set the mark, the Mark IN button changes to the Mark OUT and Log and Log button or the Mark IN and Log button, depending on the first Mark IN mark you set. and Log

c For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the correct pulldown phase. See “Setting the Pulldown Phase” on page 108 and “Entering Pulldown Information” on page 124.

9. (Option) Enter a clip name and comment in the corresponding text boxes in the Digitize tool. 10. To finish logging the clip, do one of the following: t If the deck is running: Click the Mark OUT and Log button or press the F4 key. The clip is logged into the bin and the deck continues to play. t If you want to cue the remaining start or end point: Use the deck controls to locate the start or end point. Set the remaining IN point or OUT point either by clicking the Mark OUT and Log button or the Mark IN and Log button. The clip is logged into the bin.

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t If you want to log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon. Then enter the mark by pressing the Go to IN button or the Go to OUT button, which scans the tape forward to the mark, or by pressing Enter (Windows) or Return Log Clip (Macintosh). To log the clip into the bin, click the Log Clip button in the upper left of the Digitize tool. The clip name, which is automatically named and numbered by the system, is highlighted in the bin and ready to be renamed. 11. (Option) Rename the clip by typing a new name in the highlighted area. n Consider changing the clip name immediately, because it is easy to forget the contents of each clip if you are logging many clips. You can, if necessary, accept the clip name and proceed with the logging process and change the clip names in the bin at a later time.

12. Repeat these steps until you have logged all your clips. n While viewing the footage, you can continuously update your marks on-the-fly by clicking the Mark IN button or the Mark OUT button repeatedly before entering the second mark.

Pausing the Deck While Logging

If the deck is playing while you log clips, you can direct the Avid system to automatically pause the deck after you set an IN point and an OUT point. While the deck is paused, you can enter the name and comment for the clip you want to log.

To pause the deck while logging: 1. In the General tab of the Digitize Settings dialog box, select the “Pause deck while logging” option. 2. Set up your deck and the Digitize tool as described in “Logging with an Avid-Controlled Deck” on page 114.

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3. When you reach the point where you want to start the clip, click the Mark IN Mark IN button in the upper left of the Digitize tool or press the F4 key. The Mark IN button changes to the Mark OUT button and the Mark OUT deck continues to play. 4. When you reach the point where you want to end the clip, click the Mark OUT button in the upper left of the Digitize tool or press the F4 key again. The Mark OUT button changes to the Log Clip button, and the deck pauses. 5. Enter a clip name and comment in the corresponding text boxes in the Digitize tool. 6. Click the Log Clip button or press the F4 key. Log Clip The system logs the clip in a bin, and the deck starts playing again.

Using a Memory Mark

To use a memory mark for a particular location on a tape: t Click the Mark Memory button in the Digitize tool to mark the location. t Click the Go to Memory button to move through the tape to the marked location. t Click the Clear Memory button to clear the memory mark.

You can add one mark per tape. The memory mark is not stored on the tape. When you remove the tape from the deck and insert another tape into the deck, the mark is cleared.

Mark Memory button Clear Memory button Go to Memory button

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Logging with Non-Avid-Controlled Decks

You can use the Digitize tool to log clips directly into a bin from a source that is not controlled by your Avid system. For example, you can log clips from a deck that is not connected to the system, or from handwritten or printed log information for a tape that was previously logged but is not currently available.

To log clips directly into a bin from a non-Avid-controlled deck: 1. If there is a deck connected to the system, eject the tape from the deck. n For NTSC projects, when you are logging within the Digitize tool, you should leave the deck empty. If a tape remains in the deck, the system will determine drop-frame or non-drop-frame from that tape whether or not it matches your tape’s timecode format.

2. Double-click Deck Preferences in the Settings scroll list of the Project window to open the Deck Preferences dialog box. 3. For NTSC projects, click the “When no tape in deck log as” pop-up menu, and select Non-Drop-Frame or Drop-Frame. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Select Tools > Digitize. The Digitize tool opens. 7. Click the Digitize/Log Mode button in the Digitize tool until the LOG icon appears.

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Digitize/Log Mode button

Mark IN button

Channel Selection buttons

Message bar

Clip Name text box Clip Comment text box

Timecode Clear IN display button Deck controls Clear OUT button Deck Selection pop-up menu Clear Memory button Source Tape Display button Mark OUT button Mark IN button

Mark Memory button Go to Memory button

8. Click the Source Tape Display button. A dialog box opens. 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 11. Click OK. 12. Select the tracks you want to log, using the Channel Selection buttons in the Digitize tool. 13. Type the start timecode in the Mark IN text box. 14. (Option) Enter a clip name and comment in the corresponding text boxes. 15. Type the end timecode in the Mark OUT text box.

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16. Click the Log Clip button. Log Clip The clip is logged into the bin. The clip name, which is automatically named and numbered by the system, is highlighted in the bin and ready to be renamed. 17. (Option) Rename the clip by typing a new name in the highlighted area. n Consider changing the clip name immediately, because it is easy to forget the contents of each clip if you are logging many clips. You can, if necessary, accept the clip name and proceed with the logging process and change the clip names in the bin at a later time.

18. Repeat these steps until you have logged all your clips.

Logging Film Information

Once you have entered or imported the basic log information into a bin, you might want to add film-related log information before digitizing. This section describes procedures and formats for adding various film headings.

The following are some important requirements for film-based projects: • The minimum information required for digitizing is the data recorded in the Start and End video timecode columns, and the pulldown phase for NTSC transfers, which is noted in the Pullin column (24-fps capture only). For information on • Each reel of film can be logged as a separate clip, and will correspond digitizing long clips to to a single master clip, only if the video transfer of the film reel has multiple files, see continuous pulldown (NTSC format), and continuous timecode “General Settings” on page 150. (NTSC and PAL). If the film reels for your project do not meet this condition, then you must log each take on a reel of film as a separate clip, which will correspond to a single master clip.

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If you log each reel as a separate clip, you can use the F1 and F2 keys to create subclips for each take. See “Creating Subclips On-the-Fly” on page 218. • If you want to produce a cut list, or use film-tape-film-tape for redigitizing, you must log key numbers. You can add key numbers after digitizing, before you create the cut list. • All film and video reference numbers must be in ascending order.

Displaying Film Columns

To display film columns in the bin: 1. Click the Bin View pop-up menu, and select Film to display all the required film column headings. The Bin View pop-up menu is located at the bottom of the Bin window.

Bin View pop-up menu

2. To log data under optional headings (such as Ink Number, Auxiliary TC1-Auxiliary TC5, or Film TC), select Bin > Headings and Ctrl+click (Windows) or click (Macintosh) the specific headings you want to add from the Bin Column Selection dialog box.

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3. You can also track custom information for the job by creating a custom heading. To create a new heading, type a name that describes the information in the headings bar at the top of the bin. For more information on customizing bin views, see the editing guide or Help for your Avid system.

Entering Pulldown Information

For information about To accurately digitize NTSC transfer tapes in 24p projects, you need to importing a log file, see enter pulldown information into the bin. (This information is not required “Importing Shot Log for PAL transfer tapes.) Setting the correct pulldown phase prevents Files” on page 106. inaccuracies in cut lists and matchback EDLs. If you are importing a log generated during the telecine transfer, the pulldown information is automatically included in the bin.

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Start timecode Pullin column (information required for NTSC

If you do not have a transfer log, or if the transfer log is incorrect, you need to add the information manually. If you log clips by using the Digitize tool, the Avid system uses the A frame as the default pulldown phase. You might need to edit this value. n For 24p projects, you can set a default pulldown phase in the Film Settings dialog box. See “Setting the Pulldown Phase” on page 108 (24p projects only). n For matchback projects, you need to log key-number information before you can log pulldown information.

By specifying the pulldown phase in the Pullin column, you accomplish the following: • You ensure that the clips will start with the correct frame for the pulldown. Otherwise, you might experience inaccuracies in key- number tracking and in the cut lists. • You indicate where the pulldown fields are located so the Avid system can accurately eliminate the pulldown fields during the digitizing process, leaving you with a frame-to-frame correspondence between your digital media and the original 24-fps footage (24p projects only).

To do this, you must indicate whether the sync point at the start of each film clip transferred to tape is an A, B, C, or D frame, as described in this section. In most cases, the sync point is the A frame.

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Determining the Pulldown Phase

It is easiest to determine the pulldown of a sync point (or pulldown phase) if you ask your film lab to keypunch (cut a small hole in) the sync frame at the zero frame in the original film footage before transferring the film to video. Many film labs or transfer houses can also provide a pulldown frame indicator displayed at the far right of the burn-in key numbers, depending on the equipment available. Ideally, the A-frame pulldown coincides with timecode ending in 0 and 5 (:00, :05, :10, and so on).

For instructions on If the footage has not been keypunched, you can determine pulldown determining the according to clapsticks or any other distinctive frame at the beginning of pulldown phase for the clip. Determining the pulldown is easier if the frames depict motion. material already digitized, see “Modifying the To determine the pulldown phase: Pulldown Phase After 1. While viewing the video transfer on a monitor, go to the keypunched Digitizing” on page 254. (or clapsticks) sync point for the beginning frame of the clip you’re logging. 2. Step (jog) past the sync point frame field-by-field, using the step wheel on the tape deck. You will see either two or three keypunched fields. If the footage is not keypunched, look for two or three fields with little or no motion. 3. If there are two fields, the pulldown is either A or C. Step through the fields again, and note where the timecode changes: - If the timecode does not change from the first to the second field, the fields came from an A frame. - If the timecode changes from the first to the second field, the fields came from a C frame. The following illustration shows a keypunch on the A frame. Notice where the timecode changes.

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Four film frames Five NTSC video frames (ten fields)

odd A1 A A A2 even Timecode change B1 odd B B2 even B Timecode change B3 odd X C1 even Timecode change C C2 odd C D1 even Timecode change odd D D2 D D3 even

4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D. Step through the fields again and note where the timecode changes: - If the timecode changes from the second to the third field, the fields came from a B frame. - If the timecode changes from the first to the second field, the fields came from a D frame. 5. Enter or edit the information in the Pullin column in the appropriate bin, as described in the next section.

Modifying the Pulldown Phase Before Digitizing

After you determine the correct pulldown phase (as described in the previous section) you can modify the pulldown phase before digitizing in one of the following ways.

To modify the pulldown phase directly in the Pullin column: 1. Click the Text tab to display all bin information. 2. Click the cell you want to modify. 3. Click the cell again. The pointer changes to an I-beam. 4. Type the pulldown phase and press Enter (Windows) or Return (Macintosh).

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To modify the pulldown phase for multiple clips: 1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify. 2. Select Clip > Modify. 3. Click the Modify Options pop-up menu, and select Pull-in. 4. Select A, B, C, or D. 5. Click OK. The pullin for all selected clips is changed, based on the pulldown phase you selected.

To modify the pulldown phase for multiple clips that have the same pulldown-to-timecode relationship: 1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify. 2. Select Clip > Modify Pulldown Phase. The Modify Pulldown Phase dialog box opens.

3. Click the pop-up menu, and select the correct pulldown phase for timecodes ending in 0 or 5. 4. Click OK. The pulldown phase for each selected clip is changed, based on the pulldown phase you selected for 00:00:00:00. The Pulldown Phase setting also appears in the Film Settings dialog box (24p projects only). You can override that setting with the Modify Pulldown Phase dialog box. The selection in the Film Settings dialog box remains the same. For more information, see “Setting the Pulldown Phase” on page 108.

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n If you want to modify the pulldown phase after digitizing, you must first unlink the clips. See “Modifying the Pulldown Phase After Digitizing” on page 254. n After you digitize an NTSC transfer, the timecode shows a loss of every fifth frame of video. For example, don’t be alarmed if you find that your timecode jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame, just an extra pulldown field.

Entering Frames-per-Second Rates for PAL Transfers

When you log in advance for PAL film-to-tape transfers, you must log the footage as clips that have a 25-fps play rate, as listed in the FPS column of the bin. If you want, you can digitize the footage on-the-fly, without logging the clips first. The minimum information required to capture the footage is the data logged in the Start and End video timecode columns.

Entering Key Numbers

To add key numbers: t Highlight the KN Start column, then type the key number for the sync point at the start of the clip by using one of the following formats: - Keykode™ Format: Type a two-character manufacturer and film-type code, a six-digit prefix for identifying the film roll, a four-digit footage count, a two-digit frame offset, and then press Enter (Windows) or Return (Macintosh). The Avid system adds a space, hyphen, and either a plus sign (for 35mm projects) or an ampersand (for 16mm projects) to format the number. For example, in a 35mm project, to enter KJ 23 6892-1234+15, type KJ236892123415. In a 16mm project, typing the same number results in the code KJ 23 6892-1234&15.

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- Other Formats: Enter other key-number formats in the Ink Number column. Type up to eight characters for the prefix, up to five characters for the footage count, two digits as the frame count, and then press Enter (Windows) or Return (Macintosh). The Avid system automatically calculates the ending key number (KN End), based on the timecode duration. c Make sure the correct number appears when you press Enter (Windows) or Return (Macintosh). For key-number formats other than Keykode, you might need to type the space, hyphen (-), and plus sign (+) or ampersand (&) to format the number correctly.

Entering Additional Timecodes (Option)

Consider the following when you enter additional timecodes: • In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type an auxiliary timecode that syncs with the video timecode logged in the Start column. You can enter up to five auxiliary timecodes. Supported timecodes depend on your project: 30-fps for NTSC (drop- frame or non-drop-frame) and 25-fps for PAL. Use one of the following formats: t Enter a two-digit format for hours, minutes, seconds, and frames. You need not enter a leading zero. (For example, to enter 01:23:02:00, type 1230200.) t When working with drop-frame timecode in the NTSC format (not applicable to PAL), enter a semicolon to indicate drop-frame timecode (for example, to enter 01;23;02;00, type 01;230200). • In the Sound TC column, enter the Nagra or DAT timecode for the original audio for the start of the clip. The timecode should sync with the video timecode logged in the Start column in the bin. Enter the source sound-roll identifier in the Soundroll column. Supported timecodes depend on your project: 30-fps for NTSC (drop-frame or non-drop-frame) and 25-fps for PAL. The clip to be digitized must contain an audio track.

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• In the Film TC column, enter timecode generated by a film camera (using Aaton or Arri timecode) for tracking the picture at the start of the clip. The film timecode should sync with the video timecode logged in the Start column. Only 24-fps timecode is supported. The clip to be digitized must contain a video track. • In the TC24 column, enter timecode for original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode. n You can use the Duplicate command to convert timecodes from one format to another. For more information, see the editing guide or Help for your Avid system.

Entering the Ink Number (Option)

To enter ink numbers: 1. Open the Film Settings dialog box by clicking Film in the Settings scroll list of the Project window. 2. Make sure the correct options are selected for ink number format and ink number display, and click OK. n You can log different ink number formats in the same project as long as you change the ink number setting to the appropriate format before you log each type. Changing the ink number setting affects only the next ink numbers you log, not numbers that are already logged.

3. Return to the bin and enter numbers under the Ink Number heading. For example, use Keykode format or use a two-digit prefix to identify the roll, a hyphen, a four- or five-digit footage count, a plus sign, and a two-digit frame count (for example, AA-00924+00).

Entering Additional Film Data

You can continue to log additional film data into the Labroll, Camroll, Soundroll, Scene, and Take columns, or into your own custom columns, as necessary. You can include the information in these columns on the cut lists you create for your edited sequence.

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Modifying Clip Information Before Digitizing

You can change or modify the information logged in the bin. This is especially useful if you find that some of the data is incorrect, or if you need to update the information based on technical needs, such as varying timecode formats or film specifications.

There are two ways to modify clip information before digitizing: • You can modify the information directly by clicking in a column and by entering the new information one field at a time. • You can use the Modify command to change selected groups of clips all at once.

For more information, see “Modifying Clip Information” in the editing guide or Help for your Avid system.

For information on modifying the pulldown phase, see “Entering Pulldown Information” on page 124. c Modifying tape names and timecodes will affect any key numbers entered for the selected clips.

Exporting Shot Log Files

You can export a shot log file from the Avid system in one of two formats for making adjustments in a text processor or for importing into another system.

To export a shot log based on clip information in a bin: 1. Open the bin containing the clips you want to export. If necessary, click the Text tab to display all clip information. 2. Click a Clip icon to select it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional clip you want to export.

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3. Select File > Export. The Export As dialog box (Windows) or Destination dialog box (Macintosh) opens with a default file name in the File name text box (Windows) or Export As text box (Macintosh), based on the file type. 4. Select the Export setting by doing one of the following: t If you have previously created an Export setting for exporting shot log files, click the Export pop-up menu, and select the setting. Then, go to step 9. For information on creating Export settings, see “Customizing Export Settings” on page 384. t If you want to review or edit Export settings, go to step 5. 5. Click Options. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select one of the following: t Select Avid Log Exchange to export the selected bin as a shot log file that complies with ALE specifications. For information about Avid Log Exchange, see “Using Avid Log Exchange to Convert Log Files” on page 91. t Select Tab Delimited to export the selected bin as a tab-delimited ASCII text file. n ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included.

7. To modify an existing setting, select Save. 8. To save the setting with a new name, select Save As and type a name in the dialog box that opens. The Export Setting name is added to the list of formats available from the Export dialog box. 9. Click Save to close the Export As dialog box (Windows) or the Destination dialog box (Macintosh).

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10. (Option) Change the file name. In most cases, keep the default file name extension. 11. Select the destination folder for the file and click Save. The file is exported and appears at the selected destination.

134 Chapter 4 Preparing to Digitize

Digitizing is the process of creating digital media from videotape or audio input. Before you begin this process — described in Chapter 5 — you need to complete the following preparations: • Preparing the Hardware for Digitizing • Selecting Settings • Configuring Decks • Setting Deck Preferences • Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode • Entering Capture Mode • Setting Up the Digitize Tool • Preparing for Audio Input • Preparing for Video Input

This chapter also provides a check list for preparing to digitize. Chapter 4 Preparing to Digitize

Preparing the Hardware for Digitizing

Your source material can originate from a videotape, a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration. n For information on connecting your equipment, see the setup guide for your Avid system. n Whenever you connect a new DV camera or deck (DV/MPEG option only), the Avid system automatically links the device to the custom OHCI driver. For more information on linking a DV device, see the release notes for your Avid system.

You should check the following items before digitizing: • Client monitor: Before you begin digitizing and editing, set up your NTSC or PAL Client monitor by using a color-bar generator (or house pattern) and lock in those settings, if you have not done so already. For more information • 16:9 format: You can edit with video in the 16:9 aspect ratio for on the 16:9 format display of wide-screen images used in the high-definition television option, see the editing (HDTV) format. To view the footage on a Client monitor, you must guide or Help for your Avid system. have a 16:9-compatible Client monitor. • Remote switch: The deck control switch on the front of the source deck must be set to remote rather than local to control the deck with the Digitize tool. • Striped drives: If your footage contains complex images that you digitize at high resolution, you must use striped drives. See “Getting Information About Striped Drives” on page 137. • DAT (digital audiotape): To digitize music or audio from a DAT machine, check the setup guide for your Avid system to determine whether your model requires VLXi® for deck control. Also, when digitizing from DAT, you must select the proper sync setting. For more information, see “Preparing for Audio Input” on page 178.

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Getting Information About Striped Drives

Avid maintains a set of tables on the Web containing information about striping drives.

To get information about striped drives: 1. Go to www.avid.com and access the Customer Support Knowledge Center. For more information, see the release notes supplied with your Avid system. 2. Click the Documentation tab. 3. Click the Drive Striping Tables link.

Selecting Settings

For information about Several settings dialog boxes have a direct bearing on the digitizing locating and modifying process. Before digitizing, review the options in the following sections. settings, see the editing guide or Help for your Avid system.

Media Creation Settings

The Media Creation dialog box allows you to set the video resolution and to select drives for digitizing, creating titles and motion effects, importing, and performing audio and video mixdowns. You also set drive filtering in the Media Creation dialog box. n You can also select a video resolution and select drives directly in the Digitize tool, the Save Title dialog box, the Select Files to Import dialog box, the Audio Mixdown dialog box, and the Video Mixdown dialog box. The Media Creation settings change to the resolution and drives you have selected.

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c If you are using Avid Unity LANshare or Avid Unity PortServer Pro, make sure to specify a supported resolution. For information on supported resolutions, see the LANshare or PortServer Pro documentation.

Setting Drive Filtering

To set drive filtering:

You can also open the 1. Double-click Media Creation in the Settings scroll list of the Project Media Creation dialog window. box by selecting Tools > Media Creation. The Media Creation dialog box opens.

2. If necessary, click the Drive Filtering tab. 3. Select an option, as described in Table 5.

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Table 5 Drive Filtering Options

Option Description

Filter Based on Prevents the Avid system from digitizing media to Resolution drives that do not have sufficient speed to play the media. Drives affected by this option are unavailable when you try to access them with the Digitize tool. n Drive filtering does not verify the drive speed when you select a drive while rendering effects. Use care when you select your target drive for rendering to be sure it is fast enough to play the media.

Filter Out System Removes as a storage choice the drive on which the Volume operating system resides. This drive does not appear in drive selection menus except for the Import, Export, and Relink dialog boxes.

Filter Out Launch Removes as a storage choice the drive on which your Volume Avid application resides.This drive does not appear in drive selection menus except for the Import, Export, and Relink dialog boxes.

4. Click OK to save your settings. c The Avid system will not prevent you from using non-Avid drives, but their reliability cannot be assured.

Selecting a Video Resolution and Drives

To select a video resolution and drives in the Media Creation dialog box:

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3. Click the Video Resolution pop-up menu, and select a video resolution. The Video Resolution pop-up menu contains a list of the available resolutions. The list of resolutions depends on the model of your Avid system and the type of project. n The default resolution for video projects is the highest two-field, compressed resolution. The default for film projects (24p and 25p projects) is 14:1. n Clicking Apply to All sets your selected video resolution for the tabs that include video resolution. Your settings are not saved until you click OK.

4. Select a video drive and an audio drive. To select the same drive for both audio and video, click the Single/Dual Drives button. If you are working with the Digitize tab, you can select a drive group.

n Because there is no audio associated with titles or motion effects, you can only select a video drive in the Titles or the Motion Effects tab of the Media Creation dialog box. n Clicking Apply to All sets your selected video and audio drives for the tabs that include drive settings. Your settings are not saved until you click OK.

5. Click OK to save your settings.

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Digitize Settings Dialog Box

The Digitize Settings dialog box includes four tabbed sections: General, Batch, Edit, and Media Files. A fifth section, labeled Telecine, appears if your system includes the Telecine option. A sixth section, labeled DV Options, appears if your system includes the DV/MPEG option.

The following sections describe options in the General and Media Files tabbed sections. • For information on the Batch options, see “Digitize Settings: Batch Tab” on page 241. • For information on the Edit options, see “Digitizing to the Timeline” on page 234. • For information on the Telecine options, see “Selecting Digitize Settings for Telecine Slave Mode” on page 263. • For information on the DV Options, see “DV Scene Extraction (Windows Only)” on page 270.

Digitize Settings: General Tab

Table 6 describes the options in the General tab of the Digitize Settings dialog box.

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Table 6 Digitize Settings: General Tab

Option Description

Stop deck after digitize Select this option to stop the deck when the digitize operation is complete.

Pause deck after digitize Select this option to pause the deck when the digitize operation is complete.

Preroll Method Select one of four methods from the pop-up menu. For more information, see “Selecting the Preroll Method” on page 145.

Force unique clip name Select this option if you want the Avid system to automatically assign a clip name based on the bin’s name and to make sure this name, or another name you select, is not already used by any other object in the bin.

Activate bin window after Select this option if you want the Avid system to change the focus from digitize the Digitize tool to a bin window after digitizing is complete. This allows you to immediately start working in the bin.

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Table 6 Digitize Settings: General Tab (Continued)

Option Description

Space bar stops digitize Select this option if you want to use the space bar to create clip names during the digitizing process. When you press the space bar during a digitize operation, the system stops digitizing, creates a clip from the digitized material, and places the clip in the active bin.

Digitize across timecode Select this option if you want the system to begin digitizing a new breaks master clip at each timecode break. Select this option when you are performing unattended batch digitizing or autodigitizing. Deselect this option if you plan to digitize the entire tape as a single clip by digitizing to multiple media files. For more information, see “Digitizing Across Timecode Breaks” on page 147.

Latency for external Select this setting to compensate for problems that could occur when timecode mode: n frames digitizing with external timecode, as described in “Digitizing with External Timecode” on page 232. If you notice that your digitized media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that digitizing starts on the correct frame. The option is deselected by default.

Capture a single video Select this option if you want the system to digitize a single frame, frame only video only, from your clip. When you click the Record button, the system captures the currently displayed frame. The clip can be used as a freeze frame; or, for animators, single-frame clips can be used as keyframes before “in-betweening.”

Ask before discarding Select this option to have the system query whether you want to keep or a canceled clip discard the incomplete clip after you click the Trash icon. If you do not select this option, the system discards canceled clips without querying.

Ask for name when a new This option is selected by default. If the option is deselected, the system tape is seen will not prompt you for a tape name when you insert a tape into the deck. This can be useful when you are in a hurry to digitize and know that you are inserting the correct tape. However, in most cases, you should leave the option selected to ensure that you are creating a project that can easily be redigitized at a later date. Proper tape naming is critical to Total Conform because it simplifies the batch digitizing process that might be performed by another editor.

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Table 6 Digitize Settings: General Tab (Continued)

Option Description

Display incoming Select this option if you want incoming video to be displayed in the video in the client monitor Client monitor as soon as you open the Digitize tool. If you do not select this option, you must click the V track in the Digitize tool to display incoming video in the Client monitor. n If your system has the DV/MPEG option (Windows only), and you are using an MPEG SDTI-CP board or a board with a 1394 connection (OHCI input), footage is not displayed in the Client monitor until you click the Digitize button and start the recording process. See “Recording DV Through a 1394 Connection (Windows Only)” on page 237 and “Recording Through MPEG SDTI-CP (Windows Only)” on page 237.

Pause deck while logging Select this option to have the deck pause after you set an OUT point. This option allows you time to type the name of the clip. For more information, see “Pausing the Deck While Logging” on page 118. When this option is deselected, the deck continues playing after you set an OUT point.

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Selecting the Preroll Method

The Preroll Method pop-up menu in the General tab of the Digitize Settings dialog box includes the following four methods that help you digitize more efficiently when a source tape contains timecode breaks: • Best Available: The Avid system first checks the tape for timecode to use for preroll. - If there is no timecode, or not enough timecode, the system uses the control track for preroll. - If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available. After the system adjusts the preroll to the individual shot, it will return to using the user-specified preroll time until it needs to adjust the time again. - If the adjusted preroll time is too short to sync lock at the IN point, the system does not digitize the shot and displays an error message. Use this method to digitize material as automatically as possible. As the system makes multiple attempts to preroll, this method might be slower at times but will almost always perform the preroll without interruption. • Standard Timecode: The Avid system uses timecode to determine the preroll point. If there is a not enough consecutive timecode (for example, if there is a break in the timecode), the system does not digitize the shot and displays an error message. Use this method if you know the timecode is consecutive or if you want to determine if there are timecode breaks.

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• Best Available Control Track: The Avid system uses the control track to determine the preroll point. - If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available. After the system adjusts the preroll to the individual shot, it will return to using the user-specified preroll time until it needs to adjust the time again. - If the adjusted preroll time is too short to sync lock at the IN point, the system does not digitize the shot and displays an error message. Use this method if you know there are timecode breaks and want to digitize material as automatically as possible. Because the system does not use timecode, it might occasionally digitize the wrong frames if there is a problem with the control track. • Standard Control Track: The Avid system uses the control track to determine the preroll point. If there is a break in the control track, the system stops digitizing and displays an error message. Use this method if you know the control track is continuous or if you want to determine if there are breaks in the control track.

To set the preroll method: 1. Double-click Digitize in the Settings scroll list of the Project window. The Digitize Settings dialog box opens. 2. Click the General tab. 3. Click the Preroll Method pop-up menu, and select a method. 4. Click OK to close the dialog box and apply the options.

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Digitizing Across Timecode Breaks

If the tape you are digitizing contains breaks in the timecode, there are two settings in the General tab of the Digitize Settings dialog box you can use to digitize across the timecode breaks: • Preroll Method By default, the Avid system uses the Best Available preroll method (see “Selecting the Preroll Method” on page 145). If you know the timecode contains breaks, you can select Best Available Control Track. • Digitize across timecode breaks When you select this option, the system begins digitizing a new master clip at each timecode break. Select this option when you are performing unattended batch digitizing or autodigitizing. Deselect this option if you plan to digitize the entire tape as a single clip by digitizing to multiple media files.

To select settings for digitizing across timecode breaks: 1. Double-click Digitize in the Settings scroll list of the Project window. The Digitize Settings dialog box opens. 2. Click the General tab. 3. Select the preroll method (see “Selecting the Preroll Method” on page 145). 4. Select the “Digitize across timecode breaks” option. 5. Click OK to close the dialog box and apply the options.

Digitize Settings: Media Files Tab

Table 7 describes the options in the Media Files tab of the Digitize Settings dialog box.

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Table 7 Digitize Settings: Media Files Tab

Option Description

Digitize to a single file, Select this option if you want digitizing to stop when the digitized 2 GB limit media occupies 2 gigabytes (GB) of storage space on the media drive.

Digitize to multiple files Select this option if you want the system to write digitized video to multiple files across multiple drive partitions. Select this option if clips Maximum (default) might exceed the 2-GB file size limit. For complete instructions, see digitizing time: n minutes “Digitizing to Multiple Media Files” on page 149. When you select this option, the system preallocates space on the drive partitions to accommodate the specified number of minutes. The value in the text box acts as a limit for the amount of preallocated space. Be careful not to underestimate. The default is 30 minutes

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Table 7 Digitize Settings: Media Files Tab (Continued)

Option Description

During digitize, clip is (Windows only) Select this option if you want the digitized media to be updated in MediaManager sent in segments so that workgroup users can begin accessing and using Segment length: the media as soon as possible. This option is also known as “chunking.” For more information, see the Avid Unity MediaManager Setup and User’s Guide. n Do not select this option unless you are part of a workgroup environment.

Switch to emptiest Select this option if you want the system to switch to another storage drive when: drive when the specified amount of time remains.

Digitizing to Multiple Media Files

You can digitize to multiple media files across multiple drive volumes, with the following advantages: • You can create longer clips whose media files would otherwise exceed the file-size limitation of 2 GB. • You can group all drive volumes with the multiple file options, enabling the system to record continuously during digitizing of long clips — such as satellite feeds or program airchecks. For more information, see “Targeting a Drive Group” on page 176. • The system makes more efficient use of drive space, particularly when digitizing long clips.

To select settings for digitizing to multiple media files: 1. Double-click Digitize in the Settings scroll list of the Project window. The Digitize Settings dialog box opens. 2. Click the Media Files tab. 3. Select the “Digitize to multiple files” option. 4. Indicate the maximum digitizing time. You can accept the default or type a different time limit in the text box, based on the following explanation.

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Before digitizing, the system goes through a process of preparing the drives. This process is called preallocation. With the “Digitize to multiple files” option selected, the length of the preallocation process depends on the number of minutes indicated in the text box. This option instructs the system to preallocate according to an estimated maximum clip length. The default is 30 minutes. c If you think any of your digitized clips might exceed 30 minutes, make sure you type a higher estimate in this text box; otherwise, the system will stop digitizing at 30 minutes.

5. Click OK to close the dialog box and apply the options. n For media file management purposes, any clip whose media exceeds the 2-GB limit will have more than one media file associated with it. When you view the source Timeline for the clip loaded in the Source monitor, you will also notice edit breaks based on the separate media files (the breaks do not appear in the record-side Timeline).

For more information on managing media files, see the editing guide or Help for your Avid system.

General Settings

The General Settings dialog box (accessed through the Settings scroll list of the Project window) includes the following options that are important for digitizing. • Project Type: The top portion of the dialog box displays the project type (NTSC or PAL) and other useful information such as the type of film used as source media. • NTSC Has Setup: This option applies to standard NTSC format and is selected by default. If the source footage is in the NTSC-EIAJ format standard (used primarily in Japan), deselect NTSC Has Setup. • Preserve Specific VBI Lines: Only select this option if you have a specific need for preserving information in the Vertical Blanking Interval of digitized frames. For more information, see Appendix D. This setting is off by default.

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For information about other settings in the General Settings dialog box, see the editing guide or Help for your Avid system

Transfer Settings for Film Projects

The following settings are important for transferring media in a film project. You should set the transfer settings for film projects immediately after you create a new project and before digitizing. For information about other film settings, see the editing guide or Help for your Avid system.

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For information about • (NTSC only) Picture Transfer Rate allows you to specify the type of film-to-tape transfer film-to-tape transfer that you digitize: methods, see Chapter 2. - Without pulldown: Select this option when working with 24-fps footage that has been transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio has been brought into the Avid system separately at 100 percent of the actual speed. - With 2:3 pulldown: Select this option when working with 24-fps footage that has been transferred to 30 fps by duplicating frames (pulldown) and the audio has been synchronized to the picture. If you are digitizing sound that has been created during an NTSC film- to-tape transfer, you need to set the pulldown switch before you begin digitizing. See “Setting the Pulldown Switch” on page 170. For NTSC projects, you can mix footage transferred with pulldown and footage transferred without pulldown (video rate). You can also mix sound transferred at 0.99 (with pulldown) and 1.00 (without pulldown). • (PAL only) You define the Audio Transfer Rate in the New Project dialog box when you create a 24p PAL film project. (It is not needed for a 25p PAL project because there is no film speedup during the transfer.) It is important to keep the audio transfer rate constant for the project. However, if there is a specific element that you need to digitize at a different rate, you can use the Film Settings dialog box to change the rate. The following options are available: - Film Rate (100%): Select this option when your 24-fps film footage has been transferred MOS to 25 fps by speeding up the film, and the audio comes in separately at 100 percent of the actual speed (PAL Method 2). - Video Rate (100%+): Select this option when your 24-fps film footage has been transferred to 25 fps by speeding up the film, and the audio is synchronized to the video picture. This means that the audio speed is increased by 4.1 percent (PAL Method 1). For PAL 24p projects, you can mix audio that has been transferred at 4.1 percent speedup (video rate, PAL Method 1) with audio that has not been transferred (film rate, PAL Method 2). However, Avid does not recommend this. See “Audio Transfer Options for 24p PAL Projects” on page 52.

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n The Info tab in the Project window allows you to view the audio transfer rate you selected when you created the project. The actual audio transfer rate might be different from the display if you used the Film Settings dialog box to change the audio transfer rate.

• Audio Source Tape TC Rate allows you to specify the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when digitizing audio only. This setting does not appear in 23.976p projects. • Set Pulldown-to-Timecode Relationship allows you to set a default pulldown phase for a 24p NTSC project. See “Setting the Pulldown Phase” on page 108.

Configuring Decks

Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings, you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations.

Deck Configuration settings and global deck control preferences appear as separate items in the Settings scroll list of the Project window.

Deck control settings

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For information on setting Deck Preferences, see “Setting Deck Preferences” on page 160. c You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the setup guide for your Avid system.

To configure a deck or multiple decks: 1. Double-click Deck Configuration in the Settings scroll list of the Project window. The Deck Configuration dialog box opens.

2. If you are configuring your system for the first time, click the Add Channel button to add a new channel box on the left side of the Deck Configuration dialog box and to automatically open a Channel dialog box.

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n Channel refers to the signal path for deck control, whether directly through a serial port or through a V-LAN® VLXi system connected to a serial port. Direct serial port connection allows one deck for each channel, while a V-LAN VLXi system provides multiple decks.

3. Click the Channel Type pop-up menu, and select one of the following items, depending upon your system configuration: - FireWire if you are controlling a DV camera or deck through a FireWire connection (DV/MPEG option only). For more information - Direct if you are controlling a deck through an RS-422 connection on V-LAN equipment, to the serial port. contact your Avid sales representative. - VLAN VLX if you are controlling decks through a V-LAN/VLXi connection. n Timecode is embedded in the DV signal, so it will be correct whether the DV device is controlled by a FireWire connection or an RS-422 connection. However, batch digitizing might be inaccurate through a FireWire connection. If batch digitizing accuracy is critical, use RS-422 for deck control (DV/MPEG option only).

4. Click the Port pop-up menu, and select one of the following items: - OHCI if you selected FireWire for the channel (DV/MPEG option only). - COM1 or COM2 if you selected Direct or VLAN VLX for the channel. n If you are not sure which port to select, check the 9-pin serial port connectors on the back of the system. If the ports are not labeled, see the hardware documentation supplied with your system.

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5. Click OK to close the Channel dialog box. A dialog box opens with a question asking if you want to automatically configure the channel now. 6. Click Yes if you want to automatically configure the channel. A new channel appears in the display area of the Deck Configuration dialog box, along with the autoconfigured deck. n Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only a generic device template. When a digital camera is attached to your system, click the Deck Type pop-up menu, and select the proper device (described later in this procedure). When a deck is attached, click the Deck Type pop-up menu, and select the applicable deck.

Decks appear on the right side.

Channel boxes appear on the left side.

n You can reopen the Channel settings to change the options at any time by double-clicking the channel box in the Deck Configuration dialog box.

7. If you did not autoconfigure the deck, click the channel box to select it. 8. Click the Add Deck button to open the Deck Settings dialog box.

156 Configuring Decks n With a deck already connected to the system, you can click the Auto- configure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings.

9. Select settings based on your deck. For information on Deck settings, see “Deck Settings Options” on page 158. 10. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box. n You can reopen the Deck Settings dialog box to change the options at any time by double-clicking the deck box in the Deck Configuration dialog box.

11. Repeat steps 2 through 10 for each additional channel or deck you want to configure. 12. (Option) Select the “Verify configuration against actual decks” option if you want the system to check the deck configuration against the decks physically connected to the system. The system checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start the Avid application. A message box warns you if the configuration does not match the deck.

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13. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration will appear in the Settings scroll list of the Project window. 14. Click the Apply button to complete the configurations and close the Deck Configuration dialog box. 15. If necessary, double-click Deck Preferences in the Settings scroll list of the Project window to adjust global deck control options. For more information, see “Setting Deck Preferences” on page 160.

Deck Settings Options

To access the Deck Settings dialog box, do one of the following: t Click the Add Deck button in the Deck Configuration dialog box. t In the deck controller section of the Digitize tool, click the Deck Selection pop-up menu, and select Adjust Deck. t Double-click the deck name in the Deck Settings dialog box.

Table 8 describes the Deck Settings options.

Table 8 Deck Settings Options

Option Suboption Description

Name — Type your custom name for the tape deck. The default name matches the deck type.

Description — Enter notes about the deck.

Notes — Displays configuration information, supplied by Avid, about the deck you have selected. Not all decks include this information.

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Table 8 Deck Settings Options (Continued)

Option Suboption Description

Deck Type — From the pop-up menu, select your manufacturer and model. These decks have been qualified to work with your Avid system. n For information about decks that support the optional MPEG SDTI-CP board (Windows only), see “Supported VTRs for MPEG SDTI-CP” on page 561.

Address — For V-LAN VLXi use only (see your V-LAN VLXi documentation). If you are using direct serial port deck control, this option is unavailable.

Preroll — Specifies how many seconds the tape rolls before the system starts to digitize or starts a digital cut. The default is based on the type of VTR.

FAST CUE — Speeds up long searches, if your decks can read timecode in fast forward or rewind mode. Otherwise, this option is not useful.

Switch to ff/rew Select this option if you want the system to switch to fast (seconds): n forward or rewind if the target timecode is beyond the specified number of seconds from your current location on the tape. By default, the deck switches to fast forward or rewind to reach a target timecode that is more than 60 seconds away. If your deck shuttles very quickly, you can increase this number so the system uses fast cue only for long searches.

Switch to Search Select this option if you want the system to switch out of fast (seconds): n forward or rewind when it is within the specified number of seconds of the target timecode. By default, the system switches to search mode when it is 25 seconds from the target timecode.

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Deleting Deck Configuration Elements

You can delete deck configuration elements to remove or replace them.

To delete deck configuration elements in the Avid system: 1. Double-click Deck Configuration in the Settings scroll list of the Project window. The Deck Configuration dialog box opens. 2. Click a channel box, a deck box, or the entire configuration to select it. 3. Click the Delete button. 4. Click the Apply button to complete the changes and close the dialog box.

Setting Deck Preferences

Deck preferences are global settings for basic deck control. These settings apply to all decks connected to your system, regardless of your deck configuration. You can open the Deck Preferences dialog box from the Settings scroll list of the Project window.

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Table 9 describes the Deck Preferences options.

Table 9 Deck Preferences Options

Option Description

When the deck contains no You select the timecode format (Drop Frame or Non-drop Frame) for tape, Log As: logging clips when no tape is in the deck. When a tape is in the deck, the system automatically uses the existing timecode format on the tape. See “Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode” on page 162).

Allow assemble edit for You can use the assemble-edit features in the Digital Cut tool along with digital cut the assemble-editing capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance. For more information about digital cuts and assemble editing, see “Using the Digital Cut Tool” on page 341 and “Enabling Assemble- Edit Recording” on page 339.

Stop key pauses deck This option defines the function of the space bar (stop key) on the keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button. If the videotape heads are down in “Stop key pauses deck” mode, pressing the space bar brings up the heads and pauses the deck. The Stop button in the deck control section of the Digitize tool and the Deck Controller tool always stops the decks. (Select Tools > New Deck Controller to access the Deck Controller tool.)

Shuttle holds speed The Shuttle button in the deck control section of the Digitize tool and the Deck Controller tool continues shuttling at a constant speed instead of stopping when you release it.

Stop any paused decks Any paused decks are stopped when you quit the Avid application. when quitting Selecting this option saves wear on the deck heads.

Poll deck during digital This option is selected by default. When it is selected, the Avid system cut checks the deck for the current timecode and displays it in the timecode window of the deck controller. If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect this option and record the digital cut again. With the option deselected, the timecode display in the deck controller will not update for the duration of the digital cut.

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Understanding Drop-Frame Timecode and Non-Drop- Frame Timecode

Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that have elapsed on a videotape. For example, a timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames.

NTSC video (the video format used mainly in the United States) uses one of two formats: drop-frame timecode and non-drop-frame timecode. Drop- frame (DF) timecode is designed to match the NTSC scan rate of 29.97 frames per second (fps). Two frames of timecode are dropped every minute except for the tenth minute. No video frames are actually dropped. Drop- frame timecode is indicated by semicolons between the digits; for example, 01;00;00;00.

Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps and is indicated by colons between the digits; for example, 01:00:00:00. Non-drop-frame timecode can be easier to work with, but does not provide accurate timing for NTSC broadcast.

For example, a typical 1-hour show uses 52 minutes of video. If your program ends at 01:52:00:00 (non-drop-frame), and it is broadcast at 29.97 fps, it will last 94 frames too long (approximately 3 seconds). The final credits could be cut off.

The following illustration compares the two types of timecode at the 1-minute mark. No frames are actually dropped.

162 Entering Capture Mode

Non-drop-frame timecode

01:00:59:28 01:00:59:29 01:01:00:00 01:01:00:01 01:01:00:02

Drop-frame timecode

01;00;59;28 01;00;59;29 01;01;00;02 01;01;00;03 01;01;00;04

PAL video (the video format used in many countries other than the United States) uses a scan rate of 25 fps. Timecode is indicated by colons. There is no need for drop-frame timecode in PAL video.

You set the default timecode format for logging clips in the Deck Preferences dialog box (see “Setting Deck Preferences” on page 160). You set the default starting timecode in the General Settings dialog box (see the editing guide or Help for your Avid system). In both cases, you can select drop or non-drop.

You can change the starting timecode of a sequence or, for NTSC projects, the type of timecode. See the editing guide or Help for your Avid system.

Entering Capture Mode

Capture mode provides you with the Digitize tool and the controls you need to capture your footage in digital form. When you enter Capture mode, the system initializes the Digitize tool and establishes an interface with the playback equipment attached to the system.

To enter Capture mode: 1. Make sure the playback deck is properly connected to the system and is turned on. 2. Open your project and the bin in which you want to store your master clips.

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3. Enter Capture mode in either of the following ways: t With the bin active, select Bin > Go To Capture Mode. The Digitize tool opens, with the active bin positioned directly below it. t Select Tools > Digitize. The Digitize tool opens, but the active bin does not change its position. 4. Make sure you are in Digitize mode. If the Digitize tool is in Log mode, click the Digitize/Log Mode button until the DIG icon appears.

n In Capture mode, the Client monitor displays the playback footage whenever the video track is selected in the Digitize tool, except when you are using an MPEG SDTI-CP board or a board with a 1394 connection (OHCI input). In these cases, footage is not displayed in the Client monitor until you click the Digitize button and start the recording process. See “Recording DV Through a 1394 Connection (Windows Only)” on page 237 and “Recording Through MPEG SDTI-CP (Windows Only)” on page 237.

Setting Up the Digitize Tool

The Digitize tool provides controls for cueing, marking, and logging footage, and specifies digitizing parameters such as source and target locations. Deck control in the Digitize tool operates in the same way as in the deck controller.

To open the Digitize tool: 1. Do one of the following: t Click a bin to activate it and select Bin > Go To Capture Mode. (For more information, see “Entering Capture Mode” on page 163.) t Select Tools > Digitize. 2. Make sure you are in Digitize mode. If the Digitize tool is in Log mode, click the Digitize/Log Mode button until the DIG icon appears.

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The following illustration shows the Digitize tool for 25-fps and 30-fps projects.

Digitize/Log Mode button Digitize indicator Trash Toggle Source button

Telecine monitor

Record button Video and Channel Selection buttons Audio Input pop-up menus Subclip Status Message bar indicators Clip Name text box Resolution Clip Comment text pop-up menu box Color/Monochrome Single/Dual Drive Selection button Mode button Time remaining Target Drive pop-up menus on target drives

Deck controls Deck Selection pop-up menu Source Tape Display button

When you are working in a 24p NTSC project, the Digitize tool includes a pulldown button. For more information, see “Setting the Pulldown Switch” on page 170.

If your system includes Telecine Slave mode, the Digitize tool includes a Telecine monitor. For more information, see “Digitize Tool Controls for Telecine Slave Mode” on page 264.

Set up the Digitize tool by using the following procedures: • “Selecting a Deck in the Digitize Tool” on page 166 • “Selecting a Source Tape” on page 167 • “Selecting Source Tracks” on page 168

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• “Setting the Video and Audio Input” on page 169 • “Setting the Pulldown Switch” on page 170 • “Selecting a Resolution in the Digitize Tool” on page 173 • “Selecting Color or Monochrome in the Digitize Tool” on page 173 • “Selecting a Target Bin” on page 174 • “Selecting the Target Drives” on page 174 • “Interpreting the Time-Remaining Display” on page 177 • “Selecting a Custom Preroll” on page 177

Selecting a Deck in the Digitize Tool

The Deck Selection pop-up menu in the Digitize tool contains a list of any decks that were connected to the system, powered up, and initialized when you entered Capture mode.

The Deck Selection pop-up menu also lists three commands: • Adjust Deck opens the Deck Settings dialog box. Changes you make apply to the selected deck. For information on Deck settings, see “Deck Settings Options” on page 158. • Auto-configure allows you to automatically configure the selected deck with the default deck settings for that deck. • Check Decks helps to reestablish deck control if the power to your decks was turned off or the decks were disconnected when you first entered Capture mode.

If the words “No Deck” appear in the pop-up menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 153.

If a deck name appears in italics in the pop-up menu, the deck has lost power or has been disconnected. Click the pop-up menu, and select Check Decks to reestablish deck control. n Once deck control has been properly initialized, it will remain active for all deck controllers throughout the session until you quit the application.

166 Setting Up the Digitize Tool

To activate playback from an available deck: t Click the Deck Selection pop-up menu, and select the deck. n You must have V-LAN VLXi hardware to manage more than one deck at a time. For more information on V-LAN equipment, contact your Avid sales representative.

Selecting a Source Tape

To select a source tape: 1. Insert a tape into your deck. The Select Tape dialog box opens. n If a tape is already in the deck, click the Source Tape Display button in the Digitize tool.

For information about 2. In an NTSC project, play the tape for a few seconds so the system can deck preferences, see detect the timecode format of the tape (drop-frame or non-drop- “Setting Deck frame). Otherwise, the system maintains the timecode format set in the Preferences” on page 160. Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape.

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n Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more information, see “Understanding Drop- Frame Timecode and Non-Drop-Frame Timecode” on page 162.

For information on tape 3. Provide the system with a tape name in one of the following ways: naming conventions, see “Naming Tapes” on t Select the name of the tape from the list in the Select Tape dialog page 112. box and click OK. t Expand the list by selecting the “Show other projects” option or by clicking the Scan for tapes button. t Click New if the tape is not in the list. A new tape name line appears in the dialog box. Type the new name and click OK.

Selecting Source Tracks

You can select the tracks to digitize from the source tape.

To select only those tracks you want to digitize: t Click the Channel Selection buttons in the Digitize tool.

Channel Selection buttons

n When you use an Avid-controlled deck, the TC (timecode) track will be selected by default, and the system will digitize the timecode from the source tape. If you deselect the TC button, the system will digitize with time-of-day timecode. For more information, see “Digitizing with Time-of- Day Timecode” on page 232.

If you are not seeing the source video or hearing source audio in Capture mode, click the Channel Selection buttons to make sure they are not the cause.

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n When batch digitizing, if the tracks are already logged into the bin, this selection will be made automatically, unless you deselect the option “Digitize the tracks logged for each clip” in the Batch tab of the Digitize Settings dialog box. For more information on Batch Digitize settings, see “Batch Digitizing Clips” on page 243.

Setting the Video and Audio Input

The Video and Audio pop-up menus show you the current input settings for the Video Input tool and the Audio Project Settings dialog box.

To set the video input: t Select one of the following from the Video pop-up menu: - Composite - Component -S-Video - Serial Digital - OHCI (DV/MPEG option, Windows only) - MPEG SDTI-CP (optional MPEG SDTI-CP board, Windows only)

To set the audio input: t Select one of the following from the Audio pop-up menu: -Analog -AES/EBU -S/PDIF - OHCI (DV/MPEG option, Windows only) - MPEG SDTI-CP (optional MPEG SDTI-CP board, Windows only)

For more information see, “Preparing for Video Input” on page 199 and “Adjusting Audio Project Settings” on page 180.

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n If you change the settings in the Digitize tool, the settings in the Video Input tool or in the Audio Project Settings dialog box change automatically. n Systems with the DV/MPEG option support recording and digital cut of 44.1-kHz and 48-kHz audio only. They do not support recording and digital cut of 32-kHz (12-bit) audio. If you are recording DV audio, set your camera or deck to record 16-bit audio (48 kHz). n If you select MPEG SDTI-CP from either the Video or Audio pop-up menu, the Avid system changes both audio and video to MPEG SDTI-CP. You cannot mix an input signal from the Meridien board with MPEG SDTI-CP. For example, you cannot have MPEG SDTI-CP as your video input and AES/EBU as your audio input. n The Client monitor displays the playback footage whenever the video track is selected in the Digitize tool, except when you are recording through an MPEG SDTI-CP board or a board with a 1394 connection (OHCI input). In these cases, footage is not displayed in the Client monitor until you click the Digitize button and start the recording process. See “Recording DV Through a 1394 Connection (Windows Only)” on page 237 and “Recording Through MPEG SDTI-CP (Windows Only)” on page 237.

