Avid® Media Composer® and Film Composer®
What’s New for Release 10.5 Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,063,448; 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; 6,154,221; 6,157,929; 6,160,548; 6,161,115; 6,167,404; 6,174,206; 6,192,388; 6,198,477; 6,208,357; 6,211,869; 6,212,197; 6,215,485; 6,223,211; 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. The following disclaimer is required by Apple Computer, Inc.
APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.
THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.
2 The following disclaimer is required by the Independent JPEG Group: Portions of this software are based on work of the Independent JPEG Group.
The following disclaimer is required by Paradigm Matrix: Portions of this software licensed from Paradigm Matrix.
The following disclaimer is required by Ray Sauers Associates, Inc.: “Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.
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“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”
The following notice is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code: ©1993–1998 Altura Software, Inc. The following notice is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection.
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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, and Softimage 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, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, 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, SPACEnet, SPACEShift, Symphony, Vari-Fi, Video Slave Driver, and VideoSPACE are trademarks of Avid Technology, Inc.
3 Aaton is a registered trademark of Aaton S.A. Adobe, After Effects, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. DVDit! is a trademark of Sonic Solutions. Editcam is a trademark of Ikegami Tsushinki, Co., Ltd. Macintosh is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. Sony is a registered trademark of Sony. V-LAN and VLXi are registered trademarks of Videomedia, Inc. Windows, Windows Media, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.
Footage Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands and Flowers — Courtesy of the National Park Service, Harpers Ferry, VA. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Renaissance Cruises Aegean I — Courtesy of Sondra Byington — Reel Art Productions, Irving, TX. Saturn “Calvin Egg” — Courtesy of Cossette Communications. Windhorse — Courtesy of Paul Wagner Productions.
Avid Media Composer and Film Composer What’s New for Release 10.5 • Part 0130-04899-01 Rev. A • July 2001
4 Contents
Using This Guide About This Guide...... 11 Symbols and Conventions ...... 12 If You Need Help ...... 13 How to Order Documentation ...... 14
Chapter 1 New Features for Release 10.5
Chapter 2 New User Interface Features A New Look for the Interface ...... 18 Appearance Tab in the Interface Dialog Box ...... 19 Interface Appearance Settings ...... 20 Changing Interface Component Colors...... 22 Changing Shading Depth...... 26 Changing Button Separation ...... 28 Changing Button Style ...... 30 Interface Appearance Templates ...... 31 Using the Timeline Top Toolbar ...... 32 Displaying Audio File Information ...... 32 Reimporting Zaxcom Diva or Aaton InDaw Audio ...... 33
Chapter 3 New Title Features Creating Rolling and Crawling Titles ...... 34 Page Count Limits for Rolling and Crawling Titles...... 36 Using Auto Size Mode for Rolling and Crawling Titles...... 37
5 Setting Text Formatting for Rolling and Crawling Titles . . . . . 37 Workflow Options for Creating Crawling Titles ...... 38 Typing the Rolling and Crawling Title Text ...... 39 Resizing the Width of Rolling and Crawling Titles...... 40 Scrolling Through a Rolling or Crawling Title...... 40 Going to a Page in a Rolling or Crawling Title ...... 41 Adding Pages in a Rolling or Crawling Title ...... 41 Copying or Moving Objects to Pages in a Rolling or Crawling Title...... 42 Inserting Blank Pages in a Rolling or Crawling Title ...... 43 Deleting Pages in a Rolling or Crawling Title ...... 43 Formatting Rolling and Crawling Titles ...... 44 Playback Capabilities of Title Effects ...... 44 Playback Capabilities for Titles with Two Video Streams ...... 45 Setting Marks in Rolling Titles ...... 47
