a Media Composer® and Film Composer® Release 10.1 Release for the ®

Important Information

Avid recommends that you read all the information in these release notes thoroughly before installing or using any new release.

The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in this documentation. c Mac® OS 9.0.4 and Mac OS 9.1 are supported for this release. Verify the version of the Mac OS before installing Media Composer or Film Composer. For more information, see “Using the Macintosh Operating System” on page 25. c Media Composer and Film Composer require 384 MB of built-in RAM (random-access memory). Your system must have the required amount of RAM before you install Media Composer or Film Composer. New memory kits are available from Avid for updating your existing RAM configuration. For details, contact your Avid sales representative.

1 Contents

Symbols and Conventions ...... 6 New Features in Release 10.1 ...... 7 Installation Check List ...... 8 About the USB Devices...... 10 Connecting the USB-to-MIDI Converter ...... 10 Connecting the Avid Application Key (Dongle)...... 10 About the Two-Button Mouse ...... 11 USB Mouse Not Responding ...... 11 Changing USB Devices ...... 11 Additional Floppy Drive Installation Instructions ...... 12 Hardware and Software Requirements ...... 12 Qualified Platforms for Release 10.1...... 12 Built-in RAM ...... 13 Changing the Memory Allocated to the Application...... 17 Troubleshooting Memory Allocation Problems ...... 19 Required Libraries and Extensions ...... 20 PCI Board Revision History ...... 23 Using Avid System Test Pro ...... 24 Using the Macintosh Operating System ...... 25 Verifying the Macintosh Operating System Version ...... 25 Obtaining the Macintosh Operating System...... 26 Guidelines for Installing the Macintosh Operating System . . 27 Guidelines for Using Mac OS 9.x ...... 27 Choosing the Avid Drive and Restarting ...... 30 Installing Software Drivers ...... 31 USB-to-MIDI Software Installation ...... 32 Installing or Upgrading the Software ...... 36 Checking Virtual Memory and Cache Size ...... 36 Disabling Hard Disk Sleep Mode ...... 36

2 Preliminary Information ...... 37 Installation Procedure ...... 37 Custom Installations...... 40 Updating Your Avid Display Controller...... 42 Running the Updater for the SCSI Board ...... 43 Updating the Video I/O Firmware ...... 45 Updating Your Application Key (Dongle) ...... 47 Test Patterns ...... 47 Software Utilities ...... 48 Downloading Avid Codecs for QuickTime ...... 50 Installing FilmScribe and MediaLog ...... 51 Special Notes...... 52 Warning Regarding Your Application Key ...... 52 Support for AvidNet and Avid Unity TransferManager in an Avid Unity Environment ...... 52 Audio Hardware Calibration ...... 53 MediaDock LVD ...... 55 Optimize for Batch Speed Option ...... 55 Keyboard Shortcut for Saving Titles...... 55 Using Help ...... 56 Supported Decks ...... 56 AVX Plug-ins and Memory ...... 57 MultiCamera Edit Mode Playback ...... 57 Importing QuickTime Files Created with an Avid Codec . . . . 57 Recording with a TAO Media Systems Device ...... 58 Fibre Channel Configurations ...... 58 Using FilmScribe or EDL Manager ...... 59 Media Cleaner EZ, Media Cleaner Pro, and Cleaner 5.0 ...... 59 Changes to the Timing of Video Signals ...... 59 Black Levels When Outputting SDI from NTSC Input ...... 62 Changes in Output Blanking in SDI Format...... 63 New File Name Extension for PICT Files...... 65 Setting Up the Edit Monitor ...... 65

3 Drive Striping Configurations...... 65 Obtaining the Latest Drive Striping Configurations...... 72 List of Effects for Avid Models ...... 73 Compatibility with Avid Video-Based Editing Products ...... 82 Documentation Changes for Release 10.1 ...... 82 Typographical Error in the Effects Guide...... 82 Change to Default Setting for Render Ranges ...... 83 Holding Slates On Screen in the Script Window ...... 83 Importing CamCutter Files ...... 84 Creating Files for a DVD ...... 86 Defining the Audio Transfer Rate (PAL Only) ...... 88 New Name for Open Project Dialog Box ...... 89 Review & Approval Service ...... 89 Internet Streaming Options ...... 94 Using AvidLinks ...... 95 Importing Audio from an Audio CD ...... 96 Preserving Information in the Vertical Blanking Interval . . . . 96 Using a GPI Device with the Audio Punch-In Tool ...... 102 Documentation Changes for Release 10.0 ...... 110 Changing the Representative Frame for a Take ...... 110 Changing the Sample Rate ...... 110 Returning to Previous Place in the Select Tape Dialog Box . . 110 Naming a New Tape from the Keyboard ...... 111 Controlling a Freeze Frame with a Single Button or Key . . . . 111 Monitoring Previously Recorded Tracks While Recording a Voice-Over Narration ...... 113 Change for Goodies.html File ...... 113 Installing the 24p and 25p Tutorial Files ...... 114 Screen Resolution for Imported Graphics and Sequences . . . 115 MediaLog ...... 117 Sharing Bins and Projects on Avid Unity MediaNet...... 117 Mapping Workspaces on the Avid Unity Network ...... 118 Sharing Methods ...... 118

4 Opening a Shared Project ...... 121 Working with Locks ...... 122 Hardware and Software Limitations ...... 125 Limitation When Using Consumer Decks or Decks Without Time-Base Correctors ...... 125 Avid/Mezzo Archiver ...... 126 Unrendered 3D Effects with Drop Shadow ...... 126 Multiformat Titles Must Be Real-Time DSK...... 127 Fixed Bugs ...... 128 Bugs Fixed in Release 10.1...... 128 Bugs Fixed in Release 10.0.1 ...... 128 Known Bugs and Limitations ...... 129 24p and 25p Projects ...... 129 Audio ...... 130 Compatibility with Other Products and Releases ...... 132 Consolidating...... 133 Controllers ...... 134 Digitizing ...... 134 Editing ...... 136 Effects ...... 138 Hardware ...... 141 Help ...... 141 Import and Export ...... 141 Installation ...... 147 Monitors ...... 148 Multicamera Editing...... 148 Output ...... 149 Play...... 149 StorEx...... 150 System ...... 150 Timeline ...... 151 Titles ...... 151 Title Tool ...... 153

5 Utilities ...... 153 Workgroups ...... 153 Technical Support Information ...... 155

Symbols and Conventions

These release notes use the following special symbols and conventions:

Look here in the margin In the margin, you will find tips that help you perform tasks more for tips. easily and efficiently. ✔ A check mark indicates a bug that has been fixed.

✘ An X indicates a known bug or limitation. Where appropriate, a workaround is provided.

n A note provides important related information, , 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.

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

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

6 New Features in Release 10.1

Table 1 lists the new features available in this release. For a list of new features included in Release 10.0, see the Help or the Release 10.0 release notes.

Table 1 New Features in Release 10.1

Feature Description For More Information

Creating files for DVD If you plan to output your sequence to a See “Creating Files for a DVD, choose Create DVD from the File DVD” on page 86. menu.

Exporting MPEG-2 files MPEG-2 files are used by DVD authoring See “Creating Files for a packages such as DVDit!™ by Sonic DVD” on page 86. Solutions.

Reformat effects The quality of the Reformat effects was See “Using the Reformat Effects (including Pan and Scan) improved for this release. There is improved and the Pan and Scan Effect” in sharpness when resizing an image. the Help or in the effects guide for your Avid system.

Review & Approval™ The Review & Approval service has been See “Review & Approval updated for this release. Service” on page 89.

Change to the default The default setting for “Render Ranges in See “Change to Default setting for Render the timeline” has been changed from None Setting for Render Ranges” Ranges to Partial Only. on page 83.

Holding slates on screen When you are working with slates in the “Holding Slates On Screen in the Script Integration Script window, you can now choose to hold in the Script Window” on window slates on screen. page 83.

Importing CamCutter® You can import clips recorded with See “Importing CamCutter clips Ikegami’s disk-based Editcam™. Files” on page 84.

7 Table 1 New Features in Release 10.1 (Continued)

Feature Description For More Information

Audio Transfer Rate for The audio transfer rate that you define See “Defining the Audio 24p PAL projects when you create a new project does not Transfer Rate (PAL Only)” override changes you make in the Film on page 88. Settings dialog box.

Preserving VITC If your facility uses the vertical blanking See “Preserving information for interval (VBI) portion of a frame for storing Information in the Vertical digitizing and digital information, you can choose to preserve the Blanking Interval” on page cuts. information before you digitize or create a 96. digital cut.

Using a GPI Device with Your Avid system can send signals to a See “Using a GPI Device the Audio Punch-In tool V-LAN® VLXi® deck controller and a with the Audio Punch-In general-purpose interface (GPI) device that Tool” on page 102. triggers GPI actions.

Installation Check List

This check list covers the major steps required to install the Media Composer or Film Composer applications. 1. Read these release notes completely. 2. If you use the AvidNet™ Transfer tool, see “Support for AvidNet and Avid Unity TransferManager in an Avid Unity Environment” on page 52. 3. Check the configuration of the Universal Serial Bus (USB) devices; see “About the USB Devices” on page 10. 4. Turn on the system components as described in the Avid Composer Products Setup Guide for the Macintosh Operating System, which shipped with your Avid system. 5. Ensure the USB hub is turned on, if available.

8 6. Update the Avid application key, if necessary; see “Updating Your Application Key (Dongle)” on page 47. 7. Verify the version of the Macintosh operating system; see “Verifying the Macintosh Operating System Version” on page 25. 8. Check with your Avid Reseller to see if the Media Composer or Film Composer software is preinstalled. 9. For deck control and other peripheral devices, install any software drivers for the USB devices connected to the Avid system; see “Installing Software Drivers” on page 31. 10. Check the size of virtual memory and cache; see “Checking Virtual Memory and Cache Size” on page 36. 11. Disable hard disk Sleep mode; see “Disabling Hard Disk Sleep Mode” on page 36. 12. Remove any previous release of Media Composer or Film Composer; see “Preliminary Information” on page 37. 13. Install Media Composer or Film Composer; see “Installation Procedure” on page 37. 14. Update the code on the SCSI board; see “Running the Updater for the SCSI Board” on page 43. 15. If you are upgrading an existing system to the new release, you must update the video I/O firmware; see “Updating the Video I/O Firmware” on page 45. 16. If you are upgrading from a release earlier than Media Composer or Film Composer Release 10.0, the audio calibration level of your hardware might not match the default value in Media Composer Release 10.1 or Film Composer Release 10.1. For information on changing the Avid application’s default audio hardware calibration for analog 0 Volume Unit (VU), see “Audio Hardware Calibration” on page 53.

9 About the USB Devices

The Avid Composer Products Setup Guide for the Macintosh Operating System describes how to connect the USB devices. This section covers additional information about the USB devices. n Because the keyboard is connected to the USB hub, you must turn on the USB hub before you can start the Macintosh system from the keyboard.

n The USB technology is rather new to the marketplace. While it offers some major benefits in terms of connectivity and choice of peripherals, Avid has experienced some intermittent problems with some USB devices. Avid is continuing to work with Apple® and a number of USB peripheral vendors to improve overall USB reliability.

Connecting the USB-to-MIDI Converter

To reduce the traffic on the USB bus, connect the USB-to-MIDI converter (MIDISPORT converter) only if you plan to use one of the following devices to control audio gain automation on your Avid system: • JL Cooper FaderMaster Pro™ MIDI automation controller • JL Cooper MCS-3000X MIDI automation controller • Yamaha® 01V digital mixing console

If you plan to use any of these devices, see “Installing Software Drivers” on page 31.

Connecting the Avid Application Key (Dongle)

You need to connect the Avid application key (dongle) to a USB port on the USB hub.

10 For more information about the application key, see “Updating Your Application Key (Dongle)” on page 47 and “Warning Regarding Your Application Key” on page 52.

About the Two-Button Mouse

Your Avid system ships with a two-button USB mouse. This release does not support the right mouse button. n Only Macally software drivers Version 3.0 or later support shuttling and scrubbing with the mouse.

USB Mouse Not Responding

If your Avid system is not used for a period of time (approximately 1 hour), the mouse might not respond when you move it. If this happens, disconnect the mouse cable from the keyboard and then reconnect it. n You can perform this procedure with the Avid application open and the Macintosh system turned on.

Changing USB Devices

To change a USB device: 1. Quit the Avid application. 2. Change the USB device. 3. Restart the Macintosh system. 4. Start the Avid application.

11 Additional Floppy Drive Installation Instructions

Some Avid systems for the Macintosh operating system ship with a floppy drive different from the one described in the Avid Composer Products Setup Guide for the Macintosh Operating System.

If you receive a different floppy drive, install the floppy drive by using the instructions that ship with it. Be sure to connect the floppy drive to the system by plugging its USB connector into the USB hub provided by Avid.

Hardware and Software Requirements

The following sections provide information about hardware and software requirements for your Avid system.

Qualified Platforms for Release 10.1

Table 2 lists the supported Apple platforms from the 9600 through the G4 (Digital Audio) along with the versions of Meridien™ hardware that each system supports. c Other versions have not been tested and might cause problems.

12 Table 2 Qualified Platforms for Release 10.1

Power Macintosh® with the Avid PCI Extender Processor Speed Meridien Support

G4 (Digital Audio)a 466 MHz, 533 MHz Meridien III only

G4 (AGP) 350 MHz, 400 MHz, Meridien I, II, III 450 MHz, 500 MHz

G4 (PCI) 350 MHz, 400 MHz Meridien I, II, III

G3 (blue and white)b 350 MHz, 400 MHz Meridien I only

G3 (beige)b 333 MHz Meridien I only

9600b 200 MHz, 233 MHz, Meridien I only 300 MHz, 350 MHz

a. The G4 (Digital Audio) system has four PCI slots and one AGP slot. b. These platforms only support Meridien I. Therefore, these platforms cannot support Film Composer (requires minimum of Meridien II) or Media Composer 9000 XL (requires minimum of Meridien III).

Release 10.1 requires Mac OS 9.0.4, or Mac OS 9.1. For more information, see “Verifying the Macintosh Operating System Version” on page 25.

Built-in RAM

Built-in RAM refers to the physical random-access memory installed in your Macintosh system. Media Composer and Film Composer Release 10.1 systems require 384 MB of built-in RAM.

Memory requirements vary, depending on your workflow and what applications you are running. Table 3 shows the minimum preferred memory for Media Composer and Film Composer along with other

13 applications. Use this information as a guideline when determining your memory requirements.

Table 3 Minimum Preferred RAM Requirements

Installed Application Preferred Size

Mac OS 9.0.4 or 9.1a 66 MB

Media Composer or Film Composer 147 MB

Internet Explorer (Help System) 8 MB

Digidesign® Audio Engine (DAE ™) 30 MB (for AudioSuite™ plug-ins)b

AVX ™ plug-ins 20 MB

EDL Manager 15 MB

FilmScribe™ 43 MB

Media Cleaner® EZ 4.0 31 MB

Media Cleaner Pro 4.0 31 MB

Cleaner 5.0 43 MB

a. Operating system memory allocation varies, depending on the applications you are running. b. Your system is installed with DAE. If you do not plan to use AudioSuite plug-ins, you can disable DAE and use its memory allotment for another application.

New memory kits are available from Avid for updating your existing RAM configurations. For details, contact your Avid sales representative.

14 Supported RAM Configurations

Avid recommends installing the same size and speed RAM from the same manufacturer in paired slots in all CPUs.

Table 4 and Table 5 list the supported RAM configurations.

Table 4 Supported Macintosh G4 RAM Configurations

Power Macintosh Power Macintosh CPU G4 (Digital Audio) CPU G4 (PCI and AGP)

Type PC133 SDRAM DIMM 168-pin, 8-ns PC-100 SDRAM

Banks 4 4

Modules/Bank 1 1 Built-in RAM 0 0 Standard 384 MB 384 MB Largest DIMM Size 512 MB 256 MB

FPM NAa NAa EDO No No Mix FPM and EDO No No Parity Nonparity NAa Interleaving No No

a. NA = Not applicable

15 Table 5 Supported Macintosh G3 and 9600 RAM Configurations

Power Macintosh Power Macintosh Power Macintosh CPU G3 (Blue and CPU G3 (Beige) CPU 9600 White) Type 168-pin, 8-ns PC-100 168-pin, 3.3-V, 10-ns 168-pin, 5-V, 70-ns or faster SDRAM SDRAM DIMMs DRAM DIMMs Banks 3 3 6

Modules/Bank 1 1 2 Built-in RAM 0 0 0 Standard 384 MB 384 MB 384 MB Largest DIMM Size 256 MB 256 MB 32 MB

FPM NAa NAa Yes EDO No No Yes Mix FPM and EDO No No No Parity NAa NAa NAa Interleaving No No Yes — To take advantage of interleaving, you must have the same size and speed chip in paired banks.

a. NA = Not applicable

For a detailed description of the RAM requirements for a particular Macintosh computer, see Apple’s specification database Web page:

http://www.info.apple.com/applespec/applespec.taf n Apple refers to the beige G3 as the Mini-Tower G3.

16 Changing the Memory Allocated to the Application

When you install Media Composer or Film Composer, the “Minimum” default memory setting for the application is 66,743 KB. The “Preferred” default memory setting for the application is 147,935 KB.

You might need to increase the Preferred size if you are working on large projects.

If you increase the amount of memory allocated to the application, leave enough memory to run the Macintosh operating system and other applications, such as Help (through Internet Explorer) and EDL Manager. The operating system’s need for memory is dynamic; therefore, the operating system might require more memory when running certain processes.

To change the amount of memory allocated to the application: 1. Click the application icon to highlight it. 2. Choose Get Info from the File menu. The Media Composer or Film Composer Info window opens.

17 Close box

Show pop-up menu

Minimum size

Preferred size

3. Choose Memory from the Show pop-up menu. The memory requirements appear. 4. Click the number in the Preferred Size text box. 5. Type the amount of memory you want to allocate to the Avid application. n Do not set the preferred size to less than the minimum size. 6. Click the close box in the upper left corner to close the Media Composer or Film Composer Info window.

18 Troubleshooting Memory Allocation Problems

If you have problems starting or running the Avid application after adjusting the memory allocation, click the desktop and choose About This Computer from the . About This Computer shows the total built-in memory installed in your system, how much memory the operating system currently is occupying, and the largest unused block. The following illustration shows an example on a Mac OS 9.1 system.

Depending upon the amount of free memory you have allocated to the Avid application, one of the following problems might occur when you start the application: • A screen message warns you to close other applications to make more memory available. For more information on allocating memory to the application, see your Macintosh documentation. • The application might not start and you might see an error message stating that the system was unable to load one of the required libraries. The error message indicates that not enough free memory is available to run the Avid application or that the required libraries are not installed in the system. For more

19 information on allocating memory to the application, see your Macintosh documentation. For information on installing the required libraries, see “Required Libraries and Extensions” on page 20.