Setting the Pulldown Switch

If you are digitizing sound created during an NTSC film-to-tape transfer, you need to set the pulldown switch before you begin digitizing. If you are digitizing picture only, you do not need to set the switch.

If you are working in a 23.976p project, the pulldown switch is not necessary and does not appear. n Make sure your film preferences are set properly. For more information, see “Transfer Settings for Film Projects” on page 151.

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To set the pulldown switch: t Click the Pulldown button in the Digitize tool.

When the pulldown switch is off, the button is dimmed (gray), and a label explains that audio will be digitized (sampled) at the same speed at which it was recorded (1.00).

Pulldown button off

When the pulldown switch is on, the button is green, and a label explains that audio will be digitized (sampled) at 0.99 percent of its recorded speed (referenced to NTSC video), to match the slowdown rate at which the footage was transferred.

Pulldown button on

Film Project Pulldown and Transfer Settings

Table 10 indicates how the pulldown switch and transfer settings should be set, depending on your input media.

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Table 10 Film Project Pulldown and Transfer Settings

Pulldown Project Switch (Set in the Setting and New Indicator Film to Video Project on Source Transfer Settings (Set Dialog Meridien Playback in Film Settings Type of Input Media Box) I/O Box Speed Dialog Box)

Original sound source synced 24p NTSC On (0.99) 29.97 fps Picture Transfer Rate: to NTSC during transfera. With 2:3 pulldown

NTSC MOS film-to-tape 24p NTSC Off (1.00) Audio: Picture Transfer Rate: transfer with separate audio. 30.00 fps With 2:3 pulldown Digital audio (DAT) or analog Audio Source Tape TC Picture: audio (Nagra) to sync with Rate: 30.00 29.97 fps video in the Avid systemb.

FTFT transfer or retransferring 24p NTSC NAc 29.97 fps Picture Transfer Rate: an effect. This method allows Without pulldown you to save time since no audio is involved in the transfer.

PAL film-to-tape transfer with 24p PAL Off (1.00) Audio and Picture Transfer Rate: NA synced sound or simul-DAT (Method 1) picture both Audio Transfer Rate: tapes. 25 fps Video Rate (100%+)

PAL MOS film-to-tape transfer 24p PAL Off (1.00) Audio: Picture Transfer Rate: NA with separate audio. Digital (Method 2) 25 fps Audio Transfer Rate: audio (DAT) or analog audio (100%) Film Rate (Nagra) to sync with video in Picture: the Avid system. 25 fps

PAL film-to-tape transfer with 25p Off (1.00) Sound and Picture Transfer Rate: NA synced sound or simul-DAT picture at tapes. 25 fps

a. For digitizing picture and sound from NTSC tape, or sound only from simul-DAT tapes created during telecine transfer. b. For direct input of audio. Digital audio requires proper AES/EBU or S/PDIF connections. c. NA = Not applicable.

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If you are digitizing audio only, make sure to select the proper audio setup options. For more information, see “Establishing Sync for Audio-Only Input” on page 178 and “Adjusting Audio Project Settings” on page 180.

If you have set a digital sync mode in the Audio Project Settings dialog box, the Pulldown button is inactive and a message states that the Pulldown button has no effect.

Selecting a Resolution in the Digitize Tool

You can set the To select a resolution in the Digitize tool: resolution used for t digitizing in the Click the Res (Resolution) pop-up menu, and make a selection. Digitize tool or in the Media Creation dialog The resolution list contains a list of the available resolutions, depending on box, accessed through the model of your Avid system. For 25-fps and 30-fps projects, the list the Settings scroll list shows single-field and two-field interlaced resolutions, DV resolutions of the Project window. See “Media Creation (DV/MPEG option only), and MPEG 50 resolutions (DV/MPEG option Settings” on page 137. only or MPEG option only). For 24p and 25p projects, the list shows progressive, full-frame resolutions. Select 1:1 for uncompressed media. n When the Video and Audio pop-up menus are set to MPEG SDTI-CP (optional MPEG SDTI-CP board, Windows only), MPEG 50 is set by default in the Resolution pop-up menu. n For more information on the video resolutions, see Appendix B.

Selecting Color or Monochrome in the Digitize Tool

The Color/Monochrome Selection button in the Digitize tool allows you to filter out all of the color from each frame of video when digitizing. If your original media is black and white, using the Monochrome option will give you more efficient storage and picture quality. Select the Color (also known as full chroma) option if you intend to create full-color digital cuts.

The system displays the button in color or as a monochrome image depending on the current setting.

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c If you select the Monochrome option and you intend to create full- color digital cuts, you will need to redigitize using the Color option before creating the digital cut.

Selecting a Target Bin

You select a target bin as the destination for the master clips created when you digitize on-the-fly. Alternatively, you select a target bin containing the logged clips you will use to batch digitize your media.

To select a target bin: t In the Digitize tool, click the Bin pop-up menu and make a selection. If you have opened the Digitize tool through Capture mode, a bin will already be selected. Only opened bins appear in the Bin pop-up menu.

To open a bin, do one of the following:

For more information t For a bin created in the current project, double-click the bin in the on working with bins, Project window. see the editing guide or Help for your Avid t For a bin created in a different project, select File > Open Bin, and then system. locate and open the bin in the Open dialog box (Windows) or Select a Bin dialog box (Macintosh). t Create a new bin by clicking the New Bin button in the Project window.

Selecting the Target Drives

To select a target drive: For tips on targeting 1. Decide whether to digitize audio and video to a single drive, or media drives for separate drives, as described in the following sections. effective storage and playback, see 2. Click the pop-up menus, and select the specific target drives as Appendix B. described in the following sections.

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Targeting a Single Drive

By default, the Digitize tool targets a single media drive volume for digitizing the audio and video for each clip. Target a single drive when you are digitizing in a single-field resolution, for instance, and playback performance is not an issue.

To target a single drive: 1. Click the Single/Dual Drive Mode button to display the Single Drive icon. 2. Click the Target Drive pop-up menu, and select a drive volume. The name shown in bold in the menu has the most storage available. The time remaining on the selected drive, displayed to the right of the menu, is calculated based on your resolution selection.

Targeting Separate Drives for Audio and Video

You can target separate physical drives for audio and video tracks. This improves performance because the system is not required to address all the information in separate locations on a single drive. You can also digitize for the longest continuous amount of time because the system is storing material on two drives rather than one. n To achieve optimal performance, stripe two or more drives. For more information, see “Getting Information About Striped Drives” on page 137.

To target separate drives for audio and video: 1. Click the Single/Dual Drive Mode button to display the Dual Drive icon. Two Target Drive pop-up menus appear. The top one is targeted for video and the bottom one is targeted for audio. 2. Click each Target Drive pop-up menu, and select separate drives for audio and video. The names shown in bold in the menus have the most storage available. The time remaining on each selected drive, displayed to the right of each menu, is calculated based on your resolution selection.

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Targeting a Drive Group

Targeting a drive group (a group of media drives) is especially useful when you are digitizing long clips to multiple media files (see “Digitizing to Multiple Media Files” on page 149). After you create a drive group, it appears in the Target Drive pop-up menu for the project.

To create and target a drive group: 1. Click the Target Drive pop-up menu, and select Change Group. The Drive Group dialog box opens.

2. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple drives to include in the digitizing session, or click the All button to select all drives. 3. Click OK to close the dialog box and create the drive group. The group appears in the Target Drive pop-up menu. When you digitize, any clip that exceeds the capacity of a drive (whether that drive is empty or already contains media files) will continue digitizing onto another drive in the group.

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Interpreting the Time-Remaining Display

The Digitize tool displays the time remaining on the selected drive after you select a resolution and target drive or drives for the digitized media.

Time remaining on the selected drives

You can interpret this display based on the following factors: • Each digitized clip has a maximum file-size limit of 2 GB. Any video clip whose media exceeds the 2-GB limit will have more than one media file associated with it. • When you select another resolution, the time-remaining display adjusts accordingly.

Selecting a Custom Preroll

The Custom Preroll option and pop-up menu in the Digitize tool allow you to select how many seconds the tape rolls before the digitizing starts. This option overrides the global preroll setting in the Deck Settings dialog box.

Custom Preroll option

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Preparing for Audio Input

The Avid system supports direct input of eight channels of audio. Source track assignments are mapped directly to audio tracks in the digitized clips. For example, when you digitize source footage with audio channels 1 through 5, the resulting master clip has matching audio tracks 1 through 5. n Eight-channel audio input requires the appropriate hardware configuration. For more information, see the setup guide for your Avid system.

Prepare for audio input by using the following procedures: • “Establishing Sync for Audio-Only Input” on page 178 • “Adjusting Audio Project Settings” on page 180 • “Selecting the Audio File Format” on page 184 • “Using the Audio Tool” on page 186 • “Calibrating the Eight-Channel Audio I/O Device” on page 193 • “Using the Console Window to Check Audio Levels” on page 198

Establishing Sync for Audio-Only Input

When you digitize audio with video, the video input always generates sync for both.

When you digitize audio only, sync for the input signal can come from several sources: • Analog audio input: If you are digitizing audio-only from an analog source, sync is generated from a black burst generator or house sync source when it is connected to both REF IN on the Meridien I/O box and the audio deck. If there is no reference signal connected, sync is generated from internal timing. c If you need to synchronize audio with video clips recorded on separate devices in the field, Avid recommends that you connect video reference to both REF IN on the Meridien I/O box and the audio deck for sync. Otherwise, you might experience drifting of the audio during editing.

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n For more information on connecting a reference signal, see the setup guide for your Avid system.

• Digital audio input: If you are digitizing audio only from a digital source (such as a DAT recording or a Digital Betacam tape, for example), you should establish sync from the digital source. For more information, see “Checking for a Valid Digital Sync Signal” on page 179 and “Adjusting Audio Project Settings” on page 180. Audio from a Digital Betacam tape can be recorded digitally only in a 23.976p project, a 24p PAL project, or a 25p project. • DV: If you are digitizing audio from a DV source, sync is generated through the 1394 connection (DV/MPEG option only).

Checking for a Valid Digital Sync Signal

If you are digitizing audio-only input from a digital source such as a DAT deck, the eight-channel audio converter is limited to acquiring a digital sync signal from channels 1 and 2. c Channels 1 and 2 are often the first choice for input of a signal that provides digital sync. If you want to input audio from channels 3 through 8, however, you must have a valid digital signal coming in on channels 1 and 2.

Check for a valid digital sync signal as follows: • If the yellow indicator light labeled DIGITAL on the audio converter shines steadily during input, the system is receiving a valid digital sync signal. • If the yellow indicator light blinks during input, the system is not receiving a valid digital sync signal. Make sure you have a digital sync signal source properly connected to channel 1 or channel 2.

The effects of capturing audio without a valid digital sync source can include random noise, silence, or a jittering effect in the audio when played back.

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Adjusting Audio Project Settings

You can use the Audio Project Settings dialog box to check the current configuration of audio hardware, and to select various input options. n The Audio Project settings also store the mappings between tracks and output channels you set up in the Audio tool. For more information, see “Saving the Audio Project Settings as Site Settings” on page 184.

To open the Audio Project Settings dialog box: t Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box opens.

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Table 11 describes the Audio Project Settings options.

Table 11 Audio Project Settings Options

Option Suboption Description

Card — The type of audio card installed (informational only).

Peripheral — The type of peripheral audio device (audio interface) attached to the system (informational only).

Slot # — The slot where the audio card is located (informational only).

HW Calibration –14 dBFS Allows you to select a default audio calibration to match your audio I/O peripheral hardware calibration. For more –18 dBFS information, see “Calibrating the Eight-Channel Audio I/O –20 dBFS Device” on page 193.

Sample Rate 44.1 kHz Allows you to select audio rate settings. The broadcast standard for most high-end video postproduction houses is 48 kHz 48 kHz. Select the rate based on the requirements of your facility. For information on changing the sample rate for individual sequences and audio clips, see the editing guide or Help for your Avid system. n The Sample Rate settings do not affect the sample rate of audio signals that are brought in digitally through the AES/EBU or S/PDIF connectors on the audio I/O device.

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Table 11 Audio Project Settings Options (Continued)

Option Suboption Description

Sync Mode Video Sync Allows you to select a source for audio sync. AES/EBU Use Video Sync for all analog audio input and output. Video sync ensures the audio sample clock is always in sync with the S/PDIF video clock for analog audio input and output. This prevents DV long-term drift between audio and video. Audio locks to the video output signal except for digitizing video, when it is locked to the video input signal. Use one of the following two digital formats when you are working with digital audio input and output, such as DAT (digital audiotape) or Digital Betacam tape: • AES/EBU (Audio Engineering Society/European Broadcasting Union), the industry digital format • S/PDIF (Sony/Philips® Digital Interface Format), the consumer format When you are working with video and digital audio simultaneously, set your digital audio equipment to the same video reference signal as your video equipment. Use DV if you are recording through the 1394 connection (OHCI) (DV/MPEG option only). See “Establishing Sync for Audio-Only Input” on page 178. n Changing the audio input selection will automatically select the correct audio clock source for audio sync.

Input Source Allows you to select a source for input. Analog — AES/EBU — S/PDIF — OHCI Select OHCI for DV input. If you select OHCI, the Sync Mode is automatically set to DV (DV/MPEG option only). MPEG SDTI-CP Select MPEG SDTI-CP if you have installed the optional MPEG SDTI-CP board (Windows only).

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Table 11 Audio Project Settings Options (Continued)

Option Suboption Description

Audio File (OMF) WAVE Allows you to select the file format for the audio. For more Format information, see “Selecting the Audio File Format” on (OMF) AIFF-C page 184. SDII (Macintosh only)

Render Sample High and Slow Allows you to set the conversion quality of all non-real-time Rate Conversion sample rate conversions. Balanced Quality Low and Fast

Convert Sample Always Allows you to select whether or not to perform the conversion Rates When rate. Never Playing If you select the option Never, the segments not set at the sample rate selected in the Audio Project Settings dialog box will play as silence. If you select the option Always, the system will attempt to perform a sample rate conversion on-the-fly. Although the resulting audio quality might not be useful for a finished project, it can be useful during an editing session since it prevents audio from playing back with silence.

Show Yes Allows the system to identify a specific sample rate by color. If Mismatched you select Yes, clips that use the audio project sample rate are No Sample Rates as displayed as black. For example, if you have selected 48 kHz Different Color from the Sample Rate pop-up menu, the sample plot of these clips is displayed as black, and the sample plot of clips with different sample rates (such as 44.1 kHz) is displayed as white.

Setting — Allows you to name the setting for future use. The name you enter will appear in the Settings scroll list. See “Saving the Audio Project Settings as Site Settings” on page 184.

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Saving the Audio Project Settings as Site Settings

The values you set in the Audio Project Settings dialog box are saved as Project settings.

Besides the entries in the Audio Project Settings dialog box, the Audio Project settings also store the mappings between tracks and output channels that you set up in the Audio tool. See “Adjusting Output on Eight- Channel Audio Systems” on page 334. The values are not visible in the Audio Project Settings dialog box. Open the Audio tool to view the current values (see “Using the Audio Tool” on page 186).

You can also save the Audio Project settings as Site settings so that all projects open with the same audio settings.

To save the Audio Project settings as a Site setting: 1. Select Special > Site Settings. The Site Settings folder opens. 2. Click the Settings tab in the Project window. 3. Click the Audio Project Settings icon (or the icon of an Audio Project setting you created using the Setting option), and drag it to the Site Settings folder. New projects that you open on this system will use the Audio Project Site settings.

Selecting the Audio File Format

Your Avid system supports the creation of audio media in the industry- standard Audio Interchange File Format (AIFF-C) and RIFF Waveform Audio File Format (WAVE). n Avid applications for the Macintosh operating system continue to support the Sound Designer II™ (SDII) format.

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AIFF-C, SDII (Macintosh only), and WAVE audio media files can be mixed within a project. The system defaults are as follows: •(Windows) OMF® (WAVE) • (Macintosh) AIFF-C n Select the AIFF-C format (Windows) or the SDII format (Macintosh) for all audio media when you need to transfer audio media files directly to a Pro Tools® system for audio sweetening.

To select the audio file format: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box opens. 2. Click the Audio File Format pop-up menu, and select either OMF (AIFF-C), SDII (Macintosh only), or OMF (WAVE). 3. Click OK.

Audio is written in the selected file format when you: • Digitize audio tracks in Capture mode. • Create new clips by using the Audio Punch-In tool. • Create tone media by using the Audio tool. • Mix down audio tracks by selecting Special > Audio Mixdown.

If you switch the audio format in the middle of a project, all new audio media files will be written in the new format with the following exceptions: • Media files written when rendering audio effects: The system uses the file type of the A-side (outgoing audio) media for a transition. For example, if the A-side of an audio dissolve is in OMF (AIFF-C) format and the B-side (incoming audio) is OMF (WAVE), the rendered file will be OMF (AIFF-C). • Audio media files written when using the Consolidate feature: Media files that are copied or created during a consolidate procedure retain their original file types.

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Using the Audio Tool

For information on The Audio tool, along with your hardware’s audio parameters, allows you output procedures to do the following in preparation for input: involving the Audio tool, see “Preparing for • Check and manage your audio hardware setup. Audio Output” on page 332. • Check audio levels before digitizing.

To open the Audio tool: Audio Tool button t Select Tools > Audio Tool. t Click the Audio Tool button in the Digitize tool.

The Audio tool displays meters for eight channels.

Output Control button Setup Control button

In/Out toggle buttons

Reset Peak Peak Hold Menu button button

Digital scale Volume unit scale (fixed) (adjustable)

Meters

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Table 12 describes the Audio tool components.

Table 12 Audio Tool Components

Component Description

Output Control button Displays a panel that contains a single slider control for raising or lowering global audio output.

Setup Control button Displays a panel of audio output options for channel assignments, for mixing tracks, and for ignoring audio effects and volume settings.

Reset Peak button Resets the current maximum peak measurements. It also stops the playback of the internal calibration tone.

In/Out toggle buttons Switch the meter displays for each channel between input levels from a source device and output levels to the speakers and record devices. I indicates Input, and O indicates Output.

Peak Hold Menu Displays a pop-up menu that allows you to select options for customizing the button meter displays, and for setting and playing back the internal calibration tone.

Digital scale The digital scale to the left of the meters displays a fixed range of values from 0 to –90 dB (decibels), according to common digital peak meter standards.

Volume unit scale The volume unit scale (analog) to the right of the meters displays a range of values that you can conform to the headroom parameters of your source audio.

Meters Track audio levels dynamically for each channel as follows: • Meters show green below the target reference level (default reference level is –20 dB on the digital scale). • Meters show yellow for the normal headroom range, above the reference level to approximately –3 dB. • Meters show red for peaks approaching overload, between –3 dB and 0 (zero) dB. • Thin green lines at the bottom indicate signals below the display range.

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Resizing the Audio Tool

You can resize the Audio tool for greater visibility during input and output. For example, when batch digitizing in a busy facility, you can make the tool larger to watch levels from across a room.

To adjust the size of the Audio tool: t Click the top or bottom of the tool and drag it to the preferred size.

Adjusting the Reference Level

The volume unit scale (VU) to the right of the meters is a sliding scale relative to the fixed digital scale displayed on the left. You can adjust the volume unit scale up or down based upon the headroom parameters of your playback devices.

To customize the volume unit scale: 1. Click the PH (Peak Hold) pop-up menu, and select Set Reference Level. The Set Reference Level dialog box opens. 2. Type the new value for the reference level (–12, for example), and click OK. 3. Click the PH pop-up menu, and select Calibrate. The volume unit scale slides to match the new reference level, which is displayed on the digital scale.

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Digital scale displays Volume unit scale corresponding reference slides up to display value. less headroom.

n Adjusting the reference level requires recalibration of the audio I/O device. For more information, see “Calibrating the Eight-Channel Audio I/O Device” on page 193. n If the reference level doesn’t match the hardware calibration setting, the 0 VU entry appears red in the Audio tool.

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Selecting a Peak Hold Option

The PH (Peak Hold) pop-up menu provides two menu items for displaying peak levels in the meters, as follows: • When you select Peak Hold, the meters display a normal rising and falling volume trail in the meters. This is the default option.

• When you select Infinite Hold, each meter permanently retains a single bar at the peak volume level measured during playback. The effect is cumulative: the bar continues to rise and hold with each new peak, and serves as a record of the highest peak for each channel.

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Infinite Hold peaks remain during and after playback.

To delete the peaks and start over at any time: t Click the RP (Reset Peak) button.

To enable either Peak Hold or Infinite Hold: t Click the PH button and select an option from the pop-up menu. n You can switch between Peak Hold and Infinite Hold and select Reset Peak while playing the audio with the Audio Loop Play button. For a description of the Audio Loop Play button, see the editing guide or Help for your Avid system.

Adjusting Audio Input Levels

You can use the Audio tool to check the audio input levels. If the input levels are too high (hot) or too low, you need to adjust the output level of your source signal, if possible. n You cannot adjust the input levels for the eight-channel audio I/O device from within the Audio tool.

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Before you digitize, make sure the audio I/O device is properly calibrated. See “Calibrating the Eight-Channel Audio I/O Device” on page 193.

To check and adjust input levels: 1. Click the In/Out toggle buttons in the Audio tool for the channels you will use for input. The Audio tool displays an I for Input. 2. Play back the source audio (from a videotape or DAT, for example). If the recording includes reference tone, cue to the tone and play it back. 3. Adjust the output on the playback device so the device’s volume meter shows the appropriate level for the reference signal in the Audio tool (0 VU for videotape playback, for example). You can adjust the output by using a deck that supports output gain or by sending the signal through a mixing console.

Creating Tone Media

You can create your own tone media as a master clip for editing directly into sequences.

To create tone media: 1. Open a bin.

2. Click the PH (Peak Hold) pop-up menu in the Audio tool, and select Create Tone Media. The Create Tone Media dialog box opens.

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3. Set the appropriate calibration tone parameters for the project. You can also use the default output tone of –20 dB (digital scale) with a 1000-Hz signal. n If you set the tone media frequency to 0, the system generates random noise. Also, a value of –777 generates a tone sweep.

4. Select the number of tracks of tone you want to create (up to 8 tracks). 5. Click the pop-up menus, and select a target bin for the tone master clip and a target drive for the tone media file. 6. Click OK. After a few seconds, the media file is created and a master clip appears in the target bin. The default name reflects the options you selected. You can rename the clip by typing a new name.

Calibrating the Eight-Channel Audio I/O Device

For information about You can use the calibration features of the Audio tool to fine-tune the input connecting the eight- and output channels of the eight-channel audio I/O device. These channel audio adjustments should be made when you first install the system, and should I/O device, see the setup guide for your be repeated occasionally thereafter (once a month, for example). Avid system. Prior to Avid Symphony v3.0, all Avid editing systems were calibrated for analog 0 Volume Unit (VU) to be digital –14 dB. However, Sony digital decks are calibrated to –20 dB, which has become the emerging standard.

The application’s default audio hardware calibration is now set to –20 dBFS and new audio I/O devices (888 I/O™) shipping from Avid are calibrated to –20 dBFS.

You can use the Audio Project Settings dialog box to change your default audio hardware calibration. However, if you change the application’s default, you must recalibrate your audio I/O device to match. If the settings do not match, the analog VU (volume unit) scale in the Audio tool will display incorrect values.

To help you maintain the correct values, the 0 VU display on the Audio tool is red if the hardware and software calibration values do not match.

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Volume Unit scale value

To synchronize the audio hardware calibration setting with the audio I/O device, do one of the following: t Change the application’s hardware calibration setting value to match the calibration of the audio I/O device. See “Changing the Audio Hardware Calibration Setting” on page 195. t Change the calibration of the audio I/O device to match the application’s hardware calibration setting value. See “Calibrating Input Channels for the Audio I/O Device” on page 196 and “Calibrating Output Channels for the Audio I/O Device” on page 198.

For example, if your audio I/O device is calibrated to –14 dBFS, you can set the application’s hardware calibration setting value to –14 dBFS. After you change the application’s hardware calibration setting value, the following settings also change to match: • Reference Level in the Set Reference Level dialog box (Peak Hold pop-up menu — Audio tool) • Calibration Tone in the Set Calibration Tone dialog box (Peak Hold pop-up menu — Audio tool)

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Changing the Audio Hardware Calibration Setting n If you use the default hardware and software settings, you do not need to change the audio hardware calibration settings. n This procedure might not work with some older systems. For more information, see the release notes for your Avid system.

To change the audio hardware calibration setting: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box opens.

2. Click the HW Calibration pop-up menu, and select a new default hardware calibration setting: –14 dBFS, –18 dBFS, or –20 dBFS. A message box opens.

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3. Do one of the following: t If the calibration of your audio I/O device does not match the new Hardware Calibration setting value, see “Calibrating Input Channels for the Audio I/O Device” on page 196 and “Calibrating Output Channels for the Audio I/O Device” on page 198. t If the calibration of your audio I/O device matches the new Hardware Calibration setting value, click OK. 4. Save the new Hardware Calibration as a Site setting.

For information on establishing global settings, see the editing guide or Help for your Avid system.

Calibrating Input Channels for the Audio I/O Device

To calibrate input channels for the audio I/O device: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box opens. 2. Click the HW Calibration pop-up menu, and select a new default hardware calibration value: –14 dBFS, –18 dBFS, or –20 dBFS. A message box opens.

3. Click OK.

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4. Connect a sine wave generator that can produce a 1-kHz tone, +4 dBu @ 0 VU to channel 1 of the audio I/O device. 5. Send a 1-kHz tone into channel 1 of the audio I/O device. 6. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I for input. You should see a level in the meter display. 7. Click the PH (Peak Hold) pop-up menu in the Audio tool, and select Calibrate. The Audio tool changes to Calibrate mode: the scales display a range of approximately 2 dB, and the meters indicate levels within this range.

Peak Hold pop-up menu

Indicates the hardware The Volume Unit scale calibration value you varies, displaying a custom selected in step 2: –14, reference level setting, –18, or –20. +1 dB above and –1 dB below.

8. Adjust the channel 1 input level by inserting a screwdriver into the trim pot on the audio I/O device and turning it until the Audio tool’s on- screen meter reaches 0 VU. The input channel is now calibrated. 9. Repeat this procedure for each input channel of the audio I/O device.

To return to the default Audio tool display: t Click the PH (Peak Hold) pop-up menu, and select Calibrate.

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Calibrating Output Channels for the Audio I/O Device

If the input channels of the audio I/O device are calibrated correctly, you can use the input channels to calibrate the output channels.

To calibrate output channels for the audio I/O device: 1. Make sure the audio I/O device is calibrated properly for input (see “Calibrating Input Channels for the Audio I/O Device” on page 196). 2. Connect two output channels to two different input channels. For example, connect output channels 1 and 2 to input channels 7 and 8. 3. Click the PH (Peak Hold) pop-up menu in the Audio tool, and select Set Calibration Tone. 4. Click the In/Out toggle buttons to display I for the channels you are using for input, for example, 7 and 8. Click the In/Out toggle buttons to display O for the channels you are calibrating, for example, 1 and 2. 5. Click the PH pop-up menu, and select Calibrate. 6. Click the PH pop-up menu, and select Play Calibration Tone. 7. Adjust the audio I/O device trim pots on the output channels (1 and 2) to 0 VU, using the meters of the input channels (7 and 8) as your guide. 8. Repeat this procedure for each channel.

Using the Console Window to Check Audio Levels

Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels.

To check peak levels in the Console: 1. Open the Audio tool (see “Using the Audio Tool” on page 186). 2. Click the RP (Reset Peak) button to clear the system’s record of the most recent maximum peaks. 3. Play a sequence or portion of the sequence. 4. After playing back the audio, open the Console window by selecting Tools > Console.

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5. In the Console command line, type: DumpMaxPeaks

6. Press Enter (Windows) or Return (Macintosh). A list of peak values appears in the Console window.

Preparing for Video Input

The Avid system provides a Video Input tool for calibrating composite video, component video, and S-Video. n If you are capturing serial digital video, DV, or MPEG 50 video, for example, from a D1, D5, digital Betacam, DV, or MPEG IMX VTR, you cannot adjust levels by using the video input controls in your Avid system. If you plan to make adjustments at the source deck, information in this section regarding the internal Waveform and Vectorscope monitors might be useful.

To open the Video Input tool, do one of the following:

t Select Tools >Video Input Tool. t Click the Video Input Tool button in the Digitize tool. The Video Input tool opens.

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Vectorscope Monitor button Waveform Monitor button Waveform monitor Vectorscope monitor

Input pop-up menu

Settings pop-up menu

Consumer Src and 100% Bars buttons Preset buttons

Table 13 describes the Video Input tool components.

Table 13 Video Input Tool Components

Component Description

Input pop-up menu Lets you select either a Composite, Component, Serial Digital, OHCI (DV/MPEG option only), MPEG SDTI-CP (optional MPEG SDTI-CP board only), or S-Video input source. You cannot adjust video input for Serial Digital, OHCI, or MPEG SDTI-CP.

Sliders Let you change the value for each setting.

Preset buttons The preset buttons are highlighted when the factory preset levels are displayed.

Settings pop-up menu Lets you save the settings for an individual tape each time you calibrate bars.

Waveform Monitor and Open or hide the Waveform monitor and the Vectorscope monitor. Vectorscope Monitor buttons n Your Avid system supports the SMPTE/EBU component standard for 625 timing and Betacam component levels for 525 timing. The system does not support the MII component video standard.

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Table 13 Video Input Tool Components (Continued)

Component Description

Consumer SRC (Source) This button is used when a source has no built-in time-base corrector button (TBC), such as a number of 3/4-inch U-matic or S-Video deck models (see “Calibrating Video Input” on page 202). n The Composite and S-Video sliders are unavailable when the Consumer SRC (Source) button is selected

100% Bars button This option is used when the source tape has color bars with 100% (versus 75%) chrominance levels.

Using the Factory Preset Buttons

The preset buttons in the Video Input tool show the status of each calibration setting as follows: • When you first open the Video Input tool in a new project, all preset buttons are lit (green), with the factory presets loaded for each slider.

Preset buttons Sliders

• When you click the slider of a lit preset button, the arrow changes to black and the slider moves to the position of the pointer. • When a preset button has a black arrow and you click it, the arrow becomes lit (appears green), and the slider moves to the factory preset level for that parameter. • When you click a lit preset button, the arrow changes to black, and the slider returns to the last manual setting.

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As you adjust levels in the tool, you can switch the preset buttons between the levels you set manually and the factory preset levels.

Calibrating Video Input

For information on This section provides essential information for input calibration. You calibrating for video should calibrate the input levels for each videotape when you digitize to output, see “Calibrating ensure the continuity of picture quality between tapes. for Video Output” on page 323. c When you redigitize media from a project created on a different Avid system, only reuse settings that originate on systems that use the Meridien video I/O board. For projects from other Avid systems, check the Video settings for each tape.

Before you calibrate the video input, check the following: • Make sure your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation. • If your system’s output settings have not already been calibrated according to house standards, use the procedures described in “Calibrating for Video Output” on page 323. If you are in a facility where this is not necessary, leave the output settings at their preset values. • If you are using footage in the NTSC-EIAJ format (used primarily in Japan), deselect the option NTSC Has Setup in the General Settings dialog box. This will enable the appropriate display for the setup portion of the signal in the Waveform monitor and also adjusts the gain range. For more information, see “General Settings” on page 150.

To calibrate the video input: 1. Make sure you have properly connected the playback VTR to the system. For more information, see the setup guide for your Avid system. 2. Select Tools > Video Input Tool. The Video Input tool opens.

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3. Click the Input pop-up menu, and select the appropriate input channel, based on your source tape format: Composite, Component, or S-Video. The Video Input tool displays the appropriate parameters for the selected video format. n For a description of each parameter, click the Video Input tool and press the F1 key (Windows) or Help key (Macintosh).

n Sync for video input comes from the source selected in the Video Input tool. The proper source device must be connected to the Meridien I/O box, MPEG SDTI-CP connection, or 1394 connection, as described in the setup guide for your Avid system. You cannot adjust video input for Serial Digital, OHCI, or MPEG SDTI-CP. n When you digitize audio with video, the audio is always synced to the video source. For information regarding sync during audio-only input, see “Establishing Sync for Audio-Only Input” on page 178.

4. Cue the tape to the section containing bars and tone (usually the beginning) and play the tape. n Always play the tape when calibrating. Signal display is unstable when the tape is paused.

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The Client monitor displays one of the following types of bars (or a variation of them).

Full-field color bars Color bars can be either 75% or 100% of peak levels.

Full-field bars (NTSC or PAL)

100% white

SMPTE standard split bars

SMPTE bars (NTSC only)

75% white Color bars (top 67% of frame)

7.5 black level (NTSC with setup) 100% white (lower 25% of frame)

5. If you are digitizing from a consumer-grade video deck (such as a home VCR) or a deck that has no built-in time-base corrector (which includes a number of 3/4-inch U-matic or S-Video models), and you are having trouble with the incoming video quality, click the Consumer Source button located below the sliders in the Video Input tool.

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n The availability of the Consumer Source button depends on the model of your Avid system.

If clicking the Consumer Source button does not improve the video quality, Avid recommends that you purchase a time-base corrector (TBC). For more information, see “Limitation When Using Consumer Decks or Decks Without Time-Base Correctors” on page 208. Make sure the deck and TBC support the advanced sync feature. This feature eliminates the one-frame delay that many TBCs introduce. Do not click this button if you have added a TBC to the deck. n The Composite and S-Video sliders are unavailable when the Consumer Source button is selected.

6. Click the 100% Bars button if the source tape contains 100% bars for calibration. n To distinguish between 100% and 75% full-field bars, you will notice in 100% bars that the luminance waveform plot displays fairly even steps from the first bar (white) to the last bar (black). In 75% bars, the white bar is at 100%, which causes a larger step from the first bar (white) to the first color bar.

Waveform 7. Open the Waveform monitor by clicking the Waveform Monitor Monitor button. button

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NTSC waveform values (IRE) White level at 100 IRE (digital 235) (100% bars) White level at 77 IRE (digital 180) (75% bars)

Black level at 7.5 IRE (digital 16) (Black level falls at 0 IRE for NTSC-EIAJ) Line slider

PAL waveform values (volts)

White level at 1 V (digital 235) (100% bars)

Black level at 0.3 V (digital 16)

Line slider

8. Adjust the Line slider located below the Waveform monitor to display the appropriate line of the test pattern, then adjust the luminance values based on Table 14.

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Table 14 Luminance Settings for Video Input

Parameter/ Full-Field Bars at Video Standarda SMPTE Bars 75% or 100% Signal Level

Black level (setup) Adjust Line slider to Adjust Line slider to approximately 190 approximately 150

Adjust Black slider to Adjust Black slider to place black level at: place black level at:

Video Standard: NTSC 7.5 IRE 7.5 IRE NTSC-EIAJ 0.0 IRE 0.0 IRE PAL NAb 0.3 V

White level (gain) Adjust Line slider to Adjust Line slider to approximately 220 approximately 150

Adjust Gain/Y Gain slider Adjust Gain/Y Gain slider to place white level at: to place white level at:

Video Standard: NTSC 100 IRE 100 IRE NTSC-EIAJ 100 IRE 100 IRE PAL NAb 1.0 V

a. Includes NTSC-EIAJ used in Japan. b. NA = Not applicable.

Vectorscope 9. Open the Vectorscope monitor by clicking the Vectorscope Monitor Monitor button. button 10. Adjust the Line slider to display the signal for color bars at around line 150 (this applies to all formats and all types of bars). n To switch between a display of perfectly calibrated bars and your input signal while making adjustments, press and release the Shift key.

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11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. n There is no hue adjustment for PAL video.

c If you incorrectly selected or deselected the 100% Bars button, the factory presets for Saturation or RY and BY Gain will be incorrect. Adjusting these controls in this condition results in oversaturated or undersaturated video.

Limitation When Using Consumer Decks or Decks Without Time- Base Correctors

This section describes some difficulties you might encounter when working with consumer video decks and tapes (such as VHS) or decks that do not provide time-base correction or stabilized timing on their outputs. Workarounds are described when available.

Digitizing from Unstable Time-Base Sources

The Meridien subsystem used in your Avid system is optimized for use with modern, broadcast-quality VTRs that contain time-base correctors (TBCs). When presented with a stable input, the Meridien subsystem will digitize that video by using a high-quality, very-low-jitter clock reference. However, some sources do not include an internal TBC (including various S-Video decks or composite VHS, 3/4-inch, or Hi8™ decks). In some cases, due either to the deck performance or the deck performance in conjunction with a particular videotape, the Meridien subsystem will not lock to non-TBC sources. As a result, the image might be unstable or might have reduced or missing color, or syncing might not be possible at all.

If you select the Consumer Source button in the Video Input tool, a wider bandwidth (more closely tracking time-base) will improve the range of syncing capability. In this mode, the video input levels will be set by automatic gain control. Not all of the Video Input tool’s adjustment sliders

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will operate, and the video might be slightly softened, but the syncing in most cases will be more reliable and more stable. The overall image quality will not be as high as with normal operation. n The availability of the Consumer Source button depends on the model of your Avid system.

If you continue to experience difficulty with a source that does not include an internal TBC, Avid recommends the video signal be processed through an external TBC for maximum image quality. For more information on time-base correctors, contact your Avid Reseller.

Green Line in VHS Video

Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you digitize from a device such as a VCR, a green line might appear at the bottom of the monitors in the Avid application.

This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer monitor in most cases. If you use the video in a circumstance in which the line is visible, you can remove it by cropping the bottom edge of the picture. n For more information on cropping, see the effects guide or Help for your Avid system.

Saving Video Input Settings

You can save the settings for an individual tape each time you calibrate bars. Saved settings are restored each time you select the same tape for redigitizing clips.

The following are the Video Input settings that are saved and restored: • Level adjustments made with the sliders • Selection status of the Consumer Source or 100% Bars options

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n Video Input settings do not restore the source format (Composite, Component, S-Video, OHCI, or Serial Digital). Instead, the source format you select in the Video Input tool remains the default for that project until you select another format from within the project. This allows you to establish a new format on a project basis when moving between systems, or from the offline to the online phase.

To save the Calibration settings for a tape: 1. After calibrating as described in “Calibrating Video Input” on page 202, click the Settings pop-up menu, and select Save As. The View Name dialog box opens. 2. Accept the default name (matching the tape name), or type a new name for the settings. c If you do not use a name that matches the tape name, the system will not recall the setting automatically the next time you load the tape.

3. Click OK.

Whenever you batch digitize or select a tape name during digitizing, the system recalls the saved settings as follows: • The system looks for a Tape setting with the same name as the tape. If the setting exists, the system recalls it. • If no matching Tape setting exists, the system looks for a setting labeled “Default” and loads that setting. For information on customizing this default setting, see “Saving a Custom Default Setting for the Video Input Tool” on page 211. • If no matching Tape setting or “Default” setting exists, the Video Input tool is left in its prior state (with the most recent settings applied during the session). n Tape settings and the Default setting are Project settings, and are available to the current project only. c When you redigitize media from a project created on a different Avid system, only reuse settings that originate on systems that use the Meridien video I/O board. For projects from other Avid systems, check the Video settings for each tape.

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Saving a Custom Default Setting for the Video Input Tool

You can create a default setting that is recalled by the system whenever you load a new tape or when there is no Tape setting that matches a loaded tape.

Whenever you mount a new tape that does not have its own setting, the system will recall these default settings.

To create a customized default Video Input Tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. 2. Adjust the Calibration settings, as described in “Calibrating Video Input” on page 202. 3. Click the Settings pop-up menu in the Video Input tool, and select Save As. The View Name dialog box opens. 4. Type Default, and click OK. (You must use this spelling and initial capitalization.)

Adjusting Video Levels for Tapes Without Color Bars

Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust levels by using the internal Waveform and Vectorscope monitors. n Calibrate your Client monitor before making these adjustments.

To adjust video levels for tapes without color bars: • Find a series of frames in the footage that includes black areas. Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL on the Waveform monitor. Blacks should not seem flat and lacking detail.

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• Find a series of frames in the footage that includes white areas. (Bright, well-lit regions work better than white objects.) Whites should peak at around 100 IRE for NTSC and NTSC-EIAJ, or 1.0 V for PAL on the Waveform monitor. Whites should not be washed out or lacking detail. • Find a series of frames in the footage that includes skin colors. Skin colors should fall generally between the target boxes for the red and yellow vectors in the Vectorscope monitor. Skin colors should be realistic. • Check that chroma does not exceed 110 or fall below –120 on the vector. • Check that pure yellows are a rich gold and not reddish or greenish in tone. Find a pure yellow and adjust both hue and saturation as necessary.

Digitizing Preparations Check List

Use this check list to help you prepare for the digitizing process.

Check your hardware configurations, particularly connections between your deck and the Avid system. (See the setup guide for your Avid system and “Preparing the Hardware for Digitizing” on page 136.)

If you are working on a complex project with multiple streams of video and high-resolution images, make sure your drives are striped properly. (See “Getting Information About Striped Drives” on page 137.)

Select options in the Digitize Settings, General Settings, and Film Settings (24p and 25p projects only) dialog boxes. (See “Selecting Settings” on page 137.)

Configure your deck or decks using Deck Configuration and Deck Preferences settings. (See “Configuring Decks” on page 153 and “Setting Deck Preferences” on page 160.)

Set up the Digitize tool for video resolution and color compression. (See “Setting Up the Digitize Tool” on page 164.)

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Insert a tape into the deck, enter Capture mode, and set up the Digitize tool for source tape, source deck, pulldown switch (24p projects), and other requirements. (See “Entering Capture Mode” on page 163 and “Setting Up the Digitize Tool” on page 164.)

Establish audio sync, select audio settings, and set up the Audio tool. (See “Preparing for Audio Input” on page 178.)

Use the Video Input tool to select the input source; set the video input levels for setup, gain, saturation, and hue; save your Video settings for future use. (See “Preparing for Video Input” on page 199.)

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214 Chapter 5 Digitizing

When you digitize, you convert source material from videotape into master clips that contain reference information. You also create associated media files that contain the digital audio and video. Once you prepare the capture tools, as described in Chapter 4, you can digitize the source material in one of several ways, as described in the following sections: • Before You Begin Digitizing • Special Digitizing Procedures • Digitizing and Logging at the Same Time • Digitizing with External Timecode • Digitizing to the Timeline • Digitizing Video Without Pulldown into a 24p NTSC Project • Recording DV Through a 1394 Connection (Windows Only) • Recording Through MPEG SDTI-CP (Windows Only) • Batch Digitizing from Logged Clips • Redigitizing Your Material • Relinking Clips by Key Number • Modifying the Pulldown Phase After Digitizing • Digitizing During the Film-to-Tape Transfer • DV Scene Extraction (Windows Only) Chapter 5 Digitizing

Before You Begin Digitizing

Depending on your immediate needs, use the following guidelines for working through this chapter: • If you want to add locators, create subclips, or log errors to the Console during digitizing, see “Special Digitizing Procedures” on page 217. • If you have no logs and want to begin digitizing right away, see “Digitizing and Logging at the Same Time” on page 222. • If you want to digitize video to multiple media files across multiple drives, see “General Settings” on page 150. • If you have logs already entered in a bin and would like to automate the digitizing process with playback from an Avid-controlled deck, see “Batch Digitizing from Logged Clips” on page 239. • If you are redigitizing deleted media or have imported a sequence that lacks the associated media files, see “Redigitizing Your Material” on page 246. • If you have not already prepared a structure of bins for your project, as described in the editing guide or Help for your Avid system, consider the following tips before digitizing: - You can create one bin for each source tape. This avoids slowing the system with large bins, associates each bin with a source tape for better organization, and simplifies redigitizing. - You can name the bin after the tape, so that when you autodigitize or digitize on-the-fly without noting a tape name, the system will automatically name each clip or take after the bin (tape) and will number them sequentially for easy reference. • If you are working with a multicamera production, see Chapter 6 for information on the digitizing process.

Table 15 lists the Function keys that are available when the Digitize tool is active. Digitize mode overrides any other functions mapped to these keys.

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c Digitizing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use the F1 or F2 keys for digitizing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 108.

Table 15 Function Keys Available When Digitizing

Press To

F1 Mark the beginning of the subclip while digitizing.

F2 Mark the end of the subclip while digitizing.

F3, F5 through F12 Add a locator to the current frame while digitizing. Each Function key adds a different color locator. See “Adding Locators On-the-Fly” on page 219.

F4 Start the digitizing process when in Digitize mode. In Log mode, press once to mark an IN point. Press again to mark an OUT point to log the clip in the bin.

Special Digitizing Procedures

This section describes several optional procedures you can use during the digitizing process.

Logging Errors to the Console Window

The Console window is useful for logging errors that occur during the digitizing process.

To open the Console window: t Select Tools > Console. n For more information about the Console, see the editing guide or Help for your Avid system.

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Consider the following when selecting whether to log errors to the Console during digitizing: For more information • If the option “Log errors to the console and continue digitizing” is on Digitize settings, see selected on the Batch tab of the Digitize Settings dialog box, when you “Redigitizing Your batch digitize and the system encounters an error, it will abort the clip, Material” on page 246. will enter error comments into the Console, and will continue digitizing the next clip. • If the option “Log errors to the console and continue digitizing” is not selected, a message will appear and the system will pause if an error occurs while digitizing. If this happens, do the following: a. Click Try Again to retry the operation. The clip might digitize successfully. b. If the clip does not digitize the second time you try, the error message appears again. Click Next Clip to bypass the clip that caused the error, and continue batch digitizing any remaining clips, or click Abort to cancel the entire batch digitizing process.

Note all errors, messages, and steps you have taken. Try to troubleshoot the problem on your own, or contact Avid Customer Support.

Creating Subclips On-the-Fly

For information about Subclips are marked sections of a longer master clip you can view and edit creating subclips after like any other object in a bin. This section describes a shortcut method for digitizing, see the creating subclips on-the-fly while digitizing. The maximum number of editing guide or Help for your Avid system. subclips you can generate while digitizing a clip is 100.

When Subclips are created in 24p or 25p projects, they are always created as “hard” subclips. This means you will not be able to trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film-tracking information errors for editing and cut lists.

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To create a subclip on-the-fly: 1. Start digitizing as usual. 2. At the point where you want the subclip to begin, press the F1 key.

Subclip Status This highlights the subclip IN point in the Digitize tool. indicator 3. While the system is digitizing, you can type a name for the subclip. Press the Tab key to type comments about the clip. 4. When you want the subclip to end, press the F2 key. This highlights the subclip OUT point in the Digitize tool. n You can press the F2 key repeatedly as you search for the end point of the subclip. The system accepts the last occurrence as the end point. You can also press the F1 key at any time before pressing F2 again to remove the previous subclip marks and to start a new subclip IN point.

The subclip appears in the target bin when you stop digitizing. When digitizing is complete, a number appears between the subclip indicators to show the number of subclips created. c For NTSC film-to-tape transfers, you must log the correct pulldown phase before you create subclips. For more information, see “Entering Pulldown Information” on page 124.

Adding Locators On-the-Fly

For more information Locators mark a single frame within a clip or sequence so you can attach a on specific uses for note or find the frame at a later time. This section describes a shortcut locators, see the editing method of adding locators on-the-fly while digitizing. guide or Help for your Avid system. When the Digitize tool is active, eight colored locators are mapped to nine Function keys on the keyboard. The locators override any other functions mapped to these keys. Table 16 lists the colored locators and the Function keys they are mapped to during digitizing.

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Table 16 Locators Mapped to Function Keys

Locator Color Function Key

Red F3 and F5

Green F6

Blue F7

Light blue (cyan) F8

Magenta F9

Yellow F10

Black F11

White F12

To add a locator to a frame while digitizing: t Watch the playback of the footage in the Edit monitor and press one of the locator keys when you see the appropriate shot or frame.

Adding Clip Names and Comments On-the-Fly

The Avid system’s Annotate feature allows you to type clip names and comments during the digitizing of a clip. This information is saved in the clip Name and Comments columns in the bin. You can add comments about such things as color correction or directions for editing. n To carry your comments over to the sequence so that they will appear in the Timeline, in cut lists, or in EDLs, you must add the comments again when creating the sequence by using the Add Comments command in the Clip Name menu.

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To add clip names and comments on-the-fly: 1. Start typing the clip name at any time during the digitizing of a clip. The Annotate window opens on screen, allowing you to see the text as you type. 2. After typing the clip name, press the Tab key and begin typing comments. You cannot edit the text until after the digitizing is complete, but you can backspace to retype the comments.

Controlling Decks from the Keyboard

You can use the J-K-L keys to control a deck from the Digitize tool, Digital Cut tool, and Deck Controller window.

The J-K-L keys work the same as they do in the Source and Record monitors as shown in Table 17.

Table 17 J-K-L Functions for Deck Control

Press To

K Stop the deck.

L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.

J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed.

K+L Shuttle the deck at 0.25x normal speed.

J+K Shuttle the deck at –0.25x normal speed.

The following restrictions apply: • The Digitize tool, Digital Cut tool, or Deck Controller window must be selected for keys to be active.

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• Single-field stepping is not supported. • If you remap the function of the J-K-L keys, you will no longer be able to control decks with those keys.

Mapping the Record Button

You can map the Record button from the Play tab in the Command palette to a key on the keyboard or to a button on a JL Cooper Media Control Station (MCS3). This allows you to start digitizing by pressing a key or by pressing a button on the MCS3. n The Record button works for either the Digitize tool or the Audio Punch-In tool, depending on which tool is active.

For more information on mapping buttons and for information on the MCS3, see the editing guide or Help for your Avid system.

Digitizing and Logging at the Same Time

When you digitize without entering log information in a bin ahead of time, the system creates clips and associated media files while you digitize. Digitizing in this manner involves manually cueing source footage with an Avid-controlled deck, using the deck controls in the Digitize tool.

There are several ways to digitize and log at the same time: • Digitizing from a mark IN to a mark OUT. This method lets you specify the exact timecode location to begin and end digitizing. You can also specify only a mark IN or mark OUT, and enter the other mark on-the-fly. These procedures are described in “Digitizing from a Mark IN to a Mark OUT” on page 223. • Digitizing on-the-fly. This method is easier than setting marks, but it is less precise. It involves using the deck controls in the lower left corner of the Digitize tool to cue, play, and stop the source footage manually while digitizing. These procedures are described in “Digitizing On-the-Fly” on page 225.

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c Digitizing on-the-fly and autodigitizing can cause incorrect pulldown and stuttering playback. Do not use these methods for digitizing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 108.

• Autodigitizing. This method requires the least amount of supervision and effort, but usually calls for more digitizing time and drive storage space. It involves playing each source tape from a cue point near the beginning and letting the system digitize the entire tape, automatically naming and entering each cut into the bin. These procedures are described in “Autodigitizing” on page 228.