Chapter 4 New Effects Features Fit to Fill Button ...... 48 Processing by Frame or Field When Using Scratch Removal . . . . . 49 Understanding Frame Processing ...... 50 Understanding Field Processing ...... 52 Image Stabilization AVX Plug-In (Windows Only) ...... 53 Image (Windows Only) ...... 53 Region Stabilize (Windows Only) ...... 53 Stabilizing an Image (Windows Only) ...... 53 Making Adjustments to the Region of Interest (Windows Only) ...... 56 Region Stabilize Parameters (Windows Only) ...... 57 Model (Windows Only) ...... 58 Region of Interest (Windows Only) ...... 59 Auto Zoom (Windows Only) ...... 60
6 Real-Time Moving Mattes ...... 60 Creating a Real-Time Moving Matte...... 61 Editing with Real-Time Moving Mattes...... 65 Considerations When Working with Real-Time Moving Mattes ...... 66 Incompatibility with Previous Releases ...... 66 Video Underrun and Real-Time Moving Mattes...... 66 Checking for Noise in Mattes ...... 67 Re-creating Media for Real-Time Moving Mattes ...... 68 Changes to the Effect Editor Interface ...... 72 Opening the Effect Editor ...... 72 Customizing the Effect Display ...... 73 Understanding the Effect Preview Monitor...... 74 Effect Preview Monitor Toolbar Buttons...... 74 Effect Editor Controls ...... 76
Chapter 5 New Input and Output Features Changes to Digitizing and Decompose Options ...... 79 Digitize Settings Dialog Box...... 80 Decompose Dialog Box ...... 82 Batch Digitize Dialog Box ...... 84 Selecting Media Creation Drives ...... 85 Batch Import Changes ...... 87 Batch Import Dialog Box ...... 87 Selected Clips Section...... 88 Import Target Section ...... 89 Import Options Section ...... 89 Starting the Reimport Process ...... 90 Exporting as an MPEG-1 or MPEG-2 File ...... 92 Exporting Video in DV Stream Format ...... 95 Audio Input and Output on Two-Channel Audio Systems...... 98 Adjusting Audio Input on Two-Channel Audio Systems . . . . 99 Adjusting Audio Output on Two-Channel Audio Systems . . 100
7 Appendix A New Features from Release 10.1 Keyboard Shortcut for Saving Titles (Macintosh Only) ...... 105 Change to Default Setting for Render Ranges ...... 105 Holding Slates On Screen in the Script Window...... 106 Importing Editcam Files ...... 106 Creating Files for a DVD ...... 109 Creating a DVD Volume ...... 110 Defining the Audio Transfer Rate (PAL Only)...... 111 New Name for Open Project Dialog Box...... 112 Review & Approval Service ...... 112 Reviewing and Approving Material ...... 113 Opening Review & Approval Files ...... 115 Displaying Locator Creation Information in the Locators Window ...... 116 Using Locator Colors with Review & Approval Files ...... 116 Internet Streaming Options ...... 117 Using AvidLinks...... 119 Preserving Information in the Vertical Blanking Interval ...... 120 Line Ranges ...... 120 Preserving Vertical Blanking Information ...... 121 Using a Partial Wipe Operation to Insert or Delete Vertical Blanking Information...... 122 Potential Problems with Preserving Vertical Blanking Information...... 124 Preserving Vertical Blanking Information Can Affect Compressed Video Quality ...... 125 Effects Can Modify the Vertical Blanking Information . . . . . 126 Cross-Format Conflicts with Respect to Black Levels ...... 126
8 Using a GPI Device with the Audio Punch-In Tool ...... 127 Understanding GPI Trigger Signals ...... 128 GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll ...... 128 GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll ...... 129 Example of Linking GPI Actions to Trigger Signals. . . . . 129 Connecting a V-LAN VLXi Controller and GPI ...... 130 Configuring a V-LAN VLXi Controller and GPI ...... 131 Creating a GPI Setting ...... 132 Editing an Existing GPI Setting ...... 134 Deleting a GPI Setting ...... 135 Sharing Bins and Projects on Avid Unity MediaNet...... 135 About Avid Unity MediaNet ...... 135 Mapping Workspaces on the Avid Unity Network ...... 136 Sharing Methods ...... 136 Shared Bins ...... 136 Shared Bins and Projects ...... 137 Opening a Shared Project ...... 138 Working with Locks ...... 140 Default Locking Mechanism ...... 140 Overriding the Default Locking Mechanism...... 141 Restrictions and Limitations for Locked Bins ...... 142 Screen Resolutions for Imported Graphics and Sequences...... 143