Required Libraries and Extensions

The libraries and extensions in this section must be installed on your Macintosh system for the Media Composer or Film Composer application to start.

The following libraries are installed automatically in the SupportingFiles/Libraries folder within your application folder during the Easy Install procedure: • AVXLibrary • DB Library • GT Library • HIIP® Library • MT Library • Universal • coreLibrary • QAPSharedLibrary • MSL_RuntimePPC++.DLL

The following files are installed automatically in the Extensions folder during the Easy Install procedure: • Pinnacle libraries (You need the Pinnacle libraries even if you do not have the 3D Effects option.) - PGENIE.NDR -SVI.CF • PIM3.slib

20 • TrilliumUtilities • Avid Codec • AvidDriverInit • DigiSystem_INIT • ExpressRAID • E3ITF • USB Sentinel®

If a library or is missing and you attempt to start the Avid application, an error message appears, stating that the required item is missing.

DigiSystem_INIT

The Avid system uses an extension called DigiSystem_INIT to process audio files. The installation software automatically installs the file in the Extensions folder inside the . The installation software also installs a backup copy in the Backup System Files folder in the Utilities folder.

The Avid system requires a specific version of DigiSystem_INIT. The Avid system checks whether the correct version is present at startup. If the correct version is not present, the system displays a dialog box requesting that you locate and install the correct version.

The version for this release is 5.0.3.x13. To check the version, select the file and choose Get Info from the File menu.

To install the correct version of the DigiSystem_INIT file: 1. Locate the System folder on your Avid drive. 2. Open the System folder. 3. Open the Extensions folder. 4. Locate the DigiSystem_INIT file.

21 5. Check the version by selecting the file and by choosing Get Info from the File menu. The correct version for this release is 5.0.3.x13: t If you do not have the correct version, delete or move the file to another folder. t If there are multiple versions of the file, delete or move the extra versions. 6. Locate the Utilities folder on your Avid drive. n On Mac OS 9.1, the Utilities folder is in the Applications (Mac OS 9) folder. 7. Open the Utilities folder, and open the Backup System Files folder. 8. Copy the DigiSystem_INIT file from the Backup System Files folder to your Extensions folder. 9. Restart the computer. The system will use the new version of the DigiSystem_INIT file.

22 PCI Board Revision History

Table 6 lists the minimum revision levels of PCI boards required to run your Media Composer or Film Composer system on the Macintosh system. To determine board revision levels, use Avid System Test Pro. For more information, see the Avid System Test Pro Setup and User’s Guide or the Avid System Test Pro Help.

Table 6 PCI Board Minimum Revision Levels

PCI Board on a Power Macintosh G3, G4, Minimum Level and 9600 System for Release 10.1

Dual-channel SCSI LVD board (G4) D

UL3D card A

Keyspan SX Pro four-port serial board —

Meridien video I/O board E

Meridien serial digital video I/O board B

Meridien eight-channel audio interface board C

Meridien Genie 3D effects board A

Meridien 3D effects interface board C1

Meridien II 3D effects interface board (G4) A

Meridien III 3D effects interface board (G4) A

Meridien II 3D connector board (G4) A

Meridien 3D effects signal board A

Meridien 3D effects power board A

Meridien I digital media board C

23 Table 6 PCI Board Minimum Revision Levels (Continued)

PCI Board on a Power Macintosh G3, G4, Minimum Level and 9600 System for Release 10.1

Meridien II digital media board (G4) B

Fibre Channel FCE3210C controller board D (standalone) A4

Fibre Channel FCE3210N controller board D (standalone) A4

Fibre Channel controller board (standalone) A2 E

Meridien I display controller board (single) B

Meridien II display controller board (single) A

Meridien III display controller board (single) A

Using Avid System Test Pro

Avid System Test Pro, located in the Utilities folder, allows you to view a profile of the Avid system configuration and to test system boards. Avid System Test Pro displays information about the operating system, mounted volumes, system extensions, control panels, and peripheral boards. For information on using this test, see the Avid System Test Pro Setup and User’s Guide or the Avid System Test Pro Help.

You can see a visual representation of drive space in the Hardware tool (choose Hardware from the Tools menu). Use Avid System Test Pro to view all other . n The Avid System Utility is no longer part of the utilities applications. Board functions that it performed are now performed by Avid System Test Pro.

24 Using the Macintosh Operating System

Release 10.1 of Media Composer and Release 10.1 of Film Composer require Version 9.0.4 or 9.1 of the Macintosh operating system.

This section explains how to verify, obtain, and install the Macintosh operating system. It also provides information on how the Media Composer or Film Composer application interacts with the Macintosh operating system.

Verifying the Macintosh Operating System Version

To find out if you have the correct version of the Macintosh operating system: t Go to the ™ and choose About This Computer from the Apple menu. Mac OS 9.0.4 or Mac OS 9.1 should appear in the Version field as shown in Figure 1 and Figure 2.

Figure 1 Mac OS 9.0.4 About This Computer Window

25 Figure 2 Mac OS 9.1 About This Computer Window

Obtaining the Macintosh Operating System

If you purchased a new Media Composer Release 10.1 or Film Composer Release 10.1 system, you also received a separate Macintosh CD-ROM that contains the Macintosh operating system. If necessary, use the CD-ROM to load the Mac OS.

If you are upgrading from Release 10.0 or 10.0.1 of Media Composer or Film Composer, your system already has Mac OS 9.0.4 installed. You can leave the system at Mac OS 9.0.4 or purchase a Mac OS 9.1 CD-ROM from an Apple dealer (or download an updater from the Apple Web site) if you decide to upgrade.

If you are upgrading to Release 10.1 of Media Composer or Film Composer, from a release earlier than Release 10.0, purchase a Mac OS 9.1 CD-ROM from an Apple dealer. c If you update the Mac OS, reinstall Release 10.1 of Media Composer or Release 10.1 of Film Composer after you finish the update.

26 Guidelines for Installing the Macintosh Operating System

Use the following guidelines for installing a new Macintosh operating system: • Check the internal hard drive and repair any problems by using DiskWarrior® Version 2.0 or Apple Disk First Aid™. To use DiskWarrior Version 2.0 on your internal drive, you must first start your system from the Macintosh CD-ROM. DiskWarrior will not check the internal drive if you are booting from it. c Failure to repair any problems found on the internal hard drive could result in a corrupt installation.

• Start the Macintosh system from the Macintosh CD-ROM and perform a clean system software installation by following the instructions provided in the user guide supplied with the Macintosh. • Make sure the Destination Disk is the internal hard drive (usually named Avid). • Run the AST Flasher Pro application. See “Updating Your Avid Display Controller” on page 42. n The Avid system does not support Norton Utilities®.

n After you update your Macintosh OS software, you need to update the firmware on the Meridien display controller board. See “Updating Your Avid Display Controller” on page 42.

Guidelines for Using Mac OS 9.x

Several Mac OS 9.x features might interfere with your use of the Media Composer or Film Composer system. Avid recommends that you disable or customize the Mac OS 9.x features described in the following sections.

27 c Make sure your drive has sufficient space. Otherwise, the Macintosh system might crash if you export files.

Index Volumes

The Index Volumes feature lets you search for files on your hard drive by content. To do this, indexes the contents of your drive. The indexing feature can interfere with Media Composer or Film Composer operations such as digitizing. Avid recommends you either disable indexing or schedule it for times when the Avid system will not be in use.

To adjust the indexing schedule: 1. Choose Sherlock from the Apple menu. 2. Choose Index Volumes from the Find menu. A dialog box appears. 3. Disable or schedule automatic indexing.

Software Update

Mac OS 9.x introduced a feature that enables you to update portions of your Macintosh operating system automatically over the Internet. Avid recommends disabling this feature because it might install software that has not yet been tested with your Avid software.

To disable this feature: 1. Open the Software Update control panel in your Control Panels folder. 2. Deselect the Update Software Automatically check box.

28 Customized Function Keys

Mac OS 9.x introduced a feature that lets you customize the keyboard function keys. However, if this feature is enabled, the function keys will not work properly in Media Composer or Film Composer if you have assigned Avid application commands to them. If you use the function keys to control Avid features, you should disable this feature.

To disable function keys: 1. Open the Keyboard control panel. 2. Click the Function Keys button. 3. Deselect the “Use F1 through F15 as function keys” check box.

Multiple-Users Feature

If your Macintosh system is set up for multiple users, each user has an individual Startup Items folder. If you install the Avid application through the owner account, only the owner’s Startup folder will contain AVIDstartup. If a user logs in through a different account, the AVIDstartup application will not be started.

To solve this problem, copy the AVIDstartup application (or make an ) to the user’s Startup Items folder. For example, if your user account is Smith: 1. Log in as owner. 2. Open the Users folder on your startup drive. 3. Open the Smith folder. 4. Copy the AVIDstartup application (or an alias) from the Startup Items folder in the System folder to the Startup Items folder in the Smith folder. 5. Log out and log in again as Smith. 6. The AVIDstartup application starts.

29 Keyspan SX Conflict

You might receive the following error message when starting the Avid application:

SX Pro printer port is in use by another application and cannot be used by deck control

The error is caused by a conflict between the Keyspan SX Pro four-port serial board and the default setting in the Keyspan SX control panel.

To resolve the conflict: 1. Open the Keyspan SX Pro Manager in the Control Panels folder. 2. Click OK if you receive error . 3. Deselect the Emulate Printer Port check box for Port 1 (default setting). 4. Reboot your system.

Choosing the Avid Drive and Restarting

If you changed your startup disk to install the operating system, restart the Macintosh from the internal hard drive, using the following steps: 1. Choose Startup Disk from the Control Panels in the Apple menu. 2. Select the internal hard drive (usually the Avid drive). n The internal hard drive might be named Macintosh HD. 3. Close the window and restart your Macintosh. The system starts up from the Avid drive.

30 Installing Software Drivers

The software drivers for the serial board and USB devices ship separately from the Avid CD-ROM . If needed, you must install the serial board driver and USB device drivers before you install the Media Composer or Film Composer application.

Install the software drivers for the serial board and USB devices in the following order: 1. Serial board (Drivers are preinstalled by Avid or the Avid Reseller; reinstall only if you are rebuilding a system.) 2. USB-to-MIDI connector (if needed) The MIDISPORT connector is necessary if you will be using one of the following devices to control audio gain automation on your Avid system: • JL Cooper FaderMaster Pro MIDI automation controller • JL Cooper MCS-3000X MIDI automation controller • Yamaha 01V digital mixing console If you plan to use any of these devices on a system that is running Mac OS 9.1, you must install and configure the Open System (OMS®) Version 2.3.8 software. For installation instructions, see “USB-to-MIDI Software Installation” on page 32. 3. USB floppy drive n The Avid Composer Products Setup Guide for the Macintosh Operating System indicates that you should connect the USB devices before installing the device drivers. When you turn on the Avid system, you might receive an informational message stating that the software is not loaded for a specific USB device. To eliminate these messages, install the required USB software drivers and restart the Avid system. n If you want to install the Macally mouse software drivers, you must install Version 3.0 or higher to shuttle or scrub with the mouse.

31 USB-to-MIDI Software Installation

The Avid Composer Products Setup Guide for the Macintosh Operating System describes how to connect a fader controller to your Avid system. This section describes how to complete the connection by installing USB-to-MIDI software and configuring the software to recognize your fader controller. n The term fader controller applies to the following controllers: • JL Cooper FaderMaster Pro MIDI automation controller • JL Cooper MCS-3000X MIDI automation controller • Yamaha 01V digital mixing console

Avid supports the MIDIMAN MIDISport USB-to-MIDI converter. The Goodies folder on the Avid Media Composer and Film Composer application CD-ROM includes installers for several OMS-related files. The following table shows the files and the installed location.

File Location

OMS (Open Music Avid:Opcode:OMS Applications Software)

MIDISport OMS Driver Avid:System Folder:OMS Folder n For Avid Media Composer and Film Composer Release 10.1, the file name is “OMS MIDISport OMS Driver 106.” For subsequent releases, see the release notes for your Avid product for the correct MIDISport OMS Driver file.

MIDISport extensions Avid:System Folder:Extensions

32 To install the OMS software: 1. Connect all MIDI hardware devices as described in the Avid Composer Products Setup Guide for the Macintosh Operating System. 2. Open the Goodies folder on the Avid Media Composer and Film Composer CD-ROM. 3. Double-click Install OMS 2.3.8 2 and follow the on-screen instructions to install OMS. n If the installer displays a dialog box that asks whether you have any Opcode Studio MIDI interfaces, click No.

4. Shut down and restart the system. 5. Open the Goodies folder on the Avid Media Composer and Film Composer CD-ROM. 6. Double-click MIDISport v1.1.2 Installer and follow the on-screen instructions to install the MIDISport driver and extensions. 7. Shut down and restart the system.

To configure OMS to recognize the fader controller: 1. Double-click the OMS Setup application in the following folder: Avid:Opcode:OMS Applications The Create a New Studio Setup dialog box appears. n If an existing studio setup opens, choose New Studio Setup from the File menu.

2. Click OK to create a new studio setup for the MIDI device. The OMS Driver Search dialog box appears. 3. Click Search. (Don’t select printer or modem ports.) The OMS Driver Setup dialog box appears. 4. Confirm that MIDISport appears in the list of devices.

33 If the MIDISport device does not appear in the list, check the cable connections for the USB-to-MIDI converter as described in the Avid Composer Products Setup Guide for the Macintosh Operating System. 5. Click OK to close the dialog box. The OMS MIDI Device Setup dialog box appears. 6. Click OK to accept the new studio setup. 7. Save the studio setup with an appropriate file name in the OMS Applications folder. Your newly named studio setup dialog box appears after you save the setup. 8. Select the MIDISport device in your studio setup (click the circle that looks like a MIDI connector). 9. Choose New Device from the Studio menu. 10. Choose the appropriate manufacturer (either Cooper or Yamaha) from the Manuf pop-up menu. 11. Choose either FaderMaster (for Cooper) or 01V (for Yamaha) from the Model pop-up menu. n Use FaderMaster for either JL Cooper fader controller. The system automatically selects the other settings in the dialog box. 12. Click OK to save your setup and close the dialog box. 13. To confirm that this studio setup is current, click the File menu. The menu item Save and Make Current should appear dimmed. If it does not appear dimmed, then select it and save the studio setup with an appropriate file name in the OMS Applications folder. 14. Move the sliders on the fader controller and confirm that the MIDI IN LED indicator on the USB-to-MIDI converter turns on and off appropriately.

34 The USB LED indicator pulses — this is normal behavior. 15. Choose Preferences from the Edit menu and confirm that the following three options are deselected: • When AppleTalk is on, ask about turning it off • Turn AppleTalk back on when last OMS application quits • Use Apple SerialDMA driver when available 16. Click OK. 17. Choose Save from the File menu. 18. Choose Quit from the File menu.

Now you are ready to use the fader controller with the Avid application software. c To reduce traffic on the USB bus, connect the USB-to-MIDI converter only if you need to use the JL Cooper FaderMaster Pro, JL Cooper MCS-3000X, or Yamaha 01V fader box.

35 Installing or Upgrading the Software

You can install Media Composer Release 10.1, Film Composer Release 10.1, and EDL Manager Release 10.1 software on a Power Macintosh G4 system that has Meridien hardware, or you can upgrade from a system running Media Composer Release 8.1.3 or later. For a list of supported systems, see “Qualified Platforms for Release 10.1” on page 12.

Checking Virtual Memory and Cache Size

Before you install the Avid application, check virtual memory and cache size. You must turn off virtual memory and set the cache size to run the Avid application.

To turn off virtual memory and to set the cache size: 1. Choose the Memory Control Panels from the Apple menu. 2. Set the Cache Size to 128K. 3. Turn off virtual memory and close the window. 4. Restart your Macintosh.

Disabling Hard Disk Sleep Mode

Before you install the Avid application, disable hard disk Sleep mode. The Macintosh operating system has an Energy Saver control panel that can put your system, display, or hard drives into Sleep mode when you don’t use them for a designated period of time. If the internal hard drive goes into Sleep mode while your Avid system is running, the system might hang or crash.

To disable the hard disk Sleep mode on your Avid system: t Choose Energy Saver from the Control Panels list, and set the option “Put the system to sleep when it’s inactive for” to Never.

36 Preliminary Information

Verify that the version of the Macintosh operating system is a supported version; see “Verifying the Macintosh Operating System Version” on page 25. New systems ship with the current version of the Macintosh operating system installed, but you should still verify that you have the current version. c These installation instructions require you to remove any prior release of Media Composer or Film Composer software. If you prefer, you can save the old release of the software by renaming the folder on the Avid drive that contains the application. This also saves the old Settings and SupportingFiles folders. n If you have problems installing the software when using these instructions, try turning off any virus-checking extensions or other system-monitoring software running on your Avid system. Use the Extensions Manager to turn off these applications, and then repeat the installation process.

After installing the software, use the Extensions Manager to turn on any virus-checking extension or other system-monitoring software that you normally run on your Avid system, and restart the system.

Installation Procedure

Before you install Media Composer or Film Composer and EDL Manager, make sure the software for the USB devices and serial board is installed. See “Installing Software Drivers” on page 31.

To install Media Composer, Film Composer, or EDL Manager: 1. Restart your Macintosh system. 2. Quit any applications that open automatically at startup. 3. Insert the Avid Media Composer and Film Composer Release 10.1 CD-ROM.

37 4. Double-click the Media Composer or Film Composer Installer icon. A splash screen introduces the Installer. 5. Click Continue. The License dialog box appears. 6. Click Accept after you read the Software License Agreement. The Media Composer or Film Composer Install window opens.

Install pop-up menu

Install Location pop-up menu

The Install pop-up menu contains the following choices: • Easy Install • Custom Install • Uninstall If you want to do a custom install, see “Custom Installations” on page 40. 7. If your system has a previous version of Media Composer or Film Composer, do the following:

38 a. Choose Uninstall from the Install pop-up menu. The Install button changes to the Uninstall button. b. Click the Uninstall button. A message appears, warning you that other applications can not be running during this operation. c. Click Continue to automatically quit open applications. The removal process begins. At the end of the process a message box appears, telling you that the application was uninstalled, but that some files or folders could not be deleted. d. Click OK. e. Open the Avid drive, and navigate to the Media Composer or Film Composer folder (usually located at the top level of the Avid drive). f. Open the Media Composer or Film Composer folder and delete any remaining application files, except any personally created data files, such as those in the Avid Projects folder or Avid Users folder. g. Return to the Media Composer or Film Composer Install window. 8. Choose Easy Install from the Install pop-up menu. The Install window shows the components that will be installed. 9. Accept the default installation location from the Install Location pop-up menu or choose another location. If you want to change the installation location: a. Click the Install Location pop-up menu. b. Choose a different disk or “Select Folder.” c. If you choose “Select Folder,” navigate to the folder and click Select. The new installation location appears in the Install window. 10. Click Install.