Two additional techniques you can use when digitizing and logging at the same time are described in “Digitizing from a Non-Avid-Controlled Deck” on page 230 and “Digitizing with Time-of-Day Timecode” on page 232.

You can log and digitize at the same time with either a PAL or NTSC film- to-tape transfer as the source. However, when digitizing an NTSC transfer, you must observe the following basic rules: • Specify the pulldown frame before digitizing. See “Entering Pulldown Information” on page 124. • The mark IN must be an A frame, and you cannot digitize with a mark OUT only, unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 108. n When you capture footage from an NTSC film-to-tape transfer with pulldown, the playback flickers in the Client monitor during digitizing because the system is dropping occasional frames due to the pullin process. The footage will play back smoothly in the Avid system, however, once the pullin conversion is complete.

Digitizing from a Mark IN to a Mark OUT

Digitizing from a mark IN to a mark OUT lets you specify exactly where to begin and end digitizing. You can specify both marks, or only a mark IN or a mark OUT, and the system enters the other mark on-the-fly.

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Use this method in the following circumstances: • If logs exist in written or printout form but not in the proper format for quick import into the system • If the IN and OUT points are rough and need to be double-checked for accuracy • If you are familiar enough with the source material to estimate the timecode for the mark IN, the mark OUT, or both, quickly and accurately

Setting Both Marks

To digitize by specifying a mark IN and a mark OUT: 1. Make sure you selected the proper Digitize settings and set up the capture tools, as described in Chapter 4.

Mark IN 2. Set either a mark IN or a mark OUT for the clip you want to digitize, using either of the following methods: Mark OUT t Use the deck controls in the Digitize tool. Cue your source tape to where you want to start or end the clip, and click the Mark IN or Mark OUT button. t If the material starts at a known IN point or ends at a known OUT point, you can type the timecode in the display area next to the mark. Press Enter (Windows) or Return (Macintosh) to enter the mark. To double-check the accuracy of the IN or OUT point, click the Go to Go to IN IN button. The system cues the tape and pauses the deck at the mark. You can play the tape and reset the mark, if necessary. 3. Finish logging the clip, using either of the following methods: t Set the corresponding IN or OUT point. t Type a timecode for the clip’s duration in the text box next to the Duration mark (below the mark OUT) in the format HH:MM:SS:FF. The system automatically calculates the appropriate timecode for the corresponding mark IN, mark OUT, or duration. 4. Click the Record button in the Digitize tool, or press the F4 key.

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The Digitize tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play. The Record button becomes bright red, and the message bar displays the message that the Avid system is digitizing. 5. While the system is digitizing, you can type a clip name. To add comments about the clip, press the Tab key after typing a clip name, and type comments in the Comment text box. The information you type does not appear on the screen until digitizing is complete. (After you log clips, you can modify information to correct input errors or to add information.) When the tape reaches the clip’s OUT point, digitizing stops and the system creates a new clip in the bin.

Setting Only One Mark

To set only one mark and enter the other mark on-the-fly: t Set an IN point and click the Record button to begin digitizing. Then, click the Record button again to stop digitizing on-the-fly and set a mark OUT. This method is useful if you do not need a precise mark OUT. You save time because you do not have to shuttle to locate the mark OUT before digitizing. t Set a mark OUT only, then move to a position on the tape that is a few seconds before where you want to start digitizing. Play the tape and then immediately click the Record button to begin digitizing on-the- fly. When the tape reaches the clip’s OUT point, digitizing stops. This method is useful if you do not need a precise mark IN, but do need to stop at a precise OUT point, for example, just before a timecode break.

Digitizing On-the-Fly

Use the digitizing on-the-fly method in any of the following circumstances: • If you are eager to begin editing immediately and no adequate logs exist for importing into the system or setting marks

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• If your source tape does not have timecode • If you are digitizing from a digital source such as a CD or DAT player • If you are digitizing from a live source, such as a studio feed, or an in-house router n There is a slight delay of several frames after you manually select a spot to either start or to stop digitizing. Therefore, use this method when you do not need precise beginning and end points in your clip.

• If you are digitizing from a source deck that cannot be controlled by the Digitize tool or a V-LAN VLXi unit c Digitizing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use this method for digitizing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 108.

To digitize on-the-fly: 1. Make sure you selected the proper Digitize settings and set up the capture tools, as described in Chapter 4. 2. Click the Digitize/Log Mode button in the Digitize tool until the DIG icon appears. 3. (Option) Click the triangular opener in the Digitize tool to display the Name and Cmnt text boxes if you plan to enter clip names or comments during digitizing.

Triangular opener (Click to display comments.)

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4. Use the deck controls in the bottom left corner of the Digitize tool to locate the position on the tape where you want to start digitizing.

Single-Frame Backward button

Shuttle button Single-Frame Forward button Fast Forward/Rewind buttons

Stop button

Pause button

Play button Eject button Clear Marks buttons

5. To begin digitizing, play the deck; when it gets up to speed, click the Record button or press the F4 key. n Make sure you have cleared any previous marks so the deck does not begin cueing to the previous location.

Digitizing begins within a few frames, and the timecode for the clip’s IN point appears. The Digitize indicator, to the right of the Record button, flashes on and off. The message bar displays a message that your Avid system is digitizing. 6. While the system is digitizing, you can type a clip name in the Name text box.

Digitize indicator

Message bar

Triangular opener

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n If the Name text box is not visible on the Digitize tool, you can type a clip name but you cannot view your typing. To display the Name text box, you must click the triangular opener before you begin digitizing.

If you want comments 7. Press the Tab key after typing a clip name to enter comments about the to appear in EDLs or clip. You cannot edit the text during digitizing, but you can backspace cut lists, add them to retype the comments. during editing by using the Add Comments 8. Click the Pause button at any time to pause play. You can also abort the command from the Clip digitize procedure by clicking the Trash button. The clip will be Name menu. For more information, see the discarded. editing guide or Help 9. To stop digitizing and enter the OUT point of the clip, click the Record for your Avid system. button, or press the Escape key on the keyboard. The system creates a new clip in the bin. It also enters basic log information for each clip, consisting of the mark IN, the mark OUT, the duration, and any other information typed in during the digitize procedure. 10. If you did not type a clip name while digitizing, type it now while the clip name is highlighted in the bin. If you return to the Digitize tool and begin another clip, the default clip name remains in the bin until you change it.

In some circumstances, the digitized material might exceed the 2-GB media file size limit. In such a case, set up the Digitize tool to digitize to multiple media files. For more information, see “General Settings” on page 150.

Autodigitizing

Autodigitizing an entire tape can save you time by allowing you to bypass both the logging process and the time it takes to cue each shot. However, this process requires the most storage space, and it takes time to digitize an entire tape.

When you autodigitize, you mount and cue your tape to a starting point and start the digitizing process through the Digitize tool. If you follow the tips and techniques described in this section, you can allow the system to complete the digitizing process unattended.

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c The Avid system can digitize across timecode breaks, but it cannot digitize across control-track breaks in the recording (that is, if the recorded footage breaks up into noise between shots). If such breaks in recording exist on your tape, consider using the methods described in “Digitizing On-the-Fly” on page 225. c Digitizing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use this method for digitizing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 108.

Before you begin autodigitizing entire tapes:

For more information • Select the following settings in the Digitize Settings dialog box on Digitize settings, see (accessed from the Settings scroll list in the Project window): “Digitize Settings Dialog Box” on - Digitize to multiple files (Media Files tab) page 141. - Preroll Method: Best Available or Best Available Control Track (General tab) - Digitize across timecode breaks (General tab) - Log errors to the console and continue digitizing (Batch tab) • Turn off the FAST CUE option and set the preroll to approximately 4 seconds in the Deck Settings dialog box. For more information, see “Deck Settings Options” on page 158. • You should have accurate notes on the number and content of takes on each tape to identify the content of each clip when necessary.

To autodigitize: 1. Create one bin for each tape. This keeps bins to a manageable size and automatically names all clips from each tape after the name of their respective bins. 2. Name each bin after the source tape number. By default, all clips are named after the tape and are numbered incrementally beginning with .01. 3. Open the bin for the first tape and select Bin > Go To Capture Mode.

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4. Make sure you selected the proper Digitize settings and set up the capture tools, as described in Chapter 4. 5. Load the source tape and cue past any false starts. 6. Play the tape, and wait 4 seconds before clicking the Record button.

Digitizing from a Non-Avid-Controlled Deck

If you have a deck that cannot be controlled directly by the system, you can digitize with manual deck control.

To digitize with manual deck control: 1. Enter Capture mode and set up the tools, as described in Chapter 4. 2. Click the Toggle Source button in the Digitize tool until the Deck Offline icon appears to disable the deck controls and leave only the Tape Name display.

Toggle Source button

230 Digitizing and Logging at the Same Time

n The TC button also disappears. The footage will be digitized with time-of- day timecode generated by the system.

3. Click the Tape Name display to open the Select Tape dialog box and identify the source tape. You can select the option “Show other projects” to display the tape names and associated project names for all bins that have been opened in the current session. n Because the media file database does not open when you start your Avid system, tape names of all online media files do not appear automatically.

If the tape name you are searching for does not appear in the Select Tape dialog box, click the Scan for tapes button. Tape and project names are listed.

New tape name

List of tapes

Show Tapes option

For guidelines in 4. Provide the system with a tape name in one of the following ways: naming tapes, see “Naming Tapes” on t Select the name of the tape from the list in the Select Tape dialog page 112. box and click OK. t Click the New button if the tape is not in the list. A New Tape name line appears in the dialog box. Type the new name and click OK. The tape name is displayed in the Digitize tool.

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5. Play the tape manually and click the Record button to stop and start the digitizing of each clip.

Digitizing with Time-of-Day Timecode

When you digitize with an Avid-controlled deck, you can digitize your footage with time-of-day timecode rather than source timecode.

To digitize with time-of-day timecode: 1. Enter Capture mode and set up the tools, as described in Chapter 4. 2. When selecting tracks, deselect the TC button. 3. Digitize by using any of the techniques described in “Digitizing On- the-Fly” on page 225.

Digitizing with External Timecode

LTC (longitudinal or linear timecode) from an external source allows production facilities to digitize from multiple sources at the same time they are recording to tape. A facility that has a central timecode generator can use that clock to send identical timecode to all systems. This timecode output can be run directly to the Avid system through the LTC IN connection on the Meridien I/O box.

External timecode is especially useful for live events, dramatic multicamera shows, and video material coming in on routers that do not support timecode. You can start editing immediately after the shooting without waiting to digitize from the backup reference tapes.

If you are taking a feed from a source based on a time-of-day timecode generator, setting IN and OUT points is especially useful. When the time of the external timecode source matches the IN point, the Avid system begins to digitize. Digitizing stops when the external timecode matches the OUT point.

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To prepare for digitizing with external timecode: 1. Select Tools > Digitize. The Digitize tool opens. 2. Click the Toggle Source button until the External Timecode icon appears.

Toggle Source button

TC Source pop-up menu

3. Click the TC Source pop-up menu, and select LTC Input. The menu contains two other choices: - Internal: Uses internal system timecode. - Auto Detect: Detects LTC input by default. If the LTC input is deactivated, the Digitize tool automatically switches to internal timecode. If the LTC input is reactivated, the Digitize tool switches back to LTC input. 4. Digitize by using any of the techniques described in “Digitizing On- the-Fly” on page 225.

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n If you notice your digitized material is consistently one or more frames off, use the “Latency for external timecode mode” option in the Digitize Settings dialog box to fix the problem. See “Digitize Settings Dialog Box” on page 141.

Digitizing to the Timeline

You can digitize footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits.

To digitize to the Timeline: 1. Prepare for digitizing (see Chapter 4). 2. Set options in the Digitize Settings dialog box: a. Click the Settings tab in the Project window. b. In the Settings scroll list, double-click Digitize. The Digitize Settings dialog box opens. c. Click the Edit tab. d. Select the “Enable Digitizing to Timeline” option. e. Set the handle length (the amount of footage you want to digitize before and after the IN and OUT points of the clips). f. Click OK. 3. Load a sequence into the Record monitor. 4. (Option) Patch tracks you are digitizing (source tracks) to the tracks in your sequence (record tracks). See “Patching When Digitizing to the Timeline” on page 235. 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material you want to digitize by using the Digitize tool logging controls. For a description of the controls, see “Logging with an Avid-Controlled Deck” on page 114.

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7. (Option) Mark an OUT point based on the following: t If you are recording to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy. t If you are recording to the end of a sequence, you can mark just an IN point and then mark the OUT point later on-the-fly. 8. Click the yellow Splice-in button or the red Overwrite button in the Digitize tool to select the type of edit.

Splice-in Overwrite button button

Record button

9. Click the Record button to begin recording. 10. If you did not mark the OUT point in advance, click the Record button again when the footage reaches the appropriate frame. If you already marked an OUT point, recording will stop automatically.

When digitizing ends, the clip appears in place in the sequence, and a master clip appears in the bin.

Patching When Digitizing to the Timeline

By default, the tracks you selected for digitizing (V1, A1, A2, and so on) are edited to the corresponding tracks in the Timeline. You can patch the digitized footage to any track in the Timeline.

To patch tracks when digitizing to the Timeline: 1. In the Digitize tool, click and hold the Track Selector button for the track (video or audio) you want to patch. 2. From the pop-up menu, select the track to which you want to patch the digitized footage.

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For example, if you want to digitize video footage to track V2, click and hold the red V button in the Digitize tool and select V2 from the pop-up menu. The Track Selector panel in the Timeline displays the resulting patch.

The result is Select the track displayed in to patch. the Timeline.

n You can also patch tracks in the Timeline in the same way you patch tracks when editing from the Source monitor. See the editing guide or Help for your Avid system. n Only tracks that are enabled in the Timeline are available for tracking. Other tracks appear dimmed in the pop-up menu.

Digitizing Video Without Pulldown into a 24p NTSC Project

Film-to-tape transfers that were made without using pulldown can be digitized directly into a 24p project. This feature is useful when special effects are generated on a frame-to-frame basis to tape, and need to be integrated into a 24p project.

Before digitizing the footage, click the Film to Video Transfer pop-up menu in the Film Settings dialog box, and select Video Rate. The Film-to- Video Transfer setting allows you to specify the type of film-to-tape transfer you are digitizing. For more information, see “Transfer Settings for Film Projects” on page 151.

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n For normal 24-frame capture, click the Film to Video Transfer pop-up menu in the Film Settings dialog box, and select Pulldown.

Recording DV Through a 1394 Connection (Windows Only)

Avid systems with the DV/MPEG option include hardware with a 1394 connection (Windows only). If your system includes this optional hardware, OHCI appears as a selection in the Audio and Video pop-up menus in the Digitize tool (see “Setting the Video and Audio Input” on page 169). After you connect a DV device and select OHCI input, you can record native DV using the digitizing procedures described in this chapter. n For information on DV hardware and connecting DV devices, see the Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System.

When video input is configured through the Meridien I/O box, playback from the deck is displayed in the Client monitor. However, when video input is configured through a 1394 connection (OHCI input), you cannot view playback from the deck in the Client monitor until you click the Digitize button and begin the recording process.

To view DV media before recording: t Connect the Client monitor to the analog video output connections of the camera, digital video deck, or transcoder.

If your monitor includes multiple connections, you can connect the monitor to both the DV input device and the Meridien I/O box.

Recording Through MPEG SDTI-CP (Windows Only)

For more information Avid systems with the DV/MPEG option can include an optional MPEG about MPEG SDTI-CP, SDTI-CP board (Windows only). The MPEG SDTI-CP board lets you see Appendix E. transfer MPEG 50 video directly to and from your Avid system.

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When an optional MPEG SDTI-CP board is installed, MPEG SDTI-CP appears as a selection in the Audio and Video pop-up menus in the Digitize tool.

An MPEG SDTI-CP signal from a supported VTR must be present before you can select any of the track buttons. n You cannot view playback from the deck in the Client monitor until you click the Digitize button and begin the recording process. For more information, see “MPEG SDTI-CP Restrictions” on page 560.

To make sure an MPEG SDTI-CP signal is present: 1. Click one or more track buttons. If you have not connected a supported VTR, a message box opens, informing you that no signal is present. 2. Click OK. All audio and video tracks are deselected. 3. Connect the VTR through the MPEG SDTI-CP connection, and reselect the appropriate tracks.

The Avid system automatically adjusts to the MPEG SDTI-CP signal.

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Batch Digitizing from Logged Clips

Once you have imported a log or have manually logged a group of clips into a bin, you can automate the digitize process by using the Avid system’s batch-digitizing capabilities. When you batch digitize, you open a bin, select the clips you want to digitize, and select Clip > Batch Digitize. The Avid system automatically finds the start and end timecode for each clip and digitizes it. To batch digitize, source tapes must have timecode that matches the timecode for the selected clips.

You can also use the batch-digitizing process to redigitize clips you have already digitized. The redigitizing process is described in “Redigitizing Your Material” on page 246. n When you capture footage from an NTSC film-to-tape transfer with pulldown, the playback flickers in the Client monitor during digitizing because the system is dropping occasional frames due to the pullin process. The footage will play back smoothly in the Avid system, however, once the pullin conversion is complete.

Preparing to Batch Digitize

Preparing for batch digitizing involves an option of resizing the Digitize tool, and establishing settings that allow you to batch digitize with minimal supervision.

Resizing the Digitize Tool

Because your clips are already logged in a bin, you can simplify the interface during batch digitizing by hiding the deck controller and logging controls in the Digitize tool.

To resize the Digitize tool during batch digitizing: t Click the triangular opener to the left of the deck controller.

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Triangular opener

The triangle points to the right, and the deck control and logging controls close.

Preparing Settings for Unattended Batch Digitizing

Unattended batch digitizing allows you to digitize a large number of clips with minimal supervision by selecting Digitize settings that avoid a pause in the digitize process.

To prepare for unattended batch digitizing: 1. Double-click Digitize in the Settings scroll list of the Project window. The Digitize Settings dialog box opens. 2. Click the Batch tab and select the following options: - Log errors to the console and continue digitizing - Switch to the emptiest drive if current drive is full For additional options, see “Digitize Settings: Batch Tab” on page 241. 3. Click the General tab and select the “Digitize across timecode breaks” option. For more information, see “Digitizing Across Timecode Breaks” on page 147.) 4. Click OK to close the dialog box and apply the options.

240 Batch Digitizing from Logged Clips

c You cannot batch digitize clips that contain timecode breaks between the logged IN and OUT points. Also, you cannot digitize across breaks in the recording (that is, if the recorded footage breaks up into noise between shots). If such breaks in recording exist on your tape, consider using the methods described in “Digitizing On-the-Fly” on page 225.

Digitize Settings: Batch Tab

The Batch Digitize settings specify how to batch digitize clips. Table 18 describes the Batch Digitize Settings options. For information on the General Digitize settings, see “Digitize Settings: General Tab” on page 141. For information on the Media Files Digitize settings, see “Digitize Settings: Media Files Tab” on page 147. For information on the Edit options, see “Digitizing to the Timeline” on page 234.

Table 18 Digitize Settings: Batch Tab

Option Description

Optimize for disk space Select this option if you want the system to digitize only the exact amount of material in the master clips plus any additional handles. The tape will pause and preroll independently for each master clip that is batch digitized.

Optimize for batch speed Select this option if you want the system to speed up batch digitizing by allowing the deck to continue to roll forward between adjoining clips. To qualify for this operation, the two adjoining clips must meet the following criteria: • There must be 5 seconds or less between the OUT point of the first clip and the IN point of the second clip. • The two clips must have the same video resolution and the same audio rate. • For film projects, the two clips must have the same pulldown phase relationship. See “Modifying the Pulldown Phase After Digitizing” on page 254. n If you select this option, the system might occasionally digitize more than is required.

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Table 18 Digitize Settings: Batch Tab (Continued)

Option Description

Switch to the emptiest drive Select this option if you want the system to switch to the target media if current drive is full storage drive with the most available space when the current target drive becomes full during batch digitizing. The system switches before starting to digitize the clip, based on the number of minutes in the clip. For complete instructions, see “Preparing Settings for Unattended Batch Digitizing” on page 240. If you do not select this option, digitizing stops when a drive becomes full.

Rewind tape when finished Select this option if you want the system to automatically rewind tapes after batch digitizing is finished.

Eject tape when finished Select this option if you want the tape to eject as soon as the last shot from that tape has been used. This adds to efficiency since you can do other tasks while the tape is being used and yet still be alerted at the moment the tape is no longer needed. n If you select both “Rewind tape when finished”and “Eject tape when finished,” the system will rewind and then eject the tape when digitizing is complete.

Log errors to the console Select this option if you want the system to continue batch digitizing and continue digitizing when errors occur and report the errors to the Console window (select Tools > Console to view the Console window). Deselect this option to stop digitizing when an error occurs. In this case, the system displays a dialog box describing the problem and asks if you want to continue. For complete instructions, see “Logging Errors to the Console Window” on page 217.

Digitize the tracks logged for Select this option if you want the system to digitize the tracks that were each clip entered when the clip was logged. Deselect this option to use the Digitize tool to select which tracks to digitize. You cannot digitize more tracks than were actually logged.

Use the audio sample rate Select this option if you want the system to use the audio sample rate logged for each clip logged for each clip. Deselect this option to use the audio sample rate set for the audio card (shown in the Audio Projects Settings dialog box).

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Table 18 Digitize Settings: Batch Tab (Continued)

Option Description

Use the video compression Select this option if you want the system to use the video compression logged for each clip logged for each clip. To determine the current Compression setting, display the Video column heading in the bin. Deselect this option to use the Media Creation dialog box or the Digitize tool to select video compression.

Batch Digitizing Clips

To batch digitize clips: 1. Make sure you selected the proper Digitize settings and set up the capture tools, as described in Chapter 4. 2. Open the bin that stores the clips you want to digitize. c If you are redigitizing media from a project created on a different Avid system, only reuse settings that originate on systems that use the Meridien video I/O board. For projects from other Avid systems, check the Video settings for each tape. For more information, see “Calibrating Video Input” on page 202.

3. Select the clips to batch digitize: t Select Edit > Select All. t Ctrl+click (Windows) or Shift+click (Macintosh) to select specific clips. n If you are batch digitizing the original source master clips used in the sequence, the sequence will automatically be updated. Therefore, you might want to deselect the sequence during this procedure.

4. Select Clip > Batch Digitize. The Batch Digitize dialog box opens.

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Handle length options appear only when a sequence is selected.

n If the clips you want to batch digitize are not highlighted in the active bin, Batch Digitize appears dimmed in the Clip menu.

5. Select options in the dialog box: - If the bin contains some clips that are already digitized and you do not want to redigitize those clips, select the “Offline media only” option. If this option is not selected and some of the selected clips have media files, the system deletes the media files and redigitizes new media files. - Select the “All clips in a group edit” option to allow digitizing of each clip in a group clip. For more information - If your selections include a sequence for batch digitizing, the on handle lengths when dialog box prompts you for handle length information; the system redigitizing, see will create new master clips based on the length of edited clips in “Redigitizing Sequences” on the sequence. page 247. - (Option) Select the “Extend handles beyond master clip edges” option to allow the handles to extend before the beginning and after the end of the original master clip. When you batch digitize, deselecting this option prevents digitizing across a discontinuous timecode error.

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For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch digitizing will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 6. Click OK. If you have not loaded a tape, the system prompts you to load the first tape. 7. Load the tape into the tape deck and click Mounted. A dialog box opens. 8. Click OK to confirm the tape and deck entries and begin the digitizing process. The system digitizes each clip from the tape, in start timecode order. 9. If the system needs another source tape, the system prompts you for the tape. At this point, you have several options: t Load the new tape and click Mounted to continue the digitizing process. t Select the “Skip this clip” option to bypass just the first clip from the tape and continue digitizing the remaining clips. t Select the “Skip this tape” option to bypass all the clips from the mounted tape. The system then prompts you for the next tape. t Click Abort to end the batch-digitizing process. You can also stop digitizing at any time by clicking the Trash button in the Digitize tool. n To bypass specific clips in the process of batch digitizing a particular tape, you must abort each clip manually by clicking the Trash button. Then click the Skip Clip button in the Abort window to continue.

When the system has finished batch digitizing, a dialog box notifies you that the process is complete.

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Redigitizing Your Material

Redigitizing is the process of capturing previously digitized source footage based on existing clips and sequences. Redigitizing uses the batch- digitizing process and does not require extra logging time because the clip information for such things as source tracks, timecodes, and compression settings already exists in the bin.

There are several situations in which you might want to redigitize: • You can redigitize a sequence after you transfer it from another system, such as an offline Media Composer. • You can redigitize low-resolution clips at a higher resolution setting after they have been edited into a sequence. • You can quickly redigitize selected clips if you make an error while digitizing the first time (for example, if you forget to check audio levels or set the wrong resolution). • You can redigitize clips if you accidentally delete media files. c Redigitizing requires your original source footage. Do not delete the media files if the source footage is no longer available, unless you will not need the material again.

For information on loading the media database to relink clips, see the editing guide or Help for your Avid system.

Redigitizing Master Clips and Subclips

The procedure for redigitizing master clips and subclips is identical to the process for batch digitizing logged clips. See “Batch Digitizing from Logged Clips” on page 239.

Although the procedure is the same, the result is slightly different, as follows:

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• Master clips are linked to entire media files and serve as sources for subclips and sequences. Therefore, when you redigitize a master clip, changes in compression settings and levels affect all subclips and sequences created from the master clip. • Subclips are smaller sections of master clips. When you redigitize a subclip, the system creates a new master clip that is linked to new media files and reflects the shortened length of material. Therefore, redigitizing subclips streamlines the digitizing process. Also, redigitizing breaks the link from the subclip to the original master clip. But if you edit the subclip into a sequence, the sequence will reflect any changes in the newly digitized subclip.

Redigitizing Sequences

Redigitizing a sequence creates new master clips and associated media files based on the length of each clip edited into the sequence. It breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly digitized media files. There are two approaches to redigitizing a sequence: • Use Decompose to create a bin of clips, and then batch digitize the clips. • Redigitize the sequence without using Decompose.

Saving Two Versions of a Sequence When Redigitizing

To save the original version of your sequence before redigitizing, you can create a duplicate. For example, use this method if you create a sequence at a low resolution to save storage space and want to redigitize the sequence at a higher resolution while retaining the first version. Avid recommends this method if you intend to use the Decompose feature.

To make a duplicate of the sequence: 1. Select the sequence in the bin, and select Edit > Duplicate. 2. (Option) Create a new bin by selecting File > New Bin and move the duplicate sequence into the new bin. This step saves you the confusion of mingling new sequences and master clips with existing ones, especially when using Decompose.

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Using Decompose When Redigitizing

Decompose allows you to create new, shorter master clips based only on the material you have edited and included in your sequence, which saves system disk space. You can specify the handle length of the new master clips. Decompose breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly digitized media files.

Decompose creates new master clips in the bin for each clip in the sequence prior to redigitizing. Using Decompose gives you greater control during the redigitizing process. You can use this procedure to sort clips in the bin, modify the clips, and then redigitize selected clips in the sequence.

For film projects, clips created with Decompose retain all the information from the original master clips, including Pullin column information, key numbers, ink numbers, or any other information formerly entered in the bin.

To use Decompose: 1. Activate the bin that stores the sequence and select the sequence. 2. Select Clip > Decompose. The Decompose dialog box opens.

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3. To preserve clips that already have existing media files, select the “Offline media only” option. Do not select this option if you plan to decompose and redigitize the entire sequence. 4. Select other options for the types of clips to decompose: digitized, imported, or all clips in a group edit. 5. Click the Handle Length text box and type the number of additional frames you want to digitize at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. c If you attempt to trim or add effects with no handles, you will receive an error message notifying you that there is insufficient media.

6. (Option) Select the “Extend handles beyond master clip edges” option to allow the handles to extend before the beginning and after the end of the original master clip. When you batch digitize, deselecting this option prevents digitizing across a discontinuous timecode error. For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch digitizing will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 7. Click OK. The new master clips appear in the bin. You can now sort and select these clips like all other objects in the bin. 8. Proceed with the redigitizing procedures described in “Batch Digitizing Clips” on page 243.

Redigitizing the Sequence Without Using Decompose

When you redigitize the sequence without using Decompose, the digitizing process creates media files for each clip in the sequence during the digitizing process. Bypassing the Decompose procedure saves only a small amount of time, and you cannot make changes after the media files are created without repeating the entire procedure. Therefore, review “Using Decompose When Redigitizing” on page 248 before proceeding.

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To redigitize a sequence: 1. Make sure you selected the proper Digitize settings and set up the capture tools, as described in Chapter 4. 2. Open or activate the bin that stores the sequence. 3. Select Bin > Go To Capture Mode. 4. Select the sequence you want to redigitize. 5. Select Clip > Batch Digitize. The Batch Digitize dialog box opens.

6. To preserve clips that already have existing media files, select the “Offline media only” option. Deselect this option if you plan to redigitize the entire sequence. 7. (Option) Select the “All clips in a group edit” option. 8. Click the Handle Length text box and type the number of additional frames you want to digitize at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. c If you attempt to trim or add effects with no handles, you will receive an error message notifying you that there is insufficient media.

250 Relinking Clips by Key Number

9. (Option) Select the “Extend handles beyond master clip edges” option to allow the handles to extend before the beginning and after the end of the original master clip. When you batch digitize, deselecting this option prevents digitizing across a discontinuous timecode error. For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch digitizing will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 10. Click OK. The system prompts you to load the first tape. 11. Load the tape into the tape deck if you have not already done so. 12. Click Mounted to indicate to the system that the correct tape is loaded and ready for digitizing. A dialog box opens. 13. Click OK to confirm the tape and deck entries. The system digitizes each clip from the tape, in start timecode order. If another source tape is needed, the system prompts for the tape. You can stop the batch-digitizing process at any time by clicking the Trash button in the Digitize tool.

When batch digitizing is finished, a message box notifies you that the process is complete. The new master clips appear in the bin, and associated media files exist on the targeted drive or drives.

Relinking Clips by Key Number

For illustrations of The film-tape-film-tape (FTFT) relinking feature lets you re-create an workflows that include offline, film-originated sequence as a final finished sequence by using the FTFT relinking, see key numbers of the original film footage. During the offline stage, you “Planning a 24p or 25p Project” on page 36. digitize and edit footage that was transferred to tape through a one-light or best-light telecine transfer (FT). During the finishing stage, you batch digitize, relink by key number, and edit footage that was transferred through a second timed, color-corrected telecine transfer (FT).

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Alternatively, if you are finishing a sequence in an online suite and need only an EDL, you do not need to batch digitize the footage. Just import the new shot log, relink to the offline items, and then create the EDL.

Relinking by key number eliminates the need for the telecine transfer facility to match the timecode and pulldown of the second transfer to the timecode of the first transfer. n For more information about relinking, see the editing guide or Help for your Avid system.

To relink clips by key number: 1. After you have finished editing the offline sequence, use the FilmScribe application to create a pull list of the clips used in the sequence. (For information on using FilmScribe, see the FilmScribe documentation.) 2. Have the telecine facility use the pull list to pull selects from the original negative and to transfer picture-only footage by using a timed, color-corrected telecine process. You do not need to transfer audio again. The telecine facility supplies a new shot log file along with the transfer tape. 3. In your original project, create a new bin. 4. Duplicate the edited offline sequence and move it to the new bin. At this point, the duplicate sequence is still linked to the original media. c Duplicate your sequence before relinking. If you relink to the original sequence, you will lose your links to the original media.

5. Process the new log file through ALE and import it into the bin that holds the duplicated sequence. (For more information, see “Using Avid Log Exchange to Convert Log Files” on page 91 and “Importing Shot Log Files” on page 106.) 6. (Option) Batch digitize the clips imported from the new log file. Select 1:1 or another high-quality resolution. (For more information, see “Batch Digitizing from Logged Clips” on page 239.) 7. Select the duplicated sequence and the new clips.

252 Relinking Clips by Key Number

8. Select Clip > Relink. The Relink dialog box opens.

9. Click the Relink by pop-up menu, and select “Key Number [KN Start] - picture only”. 10. Select the “Relink all non-master clips to selected online items” option. 11. (Option) If you did not batch digitize the original clips, select the “Allow relinking to offline items” option. 12. In most cases, select the “Relink only to media from the current project” option. Deselect this option if you know the new clips were digitized with a different project name. Also, if the sequence does not relink to the new clips, try deselecting the option and relinking again. 13. Click OK.

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The new clips are linked to the sequence. If you duplicated the offline sequence, the offline sequence is still linked to the original clips. If you did not duplicate the sequence and you need to relink to the original clips, follow this procedure.

To relink a sequence to the original clips: 1. Duplicate the sequence. 2. Create a new bin and move the sequence to the bin. 3. Locate the original clips. Look for a bin with the original clips, or use the Media tool to locate the original clips. n For information on the Media tool, see the editing guide or Help for your Avid system.

4. Copy the clips to the bin that contains the duplicated sequence. 5. Select the sequence and the original clips. 6. Follow steps 8 through 13 in the previous procedure.

Modifying the Pulldown Phase After Digitizing

You can also determine If you have digitized film-originated clips (NTSC transfer only) that seem the correct pulldown to stutter, the problem could be an incorrectly logged pulldown phase. The phase from the original pulldown phase is the video frame at which the master clip starts: A, B, X, tape. See “Entering Pulldown Information” C, or D. You log this pulldown phase in the Pullin column of a bin. To on page 124. solve the problem, you need to determine the correct “pullin” frame, modify the clip information, and redigitize the clip.

To check for an incorrect pullin frame: 1. Look for a section of the clip that includes a series of frames with motion. 2. Step through the clip frame by frame (using the Step buttons or another method) and look for two frames that are identical (no movement). If the pattern is two frames of movement followed by two frames of no movement, the pullin is incorrect.

254 Modifying the Pulldown Phase After Digitizing

To determine the correct pullin frame, use one of the following approaches: t If the source footage includes burn-in code with the pulldown phase, go to the start of the clip and look for the pulldown for the first frame. t If you want to maintain the start timecode for each clip, review the original tape field by field, using the procedure described in “Entering Pulldown Information” on page 124. t If you do not need to maintain the start timecode: a. Step through the clip frame by frame (using the Step buttons or another method) and look for two frames that are identical (no movement). b. Think of these frames as frames B and X of a four-frame series.

No movement

ABX D Incorrect sequence

ABC DCorrect sequence

Step backward (either one frame from the B frame or two frames from the X frame) to locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames in the clip will start either with this digit or this digit plus 5. For example, if the A frame has the timecode 1:00:10:20, timecode for all A frames in the clip will end in either 0 or 5.

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c. Compare these digits with the last digit of the start timecode (first frame) of the clip to determine the correct pullin. For example, if the A frame ends in 0 or 5, and the start timecode ends in 4, the pullin is D. d. If the pullin for the clip is the X frame, you need to modify the timecode to produce a number you can associate with a pullin. For example, if the A frame ends in 0 or 5, and the start timecode ends in 2, the pullin falls on the X frame and you need to modify the timecode along with the pullin. Move forward one frame to create a start timecode ending in 3. Then you can change the pullin to C. c When you change the timecode of a clip, you lose the key number of the clip and need to enter it in the bin, adjusting it to match any changes to the timecode.

After you determine the pullin frame, modify the clip information as follows.

To modify the clip information: 1. In a bin, select the clip you want to modify and press the Delete key. The Delete dialog box opens. 2. Deselect the “Delete master clip(s)” option and select the “Delete associated media file(s)” option. 3. Click OK. The original media file is deleted. 4. Make sure the clip is still selected. Press Ctrl+Shift and select Clip > Unlink. The clip information is unlinked and you can modify the clip information. 5. Type the correct letter for the pulldown phase in the Pullin column. If necessary, type a new timecode and key number. For multiple clips, you can use the Modify command or the Modify Pulldown Phase command. See “Modifying the Pulldown Phase Before Digitizing” on page 127.

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With the new clip information in the bin, batch digitize the clip. See “Batch Digitizing Clips” on page 243. If the pulldown phase is accurate, the clip should play smoothly, with no repeated frames. n This method might not work for some clips that start with either an A frame or a D frame. If, after you modify the clip as described previously, the clip still stutters, modify the clip again. This time, if the pullin is A, change it to D. If the pullin is D, change it to A.

Digitizing During the Film-to-Tape Transfer

You can digitize directly from film during the film-to-tape transfer process by using Telecine Slave mode with VTR record emulation.

The Avid system emulates a record VTR, which eliminates the need to digitize from videotape after the transfer is complete. However, you should always transfer to at least one tape format at the time of the transfer in case any of the footage needs to be redigitized. Telecine Slave mode streamlines the transfer process because digitizing is performed during the transfer.

You use the telecine controller to create master clips during the digitizing process. The Avid system logs the clips and media files into a bin you have selected.

As you record, Telecine Slave mode creates a virtual tape in a bin in the form of a sequence that emulates the structure of a film-to-tape transfer.

Figure 20 shows an example workflow using Telecine Slave mode.

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1. Prepare work print ...... for the circled ...... (selected) takes. Negative Work print

2. Sync work print with (Steps 1 and 2) audio mag track, and ...... assemble each take on a Mag track KEM roll roll with ink numbers. (Step 3) 3. Screen the film dailies before telecine Screening transfer. (Step 4)

4. Mount and transfer the rolls directly to disk with Telecine Slave Telecine mode.

5. (Option) Enter ink (Step 5) Beta- numbers manually into cam the Avid system after you digitize, to match Transfer the ink numbers on the work prints. (Step 6) Cut list 6. Generate ink number lists for preparing cuts from the work print, Conformed cut and key number lists for conforming the Figure 20 Workflow: Telecine Slave Mode negative. The following sections describe VTR record emulation in the Telecine environment: • Preparing to Digitize in Telecine Slave Mode - Selecting the VTR Emulation Serial Port (Telecine Slave Mode) - Understanding VTR Emulation Settings (Telecine Slave Mode) - Selecting VTR Emulation Settings - Selecting Digitize Settings for Telecine Slave Mode

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• Digitize Tool Controls for Telecine Slave Mode - Selecting Telecine Slave Mode - Selecting a Source Tape Name • Digitizing and Logging in Telecine Slave Mode - Formatting and Setting the Virtual Tape Timecode (Telecine Slave Mode)

Preparing to Digitize in Telecine Slave Mode

After you load the source film into the telecine, you need to set up the Avid system for Telecine Slave mode. Follow the appropriate procedures in Chapter 4. Then, follow the procedures in this section to prepare to digitize in Telecine Slave mode.

Selecting the VTR Emulation Serial Port (Telecine Slave Mode)

The VTR Emulation serial port setting determines if VTR emulation is in use. When you select a serial port for VTR emulation, VTR emulation is enabled.

To enable VTR emulation: 1. Make sure the telecine controller is connected properly. For installation procedures, see the VTR emulation section in the setup guide for your Avid system. 2. Select Tools > Communication (Serial) Ports. The Communication (Serial) Ports tool opens.

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3. Click the VTR Emulation pop-up menu, and select a serial port that matches the telecine controller’s serial port cable connection. 4. Click the Close button. The Avid system saves the settings as a Site setting that affects all projects.

Understanding VTR Emulation Settings (Telecine Slave Mode)

The settings in the VTR Emulation Settings dialog box affect how the Avid system simulates a deck.

Select the VTR Emulation settings in the following order: 1. Emulation Type (required) 2. Device Code (required) 3. Edit Delay (required) 4. (Option) Runup

When you select the VTR Emulation settings, do one of the following: t If your telecine controller has the ability to create setup files for individual decks, make a setup file for the Avid system VTR emulation. t If your telecine controller applies deck settings to all decks with a selected device code number, select a device code number for the Avid system VTR emulation that is different from the other decks in your work area.

Table 19 describes the VTR Emulation Settings options.

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Table 19 VTR Emulation Settings: Telecine Emulation

Option Description

Emulation Type Allows you to select Telecine Record Emulation, Play Emulation, or Direct Record Emulation.

Device Code Allows you to select the device code that identifies the VTR that the Avid system will emulate. The telecine controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and record functions. You do not need to change the device code value unless your edit controller does not recognize the VTR emulator, or you want to emulate a specific VTR.

Runup (frames) Adjusting the Runup parameter can help the Avid system to synchronize with the telecine controller during preroll. If the telecine controller cannot synchronize with the Avid system after the Avid system is running, adjust the Runup setting. The Runup parameter uses frames as the unit of measurement. The Runup should typically be between 1 and 10. Adjust the value up or down, based on whether the Avid system starts ahead of or behind the telecine controller at the beginning of the preroll.

Edit Delay Adjusts how much time the controller gives the Avid system to get ready before digitizing begins. The edit delay is also referred to as edit offset and trim. The Edit Delay value in the VTR Emulation Settings dialog box must match the telecine controller’s Edit Offset setting. If the Edit Delay parameters do not match, you’ll notice that the recorded material will begin a few frames earlier or end a few frames later than intended. For the device code Sony PVW-2800, set this parameter to “6 fields.” Setting the Edit Delay parameter below “4 fields” might cause edits to start a few frames late. Always adjust the value on the telecine controller. If the values don’t match, consult your telecine controller documentation to determine how to assign the edit delay value on your telecine controller. Use the default value unless told otherwise by an authorized Avid support representative.

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Table 19 VTR Emulation Settings: Telecine Emulation (Continued)

Option Description

Inhibit preloading when Avid recommends that you do not inhibit preloading under normal cueing by single frame circumstances. Preloading occurs by default. It improves playback performances by preparing the digitized media for playback each time you cue a new frame. Selecting this option causes the Avid system to match the behavior of a tape deck when you step through footage frame by frame. Avid recommends this option only for projects that require quick cueing of one frame after another; for example, when you are using the Avid system to present a sequence of still images as in a slide presentation.

Selecting VTR Emulation Settings

To select the VTR Emulation settings: 1. Double-click VTR Emulation in the Settings scroll list of the Project window. The VTR Emulation Settings dialog box opens.

2. Click the Emulation Type pop-up menu, and select Telecine Record Emulation. See Table 19.

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3. Click the Device Code pop-up menu, and select the type of deck you want to simulate. See Table 19. 4. Click the Edit Delay pop-up menu, and select the appropriate number of fields. See Table 19. 5. (Option) Type the appropriate number of frames in the Runup (frames) text box. See Table 19. 6. Click OK.

Selecting Digitize Settings for Telecine Slave Mode

You can use the Digitize settings for Telecine Slave mode to set the default timecode format and to automatically delete short clips.

To select Digitize settings for Telecine Slave mode: 1. Double-click Digitize in the Settings scroll list of the Project window. The Digitize Settings dialog box opens. 2. Click the Telecine tab.

3. (Option) Select the “AutoDelete clips shorter than” option, and select a length from the pop-up menu that represents the length of clips to be deleted. All master clips and subclips shorter than the set length will be automatically deleted.

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n The head and tail clips created during an autosequence are 1 second longer than the length you select for the “AutoDelete clips shorter than” option.

4. Type the default timecode format in the text box: t For non-drop-frame, type colons (:) between the hours, minutes, seconds, and frames. t For drop-frame, type semicolons (;) between the hours, minutes, seconds, and frames. 5. Click OK.

Digitize Tool Controls for Telecine Slave Mode

The Digitize tool provides additional controls for Telecine Slave mode. Set the appropriate Digitize tool controls as described in Chapter 4. Then, follow the procedures in this section to set the Digitize tool for Telecine Slave mode. • Selecting Telecine Slave Mode • Selecting a Source Tape Name

The Digitize tool displays additional buttons used in Telecine Slave mode.

264 Digitizing During the Film-to-Tape Transfer

Telecine monitor

Digitize indicator Toggle Source button LOC/REM button (displaying (local/remote) Telecine Slave Mode icon)

Message bar

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Table 20 describes the Digitize tool controls used in Telecine Slave mode.

Table 20 Telecine Slave Mode Controls

Control Description

Telecine monitor Allows you to view the virtual tape sequence to check the recording progress.

Telecine Slave Mode icon Indicates the Avid system is simulating a record VTR that responds directly to the controls from the telecine controller.

Digitize indicator Flashes red during the digitizing process.

LOC/REM button Switches the Digitize tool controls between local and remote. (local/remote) When you select LOC, you can change the configuration of the tool and use the Avid system to control playback of recorded media. When you select REM, the tool is slaved to the telecine configuration. This mimics the behavior of the Local/Remote switch found on many decks.

Message bar Describes the current status of the Digitize tool.

Selecting Telecine Slave Mode

To select Telecine Slave mode: 1. (Macintosh only) Click the Digitize tool and drag it to the Edit monitor. The Digitize tool needs to be in the Edit monitor for footage to play.

Telecine Slave 2. Click the Toggle Source button in the Digitize tool until the Telecine Mode icon Slave Mode icon appears. 3. Type a name for the virtual tape sequence. See “Selecting a Source Tape Name” on page 267.

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Selecting a Source Tape Name

When you select a source tape name, you are naming the virtual tape sequence. The virtual tape sequence appears in the selected bin when you enter Remote mode and begin digitizing. You will also notice that a HEAD CLIP and TAIL CLIP appear in the bin. These two clips act as markers for the beginning and end of the virtual tape sequence. Each clip is 1 second longer than the length selected for the “AutoDelete clips shorter than” option on the Telecine tab of the Digitize Settings dialog box. See “Selecting Digitize Settings for Telecine Slave Mode” on page 263.

The default virtual tape sequence length is 1 hour. The length automatically increases during the digitizing process if you record a clip outside the bounds of the virtual tape sequence.

When you finish digitizing and logging, you can delete the virtual tape sequence, head clip, and tail clip.

Digitizing and Logging in Telecine Slave Mode

To begin digitizing and logging: 1. Make sure the Avid system is ready for digitizing or logging. See “Preparing to Digitize in Telecine Slave Mode” on page 259. 2. Click the LOC/REM button in the Digitize tool to enter REM (Remote) mode and begin the digitizing process. When you select Remote mode, control is transferred to the telecine controller. n The first time you enter Remote mode after starting a new project and setting up a virtual tape sequence, the Set Tape Timecode dialog box opens. See “Formatting and Setting the Virtual Tape Timecode (Telecine Slave Mode)” on page 268.

3. Start the transfer. The Digitize indicator in the Digitize tool flashes red when recording and digitizing starts.

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n If digitizing does not begin, make sure the VTR Emulation serial port is set correctly. See “Selecting the VTR Emulation Serial Port (Telecine Slave Mode)” on page 259.

4. (Option) While the Avid system is digitizing, you can type clip names in the Name text box. Press the Tab key after typing a clip name to enter comments about the clip in the Comment text box. c Do not begin typing in the Name or Comment text box until after preroll has begun. n After you type text in the Name text box or the Comment text box, you must press Enter (Windows) or Return (Macintosh), or click outside the Digitize tool before you type a timecode or footage number in the Telecine monitor in the Digitize tool.

If you digitize beyond the default length of the sequence, the virtual tape sequence size increases. During the digitizing process, master clips are created in the selected bin and are added to the sequence automatically.

The Telecine monitor in the Digitize tool allows you to view the virtual tape sequence to check the recording progress. c Do not use the playback controls in the Record monitor or in the Timeline when the telecine controller is playing from or recording to the Avid system.

Formatting and Setting the Virtual Tape Timecode (Telecine Slave Mode)

You need to set a timecode for the virtual tape sequence. This process is similar to striping a tape before recording on it. Make sure enough preroll time is available and that the timecode characteristics (drop-frame, non-drop-frame) are preset. n To view or change the default tape timecode format, see “Selecting Digitize Settings for Telecine Slave Mode” on page 263.

268 Digitizing During the Film-to-Tape Transfer

To format and set the virtual tape timecode: 1. Click the LOC/REM button in the Digitize tool to enter Remote mode for the first time after setting up a virtual tape sequence. The Set Tape Timecode dialog box opens.

2. Type the starting timecode in the Start text box. 3. Type a length for the virtual tape sequence (in hours and minutes) in the Length text boxes. 4. Do one of the following: t Click OK to begin digitizing. t Click Cancel to return to Local mode.

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DV Scene Extraction (Windows Only)

While you are digitizing, DV Scene Extraction allows you to generate subclips and locators automatically, based on time-of-day (TOD) information contained in the DV format. You can use DV Scene Extraction with systems that include the DV/MPEG option.

Discontinuities in the DV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV camera. Using this feature, you can digitize an entire DV tape as a single master clip and have the system automatically locate all the takes for you, eliminating the need to manually log.

You can perform a DV Scene Extraction in two ways: • Set up the DV Scene Extraction option before digitizing. When digitizing is performed, subclips and locator marks appear in the bin. • Perform DV Scene Extraction after digitizing. Select those clips in the bin for which you want to generate subclips and locator marks.

Consider the following: • You can perform DV Scene Extraction on any existing clip or subclip in a bin that has TOD information breaks. • DVCPRO format does not provide TOD metadata; you cannot use DV Scene Extraction with DVCPRO format. • DV Scene Extraction does not work on non-DV or audio-only clips.

Setting Up DV Scene Extraction Before Digitizing

You can use DV Scene Extraction with systems that include the DV/MPEG option.

To set up DV Scene Extraction before digitizing: 1. Click the Settings tab in the Project window. The Settings scroll list appears.

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2. Double-click Digitize Settings. The Digitize Settings dialog box opens. 3. Click the DV Options tab.

4. Select DV Scene Extraction. 5. Select one of the following options: - Add Locators: Creates locator marks where the TOD information breaks occur while digitizing. - Create Subclips: Creates subclips where the TOD information breaks occur while digitizing. - Both: Creates subclips and locator marks where the TOD information breaks occur while digitizing. 6. Click OK. 7. Select Tools > Digitize, and then click the Record button. When digitizing has finished, subclips are created with the same source clip name and the file name extension .sub.01 where TOD information breaks occurred. Locator marks appear in the master clip where TOD information breaks occurred.

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Setting Up DV Scene Extraction After Digitizing

You can use DV Scene Extraction with systems that include the DV/MPEG option.

To set up DV Scene Extraction after digitizing: 1. Open a bin. 2. Click the clip for which you want to create subclips or locator marks. Ctrl+click to select multiple clips. 3. Select Bin > DV Scene Extraction. The Digitize Settings dialog box opens. 4. Click the DV Options tab. 5. Select DV Scene Extraction. 6. Select one of the following options: - Add Locators: Creates locator marks where the TOD information breaks occur while digitizing. - Create Subclips: Creates subclips where the TOD information breaks occur while digitizing. - Both: Creates subclips and locator marks where the TOD information breaks occur while digitizing. 7. If you have chosen to create subclips, select the bin where you want these subclips stored. n To cancel the process, press Ctrl+period. 8. Click OK. In the bin, subclips are created with the same source clip name and the file name extension .sub.01 where TOD information breaks occurred. Locator marks appear in the master clip where TOD information breaks occurred. If you select a DVCPRO, a non-DV, or an audio-only clip, an error message appears, informing you that an incompatible clip was selected. These clips are bypassed during the DV Scene Extraction process.