Index
9 Tables Table 1-1 New Features for Release 10.5 ...... 15 Table 2-1 Interface Settings Options (Appearance Tab) ...... 21 Table 2-2 Customizable Interface Components ...... 22 Table 2-3 Tape and Clip Name Information ...... 33 Table 3-1 Maximum Pages and Object Height for Titles...... 36 Table 3-2 DSK and Non-DSK Title Playback Capabilities . . . . . 45 Table 3-3 Title Effect Playback Capabilities...... 46 Table 4-1 Effect Preview Monitor Toolbar Buttons ...... 75 Table 4-2 Effect Editor Controls ...... 77 Table 5-1 Export Settings Dialog Box (DV Stream Options) ...... 97 Table A-1 New Features in Release 10.1 ...... 103 Table A-2 Internet Streaming Options ...... 117 Table A-3 Avid Applications for AvidLinks Export ...... 119 Table A-4 GPI Settings Options ...... 132 Table A-5 GPI Node Settings Options...... 133 Table A-6 Graphic Import Frame Sizes: Interlaced ...... 143
10 Using This Guide
This document describes the new features for Avid® Media Composer® and Film Composer® Release 10.5.
About This Guide
The Contents lists all topics included in the book. They are presented with the following overall structure: • Chapter 1, “New Features for Release 10.5,” lists all the Avid Media Composer and Film Composer Release 10.5 new features in table form. • Chapters 2 through 5 describe the Release 10.5 new features in detail. • Appendix A lists all of the Release 10.1 new features in table form, followed by detailed explanations of the new features. • Finally, a detailed Index helps you quickly locate specific topics. n For more information about Avid Media Composer and Film Composer, see the Avid Media Composer and Film Composer Release 10.5 Release Notes and the Avid Media Composer and Film Composer Help.
11 n The documentation describes the features and hardware of all models. Therefore, your Avid system might not contain certain features and hardware that are covered in the documentation.
Symbols and Conventions
Unless noted otherwise, the material in this document applies to the Windows® 2000 and Macintosh® operating systems. When the text applies to a specific operating system, it is marked as follows: • (Windows) or (Windows only) means the information applies to the Windows 2000 operating system. • (Macintosh) or (Macintosh only) means the information applies to the Macintosh operating system.
The majority of screen shots in this document were captured on a Windows 2000 system, but the information applies to both Windows 2000 and Macintosh systems. Where differences exist, both Windows 2000 and Macintosh screen shots are shown.
The Media Composer and Film Composer documentation uses the following special symbols and conventions: 1. Numbered lists, when the order of the items is important. a. Alphabetical lists, when the order of secondary items is important. • Bulleted lists, when the order of the items is unimportant. - Indented dashed lists, when the order of secondary items is unimportant. t One arrow 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 Command key. Press and hold the Command key and another key to perform a keyboard shortcut.
12 Look here in the margin In the margin, you will find tips that help you perform tasks more for tips. easily and efficiently. n A note provides important related information, reminders, recommendations, and strong suggestions.
c A caution means that a specific action you take could cause harm to your computer or cause you to lose data.
w A warning describes an action that could cause you physical harm. Follow the guidelines in this guide or on the unit itself when handling electrical equipment.