39 A message appears, warning you that other applications cannot be running during the installation. 11. Click Continue to automatically quit open applications. When the installation is complete, a message appears, asking if you want to restart the system or to perform additional installations. 12. Click Restart. n If the Avid system contains a DAE folder before you begin the installation, the installer renames the folder to DAE Folder_saved. After the installation is complete, you can move the plug-ins from the DAE Folder_saved to the new DAE folder. Make sure the version of the plug-in meets the requirements for this release of Media Composer or Film Composer.

Custom Installations

You can perform a custom installation to install particular files from the installation CD-ROM. Use the Custom Install option primarily to replace lost or corrupted files. You can also use this option to install only EDL Manager files. c If you install “Utilities Folder” or “System Folder Only,” some parts of the application might not work properly because they need libraries that are included as part of the complete installation.

To perform a custom installation: 1. Open the Media Composer or Film Composer Install window by following the steps in “Installation Procedure” on page 37. 2. Choose Custom Install from the Install pop-up menu. The window displays items that can be installed individually.

40 Information buttons

Install pop-up menu

Install Location pop-up menu

3. Select the items that you want to install. For information about each option, click the Information button. 4. Accept the default installation location from the Install Location pop-up menu or choose another location. If you want to change the installation location: a. Click the Install Location pop-up menu. b. Choose a different disk or “Select Folder.” c. If you choose “Select Folder,” navigate to the folder and click Select. The new installation location appears in the Install window. 5. Click Install. A message appears, warning you that other applications cannot be running during the installation. 6. Click Continue to automatically quit open applications.

41 When the installation is complete, a message appears, asking you if you want to restart the system or to perform additional installations. 7. Click Restart.

Updating Your Avid Display Controller

If you are updating your Macintosh system to Macintosh OS 9.1, you need to run ASTFlasher Pro to update the firmware on the Meridien display controller board.

To run ASTFlasher Pro: 1. Navigate to the AvidSystemTest folder in the Utilities folder on your Avid drive. The location differs depending on your version of the Mac OS as follows: • For Mac OS 9.0.4: Avid:Utilities:AvidSystemTest • For Mac OS 9.1: Avid:Applications (Mac OS 9):Utilities:AvidSystemTest 2. Double-click ASTFlasher Pro to run the updater. n ASTFlasher Pro will update any Avid display controller. Earlier versions of this updater only updated the Meridien I display controller board.

n There is one problem with the ASTFlasher Pro application. If it detects that the controller is already up to date, the tool still displays an update message. If you click update at this point, the tool will do nothing. If this happens, click Cancel to quit the application.

42 Running the Updater for the SCSI Board

In most cases, after you load the Avid application software, you must update the code in the SCSI board. The Avid installers load the new code on the system but cannot run the software to load the code into the board. n The software to load the code is specific to the type of SCSI board, so the following procedure shows how to determine the type of SCSI board in the system.

To run the updater for the SCSI board: 1. Open the Utilities folder in the system drive (normally named Avid). n On Mac OS 9.1, the Utilities folder is in the Applications (Mac OS 9) folder. 2. Open the StorEx folder. 3. Determine the type of SCSI board you have in the system by running the StorEx program to scan the SCSI bus: a. Double-click the StorEx icon. b. Click OK in the first two dialog boxes. The Main window opens and the program scans the SCSI bus. 4. Determine if you have a UL2D SCSI board or a UL3D SCSI board by looking at the data returned by the scan.

43 Close box

Board type UL2D or UL3D

c If your board is UL2D and your system is a beige G3, do not upgrade the UL2D firmware or system hangs will result. Code revision 1.45 is the latest supported version for UL2D on the beige G3.

5. Close the Main window. 6. Navigate up one level to the Utilities folder, and double-click the updater that matches the SCSI board in your system: • ExpressPCI_UL2D_Updater • ExpressPCI_UL3D_Updater The ExpressPCI_ULxD_Updater.out window opens for the selected updater. 7. Make sure the default option of (1) is selected, and press Return. The code will be updated. The updating might take a minute. 8. When the update is complete, press k+Q. 9. Restart the system so that the code becomes functional. c When you restart the system, AVIDstartup runs and might cause the system to automatically restart a second time. This is normal behavior, and the system will be fine after the second restart.

44 Updating the Video I/O Firmware

The information in this section only applies to customers that are upgrading their existing systems to this new software release.

After you install the new Avid software as described in these release notes, you need to run the VideoIOUtil program to update the Video I/O firmware. n Even if you don’t have an SDI card, you should still update the rest of the Video I/O firmware.

Correcting SDI Firmware Revision 22 Problems

Media Composer and Film Composer Release 10.0, and Avid Xpress Release 4.0 contained Revision 22 of the SDI firmware. Revision 22 caused the system to hang or crash if you selected the SDI input as a sync in the software application and there was no actual sync attached to the input of the SDI board. Installing Revision 23 of the firmware fixes this problem. You must connect a cable to perform the update as described step 3 of the following procedure. n The installation of the new revision takes approximately 20 minutes. Make sure you have that amount of time available before you start the installation.

To update the Video I/O firmware: 1. Install the new Avid software as described in “Installing or Upgrading the Software” on page 36. 2. Quit the Avid software application if it is running. 3. Connect a cable between the input of the SDI board and the output of the SDI board. c If you don’t perform this step, the system will crash or hang due to the problem with Revision 22 of the firmware.

45 4. On the Avid drive, open the Utilities folder, open the AvidSystemTest folder, and double-click VideoIOUtil. The Avid Video I/O Utility window opens. 5. Click the Video I/O Hardware Updater button. The Video I/O Hardware Update window opens. The Available Download Rev text boxes display the versions of the firmware that were installed with the new Avid software. The following revisions should be displayed: • ucode = b3 • FPGA = H2 (F8 for Falcon 1 boards) • SDI ISP = 23 6. Select all of the available Update Indicator check boxes under the columns labeled uCode, FPGA, and SDI-ISP. 7. Click Update. The system updates the code. If you update the SDI-ISP code, the updating takes approximately 20 minutes. 8. In the Avid Video I/O Utility window, click Quit. 9. Turn the Meridien I/O box off, then on, to enable the new code.

For more information, see the Video I/O Utility Help. c Do not interrupt the update process. If the process is interrupted, your system might not operate properly.

46 Updating Your Application Key (Dongle)

c Protect your application key from loss or theft; your Avid software does not function without it, and acquiring a new key from Avid involves a fee.

There are two different programs to update dongles: • Dongle versioner: A software program created to update many Avid systems; normally included in a software Maintenance Kit • Dongle updater: A software program created to update a specific Avid system

The following describes what you should do to update your dongle for this release: • If you received a dongle versioner floppy disk with a Version Protection Kit or Maintenance Kit, then you will need to use this floppy disk to update the dongle before installing the new software. • If you purchased this version as an upgrade, you have received a unique dongle updater floppy disk that reflects a specific System ID. You will need to use this floppy disk to update the dongle before installing the new software.

The floppy disk includes instructions for running the dongle versioner or updater.

For more information about the application key, see “Warning Regarding Your Application Key” on page 52.

Test Patterns

Test patterns are no longer located in the Goodies folder. They are now located in the SupportingFiles folder and should be imported with 601 video levels.

47 Software Utilities

Table 7 lists software utilities, current revision levels, and the folders where the utilities are located. n On Mac OS 9.1, the Utilities folder is in the Applications (Mac OS 9) folder.

Table 7 Software Utilities Revisions

Software Version Installed Folder Location

ASTFlasher Pro 3.0.2 Utilities:AvidSystemTest

AVIDdrive™ Utility 2 2.5 Utilities

Avid Log Exchange 2.8 Utilities:ALE

AVIDstartup 3.3 Utilities:Backup System Files System Folder:Startup Items

Avid System Test Pro 3.1.0 Utilities:AvidSystemTest

Avid Codec (extension) 9.3B10 Utilities:Backup System Files System Folder:Extensions

AvidDriverInit 1.0.2 Utilities:Backup System Files System Folder:Extensions

CommCloser — Utilities

DAE 5.0.3x13 Utilities:Backup System Files:DAE Folder System Folder:DAE

DigiSystem_INIT 5.0.3x13 Utilities:Backup System Files Digidesign_DSP_Manager 1.1.2x13 System Folder:Extensions

48 Table 7 Software Utilities Revisions (Continued)

Software Version Installed Folder Location

Display Name Registry 1.0b1 Utilities

DiskWarrior 2.0 Utilitiesa

Dongle Dumper 6.0 Utilities

ExpressPCI_UL2D 1.6f2 (G4) Utilities 1.6u82 (blue and white G3 or 9600) 1.45u (beige G3)

ExpressPCI_UL3D 1.6f2 Utilities

ExpressRAID 2.3f0 Utilities:ATTO System Folder:Extensions

MacsBug 6.6.3 System Folder

StorEx 1.5 Utilities:StorEx

SVI.CF 3.2.1.4 Utilities:Backup System Files System Folder:Extensions

VideoIOUtil 3.1.0 Utilities:AvidSystemTest

a. This is a third-party product. The folder location depends on the user’s installation process.

49 Downloading Avid Codecs for QuickTime

This release supports new versions of the Avid Codecs for QuickTime™ for Windows and Macintosh systems. The codecs for your system 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), you can download them from the Avid Customer Support Knowledge Center.

To download the Avid Codecs for QuickTime: 1. Log in to the Knowledge Center: a. Go to www.avid.com. b. Click Support. c. Click Knowledge Center. d. Log in. 2. Choose your product from the pop-up menu at the top of the Web page. 3. Click the Download tab, and select Avid QT Codecs 9.4. 4. Select one of the following items: • Avid QT Codecs 9.4 (Windows) • Avid QT Codecs 9.4 (Macintosh) n There is one set of codecs for Windows and one set for Macintosh. The names are different, depending on the product.

Each download file contains three codecs for the selected platform: • Avid Meridien Uncompressed • Avid Meridien Compressed • Avid ABVB Nuvista

For more information, see the input and output guide for your Avid system or the Help.

50 Installing FilmScribe and MediaLog

You can install FilmScribe Release 10.1 from the Media Composer and Film Composer installation CD-ROM. You install MediaLog™ Release 10.1 from the MediaLog installation CD-ROM, which is shipped with your Avid system.

To install the FilmScribe application: 1. Restart your Macintosh system. 2. Quit any applications that open automatically at startup. 3. Insert the Avid Media Composer and Film Composer Release 10.1 CD-ROM. 4. Double-click the FilmScribe Installer icon. A splash screen introduces the Installer. 5. Continue the installation procedure as described in “Installation Procedure” on page 37.

To install MediaLog: 1. Restart your Macintosh system. 2. Quit any applications that open automatically at startup. 3. Insert the MediaLog CD-ROM. 4. Double-click the MediaLog Installer icon. A splash screen introduces the Installer. 5. Continue the installation procedure as described in “Installation Procedure” on page 37.

51 Special Notes

This section contains important information about system-level changes that affect the way your Avid software and hardware operate.

Warning Regarding Your Application Key

The application key, commonly referred to as a dongle, allows your Avid application to operate. Protect your application key from loss or theft; your Avid system cannot function without it, and acquiring a new key from Avid involves a fee.

For information about installing the application key, see “Connecting the Avid Application Key (Dongle)” on page 10 and the Avid Composer Products Setup Guide for the Macintosh Operating System.

Support for AvidNet and Avid Unity TransferManager in an Avid Unity Environment

Avid Unity™ TransferManager in an Avid Unity environment is the next-generation import and export tool that replaces the AvidNet Transfer Tool. Support for Avid Unity TransferManager Release 1.0.1 is available for the Windows NT® platform as part of Symphony™ Release 3.1, Media Composer and Film Composer Release 10.1, and Avid Xpress® Release 4.1. TransferManager support on Macintosh systems in a standalone environment is dependent on Mac OS X. Macintosh models will have TransferManager support concurrent with Mac OS X support.

Macintosh customers who depend on the peer-to-peer capabilities of AvidNet today might want to wait to upgrade until TransferManager Release 2.0 and Macintosh OS X are released. If an upgrade is very important, customers can still use FTP utilities, such as Fetch, to transfer files until TransferManager becomes available to them.

52 Current and future releases of Symphony, Media Composer, Film Composer, and Avid Xpress systems for both Macintosh and Windows connected via Avid Unity MediaNet can continue to move media and metadata through Avid Unity. Customers with Macintosh systems who currently rely on AvidNet should use FTP utilities to move compositions. Another workaround is to use Avid Unity MediaManager Release 2.1, Avid’s media asset management tool, to move compositions between older systems equipped with AvidNet and new systems equipped with TransferManager.

Audio Hardware Calibration

Starting with Avid Media Composer and Film Composer Release 10.0, Avid adopted a new default setting for audio calibration that more closely matches the current industry standard.

If you are upgrading from a release earlier than 10.0, it is likely that your audio calibration levels do not match the default value in this release. Your existing hardware is probably calibrated to –14 dB, and the default setting of Release 10.1 is –20 dB. To change the software setting to match your hardware, perform the procedure described in this section.

If you received Release 10.1 as part of a new system purchase or you are upgrading from Release 10.0 or 10.0.1, your audio hardware is calibrated to –20 dB and matches the default setting for Release 10.1. You do not have to change the default settings. c Avid does not recommend changing the default audio hardware calibration for analog 0 Volume Unit (VU) for older versions of the Digidesign 888 I/O™ device.

To change the audio hardware calibration setting: 1. Click the Settings button in the Project window. The Settings scroll list appears.

53 2. Double-click Audio Project. The Audio Project Settings dialog box appears.

3. Select a new default hardware calibration setting from the Hardware Calibration pop-up menu — in most cases, –14 dBFS. A message box appears.

4. Click OK. 5. Save the new Hardware Calibration as a Site setting. To establish a global setting, see “Using Site Settings” in the editing guide for your Avid system or the Help.

For additional information on audio hardware calibration, see the input and output guide for your Avid system or the Help.

54 MediaDock LVD

The MediaDock™ LVD with MediaDock 160/LVD shuttle packs must run alone on the Ultra 160 LVD SCSI controller board SCSI bus. If you connect your MediaDock LVD to an Ultra 160 LVD SCSI controller board and populate the chassis with any MediaDock 160/LVD shuttle packs, do not daisy chain the MediaDock LVD with any other SCSI devices. This limitation is a temporary restriction for the MediaDock LVD that will be resolved in the future. This limitation does not exist if you are using the UL2D LVD SCSI controller board.

Optimize for Batch Speed Option

When you select the Optimize for Batch Speed option in the Batch tab of the Digitize Settings dialog box, the system speeds up batch digitizing by allowing the deck to continue to roll forward between adjoining clips. For more information, see the input and output guide for your Avid system or the Help.

For this release, this option digitizes without preroll only if the tracks to be digitized for each clip are the same. For example, if one clip has a video track only, and the other has a video track and two audio tracks, and the system is set up to digitize both audio and video tracks, the system must preroll between them. However, if the system is set up to digitize only video (that is, only the track selector for video is on, the selectors for audio are off, and the “digitize tracks selected” setting is on), the system can digitize without prerolling for the second clip.

Keyboard Shortcut for Saving Titles

You can now use k+Shift+S to open the Save Title dialog box. This shortcut is the same as choosing Save As from the File menu of the Title tool.

55 Using Help

The Help system for this release requires Internet Explorer Version 4.5 or later. Avid recommends using Internet Explorer Version 5.0.

The Help system automatically starts through Internet Explorer. If Internet Explorer is not on your system, a message warns you that using a different browser might cause system problems. n If there is not enough free memory on your Macintosh system, the search function of Help might not work. See “Built-in RAM” on page 13 and “Changing the Memory Allocated to the Application” on page 17.

For information on using Help, click the Using Help button in the Help browser window.

Supported Decks

For an updated list of supported decks, search for “Supported Decks” in the Avid Customer Support Knowledge Center.

To access the Knowledge Center: 1. Go to www.avid.com. 2. Click Support. 3. Click Knowledge Center. 4. Log in. n If you are not already a registered user of the Knowledge Center, register now. Registered users can access more information.

5. In the Search area at the top of the page, search for “Supported Decks” in All Categories for your product. 6. From the resulting list, choose the Supported Decks section of the Qualification Guide for your system.

56 AVX Plug-ins and Memory

Multiple AVX plug-ins that you have applied to a sequence are now kept resident in memory at the same time. When you close a bin containing the sequence, the plug-ins are also closed, freeing the memory. If you find your Avid system running out of memory and you are using many plug-ins: 1. Choose Console from the Tools menu. 2. Type the command closeallavxplugins, and press Return.

This command closes all currently opened plug-ins. They will automatically open again when needed.

MultiCamera Edit Mode Playback

If you notice frames are dropping during playback in MultiCamera edit mode, decrease the size of the Composer window until playback becomes smooth.

Importing QuickTime Files Created with an Avid Codec

If you are importing a QuickTime file created with an Avid codec, and the file’s resolution does not match the current import setting, a dialog box appears by default. This dialog box asks which resolution you want to choose, and to which files you want to apply your choice. Make your choices, and click OK to continue with the import.

You can choose how to import these files in the OMFI tab of the Import Settings dialog box. The default choice is “Ask me to set the resolution for each file that is different from the current import resolution setting.”

57 Recording with a TAO Media Systems Device

Avid Media Composer and Film Composer allow you to load a new machine template and use the LPort422™ to control devices that use the Control-L protocol, including many DV and Hi-8 camcorders and VCRs.

The machine template for use with the LPort442 has not been fully tested at this time and is not supported by Avid. • For more information on the LPort422, you can visit the TAO Media Systems Web site: http://www.taosys.com. • To acquire the latest machine template for use with the device, contact Avid Customer Support.

Fibre Channel Configurations

If your Avid system is configured with a Fibre Channel board and the Avid Fibre Channel driver is enabled, make sure: • There are drives connected to the Fibre Channel board and they are turned on. • The connection is on for Avid Unity MediaNet configurations.

The Fibre Channel driver searches for drives. If none are connected to the Fibre Channel board or if the Avid Unity MediaNet connection is off, the performance of Media Composer or Film Composer is affected.

Disable the Fibre Channel driver if no drives are connected to the Fibre Channel board or if the Avid Unity MediaNet connection is off: 1. Quit Media Composer or Film Composer. 2. Choose Control Panels from the Apple menu. 3. Choose Extensions Manager.

58 The Extensions Manager window opens. 4. Duplicate the current set of extensions and rename the file. 5. Disable the Avid Fibre Channel Driver on the duplicated set of extensions. 6. Restart the Macintosh. n For information on striping Fibre Channel drives, see “Drive Striping Configurations” on page 65.

Using FilmScribe or EDL Manager

If your Avid system includes FilmScribe or EDL Manager, and your projects contain complex sequences or large bins, you might need to increase the minimum memory size for FilmScribe or EDL Manager. For information about changing the memory size, see “Changing the Memory Allocated to the Application” on page 17.