272 Chapter 6 Multicamera Planning and Digitizing

Your Avid system’s multicamera editing tools allow you to incorporate multiple camera angles easily into the nonlinear editing process. This chapter describes workflows and digitizing for multicamera projects. Techniques for editing multicamera projects are described in the editing guide and Help for your Avid system.

This chapter describes the following topics: • Developing a Postproduction Model • Digitizing Methods • Checking the Bins n For information on multicamera resolutions, see “Multicamera Resolutions” on page 523. Chapter 6 Multicamera Planning and Digitizing

Developing a Postproduction Model

As the name indicates, multicamera production multiplies the amount and complexity of source material you manage in a project. As a result, comprehensive postproduction planning is essential to avoid the hazards of mismatched shots, takes, and entire reels during digitizing and grouping.

This section presents a postproduction model that can help you organize your material. While the routines of a typical situation comedy are used to illustrate these organizing principles, you can easily adapt this model to suit the particular needs of other productions, such as sports, documentary, and music videos.

Avid recommends the following guidelines for organizing a large multicamera project: • Choose a tape-numbering scheme and be consistent. • Record or film the multicamera shoot logically according to offline and online editing needs. • Manage the production path of both sound and picture for quality and efficiency.

Tape Numbering Schemes

Because multicamera production involves both sequential and synchronous recording on numerous reels, a comprehensive numbering scheme for reels, takes, and clips can help avoid confusion.

Tape Numbering for Video Productions

Many situation comedies that record on videotape classify their master record reels with two digits indicating both the sequential and synchronous identity of the tape, as follows: • The first digit indicates the order in which the reel was recorded. • The second digit indicates the source that feeds the reel.

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For example, if there is a line feed or director’s cut (a switched version of the show), this source is designated with a 0 (zero), so that reel 10 is the first reel of the line feed. Reel 11 is the first reel recorded on ISO (isolation) camera 1, and so forth.

Each set of reels, then, forms a decimal group, called a tape load. Each load is traditionally referred to by its prefix. In this example, reels 10 through 14 are called the tens, reels 20 through 24 the twenties, and so on.

This scheme is illustrated in “Digitizing Workflow” on page 280.

Tape Numbering for Film Productions

Many multicamera film productions use alphabetical designations for classifying source footage. For example, the cameras are referred to as A, B, and C, covering the scene from left to right as viewed from the camera side. A fourth camera X is often a floater, used to grab close-ups and miscellaneous shots. You can classify the shot rolls with the letter of the source camera, then number them sequentially. For example, camera roll A1 is the first roll for camera A.

This scheme is illustrated in “Digitizing Workflow” on page 280.

Production Paths

In addition to a numbering scheme, you can organize the flow of recorded material throughout postproduction to make efficient use of resources and to maintain the quality of video and audio.

Production Paths for Video Productions

For videotaped production, often two sets of reels are recorded during production: a set of online masters and a set of offline work tapes. The online masters remain untouched until editing of the final show master begins. Clips from the offline work tapes are digitized, and then are used for editing and generating an EDL or digital cut for review.

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Online masters Online edit Finished program

Beta- cam D2

Simultaneous multicamera EDL recording Digitize Offline edit Offline work tapes

3/4 inch

Facilities and tape formats might vary. The basic model can apply to any multicamera production in which a broadcast-quality program is the goal.

Production Paths for Film Productions

For multicamera television productions shot on film, the most common picture path is described in “Video Dailies Method” on page 71. This involves simultaneously transferring the camera rolls to both a set of offline tapes (3/4-inch cassettes, for example) and a set of online tapes (such as Betacam or 1-inch). The primary differences are: • Each take is multiplied by four; therefore, all reels require strict organization and labeling at all stages to avoid confusion. • Many productions use time-of-day timecode as the audio timecode, synced to picture by using a smart slate. These audio timecodes can be transferred to the address track of tapes in telecine and imported into the Sound TC column or an Auxiliary TC column. • Alternatively, you can record in-camera timecode both on film and on an audio track for autosyncing in the Avid system.

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Online masters Multicamera filming Online Edit Finished program

1”

EDL D2

Simultaneous Cut list telecine

Telecine Offline work tapes Digitize Offline Edit

For workflows that Facilities and formats might vary. The basic model can apply to any include multiformat multicamera production in which high-quality output is the goal. output, see “Planning a 24p or 25p Project” on page 36.

Managing Audio

The multicamera editing tools allow you to patch channels of audio from any source clip to any track during editing. You can strategically designate specific channels of audio to record on specific reels or tracks in preparation for editing and generating an effective EDL or cut list.

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Audio for Videotape Productions

In the following example, the goal is to create a finished master tape with production dialog on channel 1, music and sound effects on channel 2, audience left on channel 3, and audience right on channel 4. To achieve this, you record channels to offline work tapes with only two channels as follows: • Line Feed: dialog on channel 1, mono audience on channel 2 • Camera 1: dialog on channel 1, music and effects on channel 2 • Cameras 2 and 3: dialog on channel 1, mono audience on channel 2 • Camera 4: audience left on channel 1, audience right on channel 2

If the online master tapes are capable of recording four channels of audio, they usually duplicate the configuration of channels on the final master.

Record Digitize Online edit Line Ch 1: Dialog Dialog & Video Ch 2: Music & FX audience 10 only D2 Ch 3: Audience L Ch 4: Audience R Cam 1 Dialog & Video & effects 11 audio EDL generates Cam 2 Video the final mix. Dialog & only audience 12 Offline edit Cam 3 Dialog & Video audience 13 only Cam 4 Audience L Video & Audience R 14 audio Digitize and patch selected channels.

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Audio for Film Productions

In the following example, the goal is to create a finished master tape with production dialog on channel 1, music and sound effects on channel 2, audience left on channel 3, and audience right on channel 4. Your production might use a 1/2-inch four-track audiotape recorder, as follows: • Dialog on track 1 • Audio timecode on track 2 • Stereo audience left on track 3 • Stereo audience right on track 4

Record: Transfer: 1” Track 1: Dialog Ch 1: Dialog Track 2: Audio TC Ch 2: (Clear) Track 3: Audience L Ch 3: Audience L Online masters Track 4: Audience R Ch 4: Audience R Address track: Audio TC Telecine Finished program: Offline work tapes Ch 1: Dialog (four channels) EDL generates D2 Ch 2: Music & Effects EDL the final mix. Ch 3: Audience L Ch 4: Audience R

Patch and edit selected tracks. Digitize all tracks.

Any music and effects during production can be recorded as wild sound and can be edited into the program on track 2 along with additional effects and music during postproduction. All tracks are transferred to tape in telecine, with audio timecode recorded onto the address track and used during digitizing and editing.

This is just one example. Choose the appropriate path for your production.

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Digitizing Workflow

The organization of the digitize bins helps to avoid slowing the system with large bins. It also keeps editing resources free of clutter.

To use the digitize bins: 1. When you are ready to digitize, create one bin for each tape (for film productions, usually each day’s worth of takes will fit onto a single dailies tape). This keeps bins to a manageable size. When you autodigitize, the system automatically names each clip (take) after the name of the bin (tape), and numbers them sequentially. 2. After digitizing, you can rename the clips to reflect the scene and take. 3. Gather the clips for each tape load or take into one bin. This avoids accidentally grouping clips with the same timecode from different days. 4. Sort the clips by name so they group in the correct order. 5. After creating groups or multigroups, move all the new clips into a separate bin. This simplifies the contents of the bin for editing.

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The following illustration uses the numbering scheme and production plan described in previous examples to show the video path for the first tape load you digitize.

Line

Cam 1

11 3. Gather all multigroups into one bin for easy access.

Cam 2 2. Gather each tape load into one bin, sort by name, create groups, then create a multigroup. 12

Cam 3

Cam 4

1. Digitize each reel separately.

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For television productions shot on film, scenes are often referred to as Scene A, B, C, and so forth. When the film is transferred to tape for offline editing, you can import the log of the transfer and batch digitize the reels, as shown in the following illustration.

Cam A

Reel 001

Cam B 2. Gather takes into one bin, Reel sort by name, then group. 3. Gather appropriate groups 002 into one bin for each act.

Cam C

Reel 003

Cam X

Reel 004

1. Digitize each reel separately.

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Digitizing Methods

For more information Video productions generally use three approaches to digitizing on logging and multicamera material: digitizing procedures, see Chapter 3, • Log in advance and digitize selected takes: This method allows you Chapter 4, and to shorten the time required for digitizing and to lessen the amount of Chapter 5. digitized material by logging timecodes noted on selected takes during the shoot and subsequent screenings. • Log and digitize all takes in advance: This is similar to the previous method, except that you save less storage space by digitizing portions of all takes. • Autodigitize entire reels: This method allows you to bypass the logging procedure, but requires the most storage space.

Film productions generally use one digitizing method: import the log from the telecine transfer and use this to batch digitize.

However you decide to digitize, you should have accurate notes on the number and content of takes on each reel to identify the content of each clip when necessary. n If you want to use the Multicam Real-Time Play option, you must digitize your material using a multicam resolution. See “Multicamera Resolutions” on page 523.

Logging Tips

For additional logging The following tips apply to methods that involve logging in advance for tips, see “Tips for digitizing multicamera material: Logging Preroll, Logging Timecode, and • Narrow the IN and OUT points to avoid false starts on one or more Naming Tapes” on reels in a tape load. page 112. • Save time by logging just one ISO reel in each tape load, by exporting in the .ale format, by modifying reel and clip names in a text editor, and then by reimporting into bins for each of the other reels.

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• Name each clip with the source tape name (same as the master tape to be used in online) and a cut number, for quick identification when clips get moved or copied.

Autodigitizing Tips

The following tips apply to autodigitizing entire reels: For more information • Select the “Digitize across timecode breaks” option in the General tab on digitize settings and of the Digitize Settings dialog box before digitizing. deck settings, see “Selecting Settings” on • Select the “Log errors to the console and continue digitizing” option in page 137 and “Setting the Batch tab of the Digitize Settings dialog box. Deck Preferences” on page 160. • Under Deck Settings, turn off the FAST CUE option and set the preroll to approximately 4 seconds. The Deck Settings dialog box is accessed by clicking the Add Deck button in the Deck Configuration dialog box. • When you load a tape and assign a name to a source reel, give the reel the same name as the online master tape (same as the work tape). • Name each bin after the source reel number. By default, all clips are named after the reel and are numbered incrementally beginning with the file name extension .01. • To start digitizing, cue the source reel past any false starts, play the tape, and wait 4 seconds before clicking the Record button in the Digitize tool.

Storage Tips

The following tips can help you make the best use of media drives: • To save storage space, digitize only the audio channels required for offline editing. • For the most efficient playback of multicamera material, distribute the reels in each tape load between drives. • To avoid switching drives while digitizing the same reel, target one volume per reel whenever possible.

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With a large multicamera production, you can plan the use of drives in advance, based on the number of drives available, the selected resolution, and the length of each reel.

Consider the following example: • You have a four-camera production yielding two tape loads (approximately 30 minutes per tape). • You want to autodigitize at 20:1 video resolution. • You need to digitize two-channel audio at 44.1 kHz from camera 1 and camera 4. • For storage, you have four 9-GB drives.

With this set of circumstances, you might distribute the media as shown in the following illustration. Storage requirements are based on information provided in “Storage Requirements” on page 527.

Work tapes Tracks digitized Storage required Targeted drive

Line 10 x 2 3.60 GB

4.24 GB Cam 1 11 x 2

3.60 GB Cam 2 12 x 2

3.60 GB Cam 3 13 x 2

Cam 4 14 x 2 4.24 GB

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Checking the Bins

Before gathering the digitized clips into bins for grouping, you should open the bins in each tape load or take and compare the clips for inconsistencies. You can take steps to conform the bins now and avoid problems during grouping and editing, as described in the following sections.

Replacing Missing Clips

After grouping, if you find one bin has fewer clips than the others in the tape load or take, the ISO reel or camera might have been stopped during a particular take. If you group the take with the missing camera, the clips shift in the Quad Split or Nine Split to fill the missing angle, which can disorient the editor. Correct this problem by creating a dummy clip.

To create a dummy clip: 1. Log a new source clip into the bin. 2. Match the timecode from one of the clips from another camera, and use any name.

When the clips are grouped and loaded during editing, this dummy clip displays the message “Media Offline,” and maintains the distribution of camera angles in the Quad Split or Nine Split.

Deleting Extra Clips

For specific procedures If a particular bin has more clips than the others in the load, one or more for deleting clips, see false starts might have been recorded during digitizing. If you create a the editing guide or multigroup, the extra clips form unusable sections with only one or two Help for your Avid system. camera angles.

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To eliminate extra clips: 1. Compare timecodes among bins until you isolate the unique clips. 2. Load the clips into the Source monitor, and compare timecodes with a line script, if available. 3. If the clips are useless, delete them and their media until you have the same takes in each bin.

Checking Audio and Image Quality

Check the Audio column to make sure the audio was recorded on the correct channels, from the correct source reels, at the correct sample rate (in kHz). You cannot play back audio compressed at different rates within the same group or multigroup.

You can also spot-check the picture quality by loading two or more clips from each bin into the Source monitor and viewing the clips. If you find a problem, you can redigitize before the edit session begins. For more information, see “Redigitizing Your Material” on page 246.

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288 Chapter 7 Importing Files

When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify. The following sections describe how to import files: • Preparing to Import Files • Working with Mixed-Resolution Projects • Creating and Using Import Settings • Importing Files • Using the Drag-and-Drop Method to Import Files • Importing Photoshop Graphics • Importing Editcam Files • Reimporting Files

Preparing to Import Files

Before you begin the import process, make sure the system and the files are ready for import as follows: • To read about issues and tips for mixed-resolution projects, see “Working with Mixed-Resolution Projects” on page 290. • For graphics file and OMFI (Open Media Framework® Interchange) file import, prepare the files in advance according to specifications described in Appendix A. Chapter 7 Importing Files

• For a complete description of all options in the Import Settings dialog box, see Table 21 on page 294.

Working with Mixed-Resolution Projects

For more information You can work with mixed resolutions in the same sequence. This feature on mixing resolutions, allows you to import graphics that will match the resolution of the final see Appendix B. sequence.

For example, assume that you want to use a low resolution such as 20:1 for your initial work and then redigitize your media at 2:1 for the final version. In this case, you should import the graphics at 2:1. Then when you redigitize your material, you will not have to reimport the graphics.

If you plan to redigitize your media at a higher resolution, the lower resolution must be from the same family (single-field or two-field). For example, if you plan to finish at 2:1, you could start the project at 20:1, but not at 15:1s. n You cannot mix 1:1 media, DV media, or MPEG 50 media with other resolutions. n To reimport imported graphics at a higher resolution, use the Batch Import feature, which maintains links to the original master clips and sequences. For more information, see “Reimporting Files” on page 316.

Creating and Using Import Settings

You can create one or more sets of import parameters and save them as an Import setting. For example, you can create one setting for importing QuickTime® files and another for importing files from AudioVision®. This feature is especially useful when you use the drag-and-drop method to import multiple files (see “Using the Drag-and-Drop Method to Import Files” on page 306).

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The default Import setting and any additional Import settings you create appear in the Settings scroll list (see the editing guide or Help for your Avid system). After you select a setting in the Settings scroll list, the parameters remain the default settings for all imported files, unless you change them during import.

Creating a New Import Setting

To create a new Import setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears.

Custom setting name column

2. Click Import. 3. Select Edit > Duplicate. 4. Name the setting by clicking the Custom setting name column, typing a name, and pressing Enter (Windows) or Return (Macintosh). 5. Double-click the new Import setting. The Import Settings dialog box opens.

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6. Select the appropriate options. See “Import Settings Options” on page 293. 7. Click OK.

Once you create a new Import setting, you can select the setting whenever you import a frame, clip, or sequence. For more information, see “Importing Files” on page 302 and “Using the Drag-and-Drop Method to Import Files” on page 306.

Modifying an Existing Import Setting

To modify an existing Import setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Double-click an Import setting. The Import Settings dialog box opens. 3. Select the appropriate options, as described in the following section. 4. Click OK.

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Import Settings Options

The following illustration shows the default settings for the Image tab.

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Table 21 describes the options available in the Image tab of the Import Settings dialog box.

Table 21 Import Settings: Image Tab

Option Suboption Description

Aspect Ratio, 601, non-square Select this option to import images with the dimensions used Pixel Aspect by the Avid system: 720 x 486 (NTSC) or 720 x 576 (PAL). Also use this option for 720 x 540 images, or for other images that fit the 4:3 aspect ratio. You can use this option to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions. The system converts the existing pixel dimensions, if necessary, so the image fills the screen. If the aspect ratio of the original frames does not match the 4:3 aspect ratio used by the Avid system, the imported frames might appear distorted. For best full-screen resolution of files created in a square-pixel environment, use 648 x 486 (NTSC) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720 x 540. n This option is selected by default. Maintain, Select this option for an image that was created in a non- non-square square-pixel environment, but does not match exact NTSC or PAL dimensions. Maintain, non-square will preserve up to 486 (NTSC) or 576 (PAL) lines, and will either remove additional lines or pad with video black if there are fewer lines. Maintain, non-square never scales or resizes.

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Table 21 Import Settings: Image Tab (Continued)

Option Suboption Description

Maintain, square Select this option for an image that was created in a square- pixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen. The system fills the rest of the screen with video black. If the image has an alpha channel, this black will be keyed out in the alpha channel. Do not use this option if you are importing: • Images in the 720 x 486 (NTSC) or 720 x 576 (PAL) non-square-pixel dimensions • A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions

Maintain and Select this option for an image that was created in square-pixel Resize, square terms. The system fits the longest dimension to the screen size and fills in the missing pixels in the shorter dimension with video black, creating a border. If the image has an alpha channel, this black will be keyed out in the alpha channel. For example, a 540 x 300 image would have its longer dimension resized to 720, and the shorter dimension resized in proportion (to 400). The remaining “short side” pixels are replaced with black. For best full-screen resolution of files created in a square-pixel environment, use 648 x 486 (NTSC) or 768 x 576 (PAL). To create a single resolution for both NTSC and PAL, use 720x540. Do not use this option if you are importing: • Images in the 720 x 486 (NTSC) or 720 x 576 (PAL) non-square-pixel dimensions • A full-screen square-pixel image that has already been stretched to non-square-pixel dimensions

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Table 21 Import Settings: Image Tab (Continued)

Option Suboption Description

File Field Order This section allows you to select the temporal field ordering (sometimes referred to as field dominance) of the media you are importing. When the field ordering of the imported media matches the field ordering of the project format, no special processing is required. For more information, see “Field Ordering in Graphic Imports and Exports” on page 510. This setting does not apply to OMFI imports when the import resolution matches the OMFI file.

Non-interlaced Select this option to import still images to all formats without concern for the temporal ordering of the fields. This is the default value.

Odd (Upper Field Select this option for the odd-field to occur temporally first First) during import. The first line in the image belongs to the odd field.

Even (Lower Select this option for the even field to occur temporally first Field First) during import. The first line in the image belongs to the even field.

Color Levels RGB Select this option if the imported graphics file uses RGB graphics levels. Most computer-generated graphics use RGB graphics levels. The RGB color values are remapped to ITU-R 601 (formerly CCIR-601) video color values appropriate for the Avid system.

RGB, dithered Select this option if the imported graphics file uses complex color effects, such as a gradation, and you are importing at a high resolution (2:1). Do not use this option to reimport an image that has already been imported with dithering.

601 Select this option if the imported graphics file uses video levels based on the ITU-R 601 (formerly CCIR-601) standard. These graphics include Avid color bars or images that include superblack (zero black) for keying purposes.

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Table 21 Import Settings: Image Tab (Continued)

Option Suboption Description

Alpha Use Existing Select this option to import the image, using the existing alpha channel information.

Invert Existing Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of the system: a white background, a black foreground, and a gray transparency blend between the two.

Ignore Select this option to import an image that contains alpha channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin. n If an image contains an embedded alpha channel but the system does not support alpha channel import for the file type, select this option to import the image successfully. For information on alpha channel support, see “Graphics File Import Specifications” on page 496. n For information on importing real-time moving mattes, see the effects guide or Help for your Avid system.

Single Frame Duration n Select this option to specify the duration of the single frame Import seconds created from the import. The default is 10 seconds. This option does not apply to importing sequential image files because each file represents one frame of the clip; therefore, the total number of files determines the total duration. Importing an image with alpha channel creates a matte key effect as a single frame, with no associated media file. Importing as a single frame takes less time and requires less storage than importing as a media file. However, a single frame has limited real-time playback capabilities, particularly at high resolutions. This occurs because the system loads the frame into memory and handles it in real time, rather than playing it back from a disk.

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Table 21 Import Settings: Image Tab (Continued)

Option Suboption Description

Autodetect — Select this option if you are importing sequential files and you Sequential Files want the system to recognize that a sequence of connected files is present and to automatically import the whole sequence. When this option is deselected, the system does not automatically import a whole sequence of files that have sequential extensions. You can then select any single file for import. You can import sequential files for any of the supported still- image formats. For information on preparing a sequence of image files, see “Animation Files” on page 503.

The following illustration shows the default settings for the OMFI tab.

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Table 22 describes the options available in the OMFI tab of the Import Settings dialog box.

Table 22 Import Settings: OMFI Tab

Option Description Use the source file’s resolution. Select this option to maintain the source file’s resolution. The system disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution. Select this option to use the current import resolution setting. The system disregards the source file resolution.

Ask me to set the resolution for each file that is Select this option to have the system display a different from the current import resolution query about resolution selection for each imported setting. file when the resolution of the source file is different from the current import resolution setting.

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The following illustration shows the default settings for the Shot Log tab.

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Table 23 describes the options available in the Shot Log tab of the Import Settings dialog box.

Table 23 Import Settings: Shot Log Tab

Option Description

Maintain events as logged. Select this option to maintain all events as originally logged.

Combine events based on scene and automatically Select this option to combine all the events for a create subclips. scene into a single master clip, and then link the master clip to subclips that represent the original events for that scene. To use this option, you must have scene numbers logged in a scene column in the bin.

Combine events based on camera roll and Select this option to combine all the events from a automatically create subclips. camera roll into a single master clip, and then link the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged in a camera roll column in the bin for a film project.

Merge events with known sources and Select this option to create subclips for events that automatically create subclips. are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene, and have subsequently logged all the events related to those clips for import. n You must select the clips you want to merge before selecting this option.

Merge events with known master clips. Select this option to merge information in the shot log onto selected master clips based on the matching tape name. Use this option if you have already logged (or digitized) master clips in a bin for each take. n You must select the clips you want to merge before selecting this option.

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Importing Files

You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a floppy disk, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types.

Consider copying all graphics files to a single folder before you import the files. Using this folder helps you manage graphics from multiple sources and streamlines the reimporting process because all graphics will point to the same original path.

For information on To import files: using the drag-and- drop method, see 1. If you created one or more Import settings, select the Import setting “Using the Drag-and- you want to use from the Settings scroll list (see “Creating and Using Drop Method to Import Import Settings” on page 290). Files” on page 306. 2. Open the bin in which you want to store the imported files. 3. Select File > Import. The Select Files to Import dialog box opens.

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Windows Look In pop-up menu Views button

Source file list

File to import

Files of Type pop-up menu Options button

Single/Dual Drives button Video Resolution pop-up menu Video and Audio Drive pop-up menus

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Macintosh

Show pop-up menu

From pop-up menu

Source file list

Options button

Resolution pop-up menu

Video and Audio Drive Single/Dual Drives button pop-up menus

4. Click the Files of Type pop-up menu (Windows) or the Show pop-up menu (Macintosh), and select an import file type to display only files of the selected file type in the source file list: t Select Shot Log to import Avid Log Exchange (.ALE) files containing clip information to a bin. For more information about Avid log specifications, see Appendix C. t Select either Graphic or Audio to import one of more than 30 supported graphics and audio file types. For more information on the various file types and their import specifications, see Appendix A. t Select OMFI to import files that have been saved in the OMFI file format, such as sequences transferred from an effects or digital audio workstation.

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t Select CamCutter to import clips recorded with Editcam™ or Editcam-station products. See “Importing Editcam Files” on page 314. t Select AAF to import files that have been saved in the AAF file format. t (Windows only) Select MetaSync™ Files to import XML files that have been created by MetaSync Manager. These files must use the .aeo file name extension. For more information, see the Avid MetaSync Setup and User’s Guide. n By default, the system displays only file types that belong to the selected category in the file browser section of the dialog box. Click the Files of Type pop-up menu (Windows) and select All Files, or select the Any Documents option (Macintosh) to display all files in a selected folder, regardless of file type. Use this option if you want to batch import from multiple file types.

To import a series of sequentially numbered files, select the first file in the sequence. To automatically select the entire sequence of files, you must select the Autodetect Sequential Files option in the Import Settings dialog box. n For sequentially numbered files (for example, myfile_001.jpg, myfile_002.jpg, and so on.), the system combines all of the files into one clip.

5. (Option) Click the Options button to adjust the Import settings. The Import Settings dialog box opens. For a complete description of all options in the Import Settings dialog box, see “Import Settings Options” on page 293. a. Select the options you want and click OK to save the settings. b. Close the Import Settings dialog box and return to the Select Files to Import dialog box. 6. Use the Look In pop-up menu (Windows) or the From pop-up menu (Macintosh) to locate the folder containing the source files.

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7. Click the Video Resolution pop-up menu (Windows) or the Resolution pop-up menu (Macintosh), and select a resolution for the imported media. See “Working with Mixed-Resolution Projects” on page 290. 8. Click the Single/Dual Drives button. From the pop-up menu, select a destination drive for the imported file. 9. Select files or deselect files from the source file list by using the standard selection methods for your operating system (Windows or Macintosh). 10. Click Open. When the system finishes importing the files, the clips appear in the selected bin.

Using the Drag-and-Drop Method to Import Files

To import one or more files by using the drag-and-drop method: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Select the setting you want to use for import. Select either the default Import setting or one you have created. To view or modify the parameters, double-click the setting. For more information, see “Creating and Using Import Settings” on page 290. 3. Open the bin in which you want to store the imported files. 4. From the desktop, open the folder that contains the files you want to import. You might have to resize the application to access the desktop. 5. Click the file you want to import and drag it to the bin. To select multiple files, Ctrl+click (Windows) or Shift+click (Macintosh) the files and drag them to the bin.

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Importing Photoshop Graphics

You can import both single-layer and multilayered graphics created in Adobe Photoshop®. If you import multilayered graphics, you can preserve the original layers, and then edit them individually in your Avid application.

This section contains the following topics: • Importing Single-Layer Photoshop Graphics • Importing Multilayered Photoshop Graphics

Importing Single-Layer Photoshop Graphics

A single-layer graphic is a graphic file that was created on a single layer or a layered graphic that was flattened in Photoshop. The Avid system imports this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. • If the graphic uses a transparent background or an alpha channel, the Avid system creates a matte key. • If the graphic uses a background color, the Avid system creates a master clip.

To import a single-layer graphic, or a multilayered graphic that was flattened in Photoshop: t Follow the standard instructions for importing a graphic, as described in “Importing Files” on page 302. n Single-layer files that contain transparency gradients or feathering and a transparent background do not import correctly. Partially transparent pixels are displayed with either white or black blended into them, based on the percentage of transparency. To avoid this problem, create an additional layer in the original Photoshop file that contains at least one pixel of information, such as a spot drawn with a paintbrush. Then import it as a layered file, as described in “Importing Multilayered Files” on page 312. In the message box, click Select Layers and select only the layer that contains the graphic elements; do not select the additional layer.

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Importing Multilayered Photoshop Graphics

A multilayered graphic is a graphic file that was created in Photoshop with two or more layers. This section includes the following topics: • Understanding Multilayered Graphics Import • Importing Multilayered Files n You can import multilayered graphics created in Photoshop v6.0 or later.

Understanding Multilayered Graphics Import

When you import a multilayered graphic, you can import each layer as a separate object (a matte key or master clip). You can then manipulate individual layers like any other matte key or master clip. You can also import the graphic as a flattened image, or select the layers to import.

For example, a graphic artist might create a collage of still images, with a layer of text. The goal is to edit the collage into a sequence, building it up one image at a time, and then add the text. The following illustration shows the graphics and layers in Photoshop.

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The Avid system imports each layer as an individual matte key with alpha channel. In this example, the graphic uses a background image, so the system creates the background image as a master clip. (If the graphic used a transparent background, the background layer would be imported as a matte key.)

The following illustration shows the layers as they appear in a bin.

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During the import, the Avid system creates a sequence with each layer on a separate video track; this makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file, as shown in the following illustration.

You can then edit the tracks to build up to the full collage.

Note the following:

• Graphics must be RGB 8 or 16 bits, or grayscale. • Layer order and layer names are preserved during import. • Hidden layers are imported as matte keys. • Opacity is converted to Foreground level in the Matte Key effect. • Text and shape layers are rasterized (converted from vector-based to bitmap) during import.

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Not all layer options and types are supported for import (see Table 24 and Table 25) . For example, a title with a Drop Shadow and an Outer Glow effect would not keep these effects when imported. To preserve the effects in these layers, merge them in Photoshop (as described in the Photoshop documentation) and then import the file.

You can also preserve layer effects and the original structure of the file by importing the file in two stages: 1. For the first import, click Select Layers and select all layers except the layers that contain layer effects. 2. For the second import, open Photoshop, hide the layers you’ve already imported, and show the layers that contain layer effects. During the import, click Flattened Image. The resulting image contains only the layers that contain layer effects.

Table 24 Support for Photoshop Layer Options

Layer Option Supported Notes

Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the layer into another layer that does not use a special blending mode. Only normal mode is supported.

Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You can adjust opacity levels with the Foreground Level control in the Effect Editor.

Layer Group Partial Layer grouping is ignored. All layers, including grouped layers, are imported as individual layers. To preserve a clipping group, merge the grouped layers into the base layer.

Layer Set Partial All layers within a set are imported as individual layers.

Layer/Set Mask No Layer and set masks are ignored. To preserve a layer mask, apply it to the layer. To preserve a set mask, merge the set into an empty layer. To preserve a special layer’s mask, rasterize the layer.

Layer Style No Layer styles are ignored. To preserve a layer style, you must convert the style into layers.

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Table 25 Support for Photoshop Special Layer Types

Layer Option Supported Notes

Type Layer Yes —

Solid Layer Yes Solid layers are imported as a graphic with a full-screen opaque alpha channel.

Gradient Layer Yes Gradient transparency is preserved.

Pattern Layer Yes —

Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize.

Importing Multilayered Files

To import a multilayered Photoshop file: 1. Prepare the Photoshop graphic for import, as described in “Understanding Multilayered Graphics Import” on page 308. 2. Follow the standard instructions for importing a graphic, as described in “Importing Files” on page 302. To create the matte correctly, you need to click the Options button and select Alpha: Invert Existing. 3. After you select one or more files and click Open, a message box opens. t If you select a single file, and the number of layers does not exceed the number of tracks supported by your Avid application, the following message box opens.

t If you select a single file, and the number of layers exceeds the number of tracks supported, the following message box opens.

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t If you select multiple files, the following message box opens.

4. In the message box, do one of the following: t Click Sequence of Layers if you want to preserve all layers. If the number of layers exceeds the number of tracks supported, the Avid application creates a sequence that contains the number of tracks supported. Additional layers are imported into the bin, but not as tracks in a sequence. This selection applies to all files you selected for import. t Click Flattened Image if you want to import the graphic as a single matte key or clip. The Avid application flattens the file by combining the layers. This selection applies to all files you selected for import. n Hidden layers are not combined in the flattened image. Make sure all layers you want in the final image are visible. In addition, layers with partial transparency do not display properly in the flattened, imported image. See “Importing Single-Layer Photoshop Graphics” on page 307.

t Click Select Layers if you want to select which layers to preserve. The Select Layers dialog box opens. Select the layers you want to import and click OK. If you select more than 24 layers, the additional layers will be imported but will not be included in the sequence.

The Avid application displays messages as it creates media for each layer. At the end of the process, the objects are displayed in the bin you selected.

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n The matte keys will be edited into the sequence as downstream keys. In the Effect Editor, to access parameters such as Position, deselect the Downstream Key option.You might need to render multiple matte keys. For complete information on downstream keys and rendering, see the effects guide or Help for your Avid system.

Importing Editcam Files

You can import clips recorded with Ikegami's disk-based Editcam or Editcam-station products. The Editcam is a digital news-gathering (DNG) camera that uses Avid's CamCutter® technology.

To import Editcam files: 1. (Option) Select File > Mount All. Performing this step in all cases is good practice, but is not necessary if you performed it previously or if you inserted the FieldPak® before starting the Avid editing application. 2. Open a bin. 3. Select File > Import. A dialog box opens. 4. Click the Files of Type pop-up menu (Windows) or the Show pop-up menu (Macintosh), and select CamCutter. Select the CamCutter bin as follows: a. From the desktop, select the FieldPak by selecting the FieldPak drive letter (Windows) or FieldPak volume name (Macintosh). b. Open the bin folder on the FieldPak. c. Select the CamCutter bins or select the .spl files to be imported. n The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported, but can be.

5. Ignore the field specifying video resolution to be imported. 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation.

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The system displays a dialog box asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters (Windows) or volume names (Macintosh) as appropriate. n If the drive or volume is not listed, go back to step 1 and follow the procedure again.

9. Complete the import process.

The Avid system creates entries in the selected bin that reference the clips on the FieldPak.

For more information on importing files, see “Importing Files” on page 302.

Note the following restrictions: • The CamCutter clips are not copied onto a media drive. The Avid application’s bin references the clips physically located on the FieldPak. If you remove the FieldPak, the referenced clips will appear as Media Offline. • The FieldPak has limited performance and is used only to record and play back clips. If multiple streams of video are required to perform advanced effects, it is possible that the data cannot be supplied fast enough for proper operation. If this situation occurs, you can do one of the following: t Render the effects (see the effects guide or Help for your Avid system). t Consolidate the sequence to a valid media drive (see the editing guide or Help for your Avid system). t Import the CamCutter clips as OMFI files. This effectively copies the clips to a media drive (see “Import Settings Options” on page 293).

For additional information regarding Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the Web site www.nltek.com

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Reimporting Files

If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the imported files. For example, you might want to: • Upgrade the video resolution of the imported files to an online resolution for distribution. • Replace low-quality material with high-quality material finished with other applications, such as Avid Media Illusion™. • Create new media files when the media files are lost or accidentally deleted. c Reimporting requires your original source file. Do not delete the media files for imported files unless you have access to the source files.

The Batch Import command allows you to reimport the imported files while automatically linking the new imported material with the original master clips and sequences. When you play your sequence after reimporting the files, the new imported material plays in your sequence.

When you reimport a media file, the entire media file, including all tracks, is reimported. For example, if only the video track of an imported file that contains both video and audio was edited into the sequence, the reimport process will import both the video and audio from the source file. n OMFI files can contain only one master clip when you reimport them.

Batch Import Dialog Box

The Batch Import dialog box allows you to select a source file for each master clip that you selected in a bin. Your Avid system finds the source file automatically if the source file is located in the same folder where you last imported the file. The Batch Import dialog box opens when you select a master clip or sequence and select Clip > Batch Import.

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Selected Clips section

Video Resolution pop-up menu Import Target section Video Drive pop-up menu

Import Audio Drive Options pop-up section menu

Selected Clips Section

The Selected Clips section shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them were found and are available to be imported. Clips displayed in black were found and will be imported. Clips displayed in red were not found in their original location. Use the Set File Location button to find the source files for clips that were not found. If you select one or more clips and click the Skip This Clip button, the clips are removed from the list and are not imported.

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Import Target Section

The Import Target section allows you to select a resolution and destination drives. • Video Resolution pop-up menu: Allows you to select a video resolution. • Video Drive and Audio Drive pop-up menus: Allow you to select a destination drive for the media files. To select the same drive for both audio and video, click the Single/Dual Drives button.

Import Options Section

The Import Options section contains global settings that affect all the files you are importing. • Use source compression for OMFI: When selected, the resolution for OMFI files compressed with native resolution types (4:1s, 3:1, 1:1) is used. This allows for fast import of these files. When deselected, the resolution in the Video Resolution pop-up menu is used as the resolution for import. This option always overrides the OMFI Resolution setting in the Import Settings dialog box. • Override clip settings with current settings: Allows you to change the Import settings for all imported files. By default, each file imports using the Import settings from the last time it was imported. n If you change the Import settings by using the Import Options section, the new settings apply to all the files you are importing.

Starting the Reimport Process

To reimport imported files: 1. Mount any removable media drives that held the original graphics. 2. Open the bin, and select the imported master clips and sequences you want to reimport. 3. Select Clip > Batch Import. A message box opens.

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4. Click one of the following: t Offline only: Reimports only the selected imported master clips that are missing their media files. t All clips: Reimports all the selected imported master clips. For example, click this button if you need to change the video resolution of the imported master clips. The message box closes and the Batch Import dialog box opens. 5. Click the Skip This Clip button to remove a clip from the list. It will not be imported. 6. Locate the sources for files that weren’t found by doing the following: a. Select a clip or clips displayed in red in the Selected Clips section. b. Click the Set File Location button. The Locate File dialog box opens. c. Navigate to the location of the source file. If you select more than one clip displayed in red, the system attempts to find the rest of the clips in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder. When the clips are found, they are displayed in black. 7. Click the Video Resolution pop-up menu, and select a video resolution for all the reimported files. 8. Click the Video Drive and Audio Drive pop-up menus, and select a destination drive or drives for all the media files. You can separate video and audio onto different drives.

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9. (Option) By default, the file is imported using the Import settings from the last time it was imported. You can change the Import settings for all clips being imported by doing the following in the Import Options section: a. Select the “Override clip settings with current settings” option. b. Click the Current Settings button to open the Import Settings dialog box. c. Select the appropriate options. d. Click OK to close the Import Settings dialog box. 10. Click Import. The file is imported.

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The Avid system provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. In addition, you can generate an edit decision list (EDL) for use in an online suite and a cut list for creating film negatives. You can also use VTR emulation for direct playback or recording of sequences by using an edit controller in an analog editing suite. These options are described in the following sections: • Preparing for Output • Using the Digital Cut Tool • Using EDL Manager • Using the Matchback Option • Using FilmScribe • Using VTR Emulation

Preparing for Output

Preparing for video output involves the following procedures: • Render all non-real-time effects in the sequence, as described in the effects guide or Help for your Avid system. • Establish a sync source for output, as described in “Establishing Sync for Output” on page 322. • Calibrate and adjust video output levels, as described in “Calibrating for Video Output” on page 323. Chapter 8 Generating Output

• Calibrate and adjust audio output levels, as described in “Preparing for Audio Output” on page 332. • Decide whether you want to generate stereo or mono audio. • Mix down multiple audio tracks, if necessary, as described in the effects guide or Help for your Avid system. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 337. • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 338. • (Option) Prepare for assemble editing, as described in “Enabling Assemble-Edit Recording” on page 339. • For 24p projects and 25p projects, select from among multiple output formats, as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 354.

Establishing Sync for Output

Sync for output comes from the reference input (REF) when black burst or house sync is connected to the Meridien I/O box. If there is no reference signal connected to the reference input, output sync is generated from internal timing. c If you are working in a facility that uses house sync or a black burst generator to maintain accurate timing between various input and output devices, you should connect the reference signal to the reference input (REF) on the Meridien I/O box before performing a digital cut. For more information, see the setup guide for your Avid system.

Your Avid system supports LTC (longitudinal or linear timecode) output. The LTC OUT connector on the Meridien I/O box provides SMPTE or EBU timecode you can use as a sync source for decks with built-in synchronizers or to stripe a destination tape. You can also use LTC to record non-drop-frame timecode for downstream encoding. See “Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding” on page 359.

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If you connect a reference input while the Avid application is running, you can reestablish sync by doing one of the following: t Quit and then restart the Avid application. t Open the Digital Cut tool. t Enter and then exit Capture mode.

Calibrating for Video Output

You can calibrate for video output by using any of the following methods: c Before you calibrate video output for an NTSC-EIAJ project (for Japan), make sure the “NTSC Has Setup” option is not selected in the General Settings dialog box, accessed from the Settings scroll list of the Project window.

• Calibrating for video output by using the factory presets: You should use the factory presets if you do not have an external Waveform monitor, or your site engineers calibrate the system as a general maintenance procedure. See “Using the Factory Preset Buttons” on page 323. • Calibrating for video output: All users can follow the steps for calibrating video output, as described in “Basic Video Output Calibration” on page 324. • Calibrating/syncing output signals in a production facility: Advanced users and house engineers should follow the steps for adjusting and conforming output signals to house standards, as described in “Advanced Video Output Calibration” on page 328.

Using the Factory Preset Buttons

The preset buttons in the Video Output tool show the status of each Calibration setting as follows: • When the Video Output tool opens the first time you run the application, all preset buttons are lit (green), with the factory presets loaded for each slider.

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• When you click a slider of a lit preset button, the button dims (appears gray), and the slider returns to the most recent manual level setting. • When you click an unlit preset button, it becomes lit (green), and the slider moves to the factory preset level for that parameter.

As you adjust levels in the tool, you can switch the preset buttons between the levels you set manually and the factory preset levels.

Basic Video Output Calibration

You can perform basic output calibration when working with a standalone editing workstation or in a production environment that does not require advanced calibration of horizontal phase or use of test patterns according to specific house standards. n Calibrating video output requires external Waveform and Vectorscope monitors. If you do not have external Waveform or Vectorscope monitors, keep the Video Output tool preset values.

To calibrate for video output: 1. Select Tools > Video Output Tool. The Video Output tool opens.

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n Up to three output signals are active at once: Composite, Serial Digital, and either Component or S-Video. You can record your output to any of these devices, or all at once if you record manually. For more information, see the setup guide for your Avid system.

2. Select the output format and display the appropriate controls: - For global controls (H Phase), click the Global Controls button. - For composite output, click the Out 1: Composite button. - For component or S-Video output, click the Out 2: Component/S-Video button. - For serial digital output, click the Out 3: Serial Digital button. n For systems equipped with the serial digital I/O board (for recording to a D1 or digital Betacam VTR) or the Meridien digital video board set (for recording to DV devices), the Video Output tool does not display basic calibration controls for Serial Digital or DV. All basic levels remain in digital form and cannot be adjusted from within the Avid application. For H-phase adjustment of a Serial Digital output signal, see “Adjusting Phase Controls” on page 330. n The optional MPEG SDTI-CP board does not appear as an output signal in the Video Output tool.

The Video Output tool displays the appropriate parameters for the selected video format, as described in Table 26.

Table 26 Video Format Output Parameters

Parameter Video Formats Description

Black All formats, A measurement of luminance in the video signal except Serial Digital that is referenced to the blackest point in the visible picture. Also known as setup or pedestal. Color bars are used to set the black level.

Video Composite and S-Video A measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Color bars are used to set the white level.

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Table 26 Video Format Output Parameters (Continued)

Parameter Video Formats Description

Hue Composite and S-Video An attribution of color perception based on varying (not available for PAL) proportions of red, green, and blue in the video signal. Also known as color phase.

Sat Composite and S-Video Saturation: a measurement of chrominance or the intensity of color in the video signal.

Y Gain Component A measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Color bars are used to set the white level.

RY Gain Component The red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: R–Y = –0.587G – 0.114B + 0.701R

BY Gain Component The blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: B–Y= (–0.587G + 0.886B – 0.299R) * gain value

SC Phase Composite and S-Video Subcarrier phase: The color-burst portion of a composite or S-Video signal used to synchronize the timing of two or more video signals.

H Phase All formats See “Adjusting Phase Controls” on page 330.

n Sync for output comes from the reference input (REF) on the Meridien I/O box. If there is no reference signal connected to the reference input, output sync is generated from internal timing. For more information, see “Establishing Sync for Output” on page 322.

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3. Display color bars for calibrating: - If you edited digital bars and tone into the sequence, go to the head of the bars and tone and click Play. - You can use internal bars from the Video Output tool by clicking the Test Patterns pop-up menu, and selecting either SMPTE_Bars.pct (SMPTE standard bars) or ColorBars.pct (full-field color bars). Bars are displayed on the Client monitor, and the signal appears on the external Waveform and Vectorscope monitors. n The internal Waveform and Vectorscope monitors do not display output signals from the system.

4. Adjust luminance values based on Table 27.

Table 27 Luminance Settings for Video Output

Parameter/ Full-Field Bars at Full-Field Bars at Video Standarda SMPTE Bars 75% Signal Level 100% Level

Black level (setup) Adjust Black slider to Adjust Black slider to Adjust Black slider to place black level at: place black level at: place black level at:

Video Standard:

NTSC 7.5 IRE 7.5 IRE 7.5 IRE NTSC-EIAJ 0.0 IRE 0.0 IRE 0.0 IRE PAL NAb 0.3 V 0.3 V

White level (gain) Adjust Video/Y Gain Adjust Video/Y Gain Adjust Video/Y Gain slider to place white slider to place white slider to place white level at: level at: level at:

Video Standard:

NTSC 100 IRE 100 IRE 100 IRE NTSC-EIAJ 100 IRE 100 IRE 100 IRE PAL NAb 1.0 V 1.0 V

a. Includes NTSC-EIAJ used in Japan. b. NA = Not applicable.

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5. Adjust the Hue and Sat slider (composite or S-Video output), or the RY Gain and BY Gain sliders (component output) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. n If you do not have separate Vectorscope and Waveform monitors, you can use the Client monitor’s “blue only” feature, if available, to adjust SC phase output. For more information on this feature, see your monitor’s documentation.

6. Save this setting by clicking the Settings pop-up menu, selecting Save As, typing a name, and clicking OK. n Output settings are Site settings, available to all users and all projects on the system.

Advanced Video Output Calibration

Advanced users and site engineers can use the following procedures to fine-tune output signals by using various test patterns and phase control. You can also adjust output by using the passthrough signal from an input device.

Using Test Patterns

The expanded Video Output tool provides a pop-up menu of test patterns you can use to calibrate the system output.

To display a test pattern: t In the Video Output tool, click the Test Patterns pop-up menu, and select a pattern.

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To add test patterns to the list: 1. Find or create a PICT file for a selected pattern. n You can create your own test pattern files by digitizing the pattern from videotape and by exporting it as a PICT file. You can improve the accuracy of the image by correcting colors and removing errors in a third-party application such as Adobe Photoshop.

2. Place the file in either the NTSC or PAL folder, which is located in the following folder: -(Windows) drive:\Program Files\Avid\Avid Symphony\ SupportingFiles\Test_Patterns - (Macintosh) Macintosh HD/Applications/Avid Symphony/ SupportingFiles/Test_Patterns For best results, size your new test pattern as follows: - NTSC test patterns should be 248 lines high with the top 5 lines set to RGB values 16, 16, 16 (ITU-R black, formerly CCIR black). - PAL test patterns should be 296 lines high with the top 8 lines set to 16, 16, 16. - Both NTSC and PAL test patterns should be 720 pixels wide.

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The new test pattern appears in the Test Patterns pop-up menu in the Video Output tool.

Adjusting Phase Controls

The Video Output tool provides controls for adjusting horizontal phase globally for output. Click the Global Controls button to display Horizontal phase, or H phase, which is the horizontal blanking interval used to synchronize the timing of two or more video signals. The Video Output tool also provides Hue (or SC-H phase) and SC phase (subcarrier phase) controls for timing two or more signals based on the color-burst portion of a composite or S-Video signal. Click the Composite button to display these controls.

In most situations, you do not need to calibrate the horizontal phase or subcarrier phase of the output signal. If you are working in a production house in which timing is necessary between various devices — such as switchers, decks, and monitors — use these controls to adjust phase globally for all outputs from the Avid system.

Calibrating the System with Passthrough Signals

If you work in a production environment in which house standards are used to synchronize a number of devices including the source decks connected to your Avid system, you can calibrate the system one time to conform to existing standards with the least amount of alteration of the signal. This method involves the use of a passthrough signal (a signal that gets sent directly from an input source through to the output channels).

This advanced form of calibration is an alternative to Video Input tool Calibration settings for each source tape, and involves calibrating tapes at the source device, using external time-base correction. You will need both a signal generator and external Waveform and Vectorscope monitors to calibrate the system with passthrough.

To calibrate using a passthrough signal: 1. Connect a source signal with a test pattern from a signal generator. 2. Select Tools > Video Input Tool. The Video Input tool opens.

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3. Click the Input pop-up menu, and select a video format. The selected input provides the passthrough signal. 4. Calibrate the input if necessary by using the Video Input tool, as described in “Calibrating Video Input” on page 202. 5. Save the input calibration settings as the system Default setting, as described in “Saving Video Input Settings” on page 209. 6. Select Tools > Video Output Tool. The Video Output tool opens. 7. Select Tools > Digitize Tool. The Digitize tool opens. With the Digitize tool active, the input signal passes through to the output channels. 8. Select an output format in the Video Output tool. n You can precisely match only one output format at a time in phase to the reference signal. In most cases, you should select either Composite or Serial Digital.

For more information 9. Calibrate any of the available controls in the Video Output tool while on using the Video checking the external Waveform and Vectorscope monitors. For Output tool, see “Basic example, composite output provides Black, Gain, and Saturation Video Output Calibration” on controls. page 324. 10. In the Video Output tool, click the Test Patterns pop-up menu, and select a test pattern. The test pattern appears and is sent to the output channels (the input signal is no longer passed through). Additional controls are enabled in the Video Output tool for phase control. 11. Make any necessary adjustments to H phase, SC phase, and Hue by using the sliders in the Video Output tool while checking the external Waveform and Vectorscope monitors. n Whenever the Digitize tool is active, hue, horizontal phase (H phase), and subcarrier phase (SC phase) are set to values determined by the input circuitry and are not available to control the outputs. Therefore, these controls appear dimmed during passthrough.

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12. Save this setting with an appropriate name by clicking the Settings pop-up menu in the Video Output tool, selecting Save As, typing a name, and clicking OK.

The Video Output setting, a Site setting, will apply to all users and all projects on the system. The Video Input setting you saved and named Default will be recalled each time a new tape is loaded for digitizing in the current project only.

Preparing for Audio Output

The Audio tool allows you to generate and customize calibration tone, and to adjust global output levels. For information on additional audio mix procedures such as adjusting volume and pan or mixing down selected tracks, see the editing guide or Help for your Avid system.

The Avid system supports direct output of up to eight channels of audio, depending upon your system’s configuration.

For eight-channel audio output, you can reassign output channels from tracks in a sequence or clip to any of the eight optional output channels. For more information, see “Adjusting Output on Eight-Channel Audio Systems” on page 334.

You can also calibrate the output channels of the eight-channel audio I/O device. See “Calibrating Output Channels for the Audio I/O Device” on page 198. c Eight-channel audio output requires the appropriate hardware configuration. For more information, see the setup guide for your Avid system.

Setting the Calibration Tone

The Audio tool provides an internal calibration tone you can customize and play as a reference signal on a digital cut. You can use the recorded reference signal for calibrating the digital cut audio at another site.