If You Need Help
If you are having trouble using Media Composer or Film Composer, you should: 1. Retry the action, carefully following the instructions given for that task in this guide. 2. Check the documentation that came with your hardware for maintenance or hardware-related issues. 3. Check the release notes supplied with your Avid application for information on accessing the Avid Web site and the Avid Knowledge Center. 4. For support services, call Avid Customer Support: -Broadcast products — call 800-NEWS-DNG (639-7364). -Postproduction products — call 800-800-AVID (2843).
13 How to Order Documentation
To order additional copies of this documentation from within the United States, call Avid Telesales at 800-949-AVID (2843). If you are placing an order from outside the United States, contact your local Avid representative.
14 CHAPTER 1 New Features for Release 10.5
Table 1-1 lists all the new features that were added for Release 10.5.
Table 1-1 New Features for Release 10.5
Feature Description For More Information
Windows 2000 support For PC platforms, this release runs only on the See the Avid (Windows only) Windows 2000 operating system. Media Composer and Film Composer Release 10.5 Release Notes.
Interface changes The interface has rounded buttons. See “A New Look for the Interface” on page 18.
Appearance tab in the Appearance Interface settings give you controls See “Appearance Tab in Interface dialog box for customizing the colors and button style of the the Interface Dialog Avid system user interface. Box” on page 19.
Timeline top toolbar You can display an additional toolbar in the See “Using the Timeline Timeline. Top Toolbar” on page 32.
15 Table 1-1 New Features for Release 10.5 (Continued)
Feature Description For More Information
Displaying audio file When you transfer audio with a Zaxcom Diva or See “Displaying Audio information in a bin an Aaton® InDaw recorder, you can log File Information” on information about the audio, such as: page 32. • Shoot date • Timecode • Scene • Take information • Production notes You can display this information in bins.
Reimporting Zaxcom If you use audio transferred with a Zaxcom Diva See “Reimporting Diva or Aaton InDaw or Aaton InDaw Audio recorder and later delete Zaxcom Diva or Aaton audio the media, you can batch import it. You can batch InDaw Audio” on digitize the deleted media if you have a source page 33. tape.
Crawling titles This release supports crawling titles. See “Creating Rolling and Crawling Titles” on page 34.
Fit to Fill button The duration of the motion effect matches the IN See “Fit to Fill Button” to OUT duration marked in the Record monitor. on page 48.
Processing by frame or When you use Scratch Removal with two-field See “Processing by field when using Scratch media, your Avid system can now use either Frame or Field When Removal frame or field processing to determine the source Using Scratch of the replacement material that covers the flaw. Removal” on page 49.
Image stabilization The Region Stabilize effect eliminates unwanted See “Image AVX ™ plug-in motion in a video clip, such as motion from an Stabilization AVX (Windows only) unstable camera. Plug-In (Windows Only)” on page 53.
Real-time moving You can use the Matte Key effect to create See “Real-Time Moving mattes real-time moving mattes, using either two or Mattes” on page 60. three tracks of video.
16 Table 1-1 New Features for Release 10.5 (Continued)
Feature Description For More Information
Changes to the Effect Some buttons formerly displayed in the Effect See “Changes to the Editor interface Editor are now in the Effect Preview Monitor Effect Editor Interface” toolbar. on page 72.
Digitizing, batch There are new and modified options for See “Changes to digitizing, and digitizing, batch digitizing, and decompose. Digitizing and decompose Decompose Options” improvements on page 79.
New options for media The Media Creation dialog box has two new tabs, See “Selecting Media creation filtering and Drive Filtering and Motion Effects. Creation Drives” on resolutions page 85.
Batch importing The Batch Import dialog box allows you to select See “Batch Import a source file for each master clip that you selected Changes” on page 87. in a bin. Your Avid system finds the source file automatically if the source file is located in the same folder where you last imported the file.
Exporting MPEG-1 and You can export a sequence in MPEG-1 or See “Exporting as an MPEG-2 files MPEG-2 format. MPEG-1 or MPEG-2 File” on page 92.
DV Stream format You use this feature when exporting video that See “Exporting Video in will be combined or processed with other DV Stream Format” on DV-formatted media. page 95.