Media Cleaner EZ, Media Cleaner Pro, and Cleaner 5.0

Your Avid system ships Terran’s Media Cleaner EZ. This release supports the following versions of Terran products: • Media Cleaner EZ 4.0 • Media Cleaner Pro 4.0 • Cleaner 5.0

Changes to the Timing of Video Signals

Genlocking is now different from that of Avid video-based editing products for Macintosh systems before the use of Meridien boards. The system’s timing is now modeled on that of a VTR; it uses only a single time-base that is switched between input and output.

59 Note the following operation modes: • Timing during video capture: When capturing (that is, recording) an input video signal, sync timing will be derived from that input signal. The timing of the captured video and audio will be correct. The green Video Sync light on the Meridien I/O box will be lit when synchronization to that signal is attained. Passthrough video outputs: During capture, timing of the recorded media files will be correct. The timing of the passthrough output signals, however, will be correct relative to themselves but will have slight delays relative to the input time-base. In particular, the composite output will have one line of additional delay, due to comb filter operation compared to Serial Digital and other analog modes. This is normal operation. Passthrough audio versus video: During capture, the recorded video and audio will be correctly timed. However, since passthrough audio does not undergo delay, the previously described video delays will exist relative to the undelayed audio. In media files, the video and audio will be synchronized. • Timing during capture for audio with no video present: Timing will be derived from any signal present on the REF input. If no reference signal is detected there, the timing will automatically switch to an internal, free-running, highly accurate time-base and the green Video Sync light will not be lit. c If you are digitizing audio only from a source that uses REF IN (with black burst, for example) on the Meridien I/O box for sync, the system will change the timing reference to the video input signal when the option “Always display incoming video in the Client monitor” is selected in the Digitize Settings dialog box. To avoid losing the REF IN sync source, deselect this option before capturing audio only.

• Timing during playback: In all playback modes, the video timing is derived either from the external genlock source (the REF input) or from the accurate internal time-base. If a composite reference signal is present on the REF input, that signal will be used for

60 deriving genlock and system timing. The green Video Sync light will be lit. If no lock is detected to a signal on the REF input (or if no signal is present), the system will automatically switch to its internal timing source and the Video Sync light will not be lit. n For additional information on digitizing with consumer or prosumer video decks (such as VHS, Hi-8, and some ¾-inch decks), see “Limitation When Using Consumer Decks or Decks Without Time-Base Correctors” on page 125.

Simultaneous Output Modes

The video outputs are all simultaneously active with one exception: only one of the S-Video or Analog Component outputs can be active at the same time. You select the one you want with the Video Output tool.

Genlock Timing Adjustments

Adjusting the genlock timing to the house reference at switchers or routers can be done only in Playback mode. With previous Avid implementations for Macintosh systems, this could have been done in Passthrough mode. You could either record your own test signal and then play it back; alternatively, you could put out a test pattern from the application’s Video Output tool and use that for doing the usual H PHASE and SC PHASE adjustments.

Only one format of the active outputs can be accurately genlocked at a time. Since there is only a single adjustable output time-base, you simply set the genlock parameters for the critical output that is the one you choose to genlock. For most applications, this will be either the composite or the SDI outputs.

All the video output signals — Composite 1, 2, and 3, Serial Digital (if that option is on your system), and component or S-Video — are synced to the same time base, and hence are synced to each other. However, they all have slightly different internal delays. This means that you can set the H PHASE so that only one — the one you choose

61 — will be exactly synced to an external genlock reference. The other output signals will be properly timed relative to themselves but will not be precisely genlocked.

Operation of the Green Video Sync Light on the Meridien I/O Box

The green Video Sync light is lit whenever the timing is successfully locked to either REF or to the video input signal. If the green light is off, the timing is being obtained from the internal, free-running time base.

Black Levels When Outputting SDI from NTSC Input

When video input is NTSC with setup and video output is SDI (which does not use setup), the half lines at the top and bottom of the analog frame will contain blanking and black setup at two different levels (zero and 7.5 IRE).

When the input video's black at setup is properly adjusted to correspond to digital 16, the blanking level will correspond to approximately digital 1. This can result in video levels in the SDI output that are below black in several places: • The first half of the top half line (line 283) will be below black, at approximately digital 1. • The last half of the bottom half line (line 263) will be below black at approximately digital 1. • The horizontal blanking edges can have pulses that go down to near digital 1 at the left and right edges of the image. This is due to the fact that the 720-pixel ITU-R 601 frame extends beyond the edges of the NTSC setup pedestal by a few pixels. These few pixels will be at approximately the blanking level (digital 1), while the rest of the horizontal line will be at black at digital 16.

When the video is played back as SDI, there will be negative pulses that appear for this reason. If the output is NTSC with setup, these

62 pulses will be canceled out. If, however, the SDI output ultimately goes to an NTSC-EIAJ encoder, these pulses will be below blanking. This latter problem is common to other equipment as well and is a property of the difference between the black levels of these three formats.

Changes in Output Blanking in SDI Format

Several changes have been made for SDI operation to force blanking to occur to some of the vertical blanking interval (VBI) lines that were previously passed through. In all cases, the Avid system now outputs only the line ranges of the SMPTE RP 187 Production Aperture (consisting of the 486-line frame for NTSC or the 576-line frame for PAL). This change was made because color correction could modify the pixels in certain VBI lines so that they would no longer be proper blanking values. It was decided that it was preferable to blank these lines rather than permit them to pass through with color values that would be improper for blanking. No changes were made for input and output of analog formats, which always have used the RP 187 Production Aperture.

The following tables show the before and after line number ranges.

525-Line I/O Ranges, SDI Field 1 Field 2 Comments

Digitize 20–263 283–525 ITU-R BT.656 active video.

Play, previous 16–263 278–525 Permitted improper blanking for some operations.

Play, new 21–263 283–525 Changed to RP 187 Production Aperture (P.A.).

Passthrough 16–263 278–525 No change. Wide range for testing purposes.

63 625-Line I/O Ranges, SDI Field 1 Field 2 Comments

Digitize 23–310 336–623 No change. RP 187 P.A., and BT.656 active line range.

Play, previous 15–310 328–623 Permitted improper blanking for some operations.

Play, new 23–310 336–623 RP 187 and BT.656 active line range.

Passthrough 15–310 328–623 No change. Wider range for testing purposes.

Line Ranges for Analog Formats (Not Changed) Field 1 Field 2 Comments

525-Line Digitize, Play, and 21–263 283–525 RP 187 P.A. Passthrough

625-Line Digitize, Play, and 23–310 336–623 RP 187 P.A. and BT.656 active video. Passthrough

n For additional information on blanking, see “Preserving Information in the Vertical Blanking Interval” on page 96.

References:

Recommendation ITU-R BT.656-4, “Interfaces for Digital Component Video Signals in 525-Line and 625-Line Television Systems Operating at the 4:2:2 Level of Recommendation ITU-R BT.601, Part (A),” 1998.

SMPTE RP 187, “Center, Aspect Ratio, and Blanking of Video Images,” SMPTE Recommended Practice, The Society of Motion Picture and Television Engineers, White Plains, NY, 1995.

64 New File Name Extension for PICT Files

The default file name extension for PICT files has changed from .pic to .pct for exporting PICT files to third-party applications that require the .pct file name extension.

Setting Up the Edit Monitor

Make sure the color depth for the Edit monitor is set to Millions. For a procedure on setting up the Edit monitor, see the Avid Composer Products Setup Guide for the Macintosh Operating System.

Drive Striping Configurations

This section provides the drive striping information available for the current release. This information refers to the number of drives that need to be striped to achieve a specific resolution.

These striping tables include the new Avid MediaDrive rS 160/LVD and MediaDock 160/LVD drives. For the latest drive striping configurations, see “Obtaining the Latest Drive Striping Configurations” on page 72.

Avid supports several families of MediaDrive enclosures and MediaDock Shuttle™ packs. Table 8 lists the families, their specifications, and their available capacities. For additional information on a specific MediaDrive or MediaDock shuttle, see the setup and user’s guide that shipped with the MediaDrive or the MediaDock shuttle.

If you need additional information or if you have any questions, please contact Avid Customer Support at 800-800-AVID (2843).

65 n The family name of your drive can be found on the front of the MediaDrive or MediaDock shuttle. n The iS drive family is supported only on Media Composer Release 8.0 and earlier for Macintosh systems. This restriction does not apply to the iS Pro, iS Plus, iS Plus LVD, iS LVD, and iS 160/LVD drive families.

Table 8 through Table 12 list striping information pertaining to the Macintosh platform releases of: • Media Composer Release 10.x • Film Composer Release 10.x • Avid Xpress Release 4.x

The information is based on support for: • One stream of uncompressed (1:1) video when using the blue and white G3 system and newer • Two streams of uncompressed (1:1) video when using the G4 system only • Eight channels of audio at 48 kHz with real-time downstream keyed titles and graphics n The Macintosh striping tables are a guide for productions with typical edit densities. For projects involving high cut densities (extensive cuts at fewer than 10-frame edits), Avid recommends increasing to the next striping increment.

66 Table 8 Macintosh Striping – Single-Drive Unstriped

Uncompressed Two-Field Drive Single-Field Resolution Two-Field Resolution Resolution Family NTSC/PAL NTSC/PAL NTSC/PAL

15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1 iS Pro RTa RT RT RT RT 1 stream NSb NS iS Plus RT RT RT RT RT RT 1 stream NS iS 160/SE RT RT RT RT RT RT 1 stream NS rS Plus RT RT RT RT RT RT 1 stream NS iS Plus LVDRTRTRTRTRTRT1 streamNS iS LVDRTRTRTRTRTRT1 streamNS iS 160/LVD RT RT RT RT RT RT RT NS rS LVDRTRTRTRTRTRT1 streamNS rS 160/LVDRTRTRTRTRTRTRTNS

a. RT – Real time; 2 streams supported. b. NS – Not supported.

67 The information in Table 9 requires striping across two SCSI channels for fast, wide MediaDrive enclosures and MediaDock Shuttle packs, or one SCSI channel for LVD MediaDrive enclosures or LVD MediaDock Shuttle packs.

Table 9 Macintosh Striping – 2-Way Striped Drives

Uncompressed Two-Field Drive Single-Field Resolution Two-Field Resolution Resolution Family NTSC/PAL NTSC/PAL NTSC/PAL

15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1a iS Pro RTb RT RT RT RT RT 1 stream NSc iS Plus RT RT RT RT RT RT RT NS iS 160/SERTRTRTRTRTRTRTNS rS Plus RT RT RT RT RT RT RT NS iS Plus LVDRTRTRTRTRTRTRTNS iS LVDRTRTRTRTRTRTRT1 stream iS 160/LVD RT RT RT RT RT RT RT 1 stream rS LVDRTRTRTRTRTRTRT1 stream rS 160/LVD RT RT RT RT RT RT RT 1 stream

a. Single-stream 1:1 is only supported on the blue and white G3 and the G4 Macintosh systems. b. RT – Real time; 2 streams supported. c. NS – Not supported.

68 The information in Table 10 requires striping across two SCSI channels for fast, wide MediaDrive enclosures and MediaDock Shuttle packs, or one SCSI channel for LVD MediaDrive enclosures or LVD MediaDock Shuttle packs.

Table 10 Macintosh Striping — 4-Way Striped Drives

Uncompressed Two-Field Drive Single-Field Resolution Two-Field Resolution Resolution Family NTSC/PAL NTSC/PAL NTSC/PAL

15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1 iS Pro RTa RT RT RT RT RT RT NSb iS Plus RT RT RT RT RT RT RT NS iS 160/SERTRTRTRTRTRTRTNS rS Plus RT RT RT RT RT RT RT NS iS Plus LVDRTRTRTRTRTRTRT1 streamc iS LVDRTRTRTRTRTRTRTRTd iS 160/LVD RT RT RT RT RT RT RT RTe rS LVDRTRTRTRTRTRTRTRTd rS 160/LVD RT RT RT RT RT RT RT RTe

a. RT – Real time; 2 streams supported. b. NS – Not supported. c. Four-way striping is supported for 1:1 resolution using iS Plus LVD (MediaDock Shuttle). Avid recommends switching to 8-way striping for projects that use extensive cuts of fewer than 10-frame edits. d. Uncompressed – 2 streams of 1:1 resolution is supported only when you are using a G4 platform and you 4-way stripe across two SCSI channels. For projects involving high-cut densities (extensive cuts at fewer than 10-frame edits), you must render before you play back — switching to 8-way striping will not help.

69 e. Requires an UL2D or Ultra 160 LVD (UL3D) SCSI controller with firmware Version 1.6 or later. Does not require two SCSI channels. Uncompressed – 2 streams of 1:1 resolution is supported only when you are using a G4 platform.

The information in Table 11 requires 4-way striping for 10,000 rpm MEDIArray™ XL F/C drives.

Table 11 Macintosh Fibre Channel Striping — 4-Way Striped Drives

Uncompressed Two-Field Single-Field Resolution Two-Field Resolution Resolution Drive Family NTSC/PAL NTSC/PAL NTSC/PAL

15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1a

MEDIArray XL RTb RT RT RT RT RT RT RT or Drives 1 streamc

a. Single-stream 1:1 is only supported on the blue and white G3 and the G4 Macintosh systems. Real time 1:1 is only supported on G4 Macintosh systems. b. RT – Real time; 2 streams supported. c. RT requires JNI fibre driver 3.01. JNI fibre driver 1.2.6 only supports 1 stream.

70 The information in Table 12 requires 10-way striping for MediaShare™ F/C drives, 7200-rpm MEDIArray drives, and 10,000-rpm MEDIArray drives. Use 6-way or 10-way striping for 10,000-rpm MEDIArray XL drives. The 50-GB MEDIArray drive is not supported on Macintosh systems.

Table 12 Macintosh Fibre Channel Striping — 6-Way or 10-Way Striped Drives

Uncompressed Two-Field Single-Field Resolution Two-Field Resolution Resolution Drive Family NTSC/PAL NTSC/PAL NTSC/PAL

15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1a

MediaShare F/C RTb RT RT RT RT RT RT 1 stream or MEDIArray Drives

MEDIArray XL RT RT RT RT RT RT RT RT Drives

a. Single-stream 1:1 is only supported on the blue and white G3 and the G4 Macintosh systems Real time 1:1 is only supported on G4 Macintosh systems. b. RT – Real time; 2 streams supported.

71 Obtaining the Latest Drive Striping Configurations

When drive configurations are tested and when drives and software are released, the most up-to-date drive striping configurations are available in the Documentation section of the Avid Customer Support Knowledge Center.

To access drive striping information from the Avid Web site: 1. Go to www.avid.com. 2. Click Support. 3. Click Knowledge Center. 4. Log in. n If you are not already a registered user of the Knowledge Center, register now. Registered users can access more information.

5. Click the Documentation tab. 6. Click Drive Striping Tables. n Avid drives now ship with a CD-ROM that contains the latest drive striping tables.

72 List of Effects for Avid Models

Table 13 lists all the effects available in the Avid Media Composer and Film Composer systems. The Avid Media Composer or Film Composer model and the exact options you have determine which effects are available.

Key to Table 13: • S = standard non-real-time effect • RT = standard real-time effect • NRT = non-real-time effect • FR = standard fast-rendered effect • FS = FilmScribe and matchback • NA = Not applicable n The information in this section is accurate for Media Composer Release 10.1 and Film Composer Release 10.1. The available effects can change with a new release of the system and might not be reflected in this document.

For a description of each effect, see the Avid Media Composer and Film Composer Effects Guide.

73 Table 13 Effects Available for Avid Models

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Blend 3D Warp RT RT RT RT NA

Blend Dip to Color RT RT RT RT RT

Blend Dissolve RT RT RT RT RT

Blend Fade from Color RT RT RT RT RT

Blend Fade to Color RT RT RT RT RT

Blend Picture-in-Picture RT RT RT RT S

Blend Superimpose RT RT RT RT RT

Box Wipe Bottom Box RT RT RT RT RT

Box Wipe Bottom Left to Top RT RT RT RT RT Right

Box Wipe Bottom Right to Top RT RT RT RT RT Left

Box Wipe Left Box RT RT RT RT RT

Box Wipe Right Box RT RT RT RT RT

Box Wipe Top Box RT RT RT RT RT

Box Wipe Top Left to Bottom RT RT RT RT RT Right

Box Wipe Top Right to Bottom RT RT RT RT RT Left

74 Table 13 Effects Available for Avid Models (Continued)

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Conceal Bottom Left to Top RT RT RT RT S Right

Conceal Bottom Right to Top RT RT RT RT S Left

Conceal Bottom to Top RT RT RT RT S

Conceal Left to Right RT RT RT RT S

Conceal Right to Left RT RT RT RT S

Conceal Top Left to Bottom RT RT RT RT S Right

Conceal Top Right to Bottom RT RT RT RT S Left

Conceal Top to Bottom RT RT RT RT S

Edge Wipe Horizontal RT RT RT RT RT

Edge Wipe Horizontal Open RT RT RT RT RT

Edge Wipe Lower Left Diagonal S S S S S

Edge Wipe Lower Right Diagonal S S S S S

Edge Wipe Upper Left Diagonal S S S S S

Edge Wipe Upper Right Diagonal S S S S S

Edge Wipe Vertical Open RT RT RT RT RT

Edge Wipe Vertical RT RT RT RT RT

75 Table 13 Effects Available for Avid Models (Continued)

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Film 1.66 Mask RT FS/RT RT FS/RT FS/RT

Film 1.85 Mask RT FS/RT RT FS/RT FS/RT

Film 16:9 Mask RT FS/RT RT FS/RT FS/RT

Film Anamorphic Mask RT FS/RT RT FS/RT FS/RT

Film Blowup RT FS/RT RT FS/RT FS/RT

Film Film Dissolve RT FS/RT RT FS/RT FS/RT

Film Film Fade RT FS/RT RT FS/RT FS/RT

Film Mask RT FS/RT RT FS/RT FS/RT

Image Color Effect RT RT RT RT NA

Image Flip RT RT RT RT S

Image Flip-Flop RT RT RT RT S

Image Flop RT RT RT RT S

Image Mask RT RT RT RT RT

Image Paint Effect S S S S NA

Image Resize RT RT RT RT S

Image Scratch Removal S S S S S

Image Submaster FR FR FR FR FR

Image Deep Defocus RT NA NA NA NA

76 Table 13 Effects Available for Avid Models (Continued)

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Key AniMatte™ SSSS NA

Key Chroma Key RT RT RT RT S

Key Luma Key RT RT RT RT S

Key Matte Key S S S S S

L-Conceal Bottom Left RT RT RT RT S

L-Conceal Bottom Right RT RT RT RT S

L-Conceal Top Left RT RT RT RT S

L-Conceal Top Right RT RT RT RT S

Matrix Wipe Grid S S S S S

Matrix Wipe One-Way Row S S S S S

Matrix Wipe Speckle S S S S S

Matrix Wipe Spiral S S S S S

Matrix Wipe Zig Zag S S S S S

Motion Freeze Frame RT RT RT RT RT

Motion Variable Speed RT RT RT RT RT (Slo-Mo Forward)