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The default tone playback is –20 dB (digital scale) with a 1000-Hz signal. In some cases, you might need to customize the signal. For example, a common reference signal convention for audio work involves recording 30-second segments of 1-kHz, 10-kHz, and 100-Hz tone back-to-back. For information on creating tone media, see “Creating Tone Media” on page 192.

To change the parameters for the calibration tone: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the PH (Peak Hold) pop-up menu, and select Set Calibration Tone. The Set Calibration Tone dialog box opens.

3. Type new values for the tone level and frequency text boxes, and click OK.

To play back the tone: t Click the PH (Peak Hold) pop-up menu, and select Play Calibration Tone.

To check the adjusted tone level in the meters: t Switch the In/Out toggle buttons to O for Output.

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Calibrating Global Output Levels

You can use the meters and a master attenuator (Output Control slider) in the Audio tool to make global-level adjustments for output from the Avid system. These adjustments affect levels for all output tracks to both the speakers and to record devices. c You should leave this setting at the factory preset 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 undermodulated source material.

Adjusting Output on Eight-Channel Audio Systems

To adjust global output on a system equipped with an eight-channel audio I/O device: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the Output Control button (the Speaker icon) to display the master attenuator (slider).

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Output Control button Setup Options panel In/Out toggle buttons Peak Hold pop-up menu Reset Peak Setup Control Bypass Effects Stereo Mix Tracks Output Options button button buttons pop-up menu pop-up menu

Output Control slider Track number Channel (master attenuator) displays assignments

3. Click the Setup Control button to open the Setup Options panel. 4. Click the Output Options pop-up menu, and select a type of output. - Select Stereo Mix to mix the currently monitored audio tracks into a stereo pair. - Select Mono to pan all the currently monitored tracks to center. - Select Direct Out to map tracks directly to up to eight channels of output (depending on your hardware configuration). 5. (Option) Depending on your type of output, you can make additional adjustments: - By default, Stereo Mix directs the mixed tracks to output channels 1 and 2.

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- By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. To remap a track to any channel, click the channel assignment display and select another channel. - You can select between All and Timeline from the menu above the track and channel selectors buttons as follows: All allows you to select between all available tracks. In this case the Group menu (Grp) appears to allow you to assign groups of output channels (channels 1–8, 9–16, and 17–24). Timeline allows you to assign output channels to the tracks that are monitored in the Timeline. - You can select Bypass Clip Gain, Bypass RT EQ, or Bypass Auto Gain to disable the customized volume, real-time EQ, or automation gain effects you applied with the audio tools. n The Bypass buttons are available in the individual Audio Effect tools. When you bypass effects in the Audio tool, the corresponding button changes in the individual Audio Effect tool. n The track-to-channel mappings are saved as part of the Audio Project settings. You can also save these settings as Site settings. See “Saving the Audio Project Settings as Site Settings” on page 184.

6. Click the In/Out toggle buttons above the meters to display O for Output. 7. Play back one of the following sources of reference audio: t Click the PH (Peak Hold) pop-up menu, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 8. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, you must use the Audio Mix tool or the Automation Gain tool.

9. Close the Audio tool.

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Preparing Record Tapes

There are two basic methods of recording to tape: frame-accurate recording by using the Digital Cut tool, and manual recording by using controls on the record deck. Each of these methods requires different treatment of the record tapes.

Frame-Accurate Recording

Frame-accurate recording involves using the Digital Cut tool to record your sequence onto either a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape.

Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance by using one of the following options: • If you intend to perform assemble-edit recording, you must record black with timecode onto the tape including the necessary preroll prior to the IN point plus at least 10 seconds (partially striped tape). • If you intend to perform insert-edit recording, you must stripe the record tapes (record black and timecode for the entire duration of the tape) in advance (prestriped tape).

For complete instructions on recording a frame-accurate digital cut, see “Using the Digital Cut Tool” on page 341. n The Avid system supports LTC output for recording onto tapes. For more information, see “Establishing Sync for Output” on page 322. n DV cameras or decks controlled through a 1394 connection and the OHCI protocol do not consistently support the commands for frame-accurate recording. As a result, if you are preparing to record to one of these devices, the insert edit and assemble edit menu choices do not appear in the Digital Cut tool. You can use the Digital Cut tool in either Local mode or Remote mode, but all tracks are enabled for recording and cannot be modified.

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Manual Recording

You can use the Digital Manual recording (sometimes referred to as crash recording) involves Cut tool with local bypassing deck control in the Avid application and using manual operation control of the record of the record deck. Because the timing of playback is based on manual deck. For more information, see procedures, the recording is not frame accurate. However, you do not need “Recording a Digital to record timecode onto the tape in advance. You can also record onto non- Cut to Tape (Local Avid-controlled decks, such as consumer grade VHS or Hi8. Mode)” on page 351. To record manually: 1. Set the serial control switch on the record deck to Local. 2. Use the controls on the deck to start the videotape recording. 3. Play the sequence in your Avid system. n You cannot manually record to a DV deck or camera. Use the Digital Cut tool with local control. For more information, see “Recording a Digital Cut to Tape (Local Mode)” on page 351.

Recording Bars and Tone

You can also record a portion of bars and tone onto the tape before recording a digital cut. There are two methods of recording bars and tone to tape: • If your recording must be frame accurate, consider adding a segment of digital bars and tone to the front of your sequence, or prepare it as a separate sequence you can record by using the Digital Cut tool. For more information on creating sequences, see the the editing guide or Help for your Avid system. • If your recording does not need to be frame accurate, you can manually record direct output of bars and tone from your Avid system.

To manually record bars and tone: 1. Select Tools > Video Output Tool and Tools > Audio Tool. 2. In the Video Output tool, click the Test Patterns pop-up menu, and select a color bars pattern (see “Using Test Patterns” on page 328).

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3. In the Audio tool, click the PH (Peak Hold) pop-up menu, and select Play Calibration Tone (see “Setting the Calibration Tone” on page 332). 4. Set the record deck to Local for manual recording. 5. Record the bars and tone as either an insert or assemble edit according to the operation of your record deck and selected method. Your deck must be capable of frame-accurate editing to perform this step.

For information on creating your own tone media, see “Creating Tone Media” on page 192.

Enabling Assemble-Edit Recording

Insert editing is the default setting for the Digital Cut tool. You can also use Assemble-Edit settings in the Avid application, along with the assemble- editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance. c To avoid accidentally breaking timecode on prestriped tapes during digital cut recording, enable assemble editing only when in use, and disable it during normal insert edit recording. n DV cameras or decks controlled through a 1394 connection and the OHCI protocol do not consistently support the commands for frame-accurate recording. As a result, if you are preparing to record to one of these devices, the insert edit and assemble edit menu choices do not appear in the Digital Cut tool. You can use the Digital Cut tool in either Local mode or Remote mode, but all tracks are enabled for recording and cannot be modified.

To enable assemble editing: 1. Double-click Deck Preferences in the Settings scroll list of the Project window. The Deck Preferences dialog box opens.

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Assemble-editing option

2. Select the “Allow assemble edit for digital cut” option. 3. Click OK.

Once assemble editing is enabled, you select additional options in the Digital Cut tool when you are ready to record, as described in “Recording a Digital Cut to Tape (Remote Mode)” on page 347.

These switches are In addition, make sure the record deck has the following settings: often located below the deck’s playback control • The free run/rec (record) run switch should be set to record run. buttons. For more information, see the • The Ext (external)/Int (internal) sync switch should be set to internal. documentation • The switch for internal timecode should be set to Regen (regenerate) or provided with your Slave Lock, not Preset. record device. • After you record 15 to 30 seconds of timecode onto the record tape for jam syncing, return the Local/Remote switch to Remote for deck control from within the Avid application.

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Using the Digital Cut Tool

The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode allows you to control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 347. • Local mode allows you to manually control the record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. “Recording a Digital Cut to Tape (Local Mode)” on page 351. You can use either Remote mode or Local mode to preview the output of a digital cut before recording it to tape. See “Previewing a Digital Cut” on page 344. You can manually record a digital cut including countdown, but the recording will not be frame accurate. See “Preparing Record Tapes” on page 337. n Sync for output comes from the reference input (REF) on the Meridien I/O box. If there is no reference signal connected to the reference input, output sync is generated from internal timing. For more information, see “Establishing Sync for Output” on page 322.

The Digital Cut tool provides several options for you to manage the recording of your sequence. For example, you can: • Record by using either assemble or insert edits. • Record a selected portion of the sequence or selected tracks. • Record an entire sequence. • Record according to different timecode parameters. • Select the sequence video and audio tracks to record (Sequence Track buttons).

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• Select the tracks to record to on the tape (Enable Track button – Remote mode only). • Add black at the end of a digital cut.

If your Avid system includes support for 24p and 25p projects, the Digital Cut tool displays a section where you can select your output format and title format. For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 354. If your system includes support for 24p and 25p projects, and you are working on a video project, the output formats appear dimmed.

If your Avid system includes the DV/MPEG option (Windows only), the Digital Cut tool lets you select the device to which you want to output: the Meridien I/O box or a DV device connected through the 1394 connection.

If your Avid system includes the optional SDTI-CP board (Windows only), the Digital Cut tool lets you select the device to which you want to output: the Meridien I/O box or an MPEG IMX deck connected through the SDTI-CP board.

The Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool (Remote mode only). • Cueing the tape and adding an IN point. This capability applies when you click the pop-up menu in the deck control area, and select Mark In Time (Remote mode only).

The Mark Out button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark Out and Duration text fields are read-only. You cannot alter them. n Depending on the system configuration, you might need to use the deck controls in the Digitize tool to review a digital cut.

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Sequence Track buttons Play Digital Cut button Preview Digital Cut button Enable Track buttons Halt Digital Cut button

Deck control area Output formats area (systems with 24p and 25p support only)

Deck controls Deck Selection pop-up menu Timecode text boxes

Selecting a Deck in the Digital Cut Tool

The Deck Selection pop-up menu in the Digital Cut tool contains a list of all decks that were connected to the system, turned on, and initialized when you opened the Digital Cut tool.

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The Deck Selection pop-up menu also lists three commands: • Adjust Deck opens the Deck Settings dialog box. Changes you make apply to the selected deck. For information on Deck settings, see “Deck Settings Options” on page 158. • Auto-configure allows you to automatically configure the selected deck with the default deck settings for that deck. • Check Decks helps to reestablish deck control if the power to your decks was off or the decks were disconnected when you opened the Digital Cut tool.

If the words “No Deck” appear in the pop-up menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 153.

If a deck name appears in italics on the pop-up menu, the deck has lost power or has been disconnected. Click the pop-up menu, and select Check Decks to reestablish deck control.

To activate an available deck for a digital cut: t Click the Deck Selection pop-up menu, and select the deck.

Previewing a Digital Cut

You can preview your digital cut in Remote mode or Local mode before actually making the cut. n You can manually record a digital cut including countdown, but the recording will not be frame accurate. For more information, see “Preparing Record Tapes” on page 337.

To preview a digital cut: 1. Select Output > Digital Cut. The Digital Cut tool opens. 2. Select Remote or Local in the Deck Control options area. 3. Select the options you want for the digital cut. See “Using the Digital Cut Tool” on page 341.

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4. Select the audio tracks and topmost video track you want represented in the digital cut preview by using the Sequence Track buttons. The track display in the Digital Cut tool varies according to the tracks existing in the sequence. 5. Click the yellow Preview Digital Cut button.

The Digital Cut tool goes through the motions of an insert edit and shows you how the tape will appear before, during, and after the cut, but does not actually change the master tape. You can then modify your digital cut, if you want, before it is committed to the master tape.

Creating a Custom Countdown Display

The Custom Screen option allows you to change the font (type style), size, and color of the countdown numbers. You can also import your own graphic file as a background (PICT format only).

Any file format that can be translated by QuickTime can be imported as a background (Macintosh only).

To create a custom countdown: 1. Select Output > Digital Cut. The Digital Cut tool opens. 2. Select Local in the Deck Control options area. 3. Select both the With Countdown and the Custom Screen options. 4. Click the Choose button. The Custom Screen dialog box opens.

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5. (Option) Click a pop-up menu, and select another font, font size, or font color. n The menus display all currently available fonts, as determined by the contents of the Fonts folder. n (Windows only) The Fonts folder is in the Windows Control Panel. For information on adding fonts to your system, see the Microsoft Windows Help.

6. Click the Import Picture button to import an available graphic file to use as a custom background. The Select File dialog box opens. 7. Locate a graphic file to serve as the new background image. 8. Select the graphic file and click Open. 9. Click OK. The custom countdown screen is ready. n The best resolution for imported PICT files is 720 x 486 for NTSC and 720 x 576 for PAL. The resolution cannot be changed after importing.

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Recording a Digital Cut to Tape (Remote Mode)

Recording in Remote mode allows you to control your record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape.

To record a digital cut to tape: 1. Load a sequence into the Record monitor. (You cannot access digital cut options without a sequence loaded.) 2. Select Output > Digital Cut. The Digital Cut tool opens.

Sequence Track buttons Play Digital Cut button Preview Digital Cut button Enable Track buttons Halt Digital Cut button

Deck control area (remote)

Output formats area (systems with 24p and 25p support only)

Deck controls Deck Selection pop-up menu Timecode text boxes

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3. (DV/MPEG option only) Click the Target Device pop-up menu, and select one of the following: t Select Meridien to output a DV sequence to a composite, component, or serial digital device connected to the Meridien I/O box. t Select OHCI to output a DV sequence to a DV camera or deck connected through the 1394 connection. 4. (Optional MPEG SDTI-CP board, Windows only) Click the Target Device pop-up menu, and select one of the following: t Select Meridien to output an MPEG sequence to a composite, component, or serial digital device connected to the Meridien I/O box. t Select MPEG SDTI-CP to output an MPEG sequence to a deck connected through the MPEG SDTI-CP board. You can output up to eight channels of audio through the MPEG SDTI-CP board. n For information about decks that support MPEG SDTI-CP, see “Supported VTRs for MPEG SDTI-CP” on page 561. n MPEG SDTI-CP does not appear as an output signal in the Video Output tool.

5. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and to play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 6. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 7. Click the Deck Selection pop-up menu, and select a deck. See “Selecting a Deck in the Digital Cut Tool” on page 343.

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8. Select Remote in the Deck Control options area. 9. Click the pop-up menu, and select either Insert Edit or Assemble Edit. This menu only appears if you enabled assemble editing in the Deck Preferences dialog box. For more information about this option, see “Enabling Assemble-Edit Recording” on page 339. n DV cameras or decks controlled through a 1394 connection and the OHCI protocol do not consistently support the commands for frame-accurate recording. As a result, if you are preparing to record to one of these devices, the insert edit and assemble edit menu choices do not appear in the Digital Cut tool. You can use the Digital Cut tool in either Local mode or Remote mode, but all tracks are enabled for recording and cannot be modified.

10. Click the pop-up menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. t Select Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape. You can change the t Select Record Deck Time to ignore the timecode of the sequence start timecode to match and to start the recording wherever the record deck is currently the record tape by using cued. the Get Clip Info command. For more t Select Mark In Time to ignore the sequence timecode. information, see the editing guide or Help Establish a specific IN point on the record tape by cueing and for your Avid system. marking with the deck controls.

Timecode text box

11. (Option) Select the Custom Preroll option, click the pop-up menu, and select the number of seconds to indicate how many seconds the tape rolls before the digital cut starts. This option overrides the Preroll setting in the Deck Settings dialog box.

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12. Select the audio and video tracks you want represented in the digital cut by using the Sequence Track buttons. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 13. Select the video and audio tracks to record to on the tape by using the Enable Track buttons. 14. For 23.976p, 24p, and 25p projects, select an output format and title format, as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 354 and “Selecting DSK Title Formats” on page 362. c Make sure you connect the correct deck and black burst generator for the output format you selected (NTSC or PAL).

15. Click the Play Digital Cut button or the Preview Digital Cut button. The system cues the record deck, then plays and records the sequence. The playback appears in the Record monitor and in the Client monitor. n Depending on the system configuration, you might need to use the deck controls in the Digitize tool to review a digital cut.

16. To stop the recording at any time, press the space bar or click the Halt Digital Cut button.

n After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up. n If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect the “Poll deck during digital cut” option in the Deck Preferences dialog box, which you access from the Settings scroll list of the Project window. Then record the digital cut again. With the option deselected, the timecode display in the deck controller will not update for the duration of the digital cut.

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Recording a Digital Cut to Tape (Local Mode)

You can record to tape Recording in Local mode allows you to manually control your record deck without using the by using the controls on the deck. This mode is useful when you need to Digital Cut tool. For use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. more information, see “Manual Recording” on page 338. To record a digital cut to tape by using the deck controls on the deck: 1. Load a sequence into the Record monitor. (You cannot access digital cut options without a sequence loaded.) 2. Select Output > Digital Cut. The Digital Cut tool opens.

Sequence Track buttons Play Digital Cut button Preview Digital Cut button Halt Digital Cut button

Deck control area (local)

Output formats area (systems with 24p and 25p support only)

Deck controls (disabled)

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5. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 6. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 7. Click the Deck Selection pop-up menu, and select a deck. See “Selecting a Deck in the Digital Cut Tool” on page 343.

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8. Select Local in the Deck Control options area. 9. (Option) Select the With Countdown option to record the digital cut by using a countdown. The default countdown is a computer-generated countdown containing the Avid logo. 10. (Option) Select Custom Screen for counting down by using a customized countdown screen you create, as described in “Creating a Custom Countdown Display” on page 345. 11. Click the Sequence Track buttons to select the audio and video tracks you want represented in the digital cut. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 12. For 23.976p, 24p, and 25p projects, select an output format and title format, as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 354 and “Selecting DSK Title Formats” on page 362. c Make sure you connect the correct deck and black burst generator for the output format you selected (NTSC or PAL).

13. Press the Record button on the deck. 14. Click the Play Digital Cut button. The deck plays and records the digital cut. The playback appears in the Record monitor and in the Client monitor. n Depending on the system configuration, you might need to use the deck controls in the Digitize tool to review a digital cut.

15. To stop the recording at any time, press the space bar or click the Halt Digital Cut button. n If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect the “Poll deck during digital cut” option in the Deck Preferences dialog box, which you access from the Settings scroll list of the Project window. Then record the digital cut again. With the option deselected, the timecode display in the deck controller will not update for the duration of the digital cut.

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Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects

When you are working in a 23.976p, 24p,or 25p project, you can output multiple formats for NTSC video, PAL video, and audio — all from the same progressive media. You click the Output Format pop-up menu in the Digital Cut tool to select the formats you want .

Depending on the format you select, you also need to: • Select the timecode to output (see “Selecting the Timecode Format for Output” on page 358). • Indicate the Destination Timecode Rate (see “Indicating the Destination Timecode Rate” on page 360).

Output Format pop-up menu

Selecting Output Formats for 24p and 25p Projects

To output a particular format: t In the Digital Cut tool, click the Output Format pop-up menu, and select a play rate.

A brief description of each output format is displayed in the Digital Cut tool. Table 28 provides more extensive descriptions.

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The play rate you select determines how the digital cut is recorded. For example, if you select 23.976, you tell the Avid system to slow down the play rate to match the play rate used during an NTSC telecine transfer. Then, when the system records the digital cut, it adds the pulldown frames and re-creates a telecine transfer to an NTSC videotape.

For more information For NTSC output, the Avid system automatically sets the pulldown if on film-to-tape necessary and turns on an indicator on the Meridien I/O box. transfers, see Chapter 2.

Table 28 24p and 25p Project Output Options

Digital Cut Tool Menu Pulldown Choice Indicator on (Playback Meridien Output Format and Speed) Target Project or System I/O Box Recording Media

23.976 NTSC TV; video screenings; On (0.99) Picture and sound to NTSC (NTSC) digital audio workstations tape; sound to video-referenced (DAWs) that support pulldown audiotape

24 (NTSC) Audio for film projection; Off (1.00) Picture and sound to NTSC DAWs (video for tape; sound to DAT or mag reference only) tape

29.97 (NTSC) Animation projects; negative On (0.99) Picture and sound to NTSC cutting with lockbox; some tape (sound for reference only) kinescope printing

24 (PAL) Audio for film projection; Off (1.00) Picture and sound to PAL tape; DAWs (video for sound to DAT or mag tape reference only)

25 (PAL) PAL TV; video screenings Off (1.00) Picture and sound to PAL tape; sound to DAT or mag tape

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The following information describes what happens when you select each of these options: • 23.976 (NTSC): Plays back the sequence at 23.976 fps (film rate). This playback rate tells the Avid system to replicate a telecine transfer with perfect 2:3 pulldown. The system adds frames and slows the playback speed to create a digital cut to 29.97 fps. Use this option for NTSC video output, such as broadcast masters. For 25p, the media is slowed down by 4.1 percent. • 24 (NTSC): Plays back the sequence at 24 fps (film rate). This playback rate tells the system to record audio at the film rate. If the system records video, it maintains sync by adding pulldown fields and dropping every 1000th frame. This video should be used for reference only. Use this setting for direct audio output to be used in sync with film projection. Also use this setting when audio media files are being used in a digital audio workstation (DAW) and you need a digital cut for picture reference. For 25p projects, video and audio are slowed down 4 percent. Before you output the digital cut, make sure you select the correct destination timecode rate. See “Indicating the Destination Timecode Rate” on page 360. • 29.97 (NTSC): Plays back the sequence at 29.97 fps. This playback rate tells the system to speed up the playback speed without adding pulldown fields. As a result, the sequence plays faster (25 percent faster for 24p, 20 percent faster for 25p). Use this option for animations and tape-to-film transfers where the pulldown needs to be removed to have an exact frame-to-frame relationship between the film and video. • 24 (PAL): Plays back the sequence at 24 fps. This playback rate tells the system to record audio at the film rate. For 25p projects, audio is slowed down 4 percent. Video, when output to tape, can be used only for reference because, to maintain sync, the system replicates a pulldown telecine transfer with one extra pulldown field occurring every 12th and 24th frame. Use this option when audio media files are being used for film projection (PAL Method 2) or in a DAW and you need a digital cut for picture reference.

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• 25 (PAL): Plays back the sequence at 25 fps. For 24p projects, this playback rate tells the system to speed up the sequence by 4.1 percent, creating a frame-to-frame relationship between film and video (PAL Method 1). For 25p projects, there is no change in playback speed. There are no pulldown frames with this Digital Cut setting. Use this option for PAL video output, such as a broadcast master.

Table 29 summarizes the change in audio rates for 24p and 25p output options.

Table 29 Audio Play Rates for 24p and 25p Projects

Output Play Rate 24p Source 25p Source

23.976 NTSC 0.1% slowdown 4.1% slowdown

24 NTSC No change 4% slowdown

29.97 NTSC 25% speedup 20% speedup

24 PAL No change 4% slowdown

25 PAL 4.1% speedup No change

Selecting Output Formats for 23.976p Projects

If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not usable. Use this output rate for animations and other special applications. 24 fps NTSC, 24 fps PAL, and 25 fps PAL all require a sample-rate conversion, so high-quality audio is not guaranteed. Table 30 displays how the output audio rate is affected by the output play rate.

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Table 30 Audio Play Rates for 23.976p Projects

Output Play Rate Source Output Audio Rate

23.976 NTSC 23.976 fps 48 kHz (no change)

24 NTSC 23.976 fps 48.048 kHz (0.1% speedup)

29.97 NTSC 23.976 fps 60 kHz (25% speedup)

24 PAL 23.976 fps 48.048 (0.1% speedup)

25 PAL 23.976 fps 50.016 (4.2% speedup)

Selecting the Timecode Format for Output

If you select one of the three NTSC output formats, you need to indicate the timecode format for output: drop-frame or non-drop-frame. n For information on connecting decks, see the setup guide for your Avid system. For information on timecode, see “Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode” on page 162.

You can designate drop-frame or non-drop-frame timecode for devices connected to one or both of the following outputs: • RS-422 (serial port on the computer) • LTC (LTC OUT on the Meridien I/O box)

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RS-422 Output and LTC Output pop-up menus

By default, the pop-up menus display the timecode format of the sequence you loaded into the Timeline.

To select the timecode format for output: t In the Digital Cut tool, select either or both of the following: - Click the RS-422 Output pop-up menu, and select Drop or Non-Drop - Click the LTC Output pop-up menu, and select Drop or Non-Drop

Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding

You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 24p or 25p project. A broadcast production company might need to output drop-frame timecode for a broadcast master, while outputting non-drop-frame timecode to track NTSC film pulldown.

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For information about Tracking the pulldown is important because some networks require the 2:3 2:3 pulldown, see pulldown phase to be inserted in the VITC (vertical interval timecode). “Transferring 24-fps Inserting the pulldown phase enables downstream encoding of various Film to NTSC Video” on page 74. compression formats (like MPEG-2) to be faster and of higher quality.

It is easy to track pulldown information within non-drop-frame timecode, because the relationship stays the same for the length of the digital cut. The Avid system can use LTC to output the non-drop-frame timecode.

To output drop-frame and non-drop-frame timecode simultaneously for downstream encoding: t In the Digital Cut tool, select both of the following: - Click the RS-422 Output pop-up menu, and select Drop. - Click the LTC Output pop-up menu, and select Non-Drop.

Indicating the Destination Timecode Rate

When you select 24 (NTSC) as your output format, the Destination Timecode Rate pop-up menu (labeled Dest. TC Rate) opens. Select a timecode rate that matches the timecode rate of the recording device, such as a DAT deck.

If you select 29.97 fps as your Dest. TC Rate, the sequence duration displayed in the Timecode Duration display of the Digital Cut tool will be slightly shorter than the duration shown in the Timeline. This shorter duration occurs because the video play rate is sped up in comparison with the audio timecode rate. If you select 30.00 fps, the sequence duration in the Digital Cut tool will match the sequence duration in the Timeline.

The value you select (29.97 or 30.00) also sets the rate for LTC output, if any, without changing the playback rate of the media being output (24 NTSC).

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Dest. TC Rate pop-up menu

Timecode Duration display

To indicate the destination timecode rate: t In the Digital Cut tool, click the Dest. TC Rate pop-up menu, and select 29.97 fps or 30.00 fps.

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Selecting DSK Title Formats

If your system supports 24p and 25p projects, the Title tool allows you to save a title in any of four different formats: 4:3 NTSC, 4:3 PAL, 16:9 NTSC, and 16:9 PAL. You can create titles in different formats in 24p, 25p, 25i, and 30i projects. If you created different title formats, the Digital Cut tool allows you to select the appropriate format for the sequence you are recording: t 4:3: Select this aspect ratio for standard NTSC or PAL broadcast masters t 16:9: Select this aspect ratio for wide-screen NTSC or PAL broadcast masters

To create a master with an aspect ratio different from the native aspect ratio (for example, to create a 4:3 master from 16:9 footage): t Use the Pan and Scan effect or a film mask. For more information about the Title tool, pan and scan, and film masks, see the effects guide or Help for your Avid system.

Performing an Insert Edit with Pulldown

If you are working in an NTSC 24p project, and you need to insert a segment into a sequence that has already been cut to tape, the Avid system automatically adjusts the insert edit to maintain the correct pulldown.

To perform an insert edit with pulldown: 1. Use IN and OUT points to mark the segment you want to insert. 2. Select Output > Digital Cut. The Digital Cut tool opens. 3. Deselect the Entire Sequence option. 4. Select Remote in the Deck Control options area. 5. Select Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence.

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6. Click the pop-up menu, and select Insert Edit. This menu only appears if you enabled assemble editing in the Deck Preferences dialog box. For more information about this option, see “Enabling Assemble-Edit Recording” on page 339. 7. Click the Deck Selection pop-up menu, and select a deck. See “Selecting a Deck in the Digital Cut Tool” on page 343. 8. Click the Sequence Track buttons to select the video tracks you want represented in the digital cut. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 9. Select the video track to record to on the tape by using the Enable Track buttons. 10. Click the Output Options area, and select 23.976 (NTSC) and either 4:3 or 16:9. 11. Click the Play Digital Cut button. The system cues the record deck, then plays and records the insert edit. The Avid system automatically adds the correct pulldown fields.

12. To stop the recording at any time, press the space bar or click the Halt Digital Cut button.

Digital Cuts and Audio

You can use one of several tape formats and methods for audio output, but the following are most common: • Record a digital cut directly to videotape by using analog output. • Record a digital cut directly to DAT or DA-88 by using digital output. • Play the sequence to an audiotape recorder by using analog output. n You cannot control some analog audio decks from the Digital Cut tool. If the deck does not have a serial control port, you need to select Local when you record the digital cut.

Your output choice in the Digital Cut tool automatically sets the pulldown switch (see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 354).

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If you perform an audio-only digital cut, the Avid system plays the video tracks in the Client monitor to ensure the most accurate audio sync. A message appears at the bottom of the Digital Cut tool.

For information about connecting a deck, see the setup guide for your Avid system. n If your sequence contains audio clips with different sample rates, use the Change Sample Rate dialog box to ensure that all the clips have the same sample rate. For more information, see the editing guide or Help for your Avid system.

Changing the Default Pulldown Phase for Sequences

For more information During a digital cut to 30-fps NTSC videotape, the Avid system defaults to on film-to-tape an A-frame pulldown conversion. If you are appending sequences to the transfers, see same output tape on which continuous pulldown is required, you might Chapter 2. need to change the default pulldown phase (or pullin) to a B frame. A digital cut can begin only on field one of an A or B frame.

For example, if one cut ends on an A frame, then before performing the digital cut of the next sequence, change the pullin for the next sequence to the B frame. You can determine the frame that ends a sequence by checking the Pullout column in the bin that holds the sequence.

If your sequence ends on a B or C frame, edit the sequence to end on an A or D frame to create a continuous 2:3 pulldown.

To change the default pulldown phase for a sequence: 1. Open the bin that holds the sequence. 2. Check if the Pullin column appears. If not, follow these steps: a. Click the Bin Fast Menu button, and select Headings. b. Ctrl+click (Windows) or click (Macintosh) Pullin.

364 Using EDL Manager

3. Type A or B in the Pullin column. - Pullin A: The first frame of the sequence plays back as two fields, the second frame as three fields, the third frame as two fields, and so on. - Pullin B: The first frame of the sequence plays back as three fields, the second frame as two fields, the third frame as three fields, and so on.

Now you can perform a digital cut to append the new sequence.

Using EDL Manager

An EDL (edit decision list) is a detailed list of the edits contained in a sequence, including all the timecode and supported effects information required to re-create the sequence in an online videotape suite. The EDL is organized into a series of chronological instructions called events, which are interpreted by an edit controller that automates the assembly of the videotape master.

Your Avid system includes EDL Manager, an application with powerful features and sorting capabilities to help you prepare an EDL.

To start EDL Manager: t Select Output > EDL.

For more information on specific features and capabilities of EDL Manager, see the Avid EDL Manager User’s Guide or the EDL Manager Help.

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Using the Matchback Option

The Matchback option on an Avid system, along with the Avid FilmScribe application, allows you to generate a film cut list from a 30-fps or 25-fps video project that uses film as the source material. This video-to-film conversion is useful in a variety of matchback circumstances, including the following: • Use the Matchback option to generate both a videotape master for the project along with a final cut on film. • Use the Matchback option to generate pull lists for retransferring selects at high quality before online editing.

Matchback supports 16mm, 35mm 3-perf, and 35mm 4-perf formats. n Your system might not include the Matchback option. To purchase the Matchback option, contact your Avid sales representative.

If you plan to use matchback, you must select the Matchback option when you first create the project. See the editing guide or Help for your Avid system. n Editors working in a film matchback project for the first time should pay extra attention to duplicate material in the final edited piece. Use Dupe Detection in the Timeline and verify any dupes flagged when delivering a cut negative. For information on dupe detection, see the editing guide or Help for your Avid system.

How Matchback Works

The matchback process refers to the video edit information for your sequence and performs a conversion to create a matching 24-fps cut list.

Because of the difference in frame rates between video and film (30 fps or 25 fps for video versus 24 fps for film), the conversion of video edit points might fall within a film frame, requiring the addition or subtraction of a frame in that edit event in the resulting cut list.

366 Using the Matchback Option

For example, with a ratio of 24 film frames to 30 video frames, a 7-frame video edit corresponds to approximately 5.6 film frames. However, film cuts cannot include partial frames, so the edit must be rounded to 5 or 6 frames.

NTSC Shot X Shot Y Shot Z video

The matching film edit point falls within a frame.

......

Film ......

To make these adjustments, the following occurs during matchback: • If the total video-sequence duration at the end of each cut is a frame longer than the film, the system subtracts a frame from the last video edit. If the video is a frame too short, a frame is added to the last video edit. • Where an essential frame was added to or subtracted from the beginning or end of each edit, the system adds matchback information to the cut list, stating that matchback shortened or lengthened the tail of the clip by one frame. The assistant editor or negative cutter can use this information to check the edit. • Each track in the sequence must be corrected independently because the start and end points for split edits are different for each track. As a result, the picture and audio for a matchback video edit might be out of sync by no more than one frame.

Matchback Limitations

Matchback is subject to the following limitations: • The Matchback option uses key numbers to conform the negative. Therefore, you must have key-number information entered into the bins for the project. • You can generate cut lists, but not change lists in a matchback project.

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• The matchback information applies to the picture only. You must generate a separate list (an EDL, for instance) for conforming the audio source tapes. • Be sure to remove unwanted match frames (add edits) from your sequence before generating the cut list. Otherwise, the calculation of matchback frames will include these edits. For information about removing match-frame edits, see the editing guide or Help for your Avid system.

Using FilmScribe

The FilmScribe application provides tools for creating frame-accurate cut lists and change lists from 23.976p, 24p, 25p, and matchback projects. You can use these lists to conform a work print, a film negative, audio tracks, or videotape transfers.

To start FilmScribe: t Select Output > FilmScribe.

For information on how to use FilmScribe, see the Avid FilmScribe User’s Guide or the FilmScribe Help. n Your system might not include the FilmScribe application. To purchase FilmScribe, contact your Avid sales representative.

Using VTR Emulation

VTR emulation supports the following options: • Direct record emulation allows you to perform a quick record (also known as a crash record) while using an edit controller. This feature allows you to digitize the media being sent to your Avid system immediately without setting up parameters like IN and OUT points. An example of this type of recording would be capturing data from a direct feed such as a satellite link.

368 Using VTR Emulation

• Play emulation allows you to control a sequence loaded in the Record monitor from an edit controller for playback in the edit room along with other sources. After you enable VTR play emulation, you can use the edit controller to shuttle, step (jog), play, cue, and mark edit points on the sequence in the Record monitor. • Telecine record emulation allows you to digitize directly from film during the film-to-tape transfer process by using Telecine Slave mode. Telecine Slave mode streamlines the transfer process because digitizing is performed during the transfer. For more information, see “Digitizing During the Film-to-Tape Transfer” on page 257. n To use VTR emulation, you must connect a supported controller (any controller that uses Sony serial control protocol) to the system by using a special Avid 9-pin VTR emulation cable and a serial adapter. For information about the cable connection, see the setup guide for your Avid system.

Enabling VTR Emulation

This section describes how to enable VTR emulation for either record emulation or play emulation. For Telecine record emulation and the Telecine Slave mode option, see “Digitizing During the Film-to-Tape Transfer” on page 257.

To open the VTR Emulation Settings dialog box: t Double-click VTR Emulation in the Settings scroll list of the Project window. The VTR Emulation Settings dialog box opens.

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Table 31 describes the VTR Emulation settings options for record emulation and play emulation.

Table 31 VTR Emulation Settings: Record and Play Emulation

Option Description

Emulation Type Use Direct Record Emulation when you want to perform a quick record (also known as crash record). It allows the Avid system to record the media being sent to it immediately without setting up parameters like IN and OUT points. Play Emulation supports all the basic deck control commands. This mode is used when you want to shuttle, step (jog), play, cue, and mark IN and OUT points with the controller. Use Telecine Record Emulation to digitize directly from film during the film-to-tape transfer process. For information about settings, see “Understanding VTR Emulation Settings (Telecine Slave Mode)” on page 260.

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Table 31 VTR Emulation Settings: Record and Play Emulation (Continued)

Option Description

Device Code Select the device code that identifies the VTR that the Avid system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and record functions. You do not need to change the device code value unless your edit controller does not recognize the VTR emulator or you want to emulate a specific VTR.

Runup (frames) Specify the time (measured in frames) it takes the deck to start playing from a cued position. The default value is 1 frame. When the runup times of two video devices are similar, it is easier for the edit controller to synchronize the devices during preroll. If your Avid VTR emulator does not sync up as often as you want, try adjusting this value so the two devices attain full speed at nearly the same time.

Inhibit preloading when Avid recommends that you do not inhibit preloading under normal cueing by single frame. circumstances. Preloading occurs by default. It improves playback performance by preparing the digitized media for playback each time you cue a new frame. Selecting this option causes the Avid system to match the behavior of a tape deck when you step through footage frame by frame. Avid recommends this option only for projects that require quick cueing of one frame after another; for example, when you are using the Avid system to present a sequence of still images as in a slide presentation.

Using VTR Play Emulation

To use VTR play emulation: 1. Make sure the controller is properly connected. 2. Select the appropriate VTR Emulation settings from the VTR Emulation Settings dialog box. See “Enabling VTR Emulation” on page 369.

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3. Select Tools > Communication (Serial) Ports. The Communication (Serial) Ports tool opens.

4. Click the VTR Emulation pop-up menu, and select the appropriate port. 5. Close the Communication (Serial) Ports tool. The system saves the setting as a Site setting, effective for all projects. 6. Select Special > VTR Emulation when you are ready to use the system for playback. A check mark appears next to the command to indicate the system is ready. A yellow outline appears around the Play button in the Record monitor to indicate that VTR emulation is active. 7. Use the edit controller to control the playback on your Avid system.

After you have activated VTR play emulation, you can control the sequence with an edit controller as follows: • You can shuttle, step (jog), play, cue, and mark points based on master sequence timecode for editing onto another master. IN and OUT points will appear in the Timeline only if the controller sends that information to the Avid system. • Your control of the Avid system is for play only. For example, you cannot arm tracks or send record commands to the Avid system itself. • Smooth audio scrub is enabled by default, emulating analog audio scrub on a VTR. n The VTR Emulation command behaves like a Local/Remote switch on a playback device, with VTR play emulation disabled (in Local mode) by default when you start the system.

372 Using VTR Emulation

Using VTR Emulation with PAL Projects

When you use VTR emulation with a 24p PAL project with separate audio and video (Method 2), the timecode display above the monitors might be different from the timecode seen by the edit controller.

To display video timecode above the monitors that matches the timecode seen by the edit controller: t Click the Tracking Information menu, and select TC 25.

To display audio timecode above the monitors that matches the timecode seen by the edit controller: t Click the Tracking Information menu, and select TC 25.

Limitations When Using VTR Play Emulation

When you use VTR play emulation, you can connect a record deck to the edit controller and use the controller to record from the Avid system to a record deck. However, depending on the controller and the complexity of your sequence, you might not be able to maintain frame accuracy while performing this operation. For a discussion of the limitations you might encounter when using the system in this way, see the white paper entitled “Using VTR Emulation on Avid Systems.” You can download this white paper from the Avid Customer Support Knowledge Center, which you access from the Avid Web site www.avid.com. To view the white paper, click the Documentation tab and then click White Papers.

Using Direct Record Emulation

To use VTR direct record emulation: 1. Make sure the controller is properly connected. 2. Select the appropriate VTR Emulation settings from the VTR Emulation Settings dialog box. See “Enabling VTR Emulation” on page 369. 3. Select Tools > Communication (Serial) Ports. The Communication (Serial) Ports tool opens.

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4. Click the VTR Emulation pop-up menu, and select the appropriate port. 5. Close the Communication (Serial) Ports tool. The system saves the setting as a Site setting, effective for all projects. 6. Select Special > VTR Emulation when you are ready to use the system for recording. A check mark appears next to the command to indicate the system is ready. A yellow outline appears around the Play button in the Record monitor to indicate that VTR emulation is active. n The VTR Emulation command behaves like a Local/Remote switch on a playback device, with VTR record emulation disabled (in Local mode) by default when you start the system.

7. Select Tools > Digitize. The Digitize tool opens. 8. Select the tracks onto which you want to record by clicking the Channel Selection buttons. 9. Click the Bin pop-up menu, and select a bin. 10. Click the Toggle Source button until VTR appears. 11. Click the Timeline and move the position indicator to a point in a sequence that allows sufficient preroll. Sufficient preroll slightly exceeds the preroll setting of your edit controller. n The recorded media is not recorded into your sequence. Your sequence is used only to give the edit controller a timecode reference. Instead, the recorded media generates a master clip that is placed in the bin you selected from the Bin pop-up menu in the Record tool.

12. Using the controller, mark IN and OUT points. 13. Control recording from the controller.

374 Chapter 9 Exporting Frames, Clips, or Sequences

You can export files for use with another system, another application, or another platform. Your Avid video-based editing system provides tools for exporting clips and sequences in various formats.

The following sections describe how to export files: • Understanding Export • Preparing to Export a Sequence • Exporting Frames, Clips, or Sequences • Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences • Customizing Export Settings • Exporting OMFI and AAF Files • Exporting As an MPEG File (Windows Only) • Creating Files for a DVD • Exporting Video in DV Stream Format • Exporting QuickTime Movies • Exporting As an AVI File (Windows Only) • Installing the Avid Codecs for QuickTime or AVI on Other Systems • Exporting from a Third-Party QuickTime or AVI Application Chapter 9 Exporting Frames, Clips, or Sequences

• Exporting Tracks As Audio Files • Exporting As a Graphic File • Sending Material Out for Review

Understanding Export

You can export material directly from your Avid system to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence.

You can export video, audio, or both for any of the following reasons: • You can export video files for touching up or creating special effects in third-party applications or other Avid applications. • You can export files to be viewed as AVI or QuickTime movies. • You can export files for further processing to create streaming media files in formats such as RealVideo®, QuickTime, and Windows Media™. • You can export files compatible with CD-ROM and DVD-R for use in multimedia projects. • You can export audio files for audio sweetening in a digital audio workstation (DAW), such as a Pro Tools system. • You can use the export process to convert audio media files from one supported audio format to another. Your Avid system supports the AIFF-C, Sound Designer II (Macintosh only), and WAVE formats. n If you plan to transfer the exported files to another Avid system or third- party application, see Chapter 10.

376 Preparing to Export a Sequence

Preparing to Export a Sequence

If you are exporting part or all of a sequence — to create an OMFI file, an AAF file, a QuickTime file, an AVI file, or a graphic sequence, for example — you can speed the export process by preparing the sequence in advance, as follows: • Make sure all media for the sequence is online. For more information about selecting offline items in a bin, see the editing guide or Help for your Avid system. • If you want to archive the source sequence before making any alterations, duplicate the sequence, place the duplicate in another bin, and prepare the duplicate for export. The original sequence will be unaffected. For more information • Consider rendering all effects in advance. Although any unrendered on rendering, see the effects are rendered on export (except for an OMFI or AAF export), effects guide or Help rendering effects in advance saves time during the export process. for your Avid system. • Always render fast-saved titles before using OMFI or AAF to export a sequence, or before creating an EDL from the sequence. • If your sequence contains numerous video tracks, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple-track information. For more information about mixing down video tracks, see the effects guide or Help for your Avid system. • If your sequence contains numerous audio tracks with various audio effects and level adjustments, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple- track information. For more information about mixing down audio tracks, see the editing guide or Help for your Avid system. • If your sequence contains audio clips with different sample rates, use the Change Sample Rate dialog box to ensure that all the clips have the same sample rate. See the editing guide or Help for your Avid system. You can also use OMFI or AAF to change the sample rate. See “Exporting OMFI and AAF Files” on page 386.

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• Check and adjust all pan and audio levels in advance. All current Pan and Level settings in the sequence are carried to the exported media. For more information on performing an audio mixdown, see the editing guide or Help for your Avid system. • You cannot export OMFI files that are larger than 2 GB. For OMFI files, consider consolidating the sequence to create smaller source clips, thereby saving time and disk space. For more information on consolidating media, see the editing guide or Help for your Avid system.You can also consolidate as part of the export. See “Exporting OMFI and AAF Files” on page 386. • OMFI or AAF files with very complex sequences can fail during import into some applications due to memory limitations. Try one of the following solutions: t Break the sequence into smaller sequences and export the new sequences. t Add more physical memory. • To export multiple clips in a single file, create a sequence from them. For example, you can select all the clips, Alt+drag (Windows) or Option+drag (Macintosh) them into the Record monitor to create an instant sequence, and then export the sequence.

Exporting Frames, Clips, or Sequences

This section provides the basic steps for exporting frames, clips, or sequences. More specific information is provided in the following sections: • “Exporting OMFI and AAF Files” on page 386 • “Exporting As an MPEG File (Windows Only)” on page 393 • “Creating Files for a DVD” on page 396 • “Exporting Video in DV Stream Format” on page 406 • “Exporting As a QuickTime Movie” on page 410

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• “Exporting As an AVI File (Windows Only)” on page 430 • “Exporting Tracks As Audio Files” on page 444 • “Exporting As a Graphic File” on page 447

For information on To export frames, clips, or sequences: using the drag-and- drop method, see 1. Identify the portion of the clip or sequence you want to export in one “Using the Drag-and- of the following ways: Drop Method to Export t Frames, Clips, or To export specific tracks in a clip or sequence, enable those tracks Sequences” on in the Track Selector panel, and disable all others. Make sure Use page 382. Enabled Tracks is selected in the Export Settings dialog box. You can set this option before the export. See “Customizing Export Settings” on page 384. t To export a single-frame graphic, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export. Make sure Use Marks is selected and Sequential Files is deselected in the Export Settings dialog box. t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Settings dialog box. t To export the entire clip or sequence, deselect the options Use Enabled Tracks and Use Marks in the Export Settings dialog box, and make sure the topmost track is monitored. n The entire clip or sequence is included when you export as an OMFI or an AAF file. n When you export as an OMFI or an AAF file, you do not need to select both the sequence and its source clips. Select only the sequence to export all the necessary information, including reference clips or source media.

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2. Select the clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips or sequences.

You can also right-click 3. Select File > Export. (Windows) or Shift+click The Export As dialog box opens with a default file name in the File (Macintosh) the file name text box (Windows) or the Save As text box (Macintosh), based name and select on the file type. Export.

Windows

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Macintosh

4. Click the Export Setting pop-up menu, and select a setting. This setting determines the format of the exported file. The default setting is labeled Untitled. Any settings that appear in the Settings scroll list of the Project window appear in the pop-up menu. For information on creating custom settings, see “Customizing Export Settings” on page 384. 5. (Option) If you want to view or modify the current Export setting, or create a new one: a. Click the Options button to open the Export Settings dialog box. For a description of your selections, see “Export Settings Dialog Box Options” on page 385. b. To save your settings in the existing settings file, click Save. c. To create a new settings file, click Save As. The Save Export Setting dialog box opens.

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Name the setting by typing a name in the Setting Name text box, and click OK. The new setting appears in the Settings scroll list of the Project window. 6. In the Export As dialog box, select the destination folder for the file. 7. (Option) Change the file name. In most cases, keep the file name extension the same. 8. Click Save. The file is exported to the selected destination. n Your Avid system saves the intermediate movie that it makes for some formats in a temporary folder. Make sure the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary folder in the General Settings dialog box, which you access from the Settings scroll list of the Project window. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.

Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences

To export a frame, clip, or sequence by using the drag-and-drop method: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378.

382 Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences n You cannot use the drag-and-drop method to export ALE, tab-delimited, or sequential files.

3. In the Settings scroll list of the Project window, select the setting you want to use for export. The default Export setting, the preset templates, and any additional Export settings you create appear in the Settings scroll list. After you select a setting in the Settings scroll list, the parameters remain the default settings for all exported files, unless you change them during the export. This is especially useful when you batch export a number of files directly from a bin at the same time. To view or modify the parameters, double-click the setting. For information on modifying options, see “Customizing Export Settings” on page 384. 4. Export the frame, clip, or sequence by clicking the clip or sequence you want to export and dragging it to the location (folder or drive) where you want to store the file. To select multiple objects, Ctrl+click (Windows) or Shift+click (Macintosh) the objects and drag the objects to the folder or drive. n During a drag-and-drop export, your Avid system saves an intermediate file in a temporary folder. Make sure the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary folder in the General Settings dialog box, which you access from the Settings scroll list of the Project window. To save time, assign the temporary folder to a folder on the same drive where you will be dragging the export.

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Customizing Export Settings

In addition to selecting preset templates, your Avid system allows you to customize and name your Export settings.

Preset Export Templates

Your Avid system includes the following export templates: • Fast-Export QuickTime: Exports a QuickTime movie that uses the Same as Source setting. See “Exporting QuickTime Movies” on page 409. • Macintosh Image: Exports a PICT file for use in Macintosh graphic applications. See “Exporting As a Graphic File” on page 447. • Windows Image: Exports a BMP file for use in Windows graphic applications. See “Exporting As a Graphic File” on page 447.

You can select or customize these settings, as described in “Exporting Frames, Clips, or Sequences” on page 378.

Creating a New Export Setting

You can also create a To create a new Export setting: new setting during the export process. See 1. Click the Settings tab in the Project window. “Exporting Frames, The Settings scroll list appears. Clips, or Sequences” on page 378. 2. Click Export. 3. Select Edit > Duplicate. 4. Name the setting by clicking the custom name column, typing a name, and pressing Enter (Windows) or Return (Macintosh). n The custom name column is the center column in the Project window. When you move the pointer over the custom name column, the pointer changes from a pointing finger to a text insertion bar.

5. Double-click the new setting.

384 Customizing Export Settings

The Export Settings dialog box opens. 6. Select the appropriate file type and options based on the descriptions in Table 32. 7. Click OK.

You can select this new setting whenever you export. n You can also create a new setting during the export process. See “Exporting Frames, Clips, or Sequences” on page 378.

Export Settings Dialog Box Options

Table 32 describes the options in the Export As pop-up menu and points to the appropriate section for more information.

Table 32 Export Settings Dialog Box Options

Export As Option Description

OMF 1.0 Select one of these options to export an OMFI composition for transfer to a third- OMF 2.0 party workstation that supports OMFI. You can select to export composition only or embed the video and audio. See “Exporting OMFI and AAF Files” on page 386.

AAF Select this option to create an Advanced Authoring Format (AAF) file. You can select to export composition only, or embed the video and audio, or both. See “Exporting OMFI and AAF Files” on page 386.

QuickTime Select this option to create a QuickTime reference movie. A QuickTime reference Reference movie contains pointers (links) to media files. This is similar to exporting as composition only. See “Exporting As a QuickTime Reference Movie” on page 422.

MPEG-1 (Windows only) Select one of these options to export the selected media object in MPEG-2 an MPEG format. See “Exporting As an MPEG File (Windows Only)” on page 393.

DV Stream Select this option to create a standard DV stream. Use this option when exporting video that will be combined or processed with other DV-formatted media. The media you are exporting requires a video track. See “Exporting Video in DV Stream Format” on page 406.