Audio adjustment on You use this feature to adjust audio if your Avid See “Audio Input and two-channel Audio system has the two-channel audio option. Output on Systems Two-Channel Audio Systems” on page 98.
17 CHAPTER 2 New User Interface Features
The following sections describe new user interface features: • A New Look for the Interface • Appearance Tab in the Interface Dialog Box • Using the Timeline Top Toolbar • Displaying Audio File Information • Reimporting Zaxcom Diva or Aaton InDaw Audio
A New Look for the Interface
This release introduces a new look for the Avid Media Composer and Film Composer interface. Buttons and dialog box elements have a new, rounded look. For the most part, the functions of buttons and dialog boxes have not changed. We are not updating the hardcopy or PDF versions of the documentation for this release, so you will continue to see the old-style buttons in the manuals.
18 Appearance Tab in the Interface Dialog Box
Interface Appearance settings give you controls for customizing the colors and appearance of the Avid system user interface. The following sections discuss the controls: • Interface Appearance Settings - Changing Interface Component Colors - Changing Shading Depth - Changing Button Separation - Changing Button Style • Interface Appearance Templates
19 Interface Appearance Settings
The following illustration shows the new Appearance tab of the Interface dialog box.
Table 2-1 describes the options in the Appearance tab of the Interface dialog box.
20 Table 2-1 Interface Settings Options (Appearance Tab)
Option Selection Description
Color Background Controls the color of the given interface component. See “Changing Interface Button Component Colors” on page 22. Button Contents Button Highlight Button Spotlight Text Timeline Background Timeline V Tracks Timeline A Tracks Timeline TC Tracks Project Background Bin Default Background
Shading Depth 5% – 50%, in 5% Controls the three-dimensional increments “rounding” of buttons and toolbars. See “Changing Shading Depth” on page 26.
Monitor Button Separation Maximum Controls the spacing of the Monitor buttons. See “Changing Button Moderate Separation” on page 28. None
Timeline Button Separation Maximum Controls the spacing of the Timeline buttons. See “Changing Button Moderate Separation” on page 28. None
21 Table 2-1 Interface Settings Options (Appearance Tab) (Continued)
Option Selection Description
Button Style Oval Controls the shape of the buttons. See “Changing Button Style” on page 30. Octagonal Rounded Square Swoosh Antique
n The Settings scroll list has several Interface templates with predefined color schemes.
Changing Interface Component Colors
You can use a color selection grid to change the color of interface components. Table 2-2 describes the interface components that you can customize.
Table 2-2 Customizable Interface Components
Component Description
Background The color of windows and dialog boxes behind the text. The default is gray. n If you select a background color but no button color, buttons take on the background color.
Button The color of a button behind the button contents when the button is deselected. The default is gray.
22 Table 2-2 Customizable Interface Components (Continued)
Component Description
Button Contents The color of text or symbols, such as icons or check marks, in the buttons. The default is black.
Button Highlight The color of selected buttons, which is different from that of deselected buttons.
Button Spotlight The background color of a button when you move the mouse pointer over it.
Text The color of text in dialog boxes, toolbars, and ToolTips. The default is black.
Timeline Background The color of the background behind the Timeline tracks.
Timeline V Tracks The background color for the V (video), A (audio), or TC (timecode) tracks in the Timeline. The default is gray. Timeline A Tracks Timeline TC Tracks n This setting takes precedence over the Fast Menu track color.
Project Background The background color of the Project window.
Bin Default Background The color of a bin behind the bin contents. New bins first appear with the selected color as the background color. Imported bins and bins opened from other projects appear with the gray default.You can override the default background color by choosing Set Bin Background from the Edit menu.
To set the color of an interface component: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Interface. The Interface dialog box appears.
23 Check box
Color boxes Interface component list
3. Click the Appearance tab. 4. Click in the color box next to the interface component you want to customize. A color selection grid appears.