Motion Variable Speed (other) S S S S S

Motion Strobe S S S S S

77 Table 13 Effects Available for Avid Models (Continued)

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Motion Interpolated S S S S S

Motion VTR Style S S S S S

Peel (2D) Bottom Left Corner RT RT RT RT S

Peel (2D) Bottom Right Corner RT RT RT RT S

Peel (2D) Bottom to Top RT RT RT RT S

Peel (2D) Left to Right RT RT RT RT S

Peel (2D) Right to Left RT RT RT RT S

Peel (2D) Top Left Corner RT RT RT RT S

Peel (2D) Top Right Corner RT RT RT RT S

Peel (2D) Top to Bottom RT RT RT RT S

Push Bottom Left to Top SSSS S Right

Push Bottom Right to Top SSSS S Left

Push Bottom to Top S S S S S

Push Left to Right S S S S S

Push Right to Left S S S S S

Push Top Left to Bottom SSSS S Right

78 Table 13 Effects Available for Avid Models (Continued)

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Push Top Right to Bottom SSSS S Left

Push Top to Bottom S S S S S

Reformat 14:9 Letterbox RT RT RT RT RT

Reformat 16:9 Letterbox RT RT RT RT RT

Reformat 4:3 Sidebar RT RT RT RT RT

Reformat Pan and Scan S S RT RT S

Sawtooth Horizontal Sawtooth S S S S S Wipe

Sawtooth Horizontal Open SSSS S Wipe Sawtooth

Sawtooth Vertical Open SSSS S Wipe Sawtooth

Sawtooth Vertical Sawtooth S S S S S Wipe

Shape Wipe 4 Corners S S S S S

Shape Wipe Center Box RT RT RT RT RT

Shape Wipe Circle S S S S S

Shape Wipe Clock S S S S S

Shape Wipe Diamond S S S S S

79 Table 13 Effects Available for Avid Models (Continued)

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Shape Wipe Ellipse S S S S S

Shape Wipe Horizontal Bands S S S S S

Shape Wipe Horizontal Blinds S S S S S

Shape Wipe Vertical Blinds S S S S S

Spin (2D) X Spin S S S S S

Spin (2D) Y Spin S S S S S

Spin (2D) Z Spin RT RT RT RT NA

Squeeze Bottom Centered RT RT RT RT RT

Squeeze Bottom Left RT RT RT RT RT

Squeeze Bottom Right RT RT RT RT RT

Squeeze Bottom to Top RT RT RT RT RT

Squeeze Centered Zoom RT RT RT RT RT

Squeeze Horizontal Centered RT RT RT RT RT

Squeeze Left Centered RT RT RT RT RT

Squeeze Left to Right RT RT RT RT RT

Squeeze Right Centered RT RT RT RT RT

Squeeze Right to Left RT RT RT RT RT

Squeeze Top Centered RT RT RT RT RT

80 Table 13 Effects Available for Avid Models (Continued)

Media Media Media Media Film Composer Composer Effect Composer Composer Composer Offline XL Offline XL Category Effect Name 9000 XL 1000 XL XL RT NRT

Squeeze Top Left RT RT RT RT RT

Squeeze Top Right RT RT RT RT RT

Squeeze Top to Bottom RT RT RT RT RT

Squeeze Vertical Centered RT RT RT RT RT

Xpress 3D 3D Arrowa RT RT RT RT NA

Xpress 3D 3D Balla RT RT RT RT NA

Xpress 3D 3D Bumpsa RT RT RT RT NA

Xpress 3D 3D Center Bursta RT RT RT RT NA

Xpress 3D 3D Multi Wavea RT RT RT RT NA

Xpress 3D 3D PIPa RT RT RT RT NA

Xpress 3D 3D Page Curla RT RT RT RT NA

Xpress 3D 3D Page Folda RT RT RT RT NA

Xpress 3D 3D Sine Wavea RT RT RT RT NA

Xpress 3D 3D Slatsa RT RT RT RT NA

a. Only available with 3D option.

81 Compatibility with Avid Video-Based Editing Products

For a complete description of moving projects, media files, and graphics to and from Avid products, see the Avid Products Collaboration Guide, which is available on the Avid Media Composer and Film Composer Online Publications CD-ROM. The most recent update of the Avid Products Collaboration Guide is available in the Documentation section of the Avid Customer Support Knowledge Center.

To access the Knowledge Center: 1. Go to www.avid.com. 2. Click Support. 3. Click Knowledge Center. 4. Log in. n If you are not already a registered user of the Knowledge Center, register now. Registered users can access more information.

5. Click the Documentation tab. 6. Click Collaboration Guide.

Documentation Changes for Release 10.1

The information in this section is not included in the Media Composer and Film Composer documentation. It was added for Release 10.1.

Typographical Error in the Effects Guide

In the “Effect Editor Buttons” section of the Avid Media Composer and Film Composer Effects Guide, the table starting with the Add Keyframe

82 button has the wrong button illustrations assigned to the button descriptions. For an illustration that calls out the buttons correctly, see page 8-7 of the effects guide. The section title is “Using the Effect Editor with the Paint Effect.”

To see a correct version of the table, open the Help and search for Effect Editor Buttons.

Change to Default Setting for Render Ranges

The default setting for “Render Ranges in the timeline” has been changed from None to Partial Only. By default, the unrendered portions of partially rendered effects are marked with a red line in the Timeline. This makes it easy to see when an effect is not completely rendered. n You will need to create a new user to see the new default.

Holding Slates On Screen in the Script Window

When you are working with slates in the Script window, you can now choose to hold slates on screen. As you scroll a script in the Script window, each slate will remain on screen as long as the take lines to which it is linked remain on screen.

You can activate this feature when the Script window is open. You can also modify the Script settings so that slates always hold on screen in the Script window. If you modify the Script settings, the new setting takes effect the next time you open the Script window.

To hold slates on screen: t Choose Hold Slates Onscreen from the Script menu.

83 To modify Script settings to hold slates on screen: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Script. The Script Settings dialog box appears. 3. Select Hold Slates Onscreen.

Importing CamCutter 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 CamCutter files: 1. (Option) Choose Mount All from the File menu. Performing this step in all cases is good practice, but is not necessary if it was performed previously or if the FieldPak® was inserted before starting the Media Composer or Film Composer application. 2. Open a bin. 3. Choose Import from the File Menu. A dialog box appears. 4. Choose CamCutter from the Files of Type pop-up menu. 5. Select the CamCutter Bin as follows: a. From the Desktop, select the FieldPak by choosing 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.

84 n The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported, but can be.

6. Ignore the field specifying video resolution to be imported. 7. Ignore the field regarding video and audio drive selection. 8. Proceed with the import operation. The system displays a dialog box asking you to identify the drives that contain the media files. 9. Select the FieldPak drive letters (Windows) or volume names (Macintosh) as appropriate. n If the drive is not listed, you need to complete step 1 and begin the procedure again.

10. Complete the import process.

The system creates entries in the selected bin that reference the clips on the FieldPak.

For more information on importing files, see the Help or the input and output guide for your Avid system.

Please note the following restrictions: • The CamCutter clips are not copied onto a media drive. The Media Composer or Film Composer 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 only used to record and playback clips. If multiple streams of video are required to perform advanced effects, it is possible that the data can not be supplied fast enough for proper operation. If this situation occurs, you can do one of the following: t Render the effects. t Consolidate the sequence to a valid media drive.

85 t Import the CamCutter clips as OMFI files. This effectively copies the clips to a media drive.

For additional information regarding Editcam, the CamCutter technology and how these systems operate with nonlinear editors, see the following Web page:

http://www.nltek.com/

Creating Files for a DVD

If you plan to output your sequence to a DVD, choose Create DVD from the File menu.

To create files for a DVD: 1. Make sure that you have an MPEG-2 export setting defined before you begin. If you need to create a setting, see “Creating a New Export Setting” in the Help or input and output guide for your Avid system. 2. Select a sequence in a bin. 3. Choose Create DVD from the File menu. The Create DVD dialog box appears. 4. Select one of the following options: • Create DVD Volume and Write to DVD: If you have DVD writing hardware attached to your Avid system, you can choose this option to create the necessary files and send them directly to the DVD writing hardware. Make sure that the DVD writing hardware is connected and ready before you execute the command. • Create DVD Volume on Disk: If you don’t have DVD writing hardware attached to your Avid system, you can use this option to create a DVD volume. Then you can move the DVD

86 volume to a system that has DVD writing hardware and software. • Export MPEG2 and WAVE Files: Use this option 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. 5. Select a folder to store the generated files. 6. Choose an MPEG-2 export setting from the Export Setting pop-up menu. 7. (Option) Click Modify to make any changes to the export setting in the Export Settings dialog box. 8. 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 an 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 option, the system creates a folder named DVDVolume. This folder contains the following two folders: • AUDIO_TS • VIDEO_TS

Use the AUDIO_TS and VIDEO_TS folders with your DVD writing application to create the DVD. n The system creates an additional folder for storing the DVDVolume folder. The name of this additional folder is based on the sequence name. You can check for the name of this folder in the Create DVD dialog box.

87 n The Create DVD Volume on Disk option 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.

Defining the Audio Transfer Rate (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 transfer at a different rate, you can use the Film Settings dialog box to change the rate.

The following options are available: • 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% (PAL Method 1). • 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% of the actual speed (PAL Method 2).

For more information, see “Audio Transfer Options for 24p PAL Projects” in the Help for your Avid system. n The Info display 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.

88 New Name for Open Project Dialog Box

The name of the Open Project dialog box has changed to Select User and Project.

Review & Approval Service

n The Review & Approval service has changed for this release. Your Avid system and the Avid Production Network™ Web site (AvidProNet.com™) 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 at the AvidProNet Web site and add their comments to the material. You can view the reviewer comments by using the Locators window in your Avid system.

The AvidProNet Review & Approval service is a fee-based service.

89 c Before using the review comments and approval process, you and your reviewers must have e-mail accounts, register as AvidProNet Review & Approval users, and install the AvidProNet Review & Approval software.

To obtain review comments and approval of material: 1. Export the sequence that you want to have reviewed as a QuickTime Progressive-Download (Fast-Start) movie. For information about using the Fast-Start option, see “Internet Streaming Options” on page 94. 2. Post the QuickTime movie (the review file) to the www.AvidProNet.com Web site and start the review process by following the procedures on the site. The AvidProNet Web site sends an e-mail to your selected reviewers. The e-mail provides a link to the AvidProNet Web site to allow the reviewer access to the review files. 3. If a password has been assigned to access the file, send the password to the reviewers. 4. Reviewers do the following: a. Follow the instructions on the AvidProNet Web site to access the page containing the review file. b. Add comments to the review material by using the review applet available as part of the Review & Approval software. The review applet stores the reviewer’s comments in the AvidProNet™ database. When the reviewer completes the review, an e-mail is automatically sent to you indicating reviewer comments are available. For more information about using the review applet, see the AvidProNet Web site. 5. Save the review comments to a Review & Approval file on a local drive.

90 n A Review & Approval file usually has a .rna file name extension. 6. Open the Locators window and display the reviewer comments. For procedures on displaying the reviewer comments, see “Opening Review & Approval Files” on page 91. Locators appear at the specific frame within the sequence where the reviewer commented on your review material. For more information about using the Locators window, see the Help or the editing guide for your Avid system.

Opening Review & Approval Files

You can view and edit reviewer comments in the Locators window. There are two methods for opening Review & Approval files in the Locators window: • Choose the Import R&A File command from the Locators Fast menu or from the File menu. • Drag the Review & Approval file into the Locators window.

To open a Review & Approval file from the Locators window: 1. Choose Locators from the Tools menu. The Locators window opens. 2. Choose Import R&A File from the Locators Fast menu or from the File menu. A dialog box appears. 3. Navigate to the Review & Approval file and select it. 4. Click Open. The comments in the Review & Approval file appear in the Locators window.

91 To open Review & Approval files by using the drag-and-drop method: 1. Choose Locators from the Tools menu. The Locators window opens. 2. Open the folder that contains the Review & Approval files that you want to view, positioning the folder so the Locators window is visible. 3. Select the Review & Approval file you want to view. 4. Drag the Review & Approval files into the Locators window, and release the mouse button. The comments in the Review & Approval files appear in the Locators window.

Displaying Locator Creation 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 are using the Review & Approval service.

To display information about a locator: t Click the Locators Fast Menu button and choose Details. The Locators window displays the User, Date, and Time columns. n Comments in the Review & Approval file appear as locators in the Avid editing application.

For more information about using the Locators window, see the Help or the editing guide for your Avid system.

92 Using Locator Colors with Review & Approval Files

The Import R&A Color command displays a menu with the available colors. By default, the system cycles to the next color in the list each time you open a new Review & Approval file.

To select the color for the locators in the next Review & Approval file you open: t Click the Locators Fast Menu button and choose Import R&A Color from the Locators Fast menu. t Choose Import R&A Color from the File menu.

To change the color of selected locators in the Locators window: t Click the Locators Fast Menu button and choose Import R&A Color from the Locators Fast menu. t Choose Import R&A Color from the File menu. n When there is more than one comment on a frame, the Avid system colors those comments black.

93 Internet Streaming Options

The Review & Approval documentation suggests that you use the Fast Start Internet Streaming option when you create a QuickTime file. The following table provides updated information on the Internet Streaming options. The Prepare for Internet Streaming option is part of the QuickTime Movie Settings table in the Help or the input and output guide for your Avid system.

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 Hinter Settings. The RTP (Real Time Protocol) Track Setting dialog box appears. For more information, see QuickTime Help at: http://www.apple.com/quicktime/products/tutorials/ hinttracks.html.

94 Using AvidLinks

The table in this section is not included in the current hardcopy documentation.

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.

You can use AvidLinks to export to any of the applications listed in Table 14. n For the exported file to be useful in the target application, you must choose one of the supported media objects.

Table 14 Available Avid Applications for AvidLinks Export

Output File Supported Media Avid Application Format Options Objects

AudioVision® OMFI Sequence or master clip

Digidesign Pro Tools® OMFI Embed Audio in Sequence or master clip OMF Interchange file External Audio Files (native AIFF-C only)

Media IllusionTM (Composition) OMFI Sequence only

a Media Illusion (Video) OMFI Convert to 1:1 Master clip only

Softimage|DS (Composition) OMFI Sequence only

a. Media Illusion 6.0 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, don’t select this option and the exporting process will be faster.

95 Importing Audio from an Audio CD

If you import audio files directly from an audio CD on a Macintosh system, the quality of the audio clips is limited. You might hear pops in the imported audio track.

Avid recommends that you convert the audio CD (.cda) files to another format (such as AIFF) using an external conversion utility and then import the converted file using the standard procedures for importing files described in the chapter “Importing Files” in the Avid Media Composer and Film Composer Input and Output Guide or the Help.

Adaptec™ Toast ships with a conversion utility that you can use for this purpose. The utility is called Toast Audio Extractor 1.0 and is located in:

Toast Folder:Goodies:Toast Audio Extractor

For more information on using Toast Audio Extractor, see the Toast Audio Extractor Manual PDF document located in the same folder.

Preserving Information in the Vertical Blanking Interval

You can choose whether or not to preserve vertical interval timecode (VITC) information in some of the lines in the vertical blanking interval (VBI). This section gives a brief explanation of VITC, describes when it is useful to preserve the information, and points out some compromises that might have to be made when preserving these lines.

For additional information on blanking over previously open lines, see “Changes in Output Blanking in SDI Format” on page 63. c In the majority of cases, you do not want to preserve VITC information when you digitize. Only do so if you have a special need for the information.

96 Vertical Interval Timecode

In 1980, SMPTE 12M, the standard describing VITC, was created by the Society of Motion Picture and Television Engineers. This standard defines an encoding that can be used to store information on selected lines in the vertical blanking interval. Timecode is converted into a series of short and long signals that express the timecode values in binary form. Various machines have been developed that can insert and read VITC information.

The standard was originally developed for placing timecode on videotape. Over time, other types of information were added, including: • Edgecodes (for film projects) • Closed-captioning codes • Interactive TV codes or enhanced TV codes n In this section, the term VITC is used as a general term for identifying any information placed in the vertical blanking interval.

Line ranges for Avid products

Symphony, Media Composer, Film Composer, and Avid Xpress are capable of digitizing 248 lines per field in NTSC. Only 243 of these lines are in RP-187’s production aperture. The additional five lines in each field are immediately above the active part of each of the two fields. These lines can be used for carrying additional data. In PAL, the range is 8 lines per field, immediately above the RP-187 production aperture.

The following table lists the extra lines in the vertical blanking interval for both NTSC and PAL:

97 Field Video Raster Extra Line Number Ranges

NTSC (5 Lines/Field) PAL (8 Lines/Field)

Field 1 16–20 55–22

Field 2 278–282 328–335

Preserving VITC Information

By default, Avid systems blank these extra line ranges by overwriting the area with black. This blanking is done because certain effects and color correction operations can act on these black lines, often producing color or gray-tone levels on those lines that would be unacceptable for some end uses. In some applications, the ability to maintain data on these lines is so important that you might be willing to either avoid using these effects, or work around the result. For more information, see “Potential Problems with Preserving VITC Information” on page 100.

You can instruct the Avid system to preserve any data on these lines that originated from an upstream source. You can later erase the information if necessary.

You might want to preserve the following VITC information: • Edgecode information for a film project The editor might want to preserve edgecode information to easily identify the source film reel for a clip. In this case, the edgecode information would have been originally inserted during the telecine process. • Closed-captioning information If an editor is repurposing a finished sequence for another market, he or she might want to retain closed-captioning codes that were added after the tape was output from the Avid system. This would

98 allow the editor to perform basic editing on the redigitized sequence and not have to reapply the closed-captioning codes afterward. n The Avid system does not interpret the VITC information. It treats the codes simply as pixels in the video frame. If you want to read the VITC during editing you must connect an external VITC reader to the Avid system. c If you preserve VITC information when you digitize, compressed video (other than 1:1) might lose some quality. See “Potential Problems with Preserving VITC Information” on page 100.

To preserve VITC information when you digitize: 1. Choose General from the Settings scroll list in the Project window. 2. Select Preserve VITC and Closed Captioning. 3. Click OK.

If you want to keep the VITC information when you digitize and remove it when you create a digital cut, select the “Preserve VITC and Closed Captioning” option before digitizing and deselect it before you perform a digital cut.

Using a Partial Wipe Operation to Insert or Delete VITC

A partial wipe can be used to insert VITC material on lines from one frame onto the same lines of another frame. If filler is used instead of a digitized clip, the black filler will effectively delete the VITC.

To wipe in lines from an original clip: 1. Add the original clip on a higher video track. 2. Apply a vertical wipe effect to the clip on the lower track 3. Enter Effect mode and wipe out the top scan lines of the lower track.