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Table 32 Export Settings Dialog Box Options (Continued)

Export As Option Description

QuickTime Select this option to create a self-contained QuickTime movie. See “Exporting As a Movie QuickTime Movie” on page 410.

AVI (Windows only) Select this option to export an AVI file through the Avid Codec for AVI or other compression tool. For more information, see Table 41 on page 432.

Audio Select this option to export audio tracks in the WAVE format, Sound Designer II (Macintosh only), or AIFF-C audio format. See “Exporting Tracks As Audio Files” on page 444.

Graphic Select this option to export a single frame, a series of frames, or a file type that supports multiple frames as a graphic file. Click the pop-up menu, and select a file type. See “Exporting As a Graphic File” on page 447. For information about supported file types, see Appendix A.

Avid Log Select this option to export the selected bin as a shot log file that complies with Exchange ALE specifications. For information about Avid Log Exchange, see “Using Avid Log Exchange to Convert Log Files” on page 91. n ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included.

Tab Delimited Select this option to export the selected bin as a shot log file in the form of a tab- delimited ASCII text file.

Exporting OMFI and AAF Files

OMFI and AAF are industry-standard file formats that let you exchange compositions and media between applications.

386 Exporting OMFI and AAF Files

Exporting Through OMF Interchange

OMF Interchange® (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and the information describing how the media is edited together to form a final sequence. This editing information, called a composition, is the OMFI representation of the sequence created in your Avid system. The OMF Interchange format is the result of cooperative efforts of many industry and standards partners and Avid Technology, Inc.

Any other program that supports OMFI can read OMFI files, even if the program resides on a different computer platform. As a result, with OMFI, you can transfer among different applications on different platforms without worrying about cross-platform translations. This can be very effective for importing animation or audio files created on proprietary platforms. c To avoid errors and incompatibilities when you import and export OMFI files, observe the recommendations in Appendix A.

Exporting Through AAF

Advanced Authoring Format (AAF), is a cross-platform, multimedia file format that allows interchange of media and composition information between AAF-compliant applications. These applications are primarily content creation tools such as Avid editing systems, Avid|DS, and Sonic Foundry's Sound Forge®, to name a few.

There are two general types of data in an AAF file: • Media such as audio and video • Composition information, or metadata, that provides the instructions needed to combine and modify the media portions of the AAF file to produce a complete multimedia program

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Selecting an OMFI or an AAF Transfer Method

OMF Interchange and AAF, as implemented in your Avid system, provide two basic methods for exporting files.

Method 1: Compositions with Linked Media

The Avid system can export an OMFI or an AAF file that contains only the editing information about a selected master clip or sequence. The file also contains links to the media used in the clip or sequence. You then need to transfer the OMFI or AAF file to the other system, and either transfer the media files or redigitize the media. After you have transferred or redigitized the media, you can transfer revised composition-only files. However, if you consolidate the media, you must transport the consolidated media files, as well. You can consolidate media during the export (see “Exporting As an OMFI or an AAF File” on page 389) or before the export (see the editing guide or Help for your Avid system).

Method 2: Compositions with Embedded Media

The Avid system can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See “Exporting As an OMFI or an AAF File” on page 389. n (Macintosh only) Sound Designer II (SDII) audio media cannot be embedded in an OMFI or an AAF file. When you export an OMFI or an AAF composition to a product that supports the Sound Designer II audio format, you must select an export method that links to the files. If the audio files are not in Sound Designer II format, you must select Consolidate and Link to Consolidated Media and select Convert Audio File Format to SDII (see Table 33).

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Exporting As an OMFI or an AAF File

n You cannot export OMFI files that are larger than 2 GB. If you exceed this limit, an error message is displayed. For information on exporting large sequences, see “Preparing to Export a Sequence” on page 377.

To export master clips or sequences as an OMFI or an AAF file: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens.

6. Click the Export As pop-up menu, and select OMF 1.0, OMF 2.0, or AAF. 7. Select other options as described in Table 33.

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8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The file is exported to the selected destination.

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c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

OMFI and AAF Export Settings Options

Table 33 describes the options for exporting OMFI and AAF files.

Table 33 Export Settings Dialog Box: OMFI and AAF Settings Options

Option Suboption Description

Export As: OMF 1.0 Select this option if the application to which you are exporting does not support OMFI v2.0.

OMF 2.0 Select this option if the application to which you are exporting supports OMFI v2.0. If you are not sure, select OMF 1.0.

AAF Select this option if the application to which you are exporting supports AAF.

Include All Video — Select this option to include all video tracks from the Tracks in sequence in the OMFI or the AAF file. The Video Details tab Sequence appears.

Include All Audio — Select this option to include all audio tracks from the Tracks in sequence in the OMFI or the AAF file. The Audio Details tab Sequence appears.

The following options appear in both the Video Details tab and the Audio Details tab:

Export Method: Link to Current Select this option when you want to export an OMFI or an Media AAF composition with links to the media in its current location. Media is not embedded in the file.

Copy Media and Select this option when you want to copy media to another Link to Copied drive and export an OMFI or an AAF composition with links Media to the copied media.

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Table 33 Export Settings Dialog Box: OMFI and AAF Settings Options (Continued)

Option Suboption Description

Consolidate and Select this option when you want to consolidate media and Link to export an OMFI or an AAF composition with links to the Consolidated consolidated media. For more information about Media consolidating, see the editing guide or Help for your Avid system.

Embed Media Select this option to include (embed) video or audio media in the OMFI or the AAF file.

Consolidate and Select this option to first consolidate, then embed media in the Embed Media OMFI or the AAF file. Select the drive from the Target Drives list. The default handle length is 60 frames. If you want to change the default, type the length of the handles, in frames. For more information about consolidating, see the editing guide or Help for your Avid system.

Destination Set Click Set to select the drive and folder to which you want to Folder: copy the media files.

Target Drive for — Select the drive where you want to save the consolidated Consolidate: media files.

Handle Length: xx — Enter the number of frames you want to use as handles for Frames consolidated clips. Handles refer to material outside the IN and OUT points and are used for dissolves and trims with the new, shorter master clips. The default is 60.

The following options appear in the Audio Details tab only:

Include Rendered — Select this option to render audio effects during export. Audio Effects

Convert Audio Project rate, Select this option if your sequence has a mix of sample rates Sample Rate to: 32 kHz, 44.1 kHz, and you need to create a single sample rate. (You set the or 48 kHz project rate in the Audio Project Settings dialog box. For more information see “Adjusting Audio Project Settings” on page 180. You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate.

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Table 33 Export Settings Dialog Box: OMFI and AAF Settings Options (Continued)

Option Suboption Description

Convert Audio If your sequence has a mix of audio file formats, and you want File Format to: to embed media, you must select a single audio file format. Audio files are converted to this format during export. This selection is optional if you want to consolidate and link media. WAVE Select WAVE (.wav file name extension) to link to or embed audio tracks in the WAVE format. Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.

AIFF-C Select AIFF-C to link to or embed audio tracks in the industry-standard AIFF-C format. Your Avid system does not compress audio media.

SDII (Macintosh Select SDII to link to audio tracks in the Sound Designer II only) format, for export to products that support the Sound Designer II format. Sound Designer II audio media cannot be embedded in an OMFI or AAF file. The converted files are located in a folder labeled Exported Audio Media at the top level of the drive with the most available space.

Exporting As an MPEG File (Windows Only)

MPEG-1 files are used for Web downloads, CD-ROM distribution, and other digital formats. They have a high compression rate and are therefore relatively small. MPEG-2 files are used by DVD authoring packages such as DVDit!™ by Sonic Solutions, and are larger and better quality than MPEG-1 files.

If you want to output your sequence directly to a DVD-R burner without first using a DVD authoring package, see “Creating Files for a DVD” on page 396.

If your sequence includes audio, the export process creates a separate audio file automatically. This audio file is synced to the MPEG file. You need both files when you create a DVD.

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n You cannot export an MPEG file from a 24p, 25p, or 23.976p project. Export the sequence as a QuickTime reference movie and use another application to create the MPEG file.

To export a clip or sequence as an MPEG-1 or MPEG-2 file: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens.

394 Exporting As an MPEG File (Windows Only)

7. Do one of the following: t Select Use Marks if you are exporting a marked sequence. t Select Use Enabled Tracks if you are exporting specific tracks in a sequence. t Deselect Use Enabled Tracks and Use Marks if you are exporting an entire sequence. n Use Enabled Tracks is selected by default. 8. Click the Bit Rate slider and drag it to select a bit rate. t For MPEG-1, select between 1.2 and 1.8 megabits per second. t For MPEG-2, select between 4 and 8.0 megabits per second. Low rates process more quickly, but produce lower quality; high rates process more slowly, but produce higher quality. 9. Select the aspect ratio. 10. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name. In most cases, keep the file name extension the same. 13. Click Save. The system processes the sequence and creates the following file in the destination folder: - filename.mov.m1v for MPEG-1 - filename.mov.m2v for MPEG-2

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You can use the generated MPEG-2 video file with a DVD authoring package such as DVDit! by Sonic Solutions. n To obtain the audio from the sequence, perform a separate audio export using the WAVE format. See “Exporting Tracks As Audio Files” on page 444. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

Creating Files for a DVD

You can put your sequence onto a digital video disc (DVD). Depending on your hardware and software, you can: • (Windows) Burn the sequence directly to a DVD from the Avid system. • (Windows) Create a DVD volume you can move to another system. • (Windows) Use the Create DVD command to create the appropriate MPEG-2 and WAVE files. • (Macintosh) Use the Send To DVD command to create: - A QuickTime reference movie and an AIFF file for use in applications such as iDVD. - An MPEG-2 file and an AIFF file for use in DVD Studio Pro™, if DVD Studio Pro is installed.

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Creating Files for a DVD (Windows)

n You cannot use the Create DVD feature from a film project (24p, 25p, or 23.976p). Export the sequence as a QuickTime reference movie and use an application that supports these rates to create the DVD files.

To create files for output to a DVD: 1. Make sure you have an MPEG-2 export setting defined before you begin. If you need to create a setting, see “Creating a New Export Setting” on page 384. 2. Select a sequence in a bin. 3. Select File > Create DVD. The Create DVD dialog box opens.

4. Click the Function pop-up menu, and select one of the following commands: t Export MPEG2 and WAV Files: Select this command if you want to export your sequence in a format that can be used by a DVD authoring package such as DVDit! by Sonic Solutions.

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t Create DVD Volume on Disk: If you don’t have DVD writing hardware attached to your Avid system, you can select this command to create a DVD volume. You can then move the DVD volume to a system that has DVD writing hardware and software. t Create DVD Volume and Write to DVD: If DVD writing hardware is attached to your Avid system, you can select this command to create the necessary files and send them directly to the DVD writing hardware. Make sure the DVD writing hardware is connected and ready before you execute the command. 5. Click the Browse button to select a folder to store the generated files. 6. Click the Export Setting pop-up menu, and select an MPEG-2 export setting. 7. (Option) Click Modify to make any changes to the export setting in the Export Settings dialog box. 8. If you are writing directly to DVD, click the DVD Device pop-up menu, and select the DVD writing hardware. 9. Click OK to start the export. A progress indicator shows your progress. n The length of export depends on the length of the media you are exporting. For example, it might take more than 1 hour to export a 3-minute sequence.

During the creation process, the system renders all effects and creates MPEG-2 files from the video media. The system also creates .wav files from the audio media.

Creating a DVD Volume

When you select the Create DVD Volume on Disk command, the system creates a folder based on the sequence name. The name of this folder is displayed in the Create DVD dialog box. This folder contains a folder named DVDVolume, which contains the following two folders: • AUDIO_TS •VIDEO_TS

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Use the AUDIO_TS and VIDEO_TS folders with your DVD writing application to create the DVD. n The Create DVD Volume on Disk command also allows you to save the resulting MPEG-2 and .wav files. The system prompts you with a dialog box after the volume is created.

Creating Files for a DVD (Macintosh)

You can use the Send To DVD feature to create: • A QuickTime reference movie and an AIFF file for use in applications such as iDVD • An MPEG-2 file and an AIFF file for use in DVD Studio Pro, if DVD Studio Pro is installed

You can use the Add Item menu selection to add other applications or an AppleScript® script to the Send To pop-up menu. n You can use the Send To DVD feature to export a QuickTime reference movie from a film project (24p, 25p, or 23.976p) if the application to which you are exporting supports these rates.

See the following topics: • Creating Files for iDVD • Creating Files for DVD Studio Pro (Macintosh Only) • Using an AppleScript Script to Create a DVD (Macintosh Only) • Adding and Removing Applications for Creating DVDs

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Creating Files for iDVD

You can send your edited sequence or a master clip to the iDVD authoring application, which is installed by default on Macintosh systems equipped with a SuperDrive®.

To create files for iDVD: 1. Select a sequence in a bin. You can select multiple sequences. 2. Select File > Send To DVD. The Send To DVD dialog box opens.

3. Click the Send To pop-up menu, and select iDVD.app. 4. Select Auto Launch Application to start the DVD authoring application when the export is complete. 5. Click the Browse button to navigate to a destination for the exported files. 6. Select other options as described in Table 34.

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Table 34 iDVD Options (Macintosh Only)

Option Description

Use Enabled Tracks Select this option if you want the system to use tracks that are enabled in the Timeline (default). To export the entire clip or sequence, deselect this option.

Use Marks Select this option if you want the system to use current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export (default). To export the entire clip or sequence, deselect this option.

7. Click OK. A QuickTime reference movie and a stereo-interleaved, 48-kHz AIFF file are produced in the destination you specified. If you selected Auto Launch Application, the destination folder opens and the application starts. 8. Click the QuickTime reference movie file and drag it onto the iDVD window. 9. Change any parameters in iDVD, and then burn the DVD. For more information about using iDVD, see the iDVD documentation.

Creating Files for DVD Studio Pro (Macintosh Only)

You can send your edited sequence or a master clip to the DVD Studio Pro authoring application, if the application is installed on your system.The Avid system uses the QuickTime MPEG encoding component installed with DVD Studio Pro.

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To create files for DVD Studio Pro: 1. Select a sequence in a bin. You can select multiple sequences. 2. Select File > Send To DVD. The Send To DVD dialog box opens.

3. Click the Send To pop-up menu, and select DVD Studio Pro.app. n If DVD Studio Pro does not appear automatically, you need to add it manually. See “Adding and Removing Applications for Creating DVDs” on page 405.

4. Select Auto Launch Application to start the DVD authoring application when the export is complete. 5. Click the Browse button to navigate to a destination for the exported files. 6. Select other options as described in Table 35.

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Table 35 DVD Studio Pro Options: (Macintosh Only)

Option Description

QT MPEG Settings Click this button to open the QuickTime MPEG Encoder window. You can set the parameters for creating your MPEG file in this window. For more information about the QuickTime MPEG Encoder window options, see the QuickTime documentation.

Use QuickTime for Select this option to use the QuickTime MPEG Encoder. MPEG Encoding

Pixel Aspect Ratio Select this option to apply a scaling to the video: 4:3 or 16:9. The pixel aspect ratio allows you to control the display format without modifying the source file. The default is 4:3. n If you select Use QuickTime for MPEG Encoding, you set the pixel aspect ratio in the QuickTime MPEG Encoder window.

Use Enabled Tracks Select this option if you want the system to use tracks that are enabled in the Timeline (default). To export the entire clip or sequence, deselect this option.

7. Click OK. n You can continue to edit while the QuickTime MPEG Encoder processes your material. A long sequence can take several hours.

An MPEG-2 (.m2v) file and a stereo-interleaved, 48-kHz AIFF file are produced in the destination you specified. If you selected Auto Launch Application, the destination folder opens and the application starts.

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8. Shift+click the .m2v file and the audio file and drag them onto the DVD Studio Pro Assets window. 9. Change any parameters in DVD Studio Pro, and then burn the DVD. For more information about using DVD Studio Pro, see the DVD Studio Pro documentation.

Using an AppleScript Script to Create a DVD (Macintosh Only)

You can use AppleScript to create scripts for customized workflows. The Avid Goodies folder contains an AppleScript script that facilitates export of an MPEG-2 file to DVD Studio Pro.

To export to DVD Studio Pro using the AppleScript script: 1. Select a sequence in a bin. You can select multiple sequences. 2. Select File > Send To DVD. The Send To DVD dialog box opens. 3. Click the Send To pop-up menu, and select Add Item. A dialog box opens. 4. Locate the AppleScript script SendToDVDStudioPro_script in the Scripts folder in the Avid Goodies folder, and click Open. The script is added to the Send To pop-up menu. 5. Click the Send To pop-up menu, and select SendToDVDStudioPro_script. 6. Select Auto Launch Application to start the DVD authoring application when the export is complete. 7. Click OK. Send To DVD starts the QuickTime MPEG Encoder with your last saved settings, exports your sequence, converts it to an MPEG-2 file, and opens it and the related audio file in a new project in DVD Studio Pro. n You must have DVD Studio Pro installed to use this script.

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Adding and Removing Applications for Creating DVDs

You can use the Add Item menu selection to add DVD authoring applications or an AppleScript script to the Send To DVD dialog box. These applications must support QuickTime reference movies to work correctly with the Send To DVD feature.

The first time you open the Send To DVD dialog box, the following DVD authoring applications appear by default in the Send To pop-up menu, if they are installed on your Macintosh system: •iDVD • DVD Studio Pro • Formac devideon®

You can use the Remove Selected Item menu selection to remove menu entries for these applications and other applications you have added.

To add applications or scripts for creating DVDs: 1. Select File > Send To DVD. The Send To DVD dialog box opens. 2. Click the Send To pop-up menu, and select Add Item. A dialog box opens. 3. Locate the application or script you want to appear in the Send To pop-up menu, select it, and click Open. The application or script appears in the Send To pop-up menu and you can use it to create files. 4. Select Auto Launch Application to start the DVD authoring application when the export is complete.

To remove applications or scripts for creating DVDs: 1. Click the Send To pop-up menu, and select the application or script you want to remove. 2. Click the Send To pop-up menu, and select Remove Selected Item. The system removes the application or script from the pop-up menu.

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Exporting Video in DV Stream Format

Use the DV Stream format when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track.

To export in DV Stream format: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens.

You can create settings 4. Click the Export Settings pop-up menu, and select a setting. in advance. See “Customizing Export If you want to create a new setting, select Untitled. Settings” on page 384. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select DV Stream. 7. Select other options as described in Table 36.

Table 36 Export Settings Dialog Box: DV Stream Options

Option Description

Use Marks Select this option if you want the system to use current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Use Enabled Select this option if you want the system to use tracks that are enabled in the Tracks Timeline. To export the entire clip or sequence, deselect this option.

Format Options Click this button to select a video format and an audio format for export.

Video and Audio Select this option if you want to export an entire clip or sequence.

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Table 36 Export Settings Dialog Box: DV Stream Options (Continued)

Option Description

Video Only Select this option if you want to export only the video.

Color Levels Select this option to set the color levels of the exported media to RGB or ITU-R 601. If you are planning to export the file to another application and then reimport it, select 601.

File Field Order Select one of these options to set the field that will be the upper field during export from an interlaced video project. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd (Upper Field First): Select this option if you are working in a PAL project. In forming the export frame, field 1 becomes the upper field; that is, field 1's lines become the odd-numbered lines in the frame (counted starting from 1). Field 2's lines become the even-numbered lines. Even (Lower Field First): Select this option if you are working in an NTSC project. In forming the export frame, field 1 becomes the lower field; that is, field 1's lines become the even-numbered lines in the frame. Field 2's lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selections.

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8. Click the Format Options button. The DV Export Settings dialog box opens.

9. Select a video format and an audio format. For compatibility with DV cameras that require unlocked audio, deselect Locked. 10. Click OK. 11. In the Export Settings dialog box, do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 12. In the Export As dialog box, select the destination folder for the file. 13. (Option) Change the file name. In most cases, keep the file name extension the same. 14. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

408 Exporting QuickTime Movies

Exporting QuickTime Movies

You can export a sequence as a QuickTime movie for final distribution or for further processing in another application. There are three basic methods for QuickTime export, as described in Table 37.

Table 37 Selecting a QuickTime Export Option

Option Description

Same as Source This option is available when you select QuickTime Movie from the Export Settings dialog box. When you select this option, the system copies the media files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files. Selecting Same as Source is the best method to use if you plan to process the video on another system, using a third-party application. See “Exporting As a QuickTime Movie” on page 410.

Custom This option is also available when you select QuickTime Movie from the Export Settings dialog box. When you select this option, the system decompresses the files, processes them, and compresses the files at the requested resolution. This method is slower and often loses quality. In general, you should only use the Custom option if you have to directly export a clip or sequence in a particular file format. See “Exporting As a QuickTime Movie” on page 410. The Custom format is useful if you plan to export to an older ABVB or NuVista system.

QuickTime Reference QuickTime Reference is available from the Export As pop-up menu in the Export Settings dialog box. This option is similar to Same as Source, but the system links to the original media files. This is the fastest method of export, but the movie can only be run or processed on your local system or in an Avid Unity MediaNetwork workgroup environment. If you want to transfer a QuickTime movie to another system, you must also move the associated media files by creating a self-contained QuickTime movie. See “Exporting As a QuickTime Reference Movie” on page 422.

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Exporting As a QuickTime Movie

To export as a QuickTime movie: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens.

You can create settings 4. Click the Export Settings pop-up menu, and select a setting. in advance. See “Customizing Export If you want to create a new setting, select Untitled. Settings” on page 384. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select QuickTime Movie. n If you installed additional QuickTime Export formats, they appear in the pop-up menu with tildes (~) before their names. This indicates they have not been qualified and are not supported by Avid.

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QuickTime Movie (Same as Source) QuickTime Movie (Custom)

7. Select the Same as Source option to use the resolution of the source file or select the Custom option to customize your settings. n Using Same as Source results in the fastest export and is usually the best selection for a movie that will be processed by another application. See “Exporting QuickTime Movies” on page 409.

8. Select the remaining options as described in Table 38. To change the codec (compressor/decompressor) used for compression, click the Format Options button. For a description of the options, see “Selecting QuickTime Movie Format Options” on page 415.

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9. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 10. In the Export As dialog box, select the destination folder for the file. 11. (Option) Change the file name. In most cases, keep the file name extension the same. 12. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

QuickTime Movie Export Options

Table 38 describes the QuickTime Movie options in the Export Settings dialog box.

Table 38 Export Settings Dialog Box: QuickTime Movie Options

Option Suboption Description

Use Marks — Select this option if you want the system to use current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, mark the entire clip or deselect this option.

Use Enabled — Select this option if you want the system to export only the Tracks currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option.

412 Exporting QuickTime Movies

Table 38 Export Settings Dialog Box: QuickTime Movie Options (Continued)

Option Suboption Description

Same as Source — Select this option if you want the original compression of the clip to be maintained. Avid recommends this option when exporting for processing in other applications.

Custom — Select this option if you want to customize the resolution and other settings for a video export. The Video Format options appear.

Format Options — Click this button to open the Movie Settings dialog box. For more information, see “Selecting QuickTime Movie Format Options” on page 415.

Video and Audio — Select this option to export both the audio and video.

Video Only — Select this option to export only the video. For example, use this option if you want to add effects in a third-party application or to use only the video in a multimedia project.

Audio Only — Select this option to export only the audio. For example, use this option if you want to use or enhance the audio in a third-party application or you want to use the audio in a multimedia project.

Video Format Width x Height Select this option to set the width and height of the clip. Size to Fit: This option sizes the clip to fit the specified width and height. You can type in values or select from the predefined values in the Fast menu. n The values in the Fast menu suggest a typical use for each size. For example, 320 x 240 (Internet video, large).

Crop/Pad: This option instructs the system not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size.

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Table 38 Export Settings Dialog Box: QuickTime Movie Options (Continued)

Option Suboption Description

Color Levels Select this option to set the color levels of the exported media to RGB or ITU-R 601. If you are planning to export the file to another application and then reimport it, select 601.

File Field Order Select one of these options to set the field that will be the upper field during export from an interlaced video project. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd (Upper Field First): Select this option if you are working in a PAL project. In forming the export frame, field 1 becomes the upper field, that is, field 1's lines become the odd-numbered lines in the frame (counted starting from 1). Field 2's lines become the even-numbered lines. Even (Lower Field First): Select this option if you are working in an NTSC project. In forming the export frame, field 1 becomes the lower field, that is, field 1's lines become the even-numbered lines in the frame. Field 2's lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selection. This option is useful if you want to create a smaller file or want to remove interlace jitter (the artifact created as the system displays both fields at the same time in the QuickTime movie). For more information, see “Field Ordering in Graphic Imports and Exports” on page 510.

Create Preview — Select this option if you want to create a preview of the QuickTime movie.

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Table 38 Export Settings Dialog Box: QuickTime Movie Options (Continued)

Option Suboption Description

Pixel Aspect Ratio — Select this option to apply a scaling to the video: square, 4:3 non-square, or 16:9 non-square. Values for the pixel aspect ratio allow you to control the display format without modifying the source file. This feature creates metadata — additional data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. The pixel aspect ratio is useful for the Same as Source option because that option also preserves the original format.

Selecting QuickTime Movie Format Options

Table 39 describes QuickTime codecs and settings that are available on your Avid system. The codecs that appear depend on the version of QuickTime that is installed. Not all settings are available for all codecs.

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Table 39 QuickTime Movie Format Options

Option Suboption Description

Video

Settings — Click this button to open the Movie Settings dialog box.

Compressor Animation For high-quality, lossless compression (in which no picture information is lost). Uses a run-length-encoded (RLE) scheme to encode each pixel, resulting in a file that is 70% to 95% the size of the uncompressed file. At maximum quality, this is a lossless compression (in which no picture information is lost). See the description of the Quality option in this table.

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Table 39 QuickTime Movie Format Options (Continued)

Option Suboption Description

Avid DV For compression compatible with Avid Xpress DV and Avid NewsCutter products or with Avid Meridien products with the DV/MPEG option. Allows fast import. See “Using Avid Codecs for QuickTime” on page 427.

Avid Meridien For compression compatible with Avid products. Allows fast Compressed import. See “Using Avid Codecs for QuickTime” on page 427. n For export at the same resolution as your current clips, select Same as Source instead of Custom. See “Exporting As a QuickTime Movie” on page 410.

Avid Meridien For 1:1 resolution. Allows fast import. See “Using Avid Uncompressed Codecs for QuickTime” on page 427.

BMP For internal encoding of individual frames as BMP (Windows native bitmap format) files.

Cinepak For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen- size playback from CD-ROM or hard drive. Uses compression algorithm optimized for CD-ROM playback.

Component For high-quality, lossless compression (in which no picture Video information is lost). Uses the same algorithm as the Animation method but saves the file in YUV RLE format, which separates the luminance from the chrominance. All QuickTime applications can read this format, but only some can write to this format.

DV-NTSC For storing original or edited DV (digital video) footage in DV-PAL QuickTime files.

Graphics For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen- size playback from CD-ROM or hard drive. Uses a limited color palette version (16 colors) of Animation compression.

H.261 For low-quality video conferencing.

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Table 39 QuickTime Movie Format Options (Continued)

Option Suboption Description

H.263 For video conferencing. Optimized for low data rates and low motion.

Intel Indeo For export at low resolution where high quality is not an issue, Video 4.4 such as presentations or educational uses, or for small-screen- size playback from CD-ROM or hard drive. Files do not export at 720 x 540 and 720 x 486 frame sizes, even though these sizes are listed.

Motion JPEG A For medium-quality, lossy compression (in which some picture information is lost) requiring much storage space and additional hardware support for real-time playback. Motion JPEG (M-JPEG) is a variant of the ISO JPEG specification for use in digital video. Considered the standard for Motion JPEG, format A is supported by chips from Zoran Corporation and C-Cubed, Inc.

Motion JPEG B For medium-quality, lossy compression (in which some picture information is lost) requiring much storage space and additional hardware support for real-time playback. Motion JPEG (M-JPEG) is a variant of the ISO JPEG specification for use in digital video. Format B cannot use the markers that ISO JPEG and format A do; supported by chips from LSI Logic Corporation.

None For high-quality, lossless compression (in which no picture information is lost). Does not compress the file; results in very large files.

Photo-JPEG For medium-quality, lossy compression (in which some picture information is lost) requiring moderate storage space and data throughput on playback. Uses the Joint Photographic Experts Group (JPEG) algorithm for image compression; results in files that are 20% to 30% the size of the uncompressed files. Some data is lost during compression, and the export process takes longer to complete (typically six times longer than the Animation compression, for example).

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Table 39 QuickTime Movie Format Options (Continued)

Option Suboption Description

Planar RGB For high-quality, lossless compression (in which no picture information is lost). Results in large files. Encodes each image plane separately, using a run-length- encoded scheme. Used primarily to support Photoshop files, which are usually stored using a planar run-length algorithm.

PNG Portable Network Graphics, used to replace GIFSM as a bitmap still-image format for newer Internet browsers.

Sorenson Video For medium-to-high quality, lossy compression (in which some picture information is lost) at a low data rate and low storage requirements. This codec is particularly suited for Web or CD-ROM delivery and is recommended for Review & Approval files. See “Sending Material Out for Review” on page 456.

Sorenson Video 3 An improved version of the Sorenson Video codec. Movies created with this codec require the QuickTime 5 viewer.

TGA Saves exported file in TARGA® format.

TIFF Tagged Image File Format, a cross-platform bitmap still-image format, used often in prepress production.

Video For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen- size playback from CD-ROM or hard drive.

Colors — Select the colors you want included in the exported file. The selections vary according to the codec you use. Some codecs have only one color setting. If you select the Sorenson codec, Millions of Colors is selected automatically. Do not select the option Millions of Colors +. This option creates an alpha channel that is not used for export from your Avid system. If you use the Avid Codecs for QuickTime with other applications that support alpha channels, you can select the Millions of Colors + option to create an alpha channel that can be imported into your Avid system.

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Table 39 QuickTime Movie Format Options (Continued)

Option Suboption Description

Quality — Click this slider and drag it to adjust the image quality for the exported file. The selections vary according to the codec you use. Some codecs have only one Quality setting. This slider does not adjust quality for the Avid Codecs for QuickTime.

Motion Frames per Click the pop-up menu to select a frame rate. Select 30 to second maintain full-motion video/animation. A frame rate of 29.97 conforms to NTSC video frame-rate standards. Select 25 for PAL 25p projects and select 24 for 24p projects.

Key frame every Use this option to have the system use keyframes as a reference for subsequent frames. Type a numeric value to specify the frequency of the keyframes. Generally, type a value of 1/2 the play rate (for example, type 12 for 24p or 25p projects, and type 15 for 30i projects).

Limit data rate Allows you to specify the target data rate for the compressed movie.

Filter — Click this button to open the Choose Video Filter dialog box. This dialog box allows you to apply a single-effect filter during an export.

Size — Click this button to open the Export Size Settings dialog box. QuickTime allows you to set a size, but Avid recommends you set the size in the Width and Height text boxes of the Export Settings dialog box. Both settings have the same effect, and the QuickTime size setting overrides the Avid size setting.

Sound

Settings — Click this button to open the Sound Settings dialog box. This dialog box allows you to select a sound-compression setting for your export, along with other options.

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Table 39 QuickTime Movie Format Options (Continued)

Option Suboption Description

Prepare for Fast Start Allows a movie to begin playing over the Internet without Internet downloading the entire movie first. This method of playing Streaming movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server.

Fast Start - A better choice for progressive downloading. This option works Compressed the same as Fast Start but compresses the header information. header The header is the portion of the file that allows the movie to start playing before the entire movie is downloaded. Compressing the header allows the header to download faster. This is important for larger movies (movies that are longer than several minutes).

Hinted Streaming Select this option if you are putting the exported file onto a streaming video server. The file will not stream without a hint track for each track in the movie. The hint tracks allow the streaming video server to split the file into packets for streaming. A file with hinted streaming will also play as a progressive download. However, it will probably play slower than a Fast Start movie because it contains additional information and is therefore larger. For additional options, click Track Hint Settings. The RTP (Real Time Protocol) Track Setting dialog box opens. For more information, see QuickTime Help at: www.apple.com/quicktime/products/tutorials/ hinttracks.html

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Exporting As a QuickTime Reference Movie

A QuickTime reference movie is a QuickTime movie that contains composition information but no movie data. Instead, the movie contains pointers to the original media in the OMFI MediaFiles directory on local or network media drives. Because the QuickTime reference movie does not contain media, the file is much smaller than a QuickTime movie, usually only a few kilobytes per file. Therefore, exporting a sequence as a QuickTime reference movie is faster and takes up less disk space than exporting a sequence as a QuickTime movie. When you play back the movie in QuickTime Player, the movie references the media files for playback.

QuickTime reference movies are useful as long as you are working with Avid OMFI media files available on your local system or in an Avid Unity MediaNetwork workgroup. Advantages are speed and small file size because the system does not copy the source media files into the exported QuickTime file. However, if you expect to move the exported QuickTime file to a system that doesn't have access to the media, then you should use the standard QuickTime export so the media files and QuickTime wrapper can be moved as one file.

To export as a QuickTime reference movie: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens. 4. Click the Export Settings pop-up menu, and select a setting. If you want to create a new setting, select Untitled.

You can set these 5. Click the Options button. options in advance. See “Customizing Export The Export Settings dialog box opens. Settings” on page 384. 6. Click the Export As pop-up menu, and select QuickTime Reference.

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The Export Settings dialog box displays the QuickTime Reference options.

7. Select other options as described in Table 40. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same.

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11. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

QuickTime Reference Export Options

Table 40 describes the QuickTime Reference options in the Export Settings dialog box.

Table 40 Export Settings Dialog Box: QuickTime Reference Options

Option Description

Use Enabled Tracks Select this option if you want the system to use tracks that are enabled in the Timeline (default). To export all the tracks in the sequence, deselect this option.

Flatten Video Tracks Select this option if you want the composition to be exported as one video track. When you deselect this option, one QuickTime video track is generated for each video track in the composition, and you cannot select Fill Spaces with Black. Because most third-party applications do not understand multiple QuickTime video tracks, it is a good idea to select this option. This option is automatically selected if you selected the Fast Draft Defaults and Digital Mastering Defaults options.

Fill Spaces with Black Select this option if you want blank spaces in video tracks to be filled with black in the QuickTime movie. Because QuickTime movies do not recognize blank spaces, it is a good idea to select this option. When this option is deselected, a QuickTime movie might interpret spaces in the video track as gray or as the background of the player. This option is automatically selected if you selected the Fast Draft Defaults and Digital Mastering Defaults options.

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Table 40 Export Settings Dialog Box: QuickTime Reference Options (Continued)

Option Description

Render All Video Select this option if you want all unrendered video effects, including Effects matte keys and titles, to be rendered before export. When this option is deselected, any unrendered effects are ignored. This option is automatically selected if you selected the Digital Mastering Defaults option.

Fast Draft Defaults Select this option for a faster export. This option automatically selects Flatten Video Tracks and Fill Spaces with Black. It automatically deselects Render All Video Effects and Premix Audio Tracks.

Premix Audio Tracks Select this option if you want the audio tracks in the composition to be mixed to stereo files created at the same location as the movie. When you deselect this option, the QuickTime reference movie references the original audio media. This option is automatically selected if you selected the Digital Mastering Defaults option. If you select the Premix Audio Track option, you can also select an audio format. Select the format that is supported by the application into which you will be importing the QuickTime reference movie. • WAVE: Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. • AIFF-C: Select this option to export audio tracks in the industry- standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications.

Digital Mastering Select this option to render all video effects and premix audio tracks Defaults before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks.

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Table 40 Export Settings Dialog Box: QuickTime Reference Options (Continued)

Option Description

Use Network Media Select this option if you want the exported movie to use the computer and References share name of the media drive in the QuickTime reference movie instead of a drive letter. Select this option when the media files referenced by the movie are accessed remotely over the network. If the media files are stored on the same drive as the QuickTime reference movie, you do not need to select this option. When this option is deselected, Add Shares for Media Drives appears dimmed.

Add Shares for Media Select this option if you want the system to create a new drive share for Drives referenced media files stored on unshared network drives. The drive share is hidden; that is, other users do not see the shared drive when browsing your computer. If the media files are stored on the same drive as the QuickTime reference movie, you do not need to select this option.

Pixel Aspect Ratio Select this option to apply a scaling to the video: square, 4:3 non-square, or 16:9 non-square. Values for the pixel aspect ratio allow you to control the display format without modifying the source file. This feature creates metadata — additional data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. The pixel aspect ratio is useful for QuickTime reference movies because you do not modify the source files of referenced movies. For example, if your source movies are stored at the standard 720 x 486 for NTSC (720 x 576 for PAL), you can create two different QuickTime reference movies that use the same referenced source files — one that uses 4:3 and another that uses 16:9.

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Using Avid Codecs for QuickTime

You can use the following Avid codecs when exporting QuickTime files from your Avid system or from third-party applications for fast import into an Avid system: • Avid Meridien Compressed • Avid Meridien Uncompressed •Avid DV

The Avid codecs create encapsulated media files for export of high- resolution files that are readable within QuickTime applications. The Avid codec you use to export the file must be loaded on the system running the QuickTime application for the application to read the exported file. See “Installing the Avid Codecs for QuickTime or AVI on Other Systems” on page 439. n You get the best results by using the Same as Source option. See “Exporting As a QuickTime Movie” on page 410.

Exporting with an Avid Meridien Codec or the Avid DV Codec

To export a clip or sequence by using one of the Avid codecs: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens.

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8. Click the Format Options button. The Movie Settings dialog box opens. 9. Click Settings in the Video area. The Compression Settings dialog box opens. 10. Click the Compressor pop-up menu, and select Avid DV, Avid Meridien Uncompressed, or Avid Meridien Compressed.

11. Click the Options button. One of the Codec Configuration dialog boxes opens. The Quality slider does not affect your settings.

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12. Select the settings you want, and click OK. For Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601. 13. Click OK in the Compression Settings dialog box. 14. Click OK in the Movie Settings dialog box. The Export Settings dialog box reopens. 15. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 16. In the Export As dialog box, select the destination folder for the file.

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17. (Option) Change the file name. In most cases, keep the file name extension the same. 18. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

Exporting As an AVI File (Windows Only)

To export as an AVI file: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens. You can create settings 4. Click the Export Settings pop-up menu, and select a setting. in advance. See “Customizing Export If you want to create a new setting, select Untitled. Settings” on page 384. 5. Click the Options button. The Export Settings dialog box opens.

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6. Click the Export As pop-up menu, and select AVI. 7. Select AVI options as described in Table 41. 8. Select an AVI codec by clicking the Codec Options button. The Video Compression dialog box opens. 9. Select the compressor you want, and click the Configure button to further configure the codec. For more information, see Table 42. 10. Click OK to close the Video Compression dialog box and to return to the Export Settings dialog box. 11. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens.

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Name the setting by typing a name in the Setting Name text box, and click OK. 12. In the Export As dialog box, select the destination folder for the file. 13. (Option) Change the file name. In most cases, keep the file name extension the same. 14. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

AVI Settings Options (Windows Only)

Table 41 describes the AVI settings options in the Export Settings dialog box. In the Video Format tab, you can also select further options by clicking the Codec Options button.

Table 41 Export Settings Dialog Box: AVI Settings Options (Windows Only)

Option Suboption Description

Use Marks — Select this option if you want the system to use the current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.

Video and Audio — Select this option if you want to export an entire clip or sequence as an AVI file; for example, in a multimedia project. For more information, see “Using the Avid Codec for AVI (Windows Only)” on page 437.

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Table 41 Export Settings Dialog Box: AVI Settings Options (Windows Only) (Continued)

Option Suboption Description

Video Only — Select this option if you want to add effects in a third-party application or to use only the video in a multimedia project.

Audio Only — Select this option if you want to use or enhance audio in a third- party application or to use only the audio in a multimedia project.

Video Format Same as Source Select this option if you want to maintain the original compression of the clip.

Codec Options Click this button to open the Video Compression dialog box. For more information, see Table 42.

Custom Width x Height Select this option to set the width and height of the clip. Size to Fit: This option sizes the clip to fit the specified width and height. You can type in values or select from the predefined values in the Fast menu. n The values in the Fast menu suggest a typical use for each size. For example, 320 x 240 (Internet video, large).

Crop/Pad: This option never scales or resizes frames. If necessary, the system adds black lines to the top and bottom to achieve the correct size.

Color Levels Select this option to set the color levels of the exported media to RGB or ITU-R 601. If you are planning to export the file to another application and then reimport it, select 601.

FPS Select this option to set the frame-per-second (fps) rate for AVI export.

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Table 41 Export Settings Dialog Box: AVI Settings Options (Windows Only) (Continued)

Option Suboption Description

File Field Order Select one of these options to set the field that will be the upper field during export from an interlaced video project. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd (Upper Field First): Select this option if you are working in a PAL project. In forming the export frame, field 1 becomes the upper field, that is, field 1's lines become the odd-numbered lines in the frame (counted starting from 1). Field 2's lines become the even-numbered lines. Even (Lower Field First): Select this option if you are working in an NTSC project. In forming the export frame, field 1 becomes the lower field, that is, field 1's lines become the even-numbered lines in the frame. Field 2's lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selection.

Audio Format Mono Select this option to export audio to a single channel. Stereo Select this option to export audio to two channels.

Sample Rate Select this option to select the sample rate. Project Rate: The native rate of the selected audio media (44.1 kHz or 48 kHz). 22.050 kHz: Half the sample rate of 44.1-kHz media. 11.025 kHz: One quarter the sample rate of 44.1-kHz media.

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Table 41 Export Settings Dialog Box: AVI Settings Options (Windows Only) (Continued)

Option Suboption Description

Sample Size Select this option to select the sample size. 16-bit: When this option is selected, the system exports a 16-bit audio sample size (currently the industry-standard bit rate for audio). 8-bit: When this option is selected, the system exports an 8-bit audio sample size for use in third-party systems that do not support 16-bit. This option is also used to minimize the data throughput requirements (for example, to improve playback in multimedia projects).

AVI Video Compression Dialog Box Options (Windows Only)

Table 42 describes the AVI Video Compression dialog box options. The list of codecs varies, depending on your platform and the version of Windows installed.

Table 42 AVI Video Compression: Dialog Box Options (Windows Only)

Option Suboption Description

Compressor Microsoft Video 1 Select this option when you create files that will play with Video for Windows. Click Configure to open the Configure dialog box. You can then adjust the quality of the compressed file by using the Temporal Quality Ratio slider.

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Table 42 AVI Video Compression: Dialog Box Options (Windows Only) (Continued)

Option Suboption Description

Cinepak Codec Select this option for export at low resolution where high quality by Radius is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. This codec uses a compression algorithm optimized for CD-ROM playback. Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can then select to compress to color, or to black and white.

Avid AVI Codec Select this option to select Avid resolutions. See “Using the Avid Codec for AVI (Windows Only)” on page 437.

Full Frames Select this option for high-quality export in which no picture (Uncompressed) information is lost. This option does not compress the file and can result in very large files. To export an uncompressed file at 1:1, use the Avid Codec for AVI.

Compression — Click this slider and drag it to adjust the image quality for the Quality exported file. The selections vary according to the codec you use. This slider does not adjust quality for the Avid Codec for AVI.

Key Frame — Select this option to have the system use keyframes as a Every n frames reference for subsequent frames. Type a numeric value to specify the frequency of the keyframes. This option is not available for the Avid Codec for AVI or for uncompressed files.

Data Rate n — Select this option to set a specific data rate for the compressed KB/sec file, in kilobytes per second. This option is not available for the Avid Codec for AVI or for uncompressed files.

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Using the Avid Codec for AVI (Windows Only)

The Avid Codec for AVI creates encapsulated media files for export of high-resolution files that are readable within AVI-compatible applications.

To export a clip or sequence with the Avid Codec for AVI: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 378. 3. Select File > Export. The Export As dialog box opens.

You can create settings 4. Click the Export Settings pop-up menu, and select a setting. in advance. See “Customizing Export If you want to create a new setting, select Untitled. Settings” on page 384. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select AVI. 7. Click the Codec Options button. The Video Compression dialog box opens.

8. Click the Compressor pop-up menu, and select Avid AVI Codec. 9. Click the Configure button. The Avid AVI Codec Configuration dialog box opens.

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10. Select the appropriate format for the media you want to create: NTSC or PAL. 11. Select the appropriate board set for the media: Interlaced or Progressive. 12. Click the Resolution pop-up menu, and select a resolution. 13. Click Close. 14. Click OK to close the Video Compression dialog box and to return to the Export Settings dialog box. 15. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 16. In the Export As dialog box select the destination folder for the file. 17. (Option) Change the file name. In most cases, keep the file name extension the same.

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18. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

Installing the Avid Codecs for QuickTime or AVI on Other Systems

When you install Avid Symphony on your system, the Avid Codecs for QuickTime and the Avid Codec for AVI are automatically installed. If you want to export a QuickTime or AVI movie from a third-party application such as Adobe After Effects® for use on an Avid system, you should have the appropriate Avid codec installed on the system running the third-party application.

Use the following techniques to copy the codecs to other systems: • Copy the Avid Codecs for QuickTime to other Windows or Macintosh workstations where you are using QuickTime compatible applications. Once the Avid Codecs for QuickTime are installed on the workstation, you can export files from the QuickTime compatible application for reimport into the Symphony system. • For the Avid Codec for AVI, use the Avid Symphony installation CD-ROM to install the codec on another Windows system. Once the Avid Codec for AVI is installed on the other workstation, you can export AVI files from the AVI compatible application for reimport into the Symphony system. • Download the Windows or Macintosh versions of the Avid Codecs for QuickTime from the Avid Web site.

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Copying the Avid Codecs for QuickTime to Another Windows System (Windows)

To copy the Avid Meridien Codecs for QuickTime to another Windows system: 1. On your Avid system, open the following folder: drive:\WINNT\System32 2. Copy the codecs you need to a floppy disk or network server. The following table describes the codecs:

Codec Description

AvidQTAVJICodec.qtx Avid Meridien Compressed Codec for QuickTime

AvidQTAVUICodec.qtx Avid Meridien Uncompressed Codec for QuickTime

3. Install the codecs on the other system in one of the following folders: drive:\WINNT\System32 (Windows 2000) drive:\Windows\System32 (Windows XP)

To copy the Avid DV Codec for QuickTime to another Windows system: 1. Insert the Avid product installation CD-ROM. 2. On the opening screen, click Browse CD Contents. If the installer does not start automatically: a. Double-click the My Computer icon. b. Double-click the CD-ROM drive icon. 3. Double-click the Goodies folder. 4. Double-click the AvidDV25Codec folder.

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5. Copy the AvidQTDV25Codec.qtx file to a floppy disk or network server. n This codec supports the DV 25 resolution only. 6. Install the codec on the other system in one of the following folders: drive:\WINNT\System32 (Windows 2000) drive:\Windows\System32 (Windows XP)

Copying the Avid Codecs for QuickTime to Another Macintosh System (Macintosh)

To copy the Avid Meridien Codecs for QuickTime to another Macintosh system: 1. On your Avid system, open the Macintosh HD/Library/QuickTime folder. 2. Copy the codecs you need to a floppy disk or network server. The following table describes the codecs:

Codec Description

AvidAVDJCodec.component Avid Meridien Compressed Codec for QuickTime for Mac OS X

AvidAVUICodec.component Avid Meridien Uncompressed Codec for QuickTime for Mac OS X

3. On the system where the QuickTime compatible application resides, copy the codec extensions to the Macintosh HD/Library/QuickTime folder.

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To copy the Avid DV Codec for QuickTime to another Macintosh system: 1. On your Avid system, open the Macintosh HD /Applications/Avid Goodies folder. 2. Copy the AvidDV25Codec.component file to a floppy disk or network server. 3. On the system where the QuickTime compatible application resides, copy the AvidDV25Codec.component file to the Macintosh HD/ Library/QuickTime folder. n This codec supports the DV 25 resolution only.

n Codecs for Mac OS 9 are installed in the following locations: • Macintosh HD/Applications/Avid Goodies/OS9 Meridien Codecs/Avid Compressed G4 • Macintosh HD/Applications/Avid Goodies/OS9 Meridien Codecs/Avid Uncompressed G4

Copy these files to System Folder:Extensions on a Mac OS 9 system.

Installing the Avid Codec for AVI on Another Windows System

To install the Avid Codec for AVI on a Windows system, you must install the codec from the product CD-ROM.

To install the Avid Codec for AVI on another Windows system: 1. Insert the Avid product installation CD-ROM. 2. On the opening screen, click Browse CD Contents. If the installer does not start automatically: a. Double-click the My Computer icon. b. Double-click the CD-ROM drive icon. 3. Double-click the Installers folder. 4. Double-click the AvidAVICodec folder.

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5. Double-click the Disk 1 folder. 6. Double-click Setup.exe. The installer starts and the Welcome screen opens. 7. Click Next. The installer installs AvidAVICodec.dll in the following folder: drive:\WINNT\System32 A message asks if you want to restart your computer. 8. Click Yes and then click Finish.

Downloading Avid Codecs for QuickTime

The Avid Codecs for QuickTime for your system (Windows or Macintosh) are included on the installation CD-ROM as part of the standard installation. If you need the codecs for a different platform (Windows or Macintosh) or want to install updated codecs, you can download them from the Avid Customer Support Knowledge Center.

To download the Avid Codecs for QuickTime: 1. Go to www.avid.com and access the Customer Support Knowledge Center. For more information, see the release notes supplied with your Avid system. 2. Search for the term Codecs. 3. From the list, select and download the latest version of the codecs. The codecs are specified by product name and release number. There is one set of codecs for Windows and one set for Macintosh.

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Exporting from a Third-Party QuickTime or AVI Application

To export files from a QuickTime compatible application or from an AVI compatible application on a Windows system for import (or reimport) into your Avid system: 1. Make sure the applicable codec is installed on the system. See “Installing the Avid Codecs for QuickTime or AVI on Other Systems” on page 439. 2. Conduct the export procedure according to the procedures used by the particular software. 3. When you get to the step where the standard Export Settings dialog box opens, select the applicable Avid compressor. For QuickTime exports, most applications will have format options similar to those described in “Selecting QuickTime Movie Format Options” on page 415. Make sure you select settings that will be compatible with your existing media on the Avid system. n If you select a nonstandard frame size, your Avid system will not import the file quickly.

4. Complete the export.

Exporting Tracks As Audio Files

To export the audio tracks in a clip or sequence as an audio file: 1. (Option) Mark IN or OUT points to identify a particular portion of the audio in a sequence. 2. Select the clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin.

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3. Select File > Export. The Export As dialog box opens.

You can create settings 4. Click the Export Settings pop-up menu, and select a setting. in advance. See “Customizing Export If you want to create a new setting, select Untitled. Settings” on page 384. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select Audio. The Export Settings dialog box displays the Audio options.

7. Select the options you require. Use the Table 43 to make your selections. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file.

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10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

Table 43 Export Settings Dialog Box: Audio Settings Options

Option Suboption Description

Use Enabled — Select this option if you want the system to use tracks that are Tracks enabled in the Timeline. To export the entire clip or sequence, deselect this option.