24 Color selection grid
5. Move the mouse pointer over the color selection grid and release the mouse over the color to which you want to set your interface component. The color selection grid disappears. The color you selected appears in the color box. A check appears in the check box to show that you want your new color attribute for this selection to take effect. n If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value.
25 6. Do one of the following: t Click Apply to apply the change you selected. n If you click Cancel after you click Apply, interface components retain the selection you applied.
t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The changes you selected but did not apply do not take effect.
Changing Shading Depth
Shading depth controls the three-dimensional “rounding” of the buttons and toolbars.
To set the shading depth: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Interface. The Interface dialog box appears. 3. Click the Appearance tab. 4. Click the Shading Depth button. The Shading Depth pop-up menu appears.
26 5. Choose a depth. 6. Do one of the following: t Click Apply to apply the change you selected. n If you click Cancel after you click Apply, Shading Depth retains the selection you applied.
t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect.
27 The following examples show Shading Depth selections of 5% and 50%.
Shading depth 5% Shading depth 50%
Changing Button Separation
Button separation controls the spacing between the Monitor buttons and between the Timeline buttons.
To change the separation of Monitor or Timeline buttons: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Interface. The Interface dialog box appears. 3. Click the Appearance tab. 4. Click the Monitor Button Separation button or the Timeline Button Separation button. The Button Separation pop-up menu appears.
28 5. Choose a separation setting. 6. Do one of the following: t Click Apply to apply the change you selected. n If you click Cancel after you click Apply, Button Separation retains the selection you applied.
t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect.
The following examples show several Timeline buttons with each button separation selection applied.
Maximum button separation
Moderate button separation
No button separation
29 Changing Button Style
Button style controls the shape of buttons in the interface.
To change the style of buttons: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Interface. The Interface dialog box appears. 3. Click the Appearance tab. 4. Click the Button Style button. The Button Style pop-up menu appears. 5. Choose a button style. 6. Do one of the following: t Click Apply to apply the change you selected. n If you click Cancel after you click Apply, Button Style retains the selection you applied.
t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect.
30 The following examples show several buttons with each button style applied.
Oval Square
Octagonal Swoosh
Rounded Antique
Interface Appearance Templates
Avid Media Composer and Film Composer provide you with several interface appearance templates that have preset background and button colors.
To use an interface appearance template: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click to the left of one of the named Interface settings. The look of your Avid system interface changes.
To return to the default interface: t Click the unnamed Interface setting. n For information on how to change the appearance of particular components of your Avid system interface, see “Appearance Tab in the Interface Dialog Box” on page 19.
31 Using the Timeline Top Toolbar
Your Avid system provides you with a top toolbar in the Timeline.
You can use the top toolbar for editing; you can also map additional buttons to it. For information about mapping buttons, see “Mapping User-Selectable Buttons” in the ”Using Basic Tools” chapter of the editing guide for your Avid system.
You can choose to show or hide the Timeline top toolbar.
To show the Timeline top toolbar: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Timeline. The Timeline Settings dialog box appears. 3. Click the Display tab. 4. Select Show Toolbar, and then click OK.
To hide the Timeline top toolbar: t Deselect Show Toolbar, and then click OK.
Displaying Audio File Information
When you transfer audio with a Zaxcom Diva or an Aaton InDaw recorder, you can log information about the audio, such as: • Shoot date • Timecode
32 • Scene • Take information • Production notes
After you import the audio file to an Avid system, you can display this information in the bins. Table 2-3 shows the names of tapes and clips.
Table 2-3 Tape and Clip Name Information
Item Name
Tape ID file name
Tape name (Aaton InDaw) Assigned by field recorder, or date:tapeID
Tape name (Zaxcom Diva) date:tape ID
Clip name scene info/take info
Reimporting Zaxcom Diva or Aaton InDaw Audio
If you use audio transferred with a Zaxcom Diva or an Aaton InDaw recorder and later delete the media, you can reimport the media using batch import. For more information, see “Reimporting Files” in the “Importing Files” chapter of the input and output guide for your Avid system.