99 n When VITC information is present on a frame, it is visible along the top of the frame on the Source and Record monitors.

Potential Problems with Preserving VITC Information

Several problems can occur when you preserve VITC information when you digitize footage: • Compressed video in the entire frame might be slightly degraded due to the added entropy or complexity from the VITC lines. • Effects can modify the color or brightness of the VITC information to make it unreadable by a VITC reader, or to make the signal on those lines unacceptable for certain end uses. • When using different formats for digitizing and output (for example, SDI input and NTSC analog output) there can be conflicts with respect to black levels.

Preserving VITC Can Affect Compressed Video Quality

For resolutions other than 1:1, preserving VITC when you digitize can affect the video quality. For example, depending on the compression ratio, a video frame might look more blocky with VITC information included.

The Avid system performs the following operations when digitizing a frame: 1. Capture the entire frame (including the vertical blanking interval) as an uncompressed frame. 2. Blank the VITC information if necessary: • If VITC information should not be preserved (default), fill the vertical blanking interval with video black (R=G=B=16). • If VITC information should be preserved, do not modify the vertical blanking interval. 3. Compress the frame if necessary.

100 If the frame contains VITC information, it adds additional complexity to the frame and makes the frame more difficult to compress.

If you want to preserve VITC information, either use 1:1 resolution or experiment by digitizing with VITC on and off to make sure that the quality is acceptable for your use.

Effects Can Modify the VITC Information

Since the VITC is part of the video frame, any effect that modifies the top portion of a frame might affect the VITC information and make it unreadable by a VITC reader. For the example, the following effects can modify the VITC on a frame: • Color correction • Dissolves or Flips and Flops • Pan and Scan resizes n 3D effects automatically blank the vertical blanking area of the affected portion of a sequence. For example, if you use a 3D effect on a transition, the system blanks any VITC information on the frames that make up the transition.

You might find it useful to wipe in the VITC information from the original clip or to wipe in black to cover the modified VITC information.

Cross-Platform Conflicts with Respect to Black Levels

When digitizing in SDI and playing back out in SDI, the black and blanking levels on the VITC lines will be proper. However, if digitizing is done in an NTSC analog format (with setup present), and playing out is done in SDI, then the fact that SDI has no setup while the analog format does, can cause the VITC black level to be below blanking. This effect was described in “Black Levels When Outputting SDI from NTSC Input” on page 62 for the half lines. The description there also applies to any vertical lines that are enabled for VITC.

101 Using a GPI Device with the Audio Punch-In Tool

Your Avid system can send signals to a V-LAN VLXi deck controller and a general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when playback begins and ends, and also when recording with the Audio Punch-In tool begins and ends.

If you have a V-LAN VLXi deck controller and a GPI device connected to your Avid system and they are configured correctly, you can use the GPI to control additional external hardware while you are working with the Audio Punch-In tool. For example, you might want to control an indicator light in a recording studio to provide a visual cue for performers, or a control light outside the studio that indicates when recording is in progress.

To make use of this feature, you must: • Understand when the system sends GPI trigger signals. For more information, see “Understanding When Your System Sends GPI Trigger Signals” on page 103. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your system. For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 105. • Configure the V-LAN controller and the GPI, and then create appropriate GPI settings for your specific needs. For more information, see “Configuring a V-LAN VLXi Controller and GPI” on page 106.

102 Understanding When Your System Sends GPI Trigger Signals

Your system sends three different GPI trigger signals under the following circumstances:

Trigger Signal Sent When

Play Out Playback begins. Recording with the Audio Punch-In tool ends but playback is still continuing because a postroll value is set in the Audio Punch-In tool (that is, the signal is sent when the Record Status light in the Audio Punch-In tool changes from red to blue).

Record Out Recording with the Audio Punch-In tool begins.

Stop Out Playback stops.

For more information on using the Audio Punch-In tool, see the chapter “Working with Audio” in the editing guide for your Avid system or the Help.

GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll

When you use the Audio Punch-In tool without any preroll or postroll, the sequence of signals is as follows: 1. Record Out is sent when recording begins. 2. Stop Out is sent when recording (and playback) ends.

103 GPI Signal Sequence When Using the Audio Punch-In Tool With Preroll and Postroll

When you use the Audio Punch-In tool with preroll and postroll, the sequence of signals is as follows: 1. Play Out is sent when the preroll begins (the position indicator begins moving in the Timeline and the Record Status light in the Audio Punch-In tool changes to green). 2. Record Out is sent when recording begins (the Record Status light in the Audio Punch-In tool changes from green to red). 3. Play Out is sent when recording ends and the postroll begins (the Record Status light in the Audio Punch-In tool changes from red to blue). 4. Stop Out is sent when the postroll ends (the position indicator stops moving).

Example of Linking GPI Actions to Trigger Signals

You can configure the GPI to respond to each of the signals sent by the system in a specific manner. For a simple indicator light, you might create a GPI setting linking the Record Out signal from the Avid system to the GPI’s Set action (to turn the light on) and a setting linking the Stop Out signal from the Avid system to the GPI’s Reset action (to turn the light off).

If you were working with preroll and postroll values, you might also link the Play Out signal to the GPI’s Pulse action to flash the light on and off repeatedly during the preroll and postroll periods. (Since the Pulse action does not switch between on and off very rapidly, your preroll and postroll durations might need to be quite long to allow for the light to flash enough times to be meaningful.)

For more information on configuring the GPI, see “Configuring a V-LAN VLXi Controller and GPI” on page 106.

104 Connecting a V-LAN VLXi Controller and GPI

The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct serial connection as shown in Figure 3. For more information on connecting V-LAN equipment to your system, see your setup guide.

You must configure the V-LAN VLXi controller to work with the VLXi-GT GPI. Assign the VLXi-GT to a V-LAN node address between 16 and 19. LAN connections of more than 50 feet must have a terminator. For more information on configuring the V-LAN, see the Videomedia VLXi User’s Guide.

All cables are customer supplied. GPI terminals (for connections to external hardware)

IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT SERIAL LAN CF VLXi-GT (GPI) AC 1 2 3 4 5 6

Terminator

TIMECODE A TIMECODE B (required when SERIAL PARALLEL REF SERIAL AINOUT SERIAL B IN OUT LAN CF AC VLX TRANSMITTER VLX 2R DUAL RECEIVER cable length is more than 50 feet) V-LAN connection V-LAN VLXi

VLXi transmitter serial input

Serial cable to serial port connector on Avid system

Figure 3 V-LAN VLXi Controller and VLXi-GT GPI

105 Configuring a V-LAN VLXi Controller and GPI

Once you have a V-LAN VLXi controller and VLXi-GT GPI connected to your system, you can configure the system to communicate with the controller and the GPI and create GPI settings appropriate to your needs.

You must create a separate GPI setting for each trigger signal you want the GPI to recognize. For example, you might need one setting for the Record Out signal and another for the Stop Out signal.

You can also edit an existing GPI setting or delete a GPI setting so that it no longer appears as an option in the GPI Settings dialog box.

To configure the V-LAN VLXi controller and the VLXi-GT GPI: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. 3. Click Add Channel. 4. From the Channel Type pop-up menu, choose VLAN VLX. 5. From the Port pop-up menu, choose the serial port to which the V-LAN VLXi is connected. 6. Click OK. The autoconfigure message box appears. 7. Click Yes. The connected GPI is automatically detected and appears in the Deck Configuration dialog box.

To create a GPI setting: 1. Click the Settings button in the Project window. The Settings scroll list appears.

106 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. 3. Double-click the VLXi-GT text box in the Deck Configuration dialog box. The GPI Settings dialog box appears. 4. Select the appropriate settings. Table 15 describes the GPI Settings options. 5. Click Add. The GPI Node Settings dialog box appears. 6. Select the appropriate settings. Table 16 describes the GPI Node Settings options. 7. Click OK. The GPI Settings dialog box appears. 8. Click OK to set the GPI. 9. Click Apply in the Deck Configuration dialog box.

Table 15 GPI Settings Options

Option Description

Name Keep the default V-LAN VLXi name or type a new name.

Description (Option) Add a description of the GPI trigger.

Device Type Select V-LAN, which is the Avid-supported device type.

Address Select the V-LAN network address to which the VLXi-GT is assigned. Valid addresses on the V-LAN network are 16 through 19. This address must match the internal V-LAN address.

Pulse Duration Leave this setting at its default value; it does not alter the length of the Pulse action in the GPI.

107 Table 15 GPI Settings Options (Continued)

Option Description

GPI Control Enable When you deselect this option, you disable the GPI but keep the GPI settings. This is useful for troubleshooting purposes.

Edit Click to edit an existing GPI node setting.

Delete Click to delete an existing GPI node setting.

Add Click to add another GPI node setting.

Table 16 GPI Node Settings Options

Option Description

Function Select one of the three active functions: • Record Out • Play Out • Stop Out Seven options are listed, but only the three signals described in “Understanding When Your System Sends GPI Trigger Signals” on page 103 are active.

Node Choose a node from the Node pop-up menu. Nodes 1 through 6 correspond to the physical connectors on the back of the VLXi-GT GPI box.

Action Select an action: • Set activates a command. • Reset deactivates a command. • Pulse switches the state between active and inactive.

108 To edit an existing GPI setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. 3. Click the VLXi-GT text box. 4. Select the name of the existing GPI you want to edit. 5. Click Edit. 6. Make the applicable changes. 7. Click OK. 8. Click Apply. The GPI setting is updated.

To delete a GPI setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. 3. Click the VLXi-GT text box. 4. Select the name of the GPI you want to delete. 5. Click Delete. 6. Click OK. 7. Click Apply. The GPI setting is deleted.

109 Documentation Changes for Release 10.0

The information in this section is not included in the Media Composer and Film Composer Release 10.0 hardcopy documentation.

Changing the Representative Frame for a Take

The section “Changing the Representative Frame for a Take” in the Avid Media Composer and Film Composer Editing Guide incorrectly mentions that you press the J-K-L keys on the keyboard to advance the footage displayed in the slate. The correct keys used to advance the footage are the arrow keys on the keyboard.

Changing the Sample Rate

You can use the Change Sample Rate dialog box to change the sample rate of a clip or sequence. Since you can combine clips of different sample rates in the same sequence, this feature is useful when you need to ensure that the entire sequence has the same sample rate for a digital cut or export.

Returning to Previous Place in the Select Tape Dialog Box

When working with many tapes, you need to be able to return quickly to your location when you last selected a tape. If you leave the Select Tape dialog box and reenter it, you now return to where you were in the list of tape names the last time. This should help you find the tape you need.

110 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. Choose Digitize from the Tools menu. The Digitize tool opens. 2. Put a tape in the deck, or click the Source Tape Display button. The Select Tape dialog box appears. 3. Press Ctrl+N (Windows) or k+N (Macintosh). A new Tape Name text box appears. 4. Type the new tape name. 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.

Controlling a Freeze Frame with a Single Button or Key

You can map the Freeze Frame command to a button or key. The system remembers the duration of the freeze frame and the option for two-field media if appropriate. After you map the command, you can create a freeze frame of the same type and duration simply by clicking the button or pressing the key.

To map the Freeze Frame command to a button or key: 1. (Option) If you plan to use the mapped Freeze Frame command with two-field media (created with 20:1, 10:1, 3:1, 2:1, or uncompressed choices in the Digitize tool), choose Freeze Frame

111 from the Clip menu, choose Two Field Freeze Frames, and then choose one of the following: • Using Duplicated Field — The system creates the effect using a single field. While this reduces the vertical resolution of the image by one-half, it is often the best option if the source footage contains rapid motion. • Using Both Fields — The system uses both fields to create the effect. This option is especially useful when there is little or no motion in the footage since it preserves all vertical resolution. • Using Interpolated Field — The system creates a second field for the effect by combining scan line pairs from the first field in the original media. This might result in a slightly softer look to the freeze frame. 2. Do one of the following: t To map to a button, open the Tool palette. t To map to a key, open the Keyboard palette by double-clicking Keyboard in the Settings scroll list of the Project window. 3. Choose Command Palette from the Tools menu. The Command palette opens. 4. Select Menu to Button Reassignment. 5. Do one of the following: t To map to a button, click a blank button in the Tool palette. t To map to a key, click a blank key in the Keyboard palette. 6. Choose Freeze Frame from the Clip menu. 7. Do one of the following: t Choose a preconfigured duration. t If you want to type a custom duration when you create a freeze frame using the button or key, choose Other. The system maps the Freeze Frame menu command to the button or key.

112 8. Close the Command palette.

Monitoring Previously Recorded Tracks While Recording a Voice-Over Narration

You can now monitor previously recorded audio tracks while you record a voice-over narration with the Audio Punch-In tool.

To monitor other audio tracks: 1. Choose Audio Tool from the Tools menu. The Audio tool opens. 2. Choose Direct Out from the Output Options pop-up menu. 3. Choose Audio Punch-In from the Tools menu. The Audio Punch-In tool opens. 4. Follow the procedure in “Recording a Voice-Over Narration” in the Help or in the “Working with Audio” chapter of your editing guide. 5. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers.

Change for Goodies.html File

The document Goodies.html in the Avid Goodies folder mentions MacOpener as being available on many Avid systems. MacOpener allows Macintosh formatted disks, CD-ROMs, and drives to be mounted and read on a Windows system. For this release, Avid recommends using “MacDrive 2000™ Edition for Avid Systems” from Mediafour Corporation for similar operations. For more information on MacDrive, see http://www.Mediafour.com.

113 Installing the 24p and 25p Tutorial Files

The 24p and 25p Tutorial CD-ROMs contain all the files you need for the tutorial sections of the Avid Film Composer and Universal Offline Editing Getting Started Guide.

To install the Film Composer tutorial files: 1. Insert either the Avid Film Composer and Universal Offline Editing Tutorial (24p) or the Avid Film Composer and Universal Offline Editing Tutorial (25p) CD-ROM into the CD-ROM drive. 2. The CD-ROM icon appears on your desktop. 3. Double-click the CD-ROM icon. A window opens showing the contents of the CD-ROM. 4. Double-click the Install icon. The Install window opens.

Drive scroll list

Avid drive

Media drives

5. Click the Avid Projects icon and drag it to the Avid drive in the Drive scroll list.

114 The tutorial project installs on your Avid drive and a message appears asking if you want to continue the installation. 6. Click Continue. 7. Click the Media Files icon and drag it to any external media drive in the Drive scroll list. - If an OMFI MediaFiles folder already exists on the drive, the media files are copied into the folder. - If there is no OMFI MediaFiles folder on the drive, a message appears asking if you want to create an OMFI MediaFiles folder on the drive. Click Yes. The folder is created and the media files are copied to the external drive. n It takes approximately 5 minutes to copy the media files to the external drive.

When all the media files on the CD-ROM are copied to the drive, the system notifies you that installation is complete. 8. Click Quit.

Screen Resolution for Imported Graphics and Sequences

Table 17 through Table 19 show the frame size to use when importing graphics and sequences for different resolutions for NTSC and for PAL.

For example, when you are using an application such as After Effects® to process a sequence that you want to bring into Media Composer or Film Composer, use these values when you render the sequence.

For more information on importing graphics, see the input and output guide or the Help for your Avid system.

Table 17 provides information about the resolutions for interlaced media (30i NTSC and 25i PAL projects).

115 Table 17 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 18 provides information for progressive media (24p NTSC, 24p PAL, and 25p projects).

Table 18 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 19 provides information for interlaced and progressive MultiCamera media.

116 Table 19 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)

MediaLog

The following information provides more complete instructions for the Avid MediaLog User’s Guide: • In the “Retrieving Bins from the Attic Folder” section, in step 12, the last paragraph should read: Repeat steps 8 through 12 for any other backup bin files you copied to the desktop. • In the “Modifying Data Directly” section, in step 2, in the last arrow entry, the Macintosh key combination should be k+V.

Sharing Bins and Projects on Avid Unity MediaNet

Avid Unity MediaNet allows you to share bins and projects across the network. When you place your bins and projects on Avid Unity MediaNet workspaces (drive volumes), several users can work on the same project at the same time.

For example, an editor can create sequences in one bin while an assistant redigitizes media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.

117 Each user can perform tasks from his or her own Avid system. The Media Composer or Film Composer application provides a simple locking mechanism to help you keep track of who is currently working in a bin. The method allows one writer access and multiple readers access to a bin. c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Mapping Workspaces on the Avid Unity Network

For information on mounting workspaces, see the Avid Unity MediaNet for Macintosh Clients Quick Start Card. These instructions assume that Avid Unity MediaNet is up and running. For details on Avid Unity MediaNet, see the Avid Unity MediaNet Administration Guide.

Sharing Methods

Before you begin copying or creating bins and projects on an Avid Unity MediaNet workspace, you need to determine the sharing method you will use for the project.

Shared Bins

When you use the shared bins method, you store the project on your Avid system and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users.

The Media Composer or Film Composer application uses the following methods to identify the shared bins: • Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.

118 • Displays an extra column of information for the bin that identifies the Avid system that currently has the bin locked. • Uses bold text to identify bins that are locked by other users.

Shared Bins and Projects

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The Media Composer or Film Composer application uses the following methods to identify information from each Avid system using the shared workspace: • Creates a project folder for each Avid system that accesses the project. Media Composer or Film Composer adds the Avid system’s computer name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data of other users. The folder is similar to the folder created when you choose New Folder from the Project Window Fast menu. For more information, see “Managing Folders and Bins” in the “Working with the Project Window” chapter of the Avid Media Composer and Film Composer Editing Guide or the Help. • Displays an extra column in the Project window that identifies the Avid system that has the bin locked. • Uses bold text to identify bins that are locked by other users. • Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume. n Depending on the number of users sharing a workspace, you might want to increase the number of files that Media Composer or Film Composer stores in the Attic folder (use the Bin Settings dialog box).

119 The following illustration shows the Project window for a shared project.

Bold bins are locked for editing but can Avid system that be viewed. currently has the bin locked Project folders for each user

The following illustration shows the contents of a shared workspace at the desktop level.

Shared projects Shared media files

Unity Attic folder

120 Opening a Shared Project

To open an existing project on the shared volume: 1. Start Media Composer or Film Composer. 2. In the Select User and Project dialog box, navigate to the project on Avid Unity MediaNet. The following illustration shows an example.

3. The Project window opens. For a description of the MediaNet-specific elements of the Project window, see “Sharing Methods” on page 118. 4. Open one of the bins by double-clicking the Bin icon. The bin appears with a Bin Lock Status button. You can click the Bin Lock Status button (red — locked or green — unlocked) to view a history file that shows which Avid systems and users have modified the bin and the date and time of the modifications.

121 The following illustration shows an unlocked bin.

Bin Lock Status button: Green — Unlocked bin Red — Locked bin

When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 123. n The Bin Lock Status button does not appear if the bin is not on the Avid Unity MediaNet environment.

Working with Locks

Media Composer or Film Composer uses a simple locking mechanism to help you keep track of who is currently working in a shared bin. This allows one writer access and multiple readers access to the bin.