Mono — Select this option to export audio tracks in either mono or stereo. Stereo

Audio Format WAVE Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.

SD2 (Macintosh only) Select this option to export audio tracks in the (Macintosh Sound Designer II format, which is compatible with Pro Tools and only) other third-party applications.

AIFF-C Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications.

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Table 43 Export Settings Dialog Box: Audio Settings Options (Continued)

Option Suboption Description

Sample Rate Project Rate Select the desired audio sample rate. You can use this option if your 32 kHz sequence has a mix of sample rates and you need to create a single 44.1 kHz sample rate. You set the project rate in the Audio Project Settings 48 kHz dialog box. For more information see “Adjusting Audio Project Settings” on page 180. You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate.

Exporting As a Graphic File

You can export a single frame as a graphic file or you can select to export multiple frames as sequentially numbered files.

To export as a graphic file: 1. Do one of the following: t If you plan to export a single frame, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export. t If you plan to export multiple frames, use IN and OUT points to identify the region to export. 2. Select File > Export. The Export As dialog box opens.

You can create settings 3. Click the Export Settings pop-up menu, and select a setting. in advance. See “Customizing Export If you want to create a new setting, select Untitled. Settings” on page 384. 4. Click the Options button. The Export Settings dialog box opens. 5. Click the Export As pop-up menu, and select Graphic. The Export Settings dialog box displays the Graphic options.

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6. Click the Graphic Format pop-up menu, and select a format. Use Table 44 to make your selection. 7. Select other options as appropriate. Use Table 45 to make your selection. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same.

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11. Click Save. The file is exported to the selected destination.

When you are working with the Format Options settings, you can click Defaults to return the settings to their default values. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.

Table 44 Export Settings Dialog Box: Graphic Format Settings Options

File Type Parameters Description

Alias — This option creates files that are compatible with Alias™/Wavefront™ systems.

BMP Windows This option creates files that are compatible with systems running the Microsoft Windows operating system.

OS/2 This option creates files that are compatible with systems running the IBM OS/2® operating system.

Chyron — This format was developed by Chyron Corporation for use with video frame buffers of Chyron® character generator titles.

Cineon Blackpoint This option allows you to adjust a film exposure value that (Windows) corresponds to filming a 2% black card. Values can be Black Point between 0 and 1022. The default value of 0 is adequate for (Macintosh) most uses.

Whitepoint This option allows you to adjust a film exposure value that (Windows) corresponds to filming a 90% white card. Values can be White Point between 1 and 1023. (Macintosh) If the files came from and will be transferred back to a Cineon™ system, use a white point of 1023. The default value of 685 is appropriate if the final destination is not a Cineon system — for example, a video display.

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Table 44 Export Settings Dialog Box: Graphic Format Settings Options (Continued)

File Type Parameters Description

Gamma This option specifies an adjustment to correct for any gamma inconsistencies in the output display. Values can be between 0.01 and 100.0. Use a value of 1.0 (the default) for images displayed on a PC monitor. Use a value of 0.59 for a Silicon Graphics® or a Macintosh monitor. Use a value of 0.45 for ITU-R 601 (CCIR-601) video.

ERIMovie Pack 24 bits This option controls whether the image data is packed into 24-bit color depth (compressed) or is saved as 32-bit color depth (raw).

Framestore — This format is a 16-bit video image format used on the Amiga® platform in conjunction with Newtek's Video Toaster™ hardware. The Avid system supports both compressed and uncompressed Framestore formats.

IFF — This format was developed by Electronic Arts. IFF (Interchange File Format), or more specifically IFF-ILBM (InterLeaved BitMap), is the standard file format by which applications on the Amiga platform transfer image files.

JPEG Quality This option controls the output file size and quality. Higher values produce better images but larger file sizes. Conversely, lower values reduce the image quality but result in smaller file sizes.

Baseline This option is selected by default. To see if this option is required, see the documentation that came with your JPEG-supported applications.

Progressive This option allows you to save progressive JPEG files, which divide the file into a series of scans of the image that increase in quality. Each scan progressively improves the recognizability of the image. Progressive JPEG files can be recognized only by applications with progressive JPEG support, such as some Web browsers.

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Table 44 Export Settings Dialog Box: Graphic Format Settings Options (Continued)

File Type Parameters Description

OMF Compression This option controls the resolution and, therefore, the size of the file. You can select from all resolutions used by the Avid system. For more information on Avid resolutions, see “Compression Specifications” on page 520.

Frame Rate These options appear when you select a resolution that allows you to select either NTSC or PAL. When you select NTSC/PAL an option, the system displays the required image size and the default frame rate.

PCX — This format was developed by Zsoft Corporation for use with their PC PaintBrush™ paint software.

Photoshop Compression This option controls the size of the file on disk. Disabling compression creates larger files on disk.

PICT Create This option creates a file with a MacBinary header. MacBinary MacBinary is a file format for representing all the header information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh system.

Pixar — This option allows you to save the file in the Pixar® format.

PNG Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Interlaced This option allows you to save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves. Interlaced PNG files can be recognized only by applications with interlaced PNG support, such as some Web browsers.

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Table 44 Export Settings Dialog Box: Graphic Format Settings Options (Continued)

File Type Parameters Description

QRT — This format was developed on the Amiga personal computer to run on several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer.

Rendition — This format was developed by Numerical Design, Ltd.

SGI Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Softimage — This format was developed by Softimage, Inc. for use in their Softimage® software.

Sun Raster — This format was developed by Sun Microsystems, Inc. and is supported mainly in Sun® applications.

Targa Color Depth This option controls how images are saved. The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format.

Compression This option controls the size of the file on disk. Disabling compression creates larger files on disk.

TIFF Parameters Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Compression This option controls the size of the file on disk. With None, image data is not compressed and can produce large file sizes. RLE (Run Length Encoded) produces relatively small and fairly portable files. JPEG produces files that can vary in size, depending on the quality you have set using the JPEG Quality slider. The higher the quality setting, the larger the file size.

JPEG Quality This option adjusts the image quality of the JPEG file on a sliding scale from 0 to 100. The higher the number you set, the higher the image quality of the JPEG file.

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Table 44 Export Settings Dialog Box: Graphic Format Settings Options (Continued)

File Type Parameters Description

Wavefront Format Type This option specifies one of two output file formats supported by Wavefront (either RLA or RLB).

Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.

Gamma This option specifies an adjustment to correct for gamma differences between Windows PC and Macintosh output display. This option is intended for cross-platform applications that require adjustment. n To see if you need to adjust this value, check the documentation that came with your Wavefront application. Usually, you can use the default setting.

XWindows — This format was developed by the MIT X Consortium, and is supported by many X Window System™ applications on workstations and some personal computers.

YUV Format This option controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped.

Smooth YUV This option enhances the fidelity of images saved in YUV color space (if originating in RGB color space).

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Table 45 Export Settings Dialog Box: Graphic Export Settings Options

Option Description

Use Marks Select this option if you want the system to use the current IN point, OUT point, or both in the selected clip or sequence to determine starting and ending frames for the export. To export more than one frame, select the Sequential Files option.To export an entire clip or sequence, deselect this option and select the Use Enabled Tracks and Sequential Files options.

Use Enabled Select this option and the Sequential Files option if you want the system to export Tracks the currently enabled track for a selected sequence or clip.

Graphic Format See Table 44 for a description of the supported graphic formats.

Format Options Click this button to open a dialog box for setting parameters for the graphic format you selected. For details, see Table 44.

Width x Height Select this option to set the width and height of the clip. Size to Fit: This option sizes the clip to fit the specified width and height. You can type in values or select from the predefined values in the Fast menu. n The values in the Fast menu suggest a typical use for each size. For example, 320 x 240 (Internet video, large).

Crop/Pad: This option instructs the system not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size. This option never scales or resizes.

Color Levels Select this option to set the color levels of the exported media to RGB or ITU-R 601. If you are planning to export the file to another application and then reimport it, select 601.

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Table 45 Export Settings Dialog Box: Graphic Export Settings Options (Continued)

Option Description

File Field Order Select one of these options to set the field that will be the upper field during export from an interlaced video project. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd (Upper Field First): Select this option if you are working in a PAL project. In forming the export frame, field 1 becomes the upper field, that is, field 1's lines become the odd-numbered lines in the frame (counted starting from 1). Field 2's lines become the even-numbered lines. Even (Lower Field First): Select this option if you are working in an NTSC project. In forming the export frame, field 1 becomes the lower field, that is, field 1's lines become the even-numbered lines in the frame. Field 2's lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selection. For more information, see “Field Ordering in Graphic Imports and Exports” on page 510.

Sequential Files Select this option if you want the system to create a separate graphic file for each frame in the specified portion of the clip or sequence. The system sequentially numbers each file. When this option is deselected, the system exports a single frame as identified by the IN point or by the position indicator.

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Sending Material Out for Review

Your Avid system and Avid NetReview™ provide an easy method for obtaining the required reviews and approvals for your material during the production process. Your selected reviewers can access the review material through the NetReview server and can add their comments to the material. You can use the Locators window in your Avid system to view the reviewer comments.

For more information about using NetReview, see the Avid NetReview User’s Guide. c Before using NetReview, you and your reviewers must have e-mail accounts and install the NetReview client software.

Reviewing Material

To obtain review comments and approval of material: 1. Export the sequence you want to have reviewed as a QuickTime movie. For more information, see “Exporting QuickTime Movies” on page 409. 2. Log in to NetReview through your Web browser and click the Send Media for Review button. 3. Follow the steps to upload media and enter or select reviewers for distribution access. The NetReview server sends an e-mail to your selected reviewers. The e-mail provides a link to the NetReview server to allow the reviewer access to the media files. 4. (Option) If you selected to encrypt the file, send the passcode to the reviewers. 5. Reviewers should do the following: a. Follow the instructions in the e-mail message to access the page containing the media file. b. Add comments to the media using the review tool installed as part of the client software.

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The review tool stores the reviewer’s comments in the NetReview database. When the reviewer finishes reviewing the media, an e-mail is automatically sent to you that indicates reviewer comments are available. For more information about using the review tool, see the Avid NetReview User’s Guide. 6. Save the review comments to an R&A file on a local drive (Windows) or volume (Macintosh). n Files containing the comments should have the file name extension .rna. Macintosh users need to add this extension manually.

7. Open the Locators window and display the reviewer comments. For procedures on displaying the reviewer comments, see “Opening R&A Files in the Locators Window” on page 457. Locators appear at the specific frame within the sequence where the reviewer commented on your material. For more information about using the Locators window, see the editing guide or Help for your Avid system.

Opening R&A Files in the Locators Window

You can view and edit reviewer comments in the Locators window. There are two methods for opening R&A files in the Locators window: • Select Import R&A File from the Locators Window Fast menu or from the File menu. • Click (select) the R&A file and drag it into the Locators window.

To open an R&A file from the Locators window: 1. Select Tools > Locators. The Locators window opens. 2. Do one of the following: t Click the Fast Menu button, and select Import R&A File. t Select File > Import R&A File.

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A dialog box opens. 3. Navigate to the R&A file and select it. 4. Click Open. The comments in the R&A file appear in the Locators window.

To open an R&A file using the drag-and-drop method: 1. Select Tools > Locators. The Locators window opens. 2. Open the folder that contains the R&A file you want to view, positioning the folder to make the Locators window visible. 3. Select the R&A file you want to view. 4. Drag the R&A file into the Locators window, and release the mouse button. The comments in the R&A file appear in the Locators window.

Displaying Information in the Locators Window

You can display creation information for each locator displayed in the Locators window. Displaying the creation information is useful when you want to identify when your reviewers made their comments.

To display information about a locator: t Click the Locators Window Fast Menu button, and select Details. The Locators window shows the User, Date, and Time columns. n Comments in the R&A file appear as locators in your Avid system. For more information about using the Locators window, see the editing guide or Help for your Avid system.

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Using Locator Colors with R&A Files

You can select the color for the locators in the next R&A file you open. You can also change the color of the selected locators in the Locators window. By default, the Avid system cycles to the next color on the list each time you open a new R&A file.

To select locator colors or to change the color of the selected locators in the Locators window, do one of the following: t Click the Fast Menu button, and select Import R&A Color. t Select File > Import R&A Color. The Import R&A Color command displays a menu with the available colors. By default, the Avid system cycles to the next color on the list each time you open a new R&A file. n When there is more than one comment on a frame, your Avid system colors those comments black.

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460 Chapter 10 Exchanging Files with Avid Applications

Avid offers a range of editing applications for editing film, video, and audio. Within the Avid family of editing and finishing products, you can work at the system most appropriate for your task. When you are ready for the next step in the process, you can easily move your work to another system. For example, you might start your project on a Media Composer offline system and then move it to a Symphony system when you are ready for finishing. You can also send audio media to a Digidesign Pro Tools system and edit the finished audio into the final sequence.

The following sections contain instructions to help you prepare your project files for transfer between Avid editing products. • Compatibility Between Applications • Transferring Projects and Media • Transferring Audio Files • Options for File Transfers Chapter 10 Exchanging Files with Avid Applications

Compatibility Between Applications

Avid editing products are designed so you can easily move projects and media from one system to another and preserve your edits and effects. In one typical workflow, you create a program on a Media Composer system—choosing the footage, making edits, adding effects—and then transfer your program to a Symphony system for final finishing. This re-creation of the offline project on an online system is called conforming, and Avid’s solution is called Total Conform. Finishing might involve redigitizing in a final resolution, making color corrections, adjusting effects, and outputting the final master.

Alternatively, you can use the same media for offline and online editing. You can access the media in several ways, such as sharing media in an Avid Unity workgroup environment, or transferring removable drives from one system to another. The clips and sequences automatically link to the media, and you can complete the final finishing. n Specific information for transferring projects to Avid|DS is contained in the Avid|DS Conform Guide, which is available from the Avid Customer Support Knowledge Center or the Avid|DS Web site. For information on accessing the Knowledge Center, see the release notes for your Avid system.

If you are moving from one Avid editing product to another in the current release, or from a product in a previous release to a product in the current release, you can move project files and media without losing any of your work.

However, when you move projects from a product in the current release to a product in the previous release, some effects that have been created with features that are new for a particular release do not appear, or appear as unknown effects. This situation can also occur if you move from a finishing system, such as Symphony, to an offline system like Avid Xpress®. For example, if you add an Ultimatte® effect in Symphony, and then move the project to Avid Xpress, the original clip will appear with an unknown effect icon. The effect icon appears blank in the Timeline, and you cannot make any adjustments to it.

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Transferring from Avid Xpress DV

If you want to transfer a project from Avid Xpress DV to Media Composer, Film Composer, or Symphony, you have the following options: • You can transfer project files and DV media from an Avid Xpress DV system to a Media Composer, Film Composer, or Symphony system with the DV/MPEG option (Windows only). See “Transferring Projects and Media” on page 464. You must use an external SCSI drive to transfer media files. You can use a FireWire drive to transfer an OMF or AAF file with embedded media. • You can transfer project files and audio media from an Avid Xpress DV system to a Media Composer, Film Composer, or Symphony system that does not have the DV/MPEG option, but you cannot transfer video media. If you are sharing non-DV source tapes, you can share project information, but you need to redigitize the video media. To transfer a project from Avid Xpress DV, copy the project folder, as described in “Transferring Project Files and Media Files Using Nonshared Storage” on page 479. To transfer a sequence from Avid Xpress DV, export an OMF 2.0 composition only.To transfer a sequence and audio media, export an OMF 2.0 sequence with embedded media. For more information, see “Exporting As an OMFI or an AAF File” on page 389. n You can transfer an OMF or AAF file with embedded media (30i or 25i projects only) from a Media Composer, Film Composer, or Symphony system to an Avid Xpress DV system.

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Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1

Video media from Media Composer v7.2 or Avid Xpress v2.1 is not directly compatible with later releases.

To transfer video media from Media Composer v7.2 or Avid Xpress v2.1 to a later release: t In the Export Format dialog box, select OMFI Composition Standard - AIFC, Video Only, OMFI 1.0, With Media. You can then import the OMFI file. n The import process might be slow and your media will lose some quality. For more information about working with Media Composer v7.2, Avid Xpress v2.1, and other versions of Avid editing products released before July, 2001, see the Avid Products Collaboration Guide, which is available on the Customer Support Knowledge Center.

Transferring Projects and Media

The following sections provide information to help you transfer projects and media from one Avid editing system to another. These steps are based on an offline-to-online workflow. • Before You Begin • Step 1: Transfer Project Files and Media Files • Step 2: Open the Project and Relink or Redigitize • Step 3: Import Graphics • Step 4: Re-create the Title Media • Step 5: Render Non-Real-Time Effects n For illustrations of various workflows, including offline-to-online and HD downconverting, see Chapter 1.

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Before You Begin

Before you begin moving project files between Avid editing applications, consider the following: • What files will you transfer? Determine if you need to transfer video media, audio media, project information, or all three. See “Step 1: Transfer Project Files and Media Files” on page 466. • How will you transfer the files? Determine the most appropriate method for transferring your project files. See “Options for File Transfers” on page 478. • Frame rates: Make sure both editing systems support the same frame rates. For example, some systems support 24p projects and 23.976p projects and some do not. • File naming: To make it easier to move files between products and across platforms, use the following guidelines when naming files: - Do not use the following characters in project, bin, or other file names: /\:*?”<>| The Windows system does not recognize these characters in file names and will substitute other characters, possibly making the file name unrecognizable. n You can use these characters in bin names if you are sharing bins between products in the Media Composer family. You cannot use these characters in bins you share with Avid|DS or Pro Tools systems.

- Do not add spaces at the beginning or end of a file name. The Windows system will display such files but might be unable to open them. - Do not use a period at the end of a file name. The Windows system will display such files but might be unable to open them. - On Macintosh systems, beginning with Media Composer v7.2, you can enable a setting that prevents you from using restricted characters in file names. This setting automatically adds the correct file name extensions to files for your project. The Use Windows Compatible File Names setting in the General Settings

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dialog box is selected by default. With this setting selected, the file name extension .avp is added to project files and .avb is added to bin files when they are saved. These file name extensions are also attached to existing files. • Title fonts: If the project includes titles and you are moving between Macintosh and Windows systems, make sure you have the same font with exactly the same name (preferably from the same supplier) on both the Macintosh and Windows systems. Check the font carefully because the same font can have slightly different names. For example, Times New Roman on the Macintosh system is named Times New Roman Regular on the Windows system. If you open a title that does not have a matching font, a dialog box opens that allows you to substitute the font in the title with a font that exists on your system. For best results, use TrueType® or PostScript® fonts. Bitmap fonts can cause scaling problems. • AV X ™ plug-ins: If your project contains AVX plug-in effects and you are moving across platforms, make sure the same plug-ins are available on both the Macintosh and Windows systems. If the same AVX plug-in effect is not available, you can mixdown or render the effect and then transfer it using an OMFI or AAF file. However, you will not be able to change the parameters of the effect.

Step 1: Transfer Project Files and Media Files

There are several different methods for transferring project files and media files, depending on the requirements of your project.

Transferring Project Information Only

Project information includes the information about the components of your project (such as settings, bins, master clips, edited sequences, and so on), but does not include the media for these components. This project information is sometimes called metadata. Use this method if you are planning to redigitize media (for example, from an offline resolution to an online resolution) or relink media in an Avid Unity workgroup.

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Options are: • Transferring a project folder from one desktop to another. This option allows you to transfer complete project information, but you need to use the desktop operating system to copy and transfer files. See “Transferring Project Files and Media Files Using Nonshared Storage” on page 479. • Creating an OMFI or AAF file (composition only). This option allows you to export from the Avid editing application, but is limited to a single sequence or master clip. See “Exporting OMFI and AAF Files” on page 386. • Creating an AFE file. This option allows you to transfer complete project information, but is currently limited to transfers to an Avid|DS system. See “Transferring Projects and Bins Using AFE Files” on page 490. • Sharing project information within an Avid Unity workgroup. See “Transferring a Project Using Shared Storage” on page 479.

Transferring Video Media

Use this method if you want to transfer video media to another Avid editing system, for example, if you want to add color correction or other finishing to a sequence. Options are: • Transferring a project folder along with a removable media drive. This option allows you to transfer complete project information, but you need to use the desktop operating system to copy and transfer files. See “Transferring Project Files and Media Files Using Nonshared Storage” on page 479. • Creating an OMFI or AAF file that references a removable media drive. This option allows you to work within the Avid editing application, but is limited to a single sequence or master clip. You can link to media files that you have copied or consolidated to a single drive. copy media files or consolidate to a single drive. See “Exporting OMFI and AAF Files” on page 386. • Creating an OMFI or AAF file with embedded media. This option allows you to create a single OMF or AAF file, which you can consolidate onto a single drive. See “Exporting OMFI and AAF Files” on page 386.

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Transferring Audio Media

Use this method if you want to transfer audio media to a digital audio workstation, for example, if you want to add effects or other sweetening. Options are: • Creating an OMF file that references a removable media drive. • Creating an OMF file with embedded media.

For specific information on transferring audio files, see “Transferring Audio Files” on page 475.

Step 2: Open the Project and Relink or Redigitize

If your media is compatible, and you transferred both project files and media, the original project appears in your list of projects. Open the project, and clips and sequences automatically link to the media.

If you transferred an OMFI file with embedded media, open a project and import the OMFI file. The sequence automatically links to the media. n If the clips and sequences do not link automatically, select File >Refresh Media Directories.

If you did not transfer media, or you need to redigitize your media at a higher resolution, use one of the following options: • Redigitize master clips: Offers complete flexibility to make revisions, but takes the most time and disk space. • Redigitize a sequence: Provides a one-step process, but it limits your options during digitizing. You can make revisions using only assigned handles. • Decompose the sequence and redigitize the new clips: Digitizes only enough media to re-create the sequence. You can specify the length of handles, which you can use for minor revisions. This method is more flexible than digitizing from the sequence because new clips are created, which you can sort and selectively digitize. This method uses minimal storage and can be one of the fastest methods for redigitizing.

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• Use the Show Reference Clips option: Lets you reveal the source clips of a sequence in a single bin by selecting the “Show reference clips” option in the Bin Display dialog box, and then redigitizing the source clips. This method can be faster than redigitizing a sequence or decomposing if the lengths of the new audio and video clips created differ from the original master clips. Because two passes are necessary to digitize audio and video from a single source if the lengths are not the same, it is sometimes faster to digitize a slightly longer master clip than to digitize the new clips once for audio and once for video. This method also gives you more opportunity for revisions. However, this method uses more disk space and digitizing can take longer. It can be a good compromise between digitizing all the original clips and digitizing only the clips needed to re-create the source.

For instructions on redigitizing, see “Redigitizing Your Material” on page 246. n When you redigitize from source tapes, Avid recommends that you readjust the video levels. You can transfer video input settings from another system, but the existing settings have been calibrated to a different set of hardware and might not operate properly.

If you are capturing serial digital video (SDI), DV, or MPEG 50 video, the Avid system ignores the video input settings.

Step 3: Import Graphics

If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the source files. For example, you might want to: • Upgrade the video resolution of the imported files to an online resolution. • Replace low-quality material with high-quality material finished with other applications. • Create new media files when the media files are lost or accidentally deleted.

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c Reimporting requires your original source files. Do not delete the media files for imported files unless you have access to the source files.

Here are two tips for making batch importing easier: • Placing a “graphics” folder inside the project folder of your offline project makes the batch import process easier because the path will be the same, or at least faster to find. • It is easy to edit revised graphics into your project by giving them the same names as the original graphics, copying the revised graphics to the folder that contains the original graphics, and batch importing the revised graphics. You can also edit new graphics into your project by deleting the media for your original graphics, batch importing your sequence, and pointing the old clips to the revised graphics files.

For instructions on batch importing, see “Reimporting Files” on page 316.

Step 4: Re-create the Title Media

After you transfer or import all files, you might need to re-create title media if you did not render the titles, or if you want to change the resolution of the titles.

To re-create the title media: 1. Open the bin or project. 2. Load the sequence containing the titles into the Record monitor. If the titles are not part of a sequence, select the titles in the bin, press and hold the Alt key (Windows) or Option key (Macintosh), and drag the selected group of titles into the Record monitor. A sequence containing all the titles will appear. n You can also open titles in other ways, such as double-clicking a title in a bin. For more information on opening and editing titles, including full instructions for re-creating title media, see the effects guide for your Avid editing system.

3. Select all video tracks that contain titles.

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4. Mark an IN point and an OUT point to create a segment that includes all your titles. 5. Select Clip > Re-create Title Media. - If you have the same font on both systems, the equivalent font appears automatically. Because the mapping process changes the exact appearance of the font, check your titles carefully. It might be easier to check your titles from the bin than from the sequence. - If a title opens and the system does not recognize the font, you will see a dialog box that allows you to substitute the font in the title for one that is installed on the system. This replacement creates a font mapping, which is saved as a Site setting. For information on changing the font mapping, see “Redefining a Font Replacement” on page 472. If more than one font in the title needs replacement, the dialog box will remain open after you click OK, and a new message will identify the next font that needs replacement. 6. Select a drive and resolution for the re-created title media. 7. If necessary, adjust the size of the bounding box, leading values, or kerning information.

Note the following: • If you are moving across platforms and the transferred title text uses a single style (the same font and type size), the title text aligns as closely as possible to its original position. The size of the text bounding box adjusts to accommodate the differences between the Macintosh and Windows versions of the font used. You might see a changed leading value in the Title Tool leading field to adjust for multiline text. Because the Macintosh and Windows systems handle fonts differently, you might see variations in the appearance of titles between the two systems. For example, bounding boxes that were set on a Macintosh system might appear in a different size on a Windows system. Some clipping of the new text might occur and words can be lost. If this clipping

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occurs, you need to open the title, select the text box, and manually change the size of the text box or the size of the fonts to display all the text. For more information on differences between the Macintosh and Windows versions of a font, contact the font supplier. • If the titles are downstream key (DSK) graphics that include position changes set with keyframes, see “Turning Off Downstream Keys (DSK)” on page 473. • If the original system used any applications to manipulate font display (such as Adobe Type Manager®), the enhancements these applications provided on the original system (such as character anti-aliasing or character spacing) will not transfer to a system not using the application. • For best results, use TrueType or PostScript fonts. Bitmap fonts can cause scaling problems.

Redefining a Font Replacement

You can redefine a font replacement at any time. However, your new font choice is applied only to a title currently in the Title tool and future replacements. It does not affect the font replacement information in titles you have worked with previously.

Font relationships are saved as a site settings file named AvidFontSub.avt. This file is located in the Settings folder, which is located in the Media Composer, Film Composer, or Symphony folder on your internal drive.

Once you have defined a font replacement, the Avid system uses that definition across all projects and all users of the system. If you want to switch to a different replacement font for a title, you must redefine the font replacement. n If you replace the font for a title and return that title to an Avid editing application on a Macintosh 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 style.

472 Transferring Projects and Media

To redefine a font replacement: 1. Open a title in the Title tool. 2. Select Object > Font Replacement. The Font Replacement dialog box opens. 3. Click the Unknown Fonts pop-up menu on the left, and select the original font. 4. Click the Available Fonts pop-up menu on the right, and select the replacement font you want to use. When you select a font from the Available Fonts pop-up menu, a preview of that font appears in the text boxes. 5. Click OK.

The system updates the font in the open title and records the new replacement information for future use.

Turning Off Downstream Keys (DSK)

If you transfer a project that includes DSK graphics with position changes set with keyframes, these position changes are ignored unless you turn off DSK. n Turning off DSK is necessary only if you are moving a project from Media Composer v7.2 or Avid Xpress v2.1.

To turn off DSK for all such graphics in a sequence: 1. Load the sequence into the Record monitor. 2. Select Tools > Console. 3. Type the following in the text box of the Console window: MeridienDSK TRUE 4. Press Enter (Windows) or Return (Macintosh). n The command MeridienDSK FALSE reverses this action and turns on DSK for all graphics that include position changes.

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This procedure removes DSK from all mattes and keys that include position changes marked by keyframes.

Step 5: Render Non-Real-Time Effects

You must render a non-real-time effect (an effect whose icon displays a blue dot) before it can be played. In addition, you must render some or all effects that exceed the real-time playback capabilities of the system to view the effects during playback. Occasionally, you might need to render an effect with a green dot in the Timeline, depending on the complexity of the sequence. n Preview your effects before rendering them to see if the effects imported correctly.

To render multiple effects: 1. Click the track selector in the Timeline for each track with effects to be rendered. 2. Mark an IN point before the first effect to be rendered in your sequence and an OUT point after the last effect to be rendered. 3. Select Clip > Render In/Out. 4. (Option) Select the quality of the effects. The default quality is Highest Quality. The effect quality applies only to effects that change the image size, such as Picture-in-Picture, Peel, and Squeeze. 5. If you do not want to render the real-time effects in the selected group of effects, select the “Skip Real-time Effects” option. 6. Click OK.

For more information about rendering effects, including the ExpertRender™ feature, see the effects guide for your Avid editing system.

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Transferring Audio Files

You might need to transfer audio separately from video. One workflow might involve sending audio from an offline Media Composer system to a Pro Tools system for sweetening, and then sending the finished audio to a Symphony system for syncing with final video.

When you are moving your sequence to an audio-editing application, you need to export the sequence as an OMFI file. • If the audio-editing application to which you are moving your sequence supports the audio format used to create your sequence, you can export the sequence as an OMFI composition without audio media and move the original media files to the audio-editing workstation. See “Exporting the Sequence Without Audio Media” on page 476. • If the audio-editing application to which you are moving your sequence does not support the audio format in your sequence, you must export the sequence as an OMFI composition with audio media. See “Exporting the Sequence with Embedded Audio Media” on page 477. n Sound Designer II audio media cannot be embedded in an OMFI file. If you want to transfer Sound Designer II files, see “Transferring Sound Designer II Audio Files from Macintosh Systems” on page 478. n When you work in an Avid Unity workgroup environment, use the AIFF-C audio format for the most complete compatibility among clients. Avoid using Sound Designer II, which is a format for Macintosh systems. n If you want to move only one file, you can export the sequence as an OMFI composition with audio media even if your audio formats are compatible. If you are using a network drive to move files, you might want to include the audio media in your OMFI composition to simplify moving across the network.

For information on importing into and exporting from the audio-editing application, see the documentation for the audio-editing application.

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Exporting the Sequence Without Audio Media

There are two methods for exporting the sequence without audio media: • Use AvidLinks for quick export to Pro Tools (see “Using AvidLinks” on page 488). • Use the Export Format dialog box to manually determine settings for export to other applications (see “Exporting OMFI and AAF Files” on page 386).

You can then transfer the OMF file and audio media on a removable media drive or network drive.

If you use the Export Format dialog box, select the format options based on the application to which you are moving media, as described in Table 46.

Table 46 Exporting Sequences Without Audio Media

Target Application OMF Version Export Method

Pro Tools OMF 2.0 Select one of the following: (Macintosh) • Link to Current Media • Copy and Link to Copied Media • Consolidate and Link to Consolidated Media For Convert Audio File Format, select AIFF-C or SDII.

Pro Tools OMF 2.0 Select one of the following: (Windows) • Link to Current Media • Copy and Link to Copied Media • Consolidate and Link to Consolidated Media For Convert Audio File Format, select AIFF-C or WAVE.

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Exporting the Sequence with Embedded Audio Media

There are two methods for exporting the sequence with embedded audio media: • Use AvidLinks for quick export to AudioVision or Pro Tools (see “Using AvidLinks” on page 488). • Use the Export Format dialog box to manually determine settings for export to a variety of applications (see “Exporting OMFI and AAF Files” on page 386).

You can then transfer the OMF file on a removable media drive or network drive.

If you use the Export Format dialog box, select the format options based on the application to which you are moving media, as described in Table 47.

Table 47 Exporting Sequences with Embedded Audio Media

Target Application OMF Version Export Method

Pro Tools OMF 2.0 Select one of the following: (Macintosh) • Consolidate and Embed Media • Embed Media For Convert Audio File Format, select AIFF-C.

Pro Tools OMF 2.0 Select one of the following: (Windows) • Consolidate and Embed Media • Embed Media For Convert Audio File Format, select AIFF-C or WAVE.

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n Sound Designer II audio media cannot be embedded in an OMFI file. If you want to transfer Sound Designer II files, see “Transferring Sound Designer II Audio Files from Macintosh Systems” on page 478.

Transferring Sound Designer II Audio Files from Macintosh Systems

Sound Designer II audio media cannot be embedded in an OMFI or an AAF file. When you export an OMFI or an AAF composition to a product that supports the Sound Designer II audio format, and you want to keep the audio separate, you must select an export method that links to the files, such as Consolidate and Link to Consolidated Media. If the audio files are not in Sound Designer II format, you must select Consolidate and Link to Consolidated Media and select Convert Audio File Format to SDII. See “Exporting OMFI and AAF Files” on page 386.

The converted files are located in a folder labeled Exported Audio Media at the top level of the drive with the most available space. n You can export a composition that includes Sound Designer II media as an embedded OMFI file, but the audio media is converted to AIFF-C or WAVE during the export.

Options for File Transfers

The following sections describe the options and methods you can use to transfer project files and media between Windows systems, between Macintosh systems, and between Windows and Macintosh systems: • Transferring a Project Using Shared Storage • Transferring Project Files and Media Files Using Nonshared Storage • Devices and Methods for Transferring Files • Nonshared Storage Issues for Cross-Platform Collaboration • Using AvidLinks • Transferring Projects and Bins Using AFE Files

478 Options for File Transfers

Transferring a Project Using Shared Storage

If you are using your Avid editing system in an Avid Unity workgroup environment, you can use Avid Unity MediaManager to share media files between systems. You can also use Avid Unity TransferManager to share media files between workgroups. For more information, see the Avid Unity MediaManager Setup and User’s Guide and the Avid Unity TransferManager Setup and User’s Guide.

You can also share bins and projects in an Avid Unity environment that does not use Avid Unity MediaManager or Avid Unity TransferManager. See the editing guide or Help for your Avid system and the Avid Unity MediaNetwork documentation.

Transferring Project Files and Media Files Using Nonshared Storage

For information about To transfer project files (information about the components of your project, these files and folders, such as bins, master clips, edited sequences, and so on) and user profiles see the editing guide or between Avid systems, you must transfer specific folders directly into the Help for your Avid system. Avid Projects or Avid Users folder before starting the application. You can also transfer the Site Settings file between systems.

If the media is compatible, you can transfer media files between systems by using a removable media drive. For information about media compatibility, see “Compatibility Between Applications” on page 462. For information on devices for transfer, see “Devices and Methods for Transferring Files” on page 482. n Transferring a project folder does not transfer accompanying media files.

To transfer project files and associated media files to another Avid system: 1. (Option) Consolidate the media for the project onto an appropriate drive for transfer to the other system. - For more information on consolidating, see the editing guide or Help for your Avid system.

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- For more information on devices for transfer, see “Devices and Methods for Transferring Files” on page 482. c Do not rename the folders named OMFI MediaFiles located on the media drive. The target system uses the folder names to locate the media files.

2. Select the project folder, user folder, or Site Settings file you want to transfer (the folder uses the project name or user name you provide). You do not need to copy the Statistics folder, which is located in the project folder. This folder can be large and is not needed by the transferred project. The default locations for project folders are listed in Table 48 and Table 49.

Table 48 Avid Symphony Default Folder and File Locations (Windows)

Folder or File Location

Project folder drive:\Program Files\Avid\Avid Symphony\Avid Projects

User folder drive:\Program Files\Avid\Avid Symphony\Avid Users

Site Settings file drive:\Program Files\Avid\Avid Symphony\Settings

Table 49 Avid Symphony Default Folder and File Locations (Macintosh)

Folder or File Location

Project folder Macintosh HD/Users/Shared/Avid Projects

User folder Macintosh HD/Users/Shared/Avid Users

Site Settings file Macintosh HD/Applications/Avid Symphony/Settings

480 Options for File Transfers n The exact location depends on how the Avid application was installed on your system.

3. Copy the folders or files you want to maintain at the new location onto a floppy disk or a location on a server. Alternatively, create a folder at the top level of the media drive and copy the folders or files to that folder. 4. If you are transferring a removable drive, quit the Avid application and shut down your system. 5. Remove the drives containing the media files, and take them and the floppy disk to the new location. 6. With the system at the new location turned off, insert or connect the drives and start the system. 7. Copy the folders or files to the appropriate folder. The folder locations might be slightly different, depending on the product and how it was installed. Ignore any Resource folders or files that appear. 8. Start the Avid application. The new project appears in the Projects scroll list. New user settings appear in the Users scroll list. Site settings are active for all projects at the new location. 9. Select a user, open the project, and resume work. n The Avid system reconstructs the MediaFiles database the first time you start the application to incorporate the new media into the system’s internal directory. n Do not rename the project folder. The project settings will not link to the project if you rename the project folder. c Do not open a project directly from the transfer device. You must copy the folder to the system drive first.

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Devices and Methods for Transferring Files

There are different options for transferring files, depending on the source and destination systems. Table 50, Table 51, and Table 52 provide options for the platforms between which you might be moving project files, media files, or both. These tables list the various ways to transfer data, the prerequisite hardware or software, and any restrictions.

For specific information about cross-platform transfers, see “Nonshared Storage Issues for Cross-Platform Collaboration” on page 487.

Transferring Files Between Macintosh Systems

Table 50 shows the available methods for transferring files between Macintosh systems.

Table 50 Options for Transferring Files Between Macintosh Systems

Method Requirements Restrictions

All Files (including media)

Avid Unity An Avid Unity Transfer is supported between Macintosh clients in an TransferManager workgroup Avid Unity workgroup environment. Peer-to-peer transfer is (server) environment not supported at this time.

External SCSI drive None For compatibility information, see the Avid Drive Striping Tables, which are available on the Avid Customer Support Knowledge Center. See also “Getting Information About Striped Drives” on page 137.

Fibre Channel drive None For compatibility information, see the Avid Drive Striping Tables.

Project Files, AFE Files, OMF Files, and AAF Files (including embedded media)

Server-based None None. network

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Table 50 Options for Transferring Files Between Macintosh Systems (Continued)

Method Requirements Restrictions

External 1394 None Size of the disk. (FireWire) drive

Floppy disk Macintosh-formatted Holds 1.4 MB. disk

Zip® or Jaz® disk Macintosh-formatted Size of the disk. disk

CD-ROM None HFS+ format is recommended. Do not use ISO 9660 format, which truncates file names. Do not use hybrid CD-ROMs, unless you create them with the Joliet extension, which supports long file names.

DVD None None, if you use the native DVD format.

E-mail E-mail software that See the documentation for the e-mail software. supports attachments

FTP Network access and For the Fetch application, one system must be set to “Server” FTP software on mode. This method can be very slow. both systems

AppleShare® Network access on Activate AppleShare on the sending system to allow a guest both systems or registered user to log in.

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Transferring Files Between Windows Systems

Table 51 shows the available methods for transferring files between Windows systems.

Table 51 Options for Transferring Files Between Windows Systems

Method Requirements Restrictions

All Files (including media)

Avid Unity An Avid Unity Transfer is supported between Windows clients in an TransferManager workgroup Avid Unity workgroup environment as well as peer-to- (server) environment peer transfer.

Avid Unity A network or crossover Transfer is supported between Windows clients in a TransferManager cable peer-to-peer configuration. (local)

Fibre Channel drive None For compatibility information, see the Avid Drive Striping Tables.

Project Files, AFE Files, OMF Files, and AAF Files (including embedded media)

Server-based None None. network

External 1394 None Size of the disk. (FireWire) drive

Floppy disk PC-formatted disk Holds 1.4 MB.

Zip or Jaz disk PC-formatted disk Size of the disk.

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Table 51 Options for Transferring Files Between Windows Systems (Continued)

Method Requirements Restrictions

CD-ROM None Do not use ISO 9660 format, which truncates the file names. Files copied from a CD-ROM to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation.

DVD None None, if you use the native DVD format. Files copied from a DVD to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation.

E-mail E-mail software that See the documentation for the e-mail software. supports attachments

FTP Network access and See the FTP software documentation. FTP software on both systems

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Transferring Files Between Macintosh and Windows Systems

Table 52 shows the available methods for transferring files between Macintosh and Windows systems.

Table 52 Options for Transferring Files Between Macintosh and Windows Systems

Method Requirements Restrictions

All Files (including media)

Avid Unity An Avid Unity Transfer is supported between Macintosh and Windows TransferManager workgroup clients in an Avid Unity workgroup environment. Peer-to- environment peer transfer is supported for Windows systems only.

Macintosh external MacDrive™ 2000 See “Nonshared Storage Issues for Cross-Platform drive (SCSI or Fibre CrossStripe™ Edition Collaboration” on page 487. Channel) for Avid Systems to For compatibility information, see the Avid Drive Striping read the Macintosh file Tables, which are available on the Avid Customer Support names Knowledge Center. See also “Getting Information About Striped Drives” on page 137.

Project Files, AFE Files, OMF Files, and AAF Files (including embedded media)

Server-based Macintosh and Rename files to avoid problems with illegal characters. See network Windows integration “Before You Begin” on page 465.

External 1394 None Size of the disk. (FireWire) drive

Floppy disk PC-formatted disk Holds 1.4 MB.

Zip or Jaz disk PC-formatted disk Macintosh versions require an additional driver from the manufacturer to format PC disks. See www.iomega.com.

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Table 52 Options for Transferring Files Between Macintosh and Windows Systems (Continued)

Method Requirements Restrictions

CD-ROM MacDrive 2000 HFS+ format is recommended. Do not use ISO 9660 CrossStripe Edition format, which truncates the file names. Do not use hybrid for Avid Systems on CD-ROMs, unless you create them with the Joliet Windows system to extension, which supports long file names. Properly created read the Macintosh file hybrid CD-ROMs do not require MacDrive. names Files copied from a CD-ROM to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation.

DVD None None, if you use the native DVD format. Files copied from a DVD to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation.

E-mail E-mail software that See the documentation for the e-mail software. supports attachments

FTP Network access and For more information on using Fetch on Macintosh FTP software on both systems, see www.fetchsoftworks.com. systems

Nonshared Storage Issues for Cross-Platform Collaboration

When you share media files by using a nonshared storage device — either peer-to-peer, over a network, or using removable storage — the following restrictions apply: • NTFS-formatted drives on the Windows system cannot be read on a Macintosh system. • Striped or nonstriped drives formatted as HFS or HFS+ on a Macintosh system can be read on a Windows system, if a utility such as MacDrive 2000 CrossStripe Edition for Avid Systems is installed on the Windows system.

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MacDrive 2000 CrossStripe Edition for Avid Systems from Mediafour Corporation is an application for Windows 2000 that lets you read disks formatted for Macintosh, including striped hierarchical file system (HFS or HFS+) volumes. By using MacDrive, you avoid the need to use PC- formatted disks to transfer files. MacDrive includes support for all Avid file name extensions.

For information on MacDrive, see www.mediafour.com. n You cannot use MacDrive to format an HFS volume from a Windows volume. The application does allow you to reformat an existing HFS or HFS+ volume.

To avoid problems when reading a connected HFS or HFS+ drive, do one of the following: t On the Macintosh system, after transferring the media files to the HFS or HFS+ drive, give the media folder a name other than “OMFI MediaFiles.” You cannot change the name of the OMFI folder after you connect the drive to the Windows 2000 system. t On the Windows 2000 system, after connecting the drive and transferring the media files to an NTFS drive, turn off the system, disconnect the drive, reboot, and then restart the Avid system.

Using AvidLinks

AvidLinks enables you to send data from your Avid system to other Avid applications. The AvidLinks option provides you with a choice of several OMFI Export templates. The resulting files will either be composition only, or composition with embedded audio or video. For more information on compositions, see “Exporting Through OMF Interchange” on page 387.

You can use AvidLinks to export to any of the applications listed in Table 53. n For the exported file to be useful in the target application, you must select one of the supported media objects.

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Table 53 Available Avid Applications for AvidLinks Export

Supported Media Avid Application Output File Options Objects

AudioVision OMFI 1.0 with — Sequence or master clip embedded AIFF-C audio media. All audio media is converted to AIFF-C.

Digidesign® Pro Tools OMFI 2.0 with Embed Audio in Sequence or master clip embedded or OMF Interchange external AIFF-C file audio media. All External Audio Files audio media is (native AIFF-C only) converted to AIFF-C.

Media Illusion (Composition) OMFI 2.0 with — Sequence only links to media files.

Media Illusion (Video) OMFI 1.0 with Convert to 1:1a Master clip only embedded video media.

Avid|DS (Composition) AAF with links to — Sequence only media files.

a. Media Illusion v6.0 requires uncompressed media (1:1 resolution). If your media is not 1:1, select this option. The Avid system will create uncompressed media for the exported file. If your media is 1:1, deselect this option and the exporting process will be faster.

To use AvidLinks: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 377. 2. Select a clip or a sequence in a bin. 3. Select File > AvidLinks. The AvidLinks submenu opens.

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n To access AvidLinks from the shortcut menu, right-click (Windows) or Ctrl+Shift+click (Macintosh) the clip or sequence in the bin.

4. Select an application from the AvidLinks submenu. The AvidLink Export to dialog box opens with a default file name in the File name text box, based on the file type.

5. (Option) Change the file name. Keep the default file name extension the same. 6. Select the destination folder for the file. 7. Click Save. The file is exported to the selected destination.

Transferring Projects and Bins Using AFE Files

AFE (Avid File Exchange) files are an efficient way to transfer project information between Avid applications. For example, you can use AFE files to transfer projects and bins from an offline Media Composer to an Avid|DS finishing system.

490 Options for File Transfers n Currently you can import an AFE file into Avid|DS v6.0 or later only. AFE files are based on AAF (Advanced Authoring Format) technology. AFE files, however, are especially designed for sharing project information among Avid applications. AFE files let you transfer one or more bins, their contents, and information about the contents, including master clips, subclips, titles, and sequences. n Specific information for transferring projects to Avid|DS is contained in the Avid|DS Conform Guide, which is available from the Avid Customer Support Knowledge Center or the Avid|DS Web site. For information on accessing the Knowledge Center, see the release notes for your Avid system.

To create an AFE file: 1. Do one of the following: t To create a file that includes all bins in a project, click the project window and select File > Export. The Export Project As dialog box opens. Select a location, name the file, and click Save.

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t To create a file that includes the contents of a single bin, open the bin, click the bin, and select File > Export. The Export Bin As dialog box opens. Select Avid File Exchange (*.afe) from the Export Bin As list. Select a location, name the file, and click Save.

2. Transfer the AFE file to a location you can access from the other Avid application. You can use removable media, a network connection, or an Avid Unity shared storage system.

492 Appendix A File Format Specifications

To be compatible with a variety of imaging standards, your Avid system can accommodate many file types and formats. For import and export procedures, see Chapter 7 and Chapter 9. This appendix contains descriptions, specifications, and notes for importing and exporting specific file formats.

To ensure usability and high quality, the files in some formats require preparation before being imported to the Avid application. Consequently, this appendix contains many more notes for import than for export. When you export a file, you select a file format from the Export Settings dialog box and select options appropriate for the format. For descriptions of the dialog box options, see “Export Settings Dialog Box Options” on page 385.

Graphics (Image) Files

Symphony uses Image Independence® to produce usable files from a large number of graphics formats. Once you have imported a file in a particular format, you can export it in the same or different format, with the exception of Photo CD™; you cannot export a file to a Photo CD. (You can only import the Photo CD format on a Macintosh).

This list briefly describes the supported graphics (image) file formats: • Alias: Alias PIX image format, developed by Alias Research, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for use with their animation and visualization software. Appendix A File Format Specifications

• BMP: Developed by Microsoft Corporation as the standard image file format used by Microsoft Windows. • Chyron: Developed by Chyron Corporation for use with video frame buffers of Chyron character-generator titles. • Cineon: Developed by Eastman Kodak for use in the Cineon Digital Film System. It is a subset of the SMPTE DPX (Digital Picture Exchange) format. • Framestore: Developed by NewTek for use with their Video Toaster system. • IFF: Developed by Electronic Arts. IFF (Interchange File Format), or more specifically IFF-ILBM (InterLeaved BitMap), is the standard file format by which applications on the Amiga platform transfer image files. • JPEG: Developed by the Joint Photographic Experts Group (JPEG). This format is highly suited for image storage and transmission purposes because of its ability to dramatically reduce the storage requirements for a file. JFIF files (JPEG File Interchange Format, the standard for constructing JPEG files) can also be imported and exported. • OMFI: (import only) Developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. • PCX: Developed by Zsoft Corporation for use with its PC Paintbrush paint software. • (Macintosh only) Photo CD: (import only) Developed by Kodak for use with the Kodak Photo CD storage medium. If you have difficulty importing this format directly into your Avid system, open the file in an application such as Photoshop, and use the Save As feature to save the file in a format that can be imported (such as TARGA, PICT, or TIFF). • Photoshop: Developed by Adobe Systems Incorporated for use with its Adobe Photoshop image-editing software. • PICT: Developed by Apple Computer, Inc. as the format for Macintosh QuickDraw® images. • Pixar: Developed by Pixar for stored pictures.

494 Graphics (Image) Files

• PNG: Developed by the PNG Development Group originally as an alternative to the GIF image format. PNG is an acronym for Portable Network Graphics and is pronounced “ping.” • QRT: Developed on the Amiga personal computer to run on several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer. • Rendition: Developed by Numerical Design Ltd. • SGI: Developed by Silicon Graphics, Inc. for use as the standard format on their line of workstations. • Softimage: Developed by Softimage, Inc. (now a division of Avid Technology, Inc.) for use in their Softimage software. • Sun Raster™: Developed by Sun Microsystems, Inc. and supported mainly in Sun applications. • Targa: Developed by Truevision, Inc. (now Pinnacle Systems) and originally intended for support of the Truevision image-capturing hardware. • TIFF: Developed by Aldus Corporation (now Adobe Systems Incorporated) and Microsoft Corporation. TIFF is an acronym for Tag Image File Format. • Wavefront: Developed by Wavefront Technologies, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for storing pictures in a machine-independent manner. • XWindows: Developed by the MIT X Consortium and supported by many X Window System applications on workstations and some personal computers. • YUV: Defined by Abekas Video Systems (now Accom, Inc.), the YUV format is the raw data sent to the Abekas® machines.

495 Appendix A File Format Specifications

Preparing Graphics Files for Import

Before you import a graphics file to your Avid system, you can use third- party image-editing software, such as Adobe Photoshop, to make adjustments such as the following: • Convert the file to the appropriate size, resolution, and bit depth. • Crop or color-correct an image. • Eliminate jagged edges in an image by using the image-editing application’s anti-aliasing or high-quality option. • Add transparency (to some formats) by setting the resolution to 32 bits per pixel to add an alpha channel. • In some cases, you can convert an image file that does not support an alpha channel to a format that does, in order to add transparency. n You can import and key the image over video by using key effects within the Avid application. However, importing an image with an existing alpha channel provides the best results.

For specific procedures and file formats, see the documentation that accompanies the image-editing software.