You can also batch digitize the deleted media if you have a source tape. Aaton InDaw can have a tape name and a source tape associated with it. For more information on batch digitizing, see “Batch Digitizing from Logged Clips” in the “Digitizing” chapter of the input and output guide for your Avid system.
33 CHAPTER 3 New Title Features
Avid Media Composer and Film Composer Release 10.5 has one new title feature: crawling titles. See “Creating Rolling and Crawling Titles” on page 34.
Creating Rolling and Crawling Titles
You can create title text or graphics that roll up the screen or crawl across the screen. You create the title in the Title tool and refine the motion during editing. n Crawling titles are non-real-time effects. You can step through the effect in a Source monitor, the Composer monitor, or the Effect Preview monitor, but you must render the effect to play it.
34 Rolling titles scroll vertically, moving from top to bottom or from bottom to top, as shown in the following example.
Rolling titles scroll from bottom to top by default.
Crawling titles scroll horizontally, moving from left to right or from right to left, as shown in the following example.
Crawling titles scroll from left to right by default.
n You cannot save a rolling or crawling title with a color background even though you can set the Title tool to display a color background while you create a rolling or crawling title. To place a rolling or crawling title over a
35 color background, you must export the background as a PICT file, reimport it (with Ignore Existing Alpha selected in the Import dialog box), edit it into your sequence, and then edit the rolling or crawling title onto a new layer above the background graphic.
Page Count Limits for Rolling and Crawling Titles
Rolling and crawling titles form pages in the Title tool that are similar to the pages you create with a word processor. A page in a rolling or crawling title is a unit the size of a PAL or NTSC frame.
Table 3-1 shows the maximum number of pages you can create for rolling or crawling titles and the height of the title object.
Table 3-1 Maximum Pages and Object Height for Titles
Object Type Maximum Pages Height
Graphics 17 pages NTSC 8 K pixels 14 pages PAL (NTSC and PAL)
Text 67 pages NTSC 32 K pixels 57 pages PAL (NTSC and PAL)
Page limitations are based on the overall size of the text object. Typing more text, increasing the size of the font, or adjusting kerning and leading affect the number of pages in the object. • If you reach the end of the page limit while you are typing text, the object stops getting bigger and text entry stops. • If you attempt to make changes to the text formatting that cause the text to exceed the page limit, a message box appears, stating that the operation will exceed the limit. Click OK to abort the operation and keep the title within the limit.
36 Using Auto Size Mode for Rolling and Crawling Titles
Auto Size mode causes the Title tool to add or remove pages automatically as you add, delete, or reformat the text. Auto Size mode is active by default in Rolling and Crawling Title mode.
You can turn off Auto Size mode if you want to add extra pages before or after the text (for example, to make room for additional title elements). For more information on adding extra pages with Auto Size mode turned off, see “Adding Pages in a Rolling or Crawling Title” on page 41.
To switch Auto Size mode off or on: t Choose Auto Size Mode from the Object menu. A check mark indicates that Auto Size mode is on. Deselect Auto Size Mode to turn it off.
Setting Text Formatting for Rolling and Crawling Titles
Before creating a rolling or crawling title, set the text formatting defaults for attributes such as font, point size, leading, and kerning.
When you type the text for a rolling or crawling title, lines of text wrap within the safe title area, and the title scrolls down as you type, providing you with a sense of positioning, word wrap, and page count limitations. n To set the defaults, see “Setting the Default Text Attributes” in the “Creating Titles and Graphic Objects” chapter of the effects guide for your Avid system.
37 Workflow Options for Creating Crawling Titles
Unlike rolling titles, which scroll in the direction of the roll as you type the text, crawling titles do not scroll horizontally in the direction of the crawl during typing. When you create crawling text, consider the following workflow options: • Begin typing with a small font size, such as 12 point, to view as much of the text in the window as possible before changing the font size and resizing the text box in a horizontal direction. n To set the font size and point size attributes, see “Setting the Default Text Attributes” in the “Creating Titles and Graphic Objects” chapter of the effects guide for your Avid system.