Default Locking Mechanism

The user who opens the bin first gets the lock and obtains write access to the bin. Media Composer or Film Composer uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock.

122 If one user has the lock and second user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.

You can click the Bin Lock Status button in the bin to view a history file that shows which Avid systems and users have modified the bin.

To open a bin without taking the lock: t Option+double-click the bin in the Project window.

Overriding the Default Locking Mechanism

You can instruct Media Composer or Film Composer to keep a bin locked even after you close it.

To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Choose Lock Project Bin from the Clip menu. An asterisk (*) appears next to the user name in the Project window. In this case, the bin remains locked even after you close it.

To unlock the bin: t Click the bin in the Project window and choose Unlock Project Bin from the Clip menu.

Restrictions and Limitations for Locked Bins

The following restrictions apply to bins locked by another user: • You cannot select a locked bin for operations such as digitizing, title creation, and importing. This helps to minimize the problems of modifying a locked bin. • You cannot drag to a locked bin.

123 • If you drag from a locked bin to an unlocked bin, the Media Composer or Film Composer application will create a duplicate (not a copy) of the selection in the unlocked bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin. • You cannot move a bin that is locked by another user. • If you modify a locked bin, the Media Composer or Film Composer application will not let you save the bin to the same name, but it will allow you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The Media Composer or Film Composer application will see the duplicates of the contents of these bins and will resolve the conflicts by newest modifications (this might not be desirable behavior). You should avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin. c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

124 Hardware and Software Limitations

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 Media Composer or Film Composer 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, ¾-inch, or Hi-8 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 option 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 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 option depends on the model of your Avid system.

125 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 for your Avid system.

Avid/Mezzo Archiver

Avid/Mezzo Archiver Release 3.1.9 or earlier is not supported with Media Composer Release 10.1 or Film Composer Release 10.1. Contact your Avid Reseller for availability of updated versions of Avid/Mezzo Archiver.

Unrendered 3D Effects with Drop Shadow

At the start of an unrendered 3D effect with a drop shadow, there is a one-field delay before the shadow appears. This is a hardware design limitation and cannot be fixed for real-time play of an unrendered effect.

Workaround: Render the effect.

126 Multiformat Titles Must Be Real-Time DSK

Multiformat titles must be real-time DSK. If your Avid system includes support for 24p projects, you can save titles in multiple formats (NTSC 4:3, PAL 4:3, NTSC 16:9, or PAL 16:9, depending on your source media). When you create a digital cut, you can choose the appropriate format. This feature works only for real-time DSK titles. It does not work for rendered titles. Rendered titles will play in the original rendered format.

If you need to render effects that play at the same time as the title, render all effects except the title. Alternatively, create a video mixdown of all tracks except the title.

For more information, see “Working with Titles on Systems with 24p Support” in the effects guide or the Help for your Avid system.

127 Fixed Bugs

This section describes bugs that were fixed in Releases 10.0.1 and 10.1.

Bugs Fixed in Release 10.1

The following problems are fixed in Release 10.1: ✔ The 3D Warp effects are no longer cropped several lines on the bottom edge, so the background video does not show through.

✔ A corrupt MC state setting no longer prevents the application from starting and does not display a VRef not found error.

✔ Batch digitizing correctly updates the bin display.

✔ The default path is correct when batch importing an audio clip from an audio CD.

✔ Audio export to Media Cleaner EZ in Direct Out mode exports without errors.

✔ Avid Log Exchange lists generated by MediaLog can be brought back into PAL Method 1 projects.

Bugs Fixed in Release 10.0.1

The following problems were fixed in Release 10.0.1: ✔ Interactive performance when connected to an Avid Unity workgroup has improved. The improvement is noticeable when you perform tasks such as switching between tracks or when using the Effect Editor.

128 ✔ You can now digitize to multiple bins located on an Avid Unity workspace.

✔ The Video Input tool now allows you to switch between Component and S-Video input.

✔ Multilayered title effects now render correctly and allow adjustment of keyframed position values.

✔ Boris FX™ Pro 2 input effects now work correctly when applied to the Timeline.

✔ You can now batch digitize “without pulldown” in a 24p project.

✔ You can now open the AudioSuite window if you are not logged in as an administrator.

Known Bugs and Limitations

24p and 25p Projects

✘ QuickTime export from a 24p PAL video (Method 1) project exports audio at a nonstandard sample rate.

When you digitize material in a 24p PAL video (Method 1) project, audio is normally slowed (for example, audio is slowed to 42.336 kHz if the sample rate set in the Audio Project Settings dialog box is 44.1 kHz).

If you perform a QuickTime export from such a project using the project rate as the audio sample rate, audio is exported at the slower, nonstandard sample rate. It is not converted back to the standard sample rate.

129 ✘ For 24p audio-only sequences, switching the output format doesn’t switch the hardware. For example, assume that you are working in a 24p NTSC project, with black burst set to NTSC. With an audio-only sequence in the Timeline, open the Digital Cut tool and select Local. Choose a PAL output option. You receive a warning message about switching black burst to PAL. Manually change the black burst to PAL and start the digital cut. The reference and 3D hardware does not switch to PAL. You can perform the cut, but the hardware is still synced to the wrong video format. ✘ A digital cut cannot end in the middle of a frame. If you are creating a digital cut in a 24p NTSC project, and your sequence ends on a B or C frame, you receive a warning message. You can still create the digital cut, but the OUT point will be off by one field.

Workaround: Choose a different OUT point. ✘ When you change the pullin of a sequence in a PAL 24p or 25p project, the pullin letter does not appear in the Pullin Bin column. The sequence is correctly updated with the new pullin.

Audio

✘ Audio might export at a rate different from the rate reported in the Audio Project Settings dialog box.

If you export audio while a digital input sync mode (AES/EBU or S/PDIF) is set in the Audio Project Settings dialog box, the resulting export file might be created at a sample rate other than the one currently displayed in the Audio Project Settings dialog box.

The following scenario demonstrates how this problem can occur.

130 In the Audio Project Settings dialog box, with an AES/EBU or S/PDIF audio source connected to your system: 1. Choose Video Sync from the Sync Mode pop-up menu. 2. Choose an audio sample rate that is different from the digital rate for the source. For example, choose a sample rate of 44.1 kHz when the digital rate for the source is 48 kHz. 3. Choose the appropriate digital option (AES/EBU or S/PDIF) from the Sync Mode pop-up menu. The sample rate is forced to the digital rate of the source (for example, it reverts from 44.1 kHz to 48 kHz). This is normal behavior for the Audio Project Settings dialog box. 4. Export audio with an export setting that uses the project rate as the export sample rate. For example, choose Project Rate as the sample rate in the Audio Format tab for an AVI export. The audio exports at the sample rate you chose before forcing to the digital rate (that is, the sample rate you chose in step 2). n If you switch back to Video Sync in the Sync Mode pop-up menu of the Audio Project Settings dialog box, the sample rate displayed stays at the forced digital selection but the export still uses the sample rate you chose before forcing the digital rate. ✘ In a mixed Macintosh and Windows environment, you might encounter the following error message during OMFI Version 2.0 export of a clip containing SDII audio: “Exception: CANT_EXPORT_MEDIA_AS_SD2 An error occurred during export.”

Workaround: In mixed Macintosh and Windows environments, use AIFF-C audio format.

131 ✘ If you plan to use Pro Tools on the same system as Media Composer, Film Composer, or Avid Xpress, note that Pro Tools uses different versions of the following files: • DigiSystem_INIT — Stored in the Extensions folder • Default AudioSuite plug-ins — Stored in the DAE folder in the System folder

If you plan to use Pro Tools on your Media Composer, Film Composer, or Avid Xpress system, you will need to keep separate copies of these files and copy them to the correct location before you start the application. For the default AudioSuite plug-ins, you should keep separate copies of the entire DAE folder (located in the System folder).

After you replace the files, you must restart the system for DigiSystem_INIT to take effect. ✘ Clip gain information is not carried forward from previous releases on segments that include automation gain. If you transfer a sequence from Media Composer or Film Composer Release 10.0 or later to an earlier release, save the sequence, and transfer it back again, the original additive clip gain on segments with automation gain will be lost. ✘ Audio fades are not extracted from the OMFI file when pan/vol is on the clip. When you import this OMFI file into another system, the dissolve will be unrendered. You might want to perform an audio mixdown of the clip before exporting.

Compatibility with Other Products and Releases

✘ You might have problems running Apple System Profiler before running Media Composer or Film Composer.

Workaround: If you encounter this problem, start Apple System Profiler after loading Media Composer or Film Composer.

132 ✘ If you eject a local drive from a system that has Avid Unity MediaNet volumes mounted, when you select Mount All from the File menu, the following error message appears: Mac Error -65 (r/w requested for an off-line drive)

Consolidating

✘ Consolidating a sequence with a group could result in the sequence referencing two different groups.

When you consolidate a sequence that contains a group clip that has the default clip selected for all tracks and you deselect the option “consolidate all clips in a group edit,” the Avid system creates a master clip (.new) and a group clip (.new). The sequence references the .new group clip for the default clip and the original group clip for any other clips in the group. ✘ You might receive an inaccurate warning message after consolidating and performing a sample rate conversion.

If you consolidate a mixed sample rate sequence while performing a sample rate conversion, and then export the sequence, you might see a message warning that the sequence still contains mixed audio sample rates. If you click Continue and complete the export, all the clips are correctly exported at the sample rate you selected for the conversion, and the sequence works correctly in other applications. However, the sequence retains inaccurate mixed sample rate labels on the clips. ✘ Consolidate ignores the “Lock Bin Selection” setting for a consolidated clip.

If you select the “Delete original media files when done” option in the Consolidate dialog box, the system ignores the “Lock Bin Selection” setting for a consolidated clip and deletes the media. ✘ Consolidated master clips have inaccurate locators.

133 Controllers

✘ Avid Media Composer or Film Composer hangs if you choose another controller in the Controller Settings dialog box when the JL Cooper MCS3 controller is connected to the system.

When the JL Cooper MCS3 controller is connected to the COM 1 port, if you select COM 1 as the port and Avid Controller as the device in the Controller Settings dialog box, the Media Composer or Film Composer application cannot find the specified device and hangs. If this happens, you must quit Media Composer or Film Composer using the Task Manager and then restart Media Composer or Film Composer.

Workaround: Make sure that the device you select in the Controller Settings dialog box is the device that is connected to the system.

Digitizing

✘ The Eject Tape button does not work if it is mapped to certain buttons.

The Eject Tape button does not work if you map it to the Tab key or to any of the buttons under the Source or the Record monitor.

Workaround: You can map the Eject Tape button to other keys on the Keyboard palette or to any button in the Tool palette. ✘ Autoconfigure chooses the JVC BR-D85U deck instead of the JVC BR-D750U deck.

If you autoconfigure decks when the JVC BR-D750U Digital S deck is connected, the system incorrectly chooses the JVC BR-D85U deck. If you double-click the deck in the Deck Configuration dialog box, the system displays a message warning that the deck configuration does not match the deck attached to the system. You can close the message

134 box and then select the JVC BR-D750U deck in the Deck Settings dialog box. The system then functions correctly with the deck. However, the message warning that the deck configuration does not match the attached deck will reappear whenever you create a new project. ✘ The Avid application does not report a missing video signal when you digitize from a DAT deck and select the Video Track button in the Digitize tool.

If you are digitizing audio from a DAT deck by dropping a logged clip in the Digitize tool, and you then select the Video Track button in the Digitize tool, the application does not produce an error message stating that there is no video signal.

Workaround: Do not select the Video Track button when you are digitizing audio from a DAT deck. ✘ You might experience sync problems while digitizing or making a digital cut.

Workaround: Increase the preroll time in the Deck Settings dialog box. ✘ Not all frames in the Timeline are updated after redigitizing a sequence and the clips.

✘ Switching input sources prevents the Waveform and Vectorscope monitors from adjusting properly. If you have a bad signal coming in through a Serial Digital Input (SDI) format and you switch the input settings to a different format (Composite or Component), the Waveform and Vectorscope monitors do not adjust properly to the new signal. ✘ Digitizing with Macrovision® copy-protected tapes causes sync problems.

135 ✘ If the video input signal is interrupted, it is possible for the internal Vectorscope monitor to display incorrect data once the signal is restored. This does not affect the signal being digitized. The signal could be interrupted when cables are disconnected, or when signal generators or decks are turned off.

Workaround: Click the V button in the Digitize tool off and then back on again, and the Vectorscope monitor should correct itself.

Editing

✘ If you select the Scroll While Playing option in the Timeline Settings dialog box when working in 24p and 25p PAL projects, your system might display distorted video in the Record monitor.

Workaround: Deselect the Scroll While Playing option in the Timeline Settings dialog box. The Timeline Settings dialog box can be accessed by clicking Timeline in the Settings scroll list of the Project window. ✘ Cannot move a bin out of the Trash when no other bins exist in the project.

Workaround: Create another bin in the project, and then move the bin out of the Trash. ✘ When copying information from the Info window, you must close the Info window after each copy. If you leave the Info window open, each time you use the Paste command it will paste the first information you copied. ✘ You need to close the MCS3 Controller Settings window before changes take effect.

You can select other windows when the MCS3 Controller Settings window is open. This can make it a little confusing to realize that the MCS3 Controller Settings window needs to be closed before any changes take effect.

136 Workaround: Close the MCS3 Controller Settings window before you try to use updated settings. ✘ If you set the desktop to display custom patterns, the bins might become transparent and reveal the patterns on the desktop.

Workaround: Turn off custom desktop patterns or force a redraw of bins as needed. ✘ Comments created during logging disappear when the bin view changes.

In each new view in which you would like to see the Comments column, you can type Comments in the column heading area of the bin and the comments will appear. The Comments column also appears in the Headings dialog box at the bottom with the custom columns. To type in the column heading area, you must find or make some room between columns or after the last column; you’ll see the text insert a cursor at locations where you can type. ✘ Partially covering the Source monitor with a group clip causes the Source monitor and the Client monitor to display a single frame instead of the grouped frames.

Remove the window that is covering the Source monitor and click the Source monitor. Both the Source monitor and the Client monitor display the grouped frames. ✘ The display of accent characters (set from the Apple Key Caps window) in the bin is different from the display in the Timeline.

✘ The Reverse Match Frame function is not working correctly with motion effects.

✘ There might be a hue shift noticed in certain colors when Avid graphics are being drawn on video. Since the graphics are not displayed during play, it will not affect the output of your digital cut and will be noticeable only when parked on a frame. Examples of Avid

137 graphics include mark IN, mark OUT, and sawtooth marks denoting the beginning or end of a clip.

Effects

✘ Pixel artifacts might appear in dissolves and rolling titles during PAL to NTSC multiformat output on systems using the Meridien III digital media board set with the Genie 3D effects card.

If you output an NTSC version of a PAL sequence that contains dissolves or rolling titles, and if your Client monitor is in underscan mode, you might notice, bad pixels might flicker across the bottom left corner of the image during the effects. The problem occurs only in multiformat output going from PAL to NTSC, and only on systems that use the Meridien III digital media board set (Meridien II digital media board with Meridien III daughter card) and the Genie 3D effects board.

Workarounds: Render the effect before you output the multiformat version of the sequence. ✘ The highest useful value for Border softness on 2D peels is 12. Promoting to 3D does not increase the effective range.

Workaround: Limit peel softness to 12. ✘ Motion effects keep their old clip names in the Timeline after relinking.

If you relink a sequence that contains motion effect clips to new master clips, the motion effect clips appear in the Timeline with their old clip names even though they have relinked successfully to the new media. ✘ The ExpertRender at Position command does not always recognize a partially completed render. If you attempt to use the ExpertRender at Position command on a partially rendered effect, you might receive the message, No Effects to Render.

138 Workaround: Use the following procedure: 1. Click the Timeline Fast Menu button, choose Render Ranges, and choose Partial Only or All. 2. Move the position indicator on top of the red line that indicates the unrendered part of the effect. Now, when you choose ExpertRender at Position, the Expert Render dialog box displays one effect to render. ✘ In 3D Warp, setting the horizontal parameter to 15 when using external defocus shifts the entire image down.

Workaround: Do not use the highest horizontal value (15) for an internal defocus effect, or use an "FG only" defocus effect. ✘ When the Marquee® plug-in window goes behind the Media Composer or Film Composer window, the Timeline continually refreshes.

Workaround: Bring the Marquee plug-in window to the foreground, or close Marquee. ✘ Rendering a large sequence with many effects might result in the system canceling the render.

If you begin to render all effects in a sequence that includes a large number of complex effects, the Avid system might not have enough memory to render all the effects. A message box appears, warning you that there is insufficient memory to complete the render; the render is then canceled.

Workaround: Simplify the render by first rendering nested effects.

You can also break up long effects by using the Add Edit function. However, using Add Edit might affect the appearance of effects that use Spline or Acceleration, so you should use this workaround with caution.

139 ✘ 3D borders appear uneven at small sizes. In 3D effects, setting the border width to a small value might produce borders with uneven edges. ✘ A long video mixdown with unrendered effects causes an Insufficient Memory error. A video mixdown with many unrendered effects (such as a 15-minute sequence with 176 effects) will abort with a message that states “Insufficient Memory error. Keep or discard?” If you choose Keep, the mixdown up until that point is good. This problem does not occur with Render In/Out or when rendering a long effect.

Workaround: Render the effects before creating the mixdown, break up the video mixdown into smaller segments, or upgrade the system memory. ✘ You might experience problems when rendering effects-intensive sequences with collapsed tracks. Your system might continuously render the sequence.

Workaround: Increase the memory allocated to the Media Composer or Film Composer application. ✘ At the start of an unrendered 3D effect with a drop shadow, there is a one-field delay before the shadow appears.

Workaround: Render the effect. ✘ The Matte Key effect might cause a slight luminance level drop to the background media under the matte key.

✘ The luminance level will drop slightly in non-real-time keys when Crop or Position parameters are adjusted.

✘ The 3D Drop shadows that travel independently of their object do not play smoothly.

140 ✘ The Stamp effect will not work on the first keyframe of an effect.

✘ Certain 3D effects display highlights and shadows as black-and-white lines.

Hardware

✘ The 888 I/O audio meters do not always display accurately. The meters could show a signal that is not present.

Help

✘ Some toolbar buttons in the Script window do not have context-sensitive Help.

Context-sensitive Help is not fully implemented for the toolbar buttons for the Script window. Information on the functions of all of the toolbar buttons is available in the “Using Script Integration” chapter in the Help system or in the editing guide for your Avid system.

Import and Export

✘ You cannot create a DVD from a sequence with no audio tracks. If you select a sequence with no audio tracks and choose Create DVD from the File menu, a message box appears telling you that your sequence needs at least one audio track. You cannot create a DVD from a sequence with no audio tracks.

Workaround: Add an audio track to your sequence. The track does not need to contain any information but must be present for you to create a DVD.