Graphics File Import Specifications

Table 54 contains graphics file import specifications. The table uses the following terms: • Bit depth: These numbers refer to color-depth resolution of the image based on the number of bits per pixel. For example, 2-bit images are displayed in black and white; 8-bit images are displayed in 256 colors; 16-bit images are displayed in thousands of colors; 24-bit images are displayed in millions of colors; and 32-bit images are displayed in millions of colors with an alpha channel. • Alpha channel: This column states whether or not alpha channel import is supported. An alpha channel determines regions of transparency in the picture when it is keyed over a background. • NA: This notation means Not Applicable

496 Graphics (Image) Files

For recommended image sizes, see “Screen Resolution for Imported Graphics and Sequences” on page 500.

Table 54 Graphics File Import Specifications

Default File Name Alpha Exten- Bit Depth Channel Format sion Support Support Notes

Alias .als 24-bit color, No — 8-bit grayscale

BMP .bmp 1-, 4-, 8-, and 24-bit No Dots-per-inch (dpi) information is preserved. Four-bit BMP files saved with RLE (run- length encoded) compression are not supported. Photoshop does not support four-channel BMP files.

Chyron .chr 32-bit Yes —

Cineon .cin 10-bit (logarithmic) NA Dots-per-inch (dpi) information is preserved.

Framestore .fs 24-bit No Pixel aspect information is saved with image data. When importing files generated from Video Toaster, select the option Force to Fit Screen.

IFF .iff 1-bit to 24-bit color; 1-bit alpha Dots-per-inch (dpi) information is preserved. 1-bit to 8-bit only Pixel aspect information is saved with image grayscale; data. 64-color EHB; 4096-color HAM; 262,144-color HAM8; SHAM; A-HAM; A-RES

497 Appendix A File Format Specifications

Table 54 Graphics File Import Specifications (Continued)

Default File Name Alpha Exten- Bit Depth Channel Format sion Support Support Notes

JPEG .jpg 24-bit color, No — 8-bit grayscale

OMFI .omf — — See “OMFI Files” on page 508.

PCX .pcx Color-mapped and NA Dots-per-inch (dpi) information is preserved. 24-bit color PCX files with 1-bit color depth or odd- numbered pixel widths are not supported.

Photo CD — — NA If you are importing Photo CD files, you must (Macintosh install QuickTime software and a compatible only) QuickTime driver for Photo CD. Most Photo CD files are high resolution. If the photo has a portrait orientation, the image will be automatically rotated upon import. Use a paint or image-processing program to crop or resize the image before importing.

Photoshop .psd Grayscale, indexed Yes Duotone files are loaded as grayscale. color, RGB, and Multichannel (greater than four channels) files duotone variations are not supported.

PICT .pic 2-, 4-, 8-, 16-, and Yes Dots-per-inch (dpi) information is preserved. 32-bit If no dpi is specified, 72 dpi is used.

Pixar .pxr 24-bit, 36-bit Yes —

PNG .png 1-bit to 32-bit Yes —

QRT .dbw 24-bit No —

Rendition .6rn 32-bit Yes —

498 Graphics (Image) Files

Table 54 Graphics File Import Specifications (Continued)

Default File Name Alpha Exten- Bit Depth Channel Format sion Support Support Notes

SGI .rgb 8-bit or 16-bit Yes — grayscale; 8-bit grayscale plus 8-bit alpha channel; 24- and 48-bit color; 24-bit color plus 8-bit alpha channel; 64-bit (16 bits per component)

Softimage .pic 24-bit plus Yes Pixel aspect information is saved with the 8-bit alpha image. c (Windows only) Double-clicking a Softimage file will start the application associated with PICT files because they use the same file name extension. Avoid double-clicking Softimage files to view them.

Sun Raster .sun 1-, 8-, or 24-bit No —

Targa .tga 8-, 15-, 16-, or 24-bit; Yes — 32-bit

499 Appendix A File Format Specifications

Table 54 Graphics File Import Specifications (Continued)

Default File Name Alpha Exten- Bit Depth Channel Format sion Support Support Notes

TIFF .tif 8-bit color-mapped; Yes Dots-per-inch (dpi) information is preserved. 8-bit or 16-bit The following types of files are not supported: grayscale; Multichannel (greater than four channels) 24- and 48-bit color; files; Group 3-compressed (fax) files; CMYK 24-bit color plus 8-bit files with extra channels; and JPEG- alpha; compressed files. 36-bit color plus 12-bit alpha; Four-channel files from Avid Matador™ are 42-bit color plus imported as three-channel files. 14-bit alpha; 48-bit color plus 16-bit alpha

Wavefront .rla 32-bit and 64-bit Yes —

XWindows .xwd 1-, 2-, 4-, 8-, 16-, No — 24-, and 32-bit

YUV .yuv 24-bit No Pixel aspect information (based on the video format) is saved with image data. When importing, select the option Force to Fit Screen.

Screen Resolution for Imported Graphics and Sequences

The tables in this section show the frame sizes to use when importing graphics and sequences for different resolutions for NTSC and for PAL.

These numbers describe the recommended width and height, in pixels, to create a source image that will be displayed full-screen after import. Using these dimensions helps minimize distortion after conversion to the Avid

500 Screen Resolution for Imported Graphics and Sequences application native resolution. An image with smaller dimensions will take up less of the screen or will be distorted, while an image that exceeds these dimensions might appear distorted. Avid recommends an image resolution of 72 pixels per inch.

For example, when you are using an application such as Adobe After Effects to process a sequence that you want to bring into Avid Symphony, use the values shown in the following tables when you render the sequence.

Table 55 provides information about the resolutions for interlaced media (30i NTSC and 25i PAL projects).

Table 55 Graphic Import Frame Sizes: Interlaced

Frame Size Frame Size Resolution (Pixels) Resolution (Pixels)

15:1s 352 x 243 (NTSC) 10:1 720 x 486 (NTSC) 352 x 288 (PAL) 720 x 576 (PAL)

4:1s 352 x 243 (NTSC) 3:1 720 x 486 (NTSC) 352 x 288 (PAL) 720 x 576 (PAL)

2:1s 352 x 243 (NTSC) 2:1 720 x 486 (NTSC) 352 x 288 (PAL) 720 x 576 (PAL)

20:1 720 x 486 (NTSC) 1:1 720 x 486 (NTSC) 720 x 576 (PAL) 720 x 576 (PAL)

Table 56 provides information for progressive media (24p NTSC, 24p PAL, and 25p projects).

501 Appendix A File Format Specifications

Table 56 Graphic Import Frame Sizes: Progressive

Frame Size Frame Size Resolution (Pixels) Resolution (Pixels)

35:1 720 x 486 (NTSC) 3:1 720 x 486 (NTSC) 720 x 576 (PAL) 720 x 576 (PAL)

28:1 720 x 486 (NTSC) 2:1 720 x 486 (NTSC) 720 x 576 (PAL) 720 x 576 (PAL)

14:1 720 x 486 (NTSC) 1:1 720 x 486 (NTSC) 720 x 576 (PAL) 720 x 576 (PAL)

Table 57 provides information for interlaced and progressive multicamera media.

Table 57 Graphic Import Frame Sizes: MultiCamera

Interlaced Frame Size Progressive Frame Size Resolution (Pixels) Resolution (Pixels)

4:1m 288 x 243 (NTSC) 3:1m 288 x 243 (NTSC) 288 x 288 (PAL) 288 x 288 (PAL)

10:1 288 x 243 (NTSC) 8:1m 288 x 243 (NTSC) 288 x 288 (PAL) 288 x 288 (PAL)

Table 58 provides information for DV media (30i and 25i projects).

Table 58 Graphic Import Frame Sizes: DV

Frame Size Frame Size Resolution (Pixels) Resolution (Pixels)

DV 25 720 x 480 (NTSC) DV 50 720 x 480 (NTSC) 720 x 576 (PAL) 720 x 576 (PAL)

502 Animation Files

Animation Files

Your Avid system supports the following animation file formats: • ERIMovie: Developed by Elastic Reality, Inc. (now a division of Avid Technology, Inc.) for quick playback of rendered movies on Silicon Graphics, Inc. platforms. • (Macintosh only) PICS: Developed by Apple Computer, Inc. A PICS file is a sequence of PICT images. Many applications that handle multiple image formats on the Macintosh platform also support PICS files. • QuickTime: Developed by Apple Computer, Inc. for multimedia on multiple platforms. • (Windows only) AVI (Audio Video Interleave): Developed by Microsoft for storing video and audio information as part of its Video for Windows standard.

Table 59 shows animation file import specifications. QuickTime import and export information appears in Table 60. AVI import and export information appears in Table 61. n Your Avid system imports the file at the frame rate that is set in the project (29.97 fps, 25 fps, or 24 fps). Set the appropriate frame rate for the project when you export from a third-party application.

Table 59 shows animation file import specifications.

503 Appendix A File Format Specifications

Table 59 Animation File Import Specifications

Default File Name Alpha Exten- Bit Depth Channel Format sion Support Support Notes

ERIMovie .mov or 24-bit Yes QuickTime for Windows also uses the .mov file .eri packed and name extension. However, QuickTime does not 32-bit raw support ERIMovie, and double-clicking an movie files ERIMovie file will cause an error. n There is no player for ERIMovie on Windows or Macintosh platforms; the mview program supports ERIMovie on Silicon Graphics systems.

(Macintosh only) .pcs 2-, 4-, 8-, Yes Only uncompressed data can be stored in PICS PICS Animation 16-, and format. PICS export does not allow PICS 32-bit containers larger than 16 MB.

Sequenced image Various — Yes Name each file in the sequence NameN.ext, with files Name identifying the animation, N indicating the file order, and .ext indicating the file type (for example, Image1.jpg, Image2.jpg, Image3.jpg). The numbering can start at any number except 0, or use any numbering format (for example, Image010.jpg, Image012.jpg, or Imagef28.jpg, Imagef29.jpg).

Table 60 shows the QuickTime file import and export specifications.

504 Animation Files

Table 60 QuickTime File Import and Export Specifications

QuickTime File Import and Export Specifications Notes

QuickTime files QuickTime import and export requires QuickTime software. For supported versions of QuickTime, see the release notes for your Avid system. • (Windows only) QuickTime software is installed when you install your Avid application. • (Macintosh only) QuickTime software is automatically installed as part of the Mac OS operating system.

Avid Codec for The Avid Codec for QuickTime enables you to import and export QuickTime files QuickTime files at a rate of three to four times real time. To use the codec in a third-party application, see “Exporting from a Third-Party QuickTime or AVI Application” on page 444.

Resolution Use Export settings to specify the video resolution of a QuickTime file for export. For more information, see “Export Settings Dialog Box Options” on page 385. The video resolution of a QuickTime file is set at export time from a third- party application equipped with the Avid Codec for QuickTime. The Avid system imports the file at this resolution. For more information on exporting from a third-party application, see “Exporting from a Third-Party QuickTime or AVI Application” on page 444.

Image size To take advantage of the Avid Codec for QuickTime speed, you must export the files from the QuickTime application at the following frame sizes in order to import to Avid Symphony: 720 x 486 pixels for NTSC images (non-square pixels) 720 x 576 pixels for PAL images (non-square pixels)

File name extension After you import a QuickTime file, the file maintains the .mov file name extension, which is visible in a bin. The .mov file name extension is the default for export.

505 Appendix A File Format Specifications

Table 60 QuickTime File Import and Export Specifications (Continued)

QuickTime File Import and Export Specifications Notes

QuickTime alpha To save a QuickTime movie with alpha channel in a third-party QuickTime application, use the Avid Codec for QuickTime or a codec that supports a color depth or “millions +.” The Avid application does not support matte key or alpha channel for QuickTime export; it does import alpha channel when one exists.

Table 61 shows the AVI file import and export specifications.

Table 61 AVI File Import and Export Specifications

AVI File Import and Export Specifications Notes

Avid Codec for AVI You can import and export Avid AVI files by using standard AVI conversion or by using the Avid Codec for AVI. The Avid Codec for AVI enables you to import and export AVI files at a rate of approximately four times real time or better (depending on resolution) — far faster than the system’s standard AVI conversion. Files created by the codec are readable within applications also equipped with the codec. For more information on using the codec and making it available to AVI-compatible applications, see “Using the Avid Codec for AVI (Windows Only)” on page 437.

506 Audio File Formats

Table 61 AVI File Import and Export Specifications (Continued)

AVI File Import and Export Specifications Notes

Resolution Use Export settings to specify the video resolution of an AVI file for export. For quick export of files using the Avid Codec for AVI, select the “Use Source Compression” option in the Export Settings dialog box. To control the resolution when using the Avid Codec for AVI, deselect the “Use Source Compression” option, click Compression Settings, and select the resolution you want from the Avid AVI Codec Configuration dialog box. For more information, click the dialog box and then press the F1 key (Windows) or Help key (Macintosh). The resolution of an AVI file is set at export time from a third-party application equipped with the Avid Codec for AVI. The Avid system imports the file at this resolution. For more information on exporting from a third-party application, see the “Exporting from a Third-Party QuickTime or AVI Application” on page 444.

File size Avid AVI files can be quite large, especially at high video resolutions. They require adequate storage and transfer capabilities.

File name extension After you import an AVI file, the file maintains the .avi file name extension, which is visible in a bin. The .avi file name extension is the default for export.

AVI alpha channel Symphony does not support alpha channel for AVI import or export.

Audio File Formats

This list briefly describes the supported audio file formats: • Audio Interchange File Format (AIFF-C): Format for audio files developed by Apple Computer, Inc. • (Macintosh only) Sound Designer II (SDII or SD2): Native format of the Sound Designer II application developed by Digidesign, Inc., a division of Avid Technology, Inc.

507 Appendix A File Format Specifications

• Wave Format (WAVE): Format for audio files developed jointly by Microsoft and IBM. WAVE files are playable by nearly all Windows applications that support sound. n You can digitize, render, and edit audio in AIFF-C, Sound Designer II (Macintosh only), or WAVE file formats.

OMFI Files

OMFI was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. For information about creating an OMFI file on a non-Avid application, see the documentation for the application.

The information in Table 62 applies to importing OMFI files.

Table 62 OMFI File Import Specifications

OMFI File Import Specifications Notes

Resolution For optimum import speed and quality, export or render the file from the source application at the resolution you want, and then import the file into the Avid application at that resolution. For more information, see Table 22 on page 299.

Frame or Edit rate You must import sequences and clips to projects that have the same edit rate (29.97 fps or 23.976 fps for NTSC, 25 fps for PAL, 24 fps for film). If the edit rates do not match, you will receive an error message. n Symphony cannot import an OMFI audio file that was produced with an edit rate equal to the audio sampling rate. Trying to import such a file results in an “Unrecognized file type” error message. Create the source file with an edit rate at the project edit rate (29.97 fps, 25 fps, 24 fps, or 23.976 fps).

508 OMFI Files

Table 62 OMFI File Import Specifications (Continued)

OMFI File Import Specifications Notes

OMFI version Symphony recognizes and supports OMFI 1.0 composition and media files and OMFI 2.0 composition files. The following OMFI 2.0 effects are supported generally: • Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black • Audio effects: pan and volume, audio dissolves Other effects can be imported from other Avid applications.

Film pulldown To import audio media, set the pulldown switch to 1.0.

Audio sample rate Audio media is imported at the sample rate that is set on the Avid system. n Symphony cannot import an OMFI audio file that was produced with an edit rate equal to the audio sampling rate. Trying to import such a file results in an “Unrecognized file type” error message. Set the edit rate to the project edit rate (29.97 fps, 25 fps, 24 fps, or 23.976 fps).

Avid MCXpress™ for If you are importing OMFI compositions from Avid MCXpress for Windows NT® files Windows NT, you might receive an error if the sequence includes video or audio effects. If this happens, create a cuts-only version of the sequence in Avid MCXpress and export it again. You cannot import video media from Avid MCXpress for Windows NT; if you import a composition, you must redigitize the media.

File transfer If you are transferring an OMFI file over a network, transfer it as a binary file.

Reimporting Avid If you import OMFI files that contain media you exported from the same media files Symphony system, you need to delete the original media. Otherwise, the new media will not overwrite the original media. To learn how to find related media files for a sequence, see the editing guide or Help for your Avid system.

509 Appendix A File Format Specifications

Field Ordering in Graphic Imports and Exports

Graphic images are composed of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd- numbered and even-numbered lines of the image frame) that have three basic arrangements: • Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.

Dashed lines = Field 1 f 1 f 2 Solid lines = Field 2

Field 1 Time & Field 2 Frame Unit

• Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines are numbered starting from 1) occurs temporally before the lower field, as shown in the following illustration. This arrangement is termed “upper field first” (or “lower field second”).

f 1 f 2

Field 1 Field 2 Time Frame Unit

• Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally first, as shown in the following illustration. This arrangement is termed “lower field first” (or “upper field second”).

510 Field Ordering in Graphic Imports and Exports

f 2 f 1

Field 1 Field 2 Time Frame Unit

Preventing a Spatial Field Mismatch on Import

Table 63 shows the proper spatial field position for each of the common video formats in Avid systems.

Table 63 Recommended Field Settings for Two-Field Import and Export

Avid Video Import/Export Upper/Lower Field Field Setting for Format Frame Size Spatial Setting Import and Exporta

AVR NTSC 720 x 243 x 2 Upper field is first. Odd Field

AVR PAL 720 x 288 x 2 Upper field is first. Odd Field

Meridien NTSC 720 x 243 x 2 Lower field is first. Even Field

Meridien PAL 720 x 288 x 2 Upper field is first. Odd Field

a. Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1.

Graphics utilities, such as Adobe After Effects, permit selection of either spatial relation for the fields when rendering a sequence of interlaced fields. If the rendering is performed as shown in Table 63, then the import will be correct.

If the spatial positions of the two fields are reversed (for example, the upper field should be a lower field), the import cannot be done without correcting the spatial relationship. In this spatial mismatch situation, the Avid system will convert the upper field to a lower field by deleting the top

511 Appendix A File Format Specifications

line of the upper field and replicating the bottom line. The field will thus be converted to a lower field relative to the other field. The import operation can now proceed.

Spatial Field Relationship on Export

The default export operation is automatically carried out as shown in Table 63. The fields will be properly interleaved in the export frames (one frame per file).

If an import comes in mismatched and the dropping of the top line and repeating of the bottom line is performed, you might decide to have the export operation performed to prevent a shift up or down by a line. The Export Settings dialog box permits you to select the spatial arrangement that is the opposite of what is otherwise recommended. This option should rarely be used.

24p and 25p Import and Export

The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still- image form.

Field Dominance

Editing in Avid systems is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined. Defining the dominant field for the system defines the “frameness” of the video stream, as shown in the following figure.

f2 f1 f2f1 f2(Time) f1 f2f1 f2 f1

Field-1 Field-2 Dominant Dominant Frame Frame

512 Field Ordering in Graphic Imports and Exports

Avid editing systems all use field 1 as the dominant field. This means that the first field temporally in the edit frame will always be field 1. Field 2 will always be the second frame in the edit frame. Cuts will always precede field 1.

Fields in Video

In the video signal, fields have a temporal position that is unambiguously and uniquely tied to the details of the video signal, regardless of whether the signal is analog or digital (SDI). This means that working around a field spatial mismatch should be done by correcting the spatial relation between the two fields rather than the temporal position. In some cases, it is possible to modify the field dominance of the input image files, but this is cumbersome, results in the loss of two fields, and is more difficult to carry out than either the workaround provided in Avid systems or rerendering properly to the other spatial relationship.

513 Appendix A File Format Specifications

514 Appendix B Resolutions and Storage Requirements

This appendix describes the different resolutions and lists their specifications. It also explains how to estimate the drive space you will require to store your digitized media. This appendix includes the following sections: • Compression and Avid Editing Systems • Screen Resolution • Compression and Resolutions • Storage Requirements • Maximizing Drive Space • Managing Storage to Improve Playback Performance n The resolutions available on your Avid system depend on its model and options.

Compression and Avid Editing Systems

When an Avid editing system digitizes and stores video, it employs compression techniques that affect the size of the resulting files and the resolution of the images they contain. The less the data is compressed, the higher the image resolution, and the more drive space the file requires. Appendix B Resolutions and Storage Requirements

Large media files at high resolutions can use very large amounts of drive space. When you are choosing an image resolution for your project, you need to balance your requirements in terms of image quality with your available drive resources.

You can use lower resolutions when your work does not require very high image quality (for example, in offline work, or in CD-ROM or Web authoring projects), and higher resolutions when you need excellent image quality. You can also mix different resolutions within the same project as long as those resolutions are compatible with one another.

Your Avid application also supports the digitizing and storage of video that is not processed by a data compression scheme. • Uncompressed video (1:1) conforms to ITU-R 601 standards. The image quality of uncompressed video is very high, but uncompressed files require very large amounts of drive space. • DV (digital video) and MPEG video are compressed media formats. SMPTE standards specify how to take 601 video and convert it to the compressed formats. When recording through a 1394 connection (Windows only) or an MPEG SDTI-CP connection (Windows only), the Avid editing system records DV and MPEG media in their native formats, and does not compress them further.

Screen Resolution

The screen resolution for the Avid application is different for NTSC and for PAL: • NTSC ITU-R 601 resolution is 720 x 486 non-square pixels covering all the active video. The stored media includes 10 lines of blanking or vertical interval timecode (VITC) per frame (5 lines per field). • NTSC DV and MPEG resolutions are 720 x 480 non-square pixels covering all the active video.

516 Compression and Resolutions

• PAL ITU-R 601 resolution is 720 x 576 non-square pixels covering all the active video. The stored media includes 16 lines of blanking or VITC per frame (8 lines per field). • PAL DV and MPEG resolutions are 720 x 576 non-square pixels covering all the active video.

Compression and Resolutions

Avid resolutions use a simple notation — x:1 — to identify the level of compression. The value of x indicates the level of compression that is applied to the image data. For example, a 3:1 compression ratio compresses the original data to one-third of its uncompressed size.

A lower compression ratio (a lower number to the left of the colon) results in better image quality but requires more drive space to store the digitized media. A lower compression ratio might also require drive striping to keep up with the high volume of data.

DV and MPEG resolutions use a different designation, as described in “DV Resolutions” on page 525 and “MPEG 50 Resolution” on page 526. n For information on resolutions to use when importing graphics or sequences from a third-party application, see “Screen Resolution for Imported Graphics and Sequences” on page 500.

Mixing Resolutions

In a single sequence, you can mix resolutions within a group, but you cannot mix resolutions from different groups.

Avid Resolutions

Table 64 lists the five groups of Avid resolutions.

517 Appendix B Resolutions and Storage Requirements

Table 64 Avid Resolution Groups

NTSC 30i and PAL 25i Projects 24p and 25p Projects

Uncompressed Uncompressed Single-Field Two-Field (Interlaced) Progressive (Progressive)

15:1s 20:1 1:1 35:1 1:1 4:1s 10:1 28:1 2:1s 3:1 14:1 2:1 3:1 2:1

For example, in an NTSC 30i project, you can mix 10:1 and 2:1 because both are two-field resolutions. However, you cannot mix 15:1s with 2:1.

You cannot mix uncompressed video (1:1) with any of the compressed video formats, and you cannot mix interlaced resolutions with progressive resolutions.

DV Resolutions

Table 65 lists the two groups of DV resolutions:

Table 65 DV Resolution Groups

NTSC 30i Projects PAL 25i projects

DV 25 4:1:1 DV 25 4:1:1, DV 25 4:2:0

DV 50 4:2:2 DV 50 4:2:2

You can mix NTSC DV resolutions (DV 25 and DV 50), or you can mix PAL DV resolutions (DV 25 and DV 50). However, you cannot record a digital cut to a DV deck with mixed DV resolutions. You need to perform a mixdown first. You can record mixed DV resolutions to an SDI or to an analog deck.

518 Compression and Resolutions

You cannot mix NTSC and PAL resolutions, and you cannot mix DV resolutions with other uncompressed or compressed resolutions.

MPEG Resolution

You cannot mix NTSC and PAL resolutions, and you cannot mix MPEG 50 with any other resolutions.

Advantages to Mixing Resolutions

Mixing resolutions in a sequence saves time and effort in a variety of circumstances: • You can do most of your work at a resolution that can play back real- time effects, digitizing only the most complex shots and graphics at a high-quality, single-stream resolution. • For storage and playback efficiency, you can digitize complex footage at the draft-quality online resolution and edit it along with other online resolutions. • You can avoid some redigitizing by importing complex graphics at a high-quality resolution and by digitizing the remaining footage at draft quality during the offline phase. However, you cannot mix uncompressed graphics (1:1) with footage digitized at other resolutions. • You can exchange material between projects with a minimum of redigitizing. • You can develop material among workstations at different resolutions and bring the material together for a final cut without redigitizing.

For any limitations concerning playback with mixed resolutions, see the release notes for your Avid system. n For information on resolutions to use when importing graphics or sequences from a third-party application, see “Screen Resolution for Imported Graphics and Sequences” on page 500.

519 Appendix B Resolutions and Storage Requirements

Resolution Groups and Image Quality

Although it is generally true that a lower compression ratio means higher image quality, the resolution group itself (single-field, two-field, progressive, or uncompressed) is also a factor in the quality of the final image.

Single-field resolutions work with smaller amounts of original image data than two-field or progressive resolutions. They use only half the image width of two-field resolutions, and they use only one of the two fields in the standard video signal.

For example, there is a 2:1 resolution for both single-field and two-field resolutions. In both cases, the image data is compressed to one-half of its original size. However, the image quality of these two resolutions is different. The single-field 2:1 resolution has lower image quality because it processes only one-quarter of the original image data used by the two-field 2:1 resolution.

Video Streams

Whenever you have more than one video track, or a transition effect on a single track, you have two streams of data (“dual streams”). Some effects create a second stream. When you render effects, you combine two streams into one. Two streams demand a significantly higher throughput than one stream. Sometimes, drive striping is required to accommodate two streams, even though a single stream at the same resolution would not require striping.

Compression Specifications

The following tables provide information about the Avid resolutions, DV resolutions, and MPEG resolutions: • “Resolution Specifications: Interlaced” on page 521 • “Resolution Specifications: Progressive” on page 522 • “Multicamera Resolutions” on page 523

520 Compression and Resolutions

• “DV Resolutions” on page 525 • “MPEG 50 Resolution” on page 526

Progressive media is stored as a full frame. For more information, see “How the Avid System Stores and Displays 24p and 25p Media” on page 82.

For information on drive striping requirements for different resolutions, see “Getting Information About Striped Drives” on page 137.

For detailed guidelines on estimating space requirements, see “Storage Requirements” on page 527.

Resolution Specifications: Interlaced

Table 66 provides information about the Avid resolutions for interlaced media (30i NTSC and 25i PAL projects).

Table 66 Resolution Specifications: Interlaced

Fields Field Size Per Resolution (Pixels) Frame Quality

15:1s 352 x 248 (NTSC) 1 Offline 352 x 296 (PAL) Maximum storage with enough image detail to make basic editing decisions (you can check lip sync on a medium shot)

4:1s 352 x 248 (NTSC) 1 Offline 352 x 296 (PAL) A good storage resolution combined with a good offline image quality

2:1s 352 x 248 (NTSC) 1 Online 352 x 296 (PAL) Provides enough detail for finishing multimedia jobs such as CD-ROM and Web authoring

521 Appendix B Resolutions and Storage Requirements

Table 66 Resolution Specifications: Interlaced (Continued)

Fields Field Size Per Resolution (Pixels) Frame Quality

20:1 720 x 248 (NTSC) 2Offline 720 x 296 (PAL) Useful for mixing storage-efficient offline footage with online-quality resolutions

10:1 720 x 248 (NTSC) 2 Offline/online 720 x 296 (PAL) A good compromise for high-quality, two-field offline or low-quality online that saves drive space

3:1 720 x 248 (NTSC) 2 Online 720 x 296 (PAL) A medium-quality online resolution that can sustain two-stream playback on 2-way striped drives

2:1 720 x 248 (NTSC) 2 Online 720 x 296 (PAL) Provides the highest image quality of any compressed resolution and sustains two-stream playback on 4-way striped drives

1:1 720 x 248 (NTSC) 2 Online uncompressed 720 x 296 (PAL) Provides the highest image quality possible

Resolution Specifications: Progressive

Table 67 provides information about the Avid resolutions for progressive media (24p NTSC and 24p PAL projects).

522 Compression and Resolutions

Table 67 Resolution Specifications: Progressive

Frame Size Resolution (Pixels) Quality

35:1 720 x 496 (NTSC) Offline 720 x 592 (PAL) Maximum storage with enough image detail to make basic editing decisions

28:1 720 x 496 (NTSC) Offline 720 x 592 (PAL) Low storage requirements combined with a good offline image quality

14:1 720 x 496 (NTSC) Offline 720 x 592 (PAL) The best offline image quality

3:1 720 x 496 (NTSC) Online 720 x 592 (PAL) A medium-quality online resolution that can sustain two-stream playback on 2-way striped drives

2:1 720 x 496 (NTSC) Online 720 x 592 (PAL) Provides the highest image quality of any compressed resolution and sustains two-stream playback on 4-way striped drives

1:1 720 x 496 (NTSC) Online uncompressed 720 x 592 (PAL) Provides the highest image quality possible

Multicamera Resolutions

Both video (interlace) and progressive projects support multicamera resolutions (m resolutions). The m resolutions cannot be mixed with resolutions in other families. The capture of a multicamera resolution in a video project results in single-field compressed media that has been resized horizontally to 288 pixels wide. Playback decompresses and resizes to 720 pixels wide. The resulting single field is played back the same as s resolution media, where one field per frame time is presented to the video out device.

523 Appendix B Resolutions and Storage Requirements

n Starting with Symphony v3.0, you do not have to disable 3D effects while using the multicamera resolutions.

Table 68 and Table 69 provide the specifications for the Avid multicamera resolutions.

Table 68 Multicamera Resolution Specifications: Video (Interlaced) Project

Resolution Name 4:1m 4:1m 10:1m 10:1m

Video Format NTSC PAL NTSC PAL

Pixels/Line 288 288 288 288

Line 248 296 248 296

Minutes/Gig 16.72 16.79 41.80 41.99

The capture of multicamera resolutions in progressive projects results in a progressive, compressed frame that is resized down both horizontally and vertically. Playback in non-MultiCamera mode decompresses and resizes up both horizontally and vertically to a full frame. The resulting progressive frame is played back the same as regular progressive resolutions with perfect pulldown.

In MultiCamera mode, the progressive media is handled the same as single-field material. The resulting single field is played back like s resolution (single-field resolution) media, where one field per frame time is presented to the video out device. Pulldown is not perfect during playback in MultiCamera mode.

524 Compression and Resolutions

Table 69 Multicamera Resolution Specifications: Progressive Project

Resolution Name 3:1m 3:1m 8:1m 8:1m

Video Format NTSC PAL NTSC PAL

Pixels/Line 288 288 288 288

Line 248 296 248 296

Minutes/Gig 15.66 13.12 41.76 34.99

DV Resolutions

DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch (6.35-mm) tape to record very high quality digital video. The video is sampled at the same rate as D1, D5, or Digital Betacam video (720 pixels per scan line). The color information in DV 25 is sampled at 4:1:1 in 525-line (NTSC) format and 4:1:1 or 4:2:0 in 625-line (PAL) format. Color information in DV 50 is sampled at 4:2:2

Table 70 provides DV resolution specifications for Avid systems with the DV/MPEG Option.

Table 70 Resolution Specifications: DV

Resolution Frame Size Format

DV 25 4:1:1 720 x 480 (NTSC) DV, DVCAM™, DVCPRO

DV 25 4:1:1 720 x 576 (PAL) DVCPRO

DV 25 4:2:0 720 x 576 (PAL) DV, DVCAM

DV 50 4:2:2 720 x 480 (NTSC) DVCPRO 720 x 576 (PAL)

525 Appendix B Resolutions and Storage Requirements

Although the native NTSC DV frame size is 720 x 480, the Avid system adds six black lines (three at the top and three at the bottom) to match the standard ITU-R 601 NTSC frame size when outputting through the Meridien I/O box.

MPEG 50 Resolution

MPEG 50 is intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs. The general characteristics of this bit stream are: • MPEG-2 4:2:2 Profile @ Main Level (4:2:2P@ML) • I frame only, with a group of pictures (GOP) length of 1 • Maximum coded frame size of 208,541 bytes for NTSC and 250,000 bytes for PAL n During capture, the frame sizes are automatically padded to a fixed size of 208,896 bytes for NTSC and 253,952 bytes for PAL. This padding is removed during a digital cut. This padding optimizes disk transfers at the cost of a small increase in storage.

• Up to 50 megabits per second (Mb/s) with constrained bytes per GOP (CBG)

Avid refers to this format as MPEG 50. It is described in the SMPTE 356M standard.

Table 71 provides MPEG 50 resolution specifications for Avid systems with the DV/MPEG option.

Table 71 Resolution Specifications: MPEG 50

Resolution Frame Size Format

MPEG 50 720 x 480 (NTSC) SMPTE D-10 720 x 576 (PAL)

526 Storage Requirements

Although the native NTSC MPEG 50 frame size is 720 x 480, the Avid system adds six black lines (three at the top and three at the bottom) to match the standard ITU-R 601 NTSC frame size when outputting through the Meridien I/O box.

Storage Requirements

You should plan the use of drive volumes in advance, especially when you digitize numerous reels.

This section contains recommendations for achieving efficient storage for your digital media. It explains how playback performance can be affected by the way you set up the storage drives and target them when you digitize. n For information on multicamera resolutions, see “Multicamera Resolutions” on page 523.

Estimating Drive Space Requirements

You need to select a resolution that provides adequate picture quality for your project. However, you might be limited by the amount of media drive space available. Before you digitize, estimate your media drive space requirements.

To estimate media drive space requirements: 1. Use the appropriate resolution specifications table (see “Compression Specifications” on page 520) and the information in your media drive documentation to select a resolution that is compatible with the drive and striping capacity on your system. 2. Open the Digitize tool, select a resolution and target drive or drives, and note the time remaining on the selected drives (see “Interpreting the Time-Remaining Display” on page 177). 3. Get a total duration for all the clips to be digitized. Use the Console and the Get Bin Info commands, as described in the editing guide or Help for your Avid system.

527 Appendix B Resolutions and Storage Requirements

4. Use the appropriate estimated storage requirements table (see “Estimated Storage Requirements” on page 528) to estimate your drive space requirements based on the resolution and the number of audio tracks. To get an estimate of the number of gigabytes needed, do one of the following: t Calculate by dividing the duration of your material (number of minutes) by the estimated minutes per gigabyte. t Calculate by combining storage figures from the “Drive space Needed for x Minutes of Media” columns as necessary to match the number of minutes of material you have. 5. Compare the gigabytes available on your drives with the result of step 4. If your needs are greater than your drive space, select a lower resolution and recalculate.

Estimated Storage Requirements

The tables in the following topics show estimated drive space requirements for each resolution, including uncompressed. They show figures for estimated minutes per gigabyte and also figures for the drive space required for certain amounts of material. n The figures in the table represent drive space for video material that includes typical variations in image complexity. Actual drive space requirements might vary slightly from these estimates, depending on the overall complexity of the video you digitize and store.

Consider the following when you interpret this information: • For 30-fps media (NTSC) and 25-fps media (PAL), the minutes per gigabyte are approximately the same because PAL video contains approximately 17 percent fewer frames per second, but each frame contains approximately 16 percent more pixels. For 24p media, which uses the same frame rate for both NTSC and PAL, 24p footage from a PAL transfer requires more storage space.

528 Storage Requirements

• Figures for audio storage in the table are based on the standard rates for audio sampling (16 bits per sample, 44.1 kHz). To calculate additional audio storage (for numbers of channels not listed in the table), add 88.2 KB per second (approximately 5.3 MB per minute) to your estimate for each additional audio channel. • Storage requirements are affected by the number of channels of audio, not the frequency of the digitized audio signal. The difference in storage requirements between 44.1-kHz and 48-kHz audio is negligible, while the difference between two or three channels is more significant, as reflected in the table. n Rolling titles add 1.4 MB (NTSC) or 1.6 MB (PAL) per second to storage requirements. If you are on the upper edge of the requirements for drive capacity or striping, adding a rolling title might prevent you from playing real-time material.

Estimated Storage Requirements: Interlaced

Before using Table 72, read the information in “Estimating Drive Space Requirements” on page 527 and “Estimated Storage Requirements” on page 528.

Table 72 Estimated Storage Requirements: Interlaced

Drive Drive Space Space Drive Space Minutes Needed for Needed for Needed for Audio Per 1Minute of 10 Minutes 30 Minutes Resolution Tracks Gigabyte Media of Media of Media

15:1s 0 48.5 20.6 MB 206 MB 618 MB

1 38.6 25.9 MB 259 MB 777 MB

2 32.1 31.2 MB 312 MB 936 MB

3 28.2 35.5 MB 355 MB 1.07 GB

4 24.5 40.8 MB 408 MB 1.22 GB

529 Appendix B Resolutions and Storage Requirements

Table 72 Estimated Storage Requirements: Interlaced (Continued)

Drive Drive Space Space Drive Space Minutes Needed for Needed for Needed for Audio Per 1 Minute of 10 Minutes 30 Minutes Resolution Tracks Gigabyte Media of Media of Media

8 16.1 62.0 MB 620 MB 1.86 GB

4:1s 0 11.6 85.8 MB 858 MB 2.57 GB

1 11.0 91.1 MB 911 MB 2.73 GB

2 10.5 95.4 MB 954 MB 2.86 GB

3 9.9 101 MB 1.01 GB 3.03 GB

4 9.4 106 MB 1.06 GB 3.18 GB

8 7.9 127 MB 1.27 GB 3.81 GB

2:1s 0 5.8 172 MB 1.72 GB 5.16 GB

1 5.7 177 MB 1.77 GB 5.28 GB

2 5.5 182 MB 1.82 GB 5.46 GB

3 5.4 187 MB 1.87 GB 5.61 GB

4 5.2 193 MB 1.93 GB 5.79 GB

8 4.7 214 MB 2.14 GB 6.42 GB

20:1 0 16.6 60.1 MB 601 MB 1.80 GB

1 15.3 65.4 MB 654 MB 1.96 GB

2 14.1 70.7 MB 707 MB 2.12 GB

3 13.2 76.0 MB 760 MB 2.28 GB

4 12.3 81.3 MB 813 MB 2.44 GB

8 9.8 103 MB 1.03 GB 3.09 GB

530 Storage Requirements

Table 72 Estimated Storage Requirements: Interlaced (Continued)

Drive Drive Space Space Drive Space Minutes Needed for Needed for Needed for Audio Per 1Minute of 10 Minutes 30 Minutes Resolution Tracks Gigabyte Media of Media of Media

10:1 0 8.3 120 MB 1.20 GB 3.60 GB

1 7.9 126 MB 1.26 GB 3.78 GB

2 7.6 131 MB 1.31 GB 3.93 GB

3 7.3 136 MB 1.36 GB 4.08 GB

4 7.2 140 MB 1.40 GB 4.20 GB

8 6.2 161 MB 1.61 GB 4.83 GB

3:1 0 2.9 344 MB 3.44 GB 10.32 GB

1 2.9 349 MB 3.49 GB 10.47 GB

2 2.8 354 MB 3.54 GB 10.62 GB

3 2.8 360 MB 3.60 GB 10.80 GB

4 2.7 365 MB 3.65 GB 10.95 GB

8 2.6 386 MB 3.86 GB 11.58 GB

2:1 0 1.9 516 MB 5.16 GB 15.48 GB

1 1.9 521 MB 5.21 GB 15.63 GB

2 1.9 526 MB 5.26 GB 15.78 GB

3 1.9 531 MB 5.31 GB 15.94 GB

4 1.9 537 MB 5.37 GB 16.11 GB

8 1.8 558 MB 5.58 GB 16.74 GB

531 Appendix B Resolutions and Storage Requirements

Table 72 Estimated Storage Requirements: Interlaced (Continued)

Drive Drive Space Space Drive Space Minutes Needed for Needed for Needed for Audio Per 1 Minute of 10 Minutes 30 Minutes Resolution Tracks Gigabyte Media of Media of Media

1:1 0 0.8 1.22 GB 12.2 GB 36.6 GB (Uncompressed)

1 0.8 1.23 GB 12.3 GB 36.9 GB

2 0.8 1.23 GB 12.3 GB 36.9 GB

3 0.8 1.24 GB 12.4 GB 37.2 GB

4 0.8 1.24 GB 12.4 GB 37.2 GB

8 0.8 1.26 GB 12.6 GB 37.8 GB

Estimated Storage Requirements: Progressive

Before using Table 73, read the information in “Estimating Drive Space Requirements” on page 527 and “Estimated Storage Requirements” on page 528.

532 Storage Requirements

Table 73 Estimated Storage Requirements: Progressive

Drive Drive Space Space Drive Space Minutes Needed for Needed for Needed for Audio Per 1Minute of 10 Minutes 30 Minutes Resolution Tracks Gigabyte Media of Media of Media

35:1 0 36.4 (NTSC) 27.5 MB 275 MB 824 MB 30.3 (PAL) 33.0 MB 330 MB 990 MB

1 30.5 (NTSC) 32.8 MB 328 MB 983 MB 26.1 (PAL) 38.3 MB 383 MB 1.14 GB

2 26.3 (NTSC) 38.1 MB 381 MB 1.14 GB 22.9 (PAL) 43.6 MB 436 MB 1.30 GB

3 23.1 (NTSC) 43.4 MB 434 MB 1.30 GB 20.4 (PAL) 48.9 MB 489 MB 1.47 GB

4 20.5 (NTSC) 48.7 MB 487 MB 1.46 GB 18.4 (PAL) 54.2 MB 542 MB 1.63 GB

8 14.3 (NTSC) 69.9 MB 699 MB 2.10 GB 13.3 (PAL) 75.4 MB 754 MB 2.26 GB

28:1 0 29.1 (NTSC) 34.4 MB 344 MB 1.03 GB 24.3 (PAL) 41.2 MB 412 MB 1.23 GB

1 25.2 (NTSC) 39.7 MB 397 MB 1.19 GB 21.5 (PAL) 46.5 MB 465 MB 1.39 GB

2 22.2 (NTSC) 45.0 MB 450 MB 1.35 GB 19.3 (PAL) 51.8 MB 518 MB 1.55 GB

3 19.9 (NTSC) 50.3 MB 503 MB 1.51 GB 17.5 (PAL) 57.1 MB 571 MB 1.71 GB

4 18.0 (NTSC) 55.6 MB 557 MB 1.67 GB 16.0 (PAL) 62.4 MB 624 MB 1.87 GB

8 13.0 (NTSC) 76.8 MB 768 MB 2.30 GB 12.0 (PAL) 83.6 MB 836 MB 2.51 GB

533 Appendix B Resolutions and Storage Requirements

Table 73 Estimated Storage Requirements: Progressive (Continued)

Drive Drive Space Space Drive Space Minutes Needed for Needed for Needed for Audio Per 1 Minute of 10 Minutes 30 Minutes Resolution Tracks Gigabyte Media of Media of Media

14:1 0 14.6 (NTSC) 68.5 MB 685 MB 2.05 GB 12.1 (PAL) 82.6 MB 826 MB 2.48 GB

1 13.6 (NTSC) 73.8 MB 738 MB 2.21 GB 11.4 (PAL) 87.9 MB 879 MB 2.64 GB

2 12.6 (NTSC) 79.1 MB 791 MB 2.37 GB 10.7 (PAL) 93.2 MB 932 MB 2.80 GB

3 11.8 (NTSC) 84.4 MB 844 MB 2.53 GB 10.1 (PAL) 98.5 MB 985 MB 2.96 GB

4 11.1 (NTSC) 89.7 MB 897 MB 2.69 GB 9.6 (PAL) 103 MB 1.04 GB 3.12 GB

8 9.0 (NTSC) 111 MB 1.11 GB 3.33 GB 8.0 (PAL) 125 MB 1.25 GB 3.75 GB

3:1 0 3.6 (NTSC) 278 MB 2.78 GB 8.33 GB 3.0 (PAL) 333 MB 3.33 GB 10.0 GB

1 3.5 (NTSC) 283 MB 2.83 GB 8.49 GB 3.0 (PAL) 339 MB 3.39 GB 10.2 GB

2 3.5 (NTSC) 288 MB 2.88 GB 8.65 GB 2.9 (PAL) 344 MB 3.44 GB 10.3 GB

3 3.4 (NTSC) 294 MB 2.94 GB 8.81 GB 2.9 (PAL) 349 MB 3.49 GB 10.5 GB

4 3.3 (NTSC) 299 MB 2.99 GB 8.97 GB 2.8 (PAL) 355 MB 3.55 GB 10.6 GB

8 3.1 (NTSC) 320 MB 3.20 GB 9.61 GB 2.7 (PAL) 376 MB 3.76 GB 11.3 GB

534 Storage Requirements

Table 73 Estimated Storage Requirements: Progressive (Continued)

Drive Drive Space Space Drive Space Minutes Needed for Needed for Needed for Audio Per 1Minute of 10 Minutes 30 Minutes Resolution Tracks Gigabyte Media of Media of Media

2:1 0 2.4 (NTSC) 417 MB 4.17 GB 12.5 GB 2.0 (PAL) 500 MB 5.00 GB 15.0 GB

1 2.4 (NTSC) 422 MB 4.22 GB 12.7 GB 2.0 (PAL) 505 MB 5.05 GB 15.2 GB

2 2.3 (NTSC) 427 MB 4.27 GB 12.8 GB 2.0 (PAL) 510 MB 5.11 GB 15.3 GB

3 2.3 (NTSC) 433 MB 4.33 GB 13.0 GB 1.9 (PAL) 516 MB 5.16 GB 15.5 GB

4 2.3 (NTSC) 438 MB 4.38 GB 13.1 GB 1.9 (PAL) 521 MB 5.21 GB 15.6 GB

8 2.2 (NTSC) 459 MB 4.59 GB 13.8 GB 1.8 (PAL) 542 MB 5.42 GB 16.3 GB

1:1 0 1.0 (NTSC) 1.00 GB 10.0 GB 30.0 GB (Uncompressed) 0.9 (PAL) 1.15 GB 11.5 GB 34.5 GB

1 1.0 (NTSC) 1.01 GB 10.1 GB 30.3 GB 0.9 (PAL) 1.15 GB 11.5 GB 34.6 GB

2 1.0 (NTSC) 1.01 GB 10.1 GB 30.3 GB 0.9 (PAL) 1.16 GB 11.6 GB 34.8 GB

3 1.0 (NTSC) 1.02 GB 10.2 GB 30.6 GB 0.9 (PAL) 1.17 GB 11.7 GB 35.1 GB

4 1.0 (NTSC) 1.02 GB 10.2 GB 30.6 GB 0.9 (PAL) 11.7 GB 11.7 GB 35.1 GB

8 1.0 (NTSC) 1.04 GB 10.4 GB 31.3 GB 0.8 (PAL) 1.19 GB 11.9 GB 35.8 GB

535 Appendix B Resolutions and Storage Requirements

Estimated Storage Requirements: DV

Table 74 provides information to help you estimate the storage requirements for DV media.

Before using this table, read the information in “Estimating Drive Space Requirements” on page 527 and “Estimated Storage Requirements” on page 528. n Calculations are approximate. They are based on dual-stream playback with four channels of audio, and include a 10 percent system overhead factor.

Table 74 Estimated Storage Requirements: DV

Drive Space Drive Space Drive Space Needed for Needed for Needed for Minutes Per 1 Minute of 10 Minutes 30 Minutes Resolution Gigabyte Media of Media of Media

DV 25 (NTSC) 2.1 480 MB 4.8 GB 14.4 GB

DV 25 (PAL) 2.7 384 MB 3.8 GB 11.5 GB

DV 50 (NTSC) 1.1 930 MB 9.3 GB 27.9 GB

DV 50 (PAL) 1.4 744 MB 7.4 GB 22.3 GB

Estimated Storage Requirements: MPEG 50

Table 75 provides information to help you estimate the storage requirements for MPEG 50 media.

536 Maximizing Drive Space

Table 75 Estimated Storage Requirements: MPEG 50

Drive Drive Drive Space Space Space Minutes Needed for Needed for Needed for Per 1 Minute of 10 Minutes 30 Minutes Resolution Gigabyte Media of Media of Media

MPEG 50 (NTSC) 2.7 376 MB 3.8 GB 11.2 GB

MPEG 50 (PAL) 2.6 381 MB 3.8 GB 11.4 GB

Maximizing Drive Space

If your media drive space is limited or you are digitizing a large amount of source material, follow these suggestions to maximize your usage of the media drive space: For more information • Digitize only the audio channels required for the edit. on batch digitizing and redigitizing, see “Batch • Log in advance. Batch digitize only the footage required for the edit. Digitizing from Logged Clips” on page 239. • Digitize at a lower resolution for editing. Redigitize only the clips included in the final cut at a higher resolution.

537 Appendix B Resolutions and Storage Requirements

Managing Storage to Improve Playback Performance

The way you set up the media drives and target them when you digitize can affect playback performance. Here are some suggestions for working with complex video images at high resolution, multiple video layers, or multicamera material: • For more effective playback of multiple streams of video at higher resolutions, stripe the media drives. Some resolutions require drive striping; see “Getting Information About Striped Drives” on page 137. • For more effective playback of multiple streams of video at higher resolutions without drive striping, distribute the video tracks as evenly as possible among available drives, and target separate drives for audio and video. • Try to target one volume per reel.

538 Appendix C Avid Log Specifications

This section explains the Avid log file format. The Avid editing system can import logs that meet Avid log specifications. These logs must follow the formatting requirements described in this appendix.

Understanding Avid Log Specifications

You can prepare an Avid log on any type of IBM-compatible or Macintosh computer by using a word processing application or a text editor. You can use the file name extension .txt, but it is not required.

To ensure accuracy, you must follow the Avid log specifications described in this appendix.

An Avid log is composed of three sections, in this order: • Global headings • Standard and custom column headings • Data headings

When you create an Avid log, you must follow the order precisely. The tables in this section follow this order.

For an example of a simple log file, see “Sample Avid Log” on page 548. Appendix C Avid Log Specifications

Avid Log Specifications

This section contains tables that show how to enter headings and data to create an Avid log. The tables use the following conventions: • A heading appears in the first column, without angle brackets or standard brackets. For example, FIELD_DELIM is the first global heading. • A is surrounded by angle brackets. appear underneath, also in angle brackets. You must enter exactly one of these values. For example, <29.97> is one of the supported values for the FPS heading; to specify that value, type 29.97. • is also surrounded by angle brackets, but it is italicized. For example, is the data entry for the Start heading; type the correct timecode, in the format 08:19:10:00 (or 08;19;10;00, for drop-frame timecode). • [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by standard brackets. • A column contains the word “Required” if the heading must be included in the log. • The final column contains notes about the heading or values.

You can decide not to display a defined heading (including a required heading), except for Name. Name must always be displayed.

The maximum number of combined global, standard, and custom headings in a log file is 64.

Global Headings

The global headings must come first in an Avid log file, and you must enter one value for each heading.

Table 76 shows the format for the global headings and the supported values for each heading.

540 Avid Log Specifications