141 ✘ The Cleaner software installer installs a DV codec that causes video tearing during export and import.

The Cleaner software included with your Avid application installs a DV codec named RadDVCodec. If you export a file as a DV Stream and then reimport the file into the Avid system, the video will display tearing.

Workaround: Remove the RadDVCodec codec. Removing this file does not have any adverse effects on the Cleaner application. Both Cleaner and the Avid application will use the QuickTime DV codec.

To remove the RadDVCodec file: 1. Navigate to Macintosh HD:System Folder:Extensions. 2. Delete the file RadDVCodec. 3. Restart the system. ✘ You cannot change the frame size when using an Avid codec to export a QuickTime movie.

Avid codecs are designed to provide a fast export or import at the native frame size. If you change the frame size and then use an Avid codec to export a QuickTime movie, you cannot do a fast export or import and the codec issues the following error message: “Unable to export bin. Exception: Parameter Error! This export format may require audio or video tracks.”

Workaround: Use a different codec. Alternatively, export the file by selecting the Same as Source option and change the size in another application, such as Cleaner 5.

142 ✘ Cleaner 5 displays error messages when using the Send To command with items already in the Batch window.

If Cleaner 5 already has a clip in its Batch window, and you use the Send to Cleaner command from the Avid application to add another clip, Cleaner displays the following error messages: •“Unable to open file; image format not recognized.” •“Unable to make an alias to movie.”

This problem does not occur when you use Media Cleaner Pro Version 4.0.2

Workaround: Click OK to these error messages. The clip is added to the batch and can be processed successfully. ✘ The sequence loses audio sync when creating DVD files with an AudioSuite effect and sample rate conversion.

If you want to create DVD files from a sequence that includes a rendered AudioSuite effect, and the audio sample rate of a sequence is different from the audio project setting, the automatic sample rate conversion does not work correctly. The processed file has a doubled audio track, one of which is delayed and creates an echo.

Workaround: Do the sample rate conversion before you create the DVD files. ✘ You cannot export a PAL film sequence that uses synced subclips as a QuickTime reference movie.

If you digitize video and audio separately into a PAL film (Method 2) project, create subclips with video and audio using autosync, and then create a sequence using the subclips, you might not be able to export the sequence as a QuickTime reference movie. In addition, you might not be able to export an individual synced subclip as a QuickTime reference movie.

143 Workaround: You can export successfully if you do one of the following: t Export video only or audio only. t Disable the audio tracks before export. t Mix down the audio tracks before export. t Select Premix Audio Tracks in the Export Settings dialog box before export. ✘ The Send to Cleaner command doesn’t appear in the Send To submenu of the File menu.

The Send to Cleaner command does not appear in the Send To submenu of the File menu when you are logged in to your system with a user name other than the user name used when you installed Cleaner 5. The command appears correctly when you are logged in to your system using the same user name used when you installed Cleaner 5. ✘ Moving the target folder used when creating DVD volumes prevents further DVD export.

Under certain circumstances, moving the folder that is the target for a DVD export prevents any further export from taking place. This happens when you create a new folder as the target for your DVD export by browsing to a new location during the Create DVD process and then use the Macintosh Finder to move that folder to another location. The system displays an error message when you attempt to save to the folder again. You cannot save to that folder or to any other folder.

Workaround: Create the target folder for your DVD exports outside of the Media Composer or Film Composer application before you begin the Create DVD process, and do not move the folder to another location until you have finished all DVD exports for the current Media Composer or Film Composer session.

144 ✘ Clip names longer than 32 characters are truncated when imported in a log file.

If you export a log file with clip names longer than 32 characters, and then reimport the log file, the system changes the clip names. Each reimported clip name consists of the first 32 characters of the original clip name followed by the tape name. ✘ Insufficient memory errors might occur if you attempt to play media after importing a QuickTime movie with a resolution different from the native file.

Workaround: Exit and restart the application. ✘ The system runs out of memory after importing moving mattes from After Effects.

If you attempt to import these files into Media Composer or Film Composer without first quitting After Effects, you might run out of memory during the import.

Workaround: Quit After Effects before importing. ✘ Avid ABVB NuVista Codec for QuickTime configuration doesn’t hold settings.

Do not use the Avid ABVB NuVista codec unless you are exporting to a system that uses AVR resolutions. If you need it, click anywhere in the Quality slider and then set things up as you want them in the resulting dialog box. When you save and export, the selections you made are remembered. ✘ Some unsupported file types might stall the system during import. If you try to import an unsupported file type, such as an .aud file (MPEG-2 audio file), QuickTime might take several minutes to analyze the file type. During this period, the system appears to be frozen. After several minutes a message appears, saying the file is not a supported format.

145 ✘ An exported graphic at 1:1 resolution is creating corrupt media. In an NTSC project, load a 2:1 clip. Mark a one-frame duration, and export the frame at 1:1 resolution. Reimport the same graphic at any resolution, and you see either green and magenta artifacts or a black screen with an SFCONS_VIDEO_TIMEOUT error. ✘ The padding for sequential PICT files is wrong.

✘ When you export an OMFI graphic to a drive with insufficient disk space, the system freezes.

Workaround: Export to a drive with adequate storage space. ✘ Batch importing a duplicate of a master clip causes the original master clip to be offline.

Workaround: Unlink the duplicate before batch importing it. ✘ When you export a file larger than 2 GB, a system error occurs. Workaround: Ensure that the file you are exporting does not exceed the 2-GB limit. If the error occurs during a video mixdown, try to mix down in smaller segments. ✘ Audio fades are not extracted from OMFI when pan/vol is on the clip. When you import this OMFI file into another system, the dissolve will be unrendered.

Workaround: You might want to perform an audio mixdown of the clip before exporting. ✘ The position indicator will not be used if you export by pressing the and using the drag-and-drop method. Option+drag does not use the position indicator and will always use mark IN and mark OUT, even if Use Marks is disabled.

146 ✘ Media Composer or Film Composer do not support QDesign Music audio. If you try to import audio formatted with the QDesign Music codec, QuickTime crashes.

Workaround: Choose Import Video Only, or cancel the import. ✘ If you import an OMFI composition with video media and change the resolution on import, you might encounter problems if you delete the media clip and then attempt to reimport the file to the same bin. If you attempt to reimport the same file to the same bin (or to a different bin while the first bin is open), the system imports the composition but not the media.

Workaround: Close the bin, open another bin, and import the file to the new bin. You can also try quitting and restarting the Avid application and then reimporting the file. ✘ If you set Autodetect Sequential Files to ON in the Import Settings dialog box, folders ending in digits larger than 1 will not appear in the Select Files to Import dialog box.

Workaround: Set Autodetect Sequential Files to OFF in the Import Settings dialog box, or rename folders so they do not end in digits larger than 1.

Installation ✘ Some installer log files (such as MC.app.log) are too large to be opened by the SimpleText editing application. SimpleText cannot open a file larger than 32K.

Workaround: Open the file in another , such as the BBEdit Lite or TexEdit.

147 Monitors

✘ You cannot change the monitor resolution while Media Composer or Film Composer is running.

Workaround: Quit the Media Composer or Film Composer application before changing the monitor resolutions.

Multicamera Editing

✘ Entering Multicamera edit mode can take a long time when the sequence contains many edits.

The amount of time it takes to enter Multicamera edit mode is directly proportional to the number of edits you have in the sequence being edited. For example, a sequence with 3000 edits takes approximately 15 seconds. ✘ When a multicamera group clip is loaded in the Source monitor, and the Source monitor is partially obscured (by a bin or other window), the Source monitor and Client monitor display a single frame instead of the grouped frames.

Workaround: Remove the window that is covering the Source monitor and click the Source monitor. Both the Source monitor and Client monitor display the grouped frames. ✘ Playing a sequence that includes real-time motion effects in MultiCamera mode results in an error.

148 Output

✘ Timecode drifts slightly when outputting simultaneous timecode. A limitation in the way the system calculates timecode rates results in a slight drifting of timecode values when you output drop-frame and non-drop-frame timecode simultaneously. For a sequence 1 hour long, the two sets of timecode drift apart by approximately one-quarter of one frame. The problem is relatively more noticeable in 24-fps output than in 29.97-fps or 23.976-fps output. ✘ The Digital Cut tool does not remember window position. When you perform an archive to tape, the Digital Cut tool automatically moves to the upper left corner so that it can’t overlap the Record monitor in the Composer window.

Workaround: When the archive to tape is complete, move the Digital Cut tool back to the position where you want it.

Play

✘ Playing media with an Avid Unity Fibre Channel controller installed but not connected causes errors.

Workaround: Choose one of the following: t Connect the controller to an Avid Unity system. t Install a fiber-optic cable connecting one port of the controller card to the other (a loopback cable) until the controller can be connected. t Remove the controller until it can be connected. ✘ When you play a clip in a bin, the clip blinks to black before starting to play. If you set a bin to Frame view or Script view, select a clip, and click Play, the clip displays black briefly before it starts to play.

149 ✘ Playback from a bin is not smooth when the bin is displayed in the Bin monitor. If a bin is displayed in the Bin monitor, and you set a bin to Frame view or Script view and play a clip, the clip does not play smoothly. ✘ Video and audio underrun errors might occur when playing a sequence with the Scroll While Playing option set. The more information that the system has to scroll (larger Timelines) increases the chances that the system will not respond to a video or audio request.

Workaround: Deselect the Scroll While Playing option in the Timeline Settings dialog box. This option is deselected by default. ✘ The monitor displaying the Source and Record monitors and Timeline might not refresh quickly.

StorEx

✘ StorEx might hang if you open it after starting and quitting Media Composer or Film Composer.

Workaround: Reboot your system and open StorEx before starting Media Composer or Film Composer.

System

✘ The 3D diagnostic tests fail on Macintosh systems with the Meridien I board set.

The 3D diagnostic tests fail on Macintosh 9600, G3, and G4 systems that use the Meridien I board set with 3D. Although video looks correct, the diagnostic tests report checksum errors. This does not mean that there is a problem with the 3D hardware, only that the diagnostic tests do not function correctly.

150 Timeline ✘ When you start to play on a stamped keyframe, a purple flash appears on the odd field. If the position indicator is on a stamped keyframe, when you click the Play button, the odd field plays as purple. If you move the position indicator off the stamped keyframe and play, no purple appears.

Titles

✘ Adding a Defocus effect to a title results in blocky artifacts. This problem occurs under the following circumstances: 1. Open a title in the Effect Editor and promote it to 3D. 2. In the Defocus pane, choose Key Only or FG & Key, and adjust the sliders to blur the key. The title blurs, but the graphic channel beneath comes through as a blocky outline.

Workaround: Replace the graphic channel with a solid-color graphics image. ✘ If you start to play from a point within a rolling title that contains keyframes, you might receive a Rolling Title Underrun error message.

Workaround: Start play before the rolling title or remove the keyframes in the title. ✘ When you import a Photoshop® .psd title file, you receive an Exception: No Error message. The file does not import.

Workaround: Save the Photoshop file as a PICT file when saving and exporting from the Photoshop application.

151 ✘ Editing or saving a large, multipage file can take a few minutes.

✘ Playing a long, complicated, rolling title can cause an exception error.

Workaround: Try reducing the complexity of the rolling title. ✘ You cannot revise a title after exporting it as OMFI Version 1 or 2.

✘ In the Effect Editor, if the Acceleration parameter is set to 100 (fast), dragging the scroll bar through the Timeline over a keyframe might cause an error message.

Workaround: Acceleration is not recommended for rolling titles or other DSK titles with vertical motion, due to anti-aliasing effects that cause flicker. ✘ When you import an OMFI 2.0 file with rolling titles, the icons for the rolling titles are blank.

✘ Some italic text in titles can become truncated. Workaround: Click the Right, Left, or Center Justification buttons to eliminate truncation of text. You might have to create several text blocks to resolve this problem with multiple lines of text in your titles. ✘ Some 3D titles might not crop properly. The first letter of the title might be clipped.

Workaround: Open the left crop bar and adjust until the first letter is no longer clipped. ✘ Mixing different fonts, different sizes, and different styles might realign the vertical placement of a title.

152 Title Tool

✘ When you play a sequence with several rolling titles close together, you might see an error message.

Workaround: Render the rolling titles, or try moving the titles further away from each other.

Utilities

✘ Media Composer or Film Composer do not support MSM media when you use OMF utilities from Media Composer or Film Composer Release 7.1.

Workgroups

✘ A system that is not a workgroup client might see media on a workspace drive that was not created by that system.

If you mount a workspace drive on a system that is not a workgroup client, you can then create media on the system and store it on the workspace drive. In this circumstance, the Media tool might display media on the workspace drive that was created by the workgroup clients as well as media created by the current system.

For more information on limitations when mixing workgroup and non-workgroup systems and storage, see the Avid Unity MediaManager Release Notes. ✘ Invisible Macintosh directories appear as folders in the Project window.

When you share a folder using Macintosh file sharing, the Macintosh creates invisible directories called “Network Trash Folder” and “NetworkInfoSettings.” If you use file sharing to share one of your

153 Avid project folders, and then open that project in your Avid application, the invisible directories appear as folders in the Select User and Project dialog box and in the Project window. You should not use these folders to store any Avid files since you will be unable to access them from the Macintosh Finder. Do not rename the folders or place Avid bins inside them. ✘ Projects might not close correctly if a bin has been opened over the network and a network error occurs.

If you open a bin on another system and modify its contents, and then a network error occurs where you can no longer access that bin file on the networked system, the application might not exit because it cannot save the bin. You might have to force quit to exit the program.

154 Technical Support Information

For Broadcast Sites

Avid Customer Support has a variety of technical support options available. Avid Assurance includes annual telephone support, maintenance releases, and advanced hardware exchange (7x24 option available). In North America, Assurance customers with broadcast products may contact our Broadcast Customer Support Center at 800-NEWS-DNG (639-7364). To purchase Avid Assurance, to renew your contract, or for more information on Assurance offerings, in North America, contact your reseller or Avid Inside Sales at 800-949-AVID (2843). For international inquiries and support services, contact your local Avid reseller. Support offerings may vary per location. For the latest information, consult your reseller or www.avid.com.

As an Avid customer, you are entitled to access technical support information and product information, as well as the latest news from our Web-based Knowledge Center. Simply navigate to www.avid.com/support/index.html, click the Knowledge Center link, and log in.

If you need help locating the reseller or Avid office nearest you, please visit our Web site at www.avid.com/cgi/locator/index.html or call 800-949-AVID (2843).

For Postproduction Sites

Avid Customer Support has a variety of technical support options available. Avid Assurance includes annual telephone support, maintenance releases, and advanced hardware exchange (7x24 option available). Assurance customers in North America may contact our Customer Support Center at 800-800-AVID (2843). To purchase Avid Assurance, to renew your contract, or for more information on Assurance offerings, in North America, contact your reseller or Avid Inside Sales at 800-949-AVID (2843). For international inquiries and

155 support services, contact your local Avid reseller. Support offerings may vary per location. For the latest information, consult your reseller or www.avid.com.

In North America, Avid FlexSupport options are also available. Avid On-Call per-event support is available by calling 800-800-AVID (2843) or 900-555-AVID (2843) (United States only). Avid CallPaks (available in the United States and Canada) allow customers to bundle Avid On-Call per-event support in 5-call or 10-call packages for added value. To purchase Avid CallPaks in North America, please contact Avid Inside Sales at 800-949-AVID (2843).

As an Avid customer, you are entitled to access technical support information and product information, as well as the latest news from our Web-based Knowledge Center. Simply navigate to www.avid.com/support/index.html, click the Knowledge Center link, and log in.

If you need help locating the reseller or Avid office nearest you, please visit our Web site at www.avid.com/cgi/locator/index.html or call 800-949-AVID (2843).

156 Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,063,448; 5,077,604; 5,245,432; 5,267,351; 5,309,528; 5,325,200; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,701,404; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,731,819; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,781,188; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,883,670; 5,889,532; 5,892,507; 5,905,841; 5,912,675; 5,929,836; 5,929,942; 5,930,445; 5,930,797; 5,946,445; 5,966,134; 5,977,982; 5,986,584; 5,987,501; 5,995,079; 5,995,115; 5,999,190; 5,999,406; 6,009,507; 6,011,562; 6,014,150; 6,016,152; 6,016,380; 6,018,337; 6,023,531; 6,023,703; 6,031,529; 6,035,367; 6,038,573; 6,052,508; 6,058,236; 6,061,758; 6,072,796; 6,084,569; 6,091,422; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,128,681; 6,130,676; 6,134,379; 6,134,607; 6,137,919; 6,141,007; 6,141,691; 6,157,929; 6,161,115; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; 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. © 2001 Avid Technology, Inc. All rights reserved. Printed in USA. Attn. Government User(s). Restricted Rights Legend U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable. Trademarks AirPlay, AudioVision, Avid, Avid Xpress, CamCutter, Digidesign, FieldPak, Film Composer, HIIP, Image Independence, Marquee, Media Composer, Media Recorder, NewsCutter, OMF, OMF Interchange, Open Media Framework, Pro Tools, Softimage, and tools for storytellers are registered trademarks and 888 I/O, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AutoSync, AVIDdrive, AVIDdrive Towers, AvidNet, Avid Production Network, AvidProNet, AVIDstripe, Avid Unity, AVX, DAE, D-Fi, D-fx, D-Verb, ExpertRender, FilmScribe, HyperSPACE, HyperSPACE HDCAM, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, Matador, Maxim, MCXpress, MEDIArray, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, MediaShare, Meridien, NaturalMatch, OMM, Open Media Management, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Sound Designer II, SPACE, SPACEShift, Symphony, Vari-Fi, Video Slave Driver, and VideoSPACE are trademarks of Avid Technology, Inc.

Adaptec is a trademark of Adaptec, Inc., which may be registered in some jurisdictions. After Effects and Photoshop are either a registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Boris FX is a trademark of Artel Software Inc. Apple, AppleTalk, Disk First Aid, Finder, Mac, Macintosh, and Power Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. DiskWarrior is a registered trademark of Alsoft, Inc. DVDit! is a trademark of Sonic Solutions. FaderMaster Pro is a trademark of JL Cooper, a Division of Sound Technology. JNI is a trademark or registered trademark of JNI Corp. LPort422 is a trademark of TAO Media Systems. MacDrive 2000 is a trademark of Mediafour Corporation. Macrovision is a registered trademark of Macrovision Corporation. Media Cleaner is a registered trademark of Media 100, Inc. OMS is a registered trademark of Opcode Systems, Inc. Norton Utilities is a registered trademark of Symantec Corporation. NuVista+ is a registered trademark of Truevision, Inc. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. Sentinel is a registered trademark of Rainbow Technologies. V-LAN and

157 VLXi are registered trademarks of Videomedia, Inc. Windows NT is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. Yamaha is a registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners.

Avid Media Composer and Film Composer Release 10.1 Release Notes for the Macintosh Operating System • Part 0130-04534-02 Rev. A • February 2001 a

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