• Type the text first as a rolling title. This allows you to view the text as it scrolls down during typing, and also provides you with a scroll bar on the right side of the screen for moving quickly through the text. You can then click the Crawl button in the toolbar to convert the text to a crawling title before resizing, reformatting, and saving the title. • Several options give you control over text and other objects in the Title tool. You can create objects and move or copy them to specific pages, insert pages, and delete pages. See “Copying or Moving Objects to Pages in a Rolling or Crawling Title” on page 42, “Inserting Blank Pages in a Rolling or Crawling Title” on page 43, and “Deleting Pages in a Rolling or Crawling Title” on page 43.
38 Typing the Rolling and Crawling Title Text
To type rolling or crawling title text: 1. Do one of the following: t Choose New Title from the Clip menu. t Choose Title Tool from the Tools menu. The Title tool opens. 2. Click the Text tool in the toolbar. 3. Do one of the following: t Click the Rolling Title button to enter Rolling Title mode. t Click the Crawling Title button to enter Crawling Title mode.
Crawling Title button Rolling Title button Page Number text box
The button changes to green, and a Page Number text box appears in the lower right corner of the Title tool. n You cannot create rolling and crawling titles over a color background, although you can preview them with a color background. For rolling and crawling titles, the Background Selection tools are set to Video Background and the Video Background button changes to green.
4. Type the title text. The text wraps automatically as you type. 5. When you are finished, click the Selection tool in the toolbar to select the new text object.
39 Resizing the Width of Rolling and Crawling Titles
n You must resize a crawling title before you save it. To resize a rolling or crawling title: 1. Click the title object with the Selection tool. 2. Click the object selection handle, and drag to resize the title until it appears as you want. 3. (Option) To resize crawling titles, you can choose Make Crawl from the Object menu instead of dragging the title to resize it. n You can resize only the width of a text object. The height of a text object is automatically determined by the amount of text.
Scrolling Through a Rolling or Crawling Title
When you create a rolling or crawling title, a scroll bar appears along the right side of the Title tool video background for moving vertically through the rolling title, and at the bottom for moving horizontally through a crawling title.
To scroll through a rolling or crawling title, do one of the following: t Use standard techniques for scrolling, such as clicking the arrow icons, dragging the scroll box, or clicking in the scroll bar. t Press the Home or the End key to go to the beginning or end of the title. t (Rolling titles only) Press the Page Up or the Page Down key on the keyboard to move through a rolling title one page at a time. t (Rolling titles only) Press the Up Arrow or the Down Arrow key to move the pointer through a rolling title one line at a time.
40 Going to a Page in a Rolling or Crawling Title
When you first create a rolling or crawling title, a Page Number text box appears in the lower right corner of the Title tool. The Page Number text box reflects your current position in the title.
Page Number text box
To go to a different page: 1. Click the Page Number text box. 2. Type a page number for a specific page, or use the Up Arrow and Down Arrow keys to cycle through the page numbers. 3. Press Enter (Windows) or Return (Macintosh). The selected page appears.
Adding Pages in a Rolling or Crawling Title
You can add pages to a rolling or crawling title to create space for new elements.
To add pages: 1. If Auto Size mode is on (a check mark appears next to Auto Size Mode on the Object menu), turn it off by choosing it from the Object menu. n The Add Page command is not available when Auto Size mode is on.
41 2. Choose Add Page from the Object menu to add a page. Pages are added to the end of the title. You can choose Add Page repeatedly to continue adding pages up to the maximum page count. n For more information on maximum page counts, see “Page Count Limits for Rolling and Crawling Titles” on page 36.
3. Select text or graphic objects in the title and position them within the range of available pages, or create new elements.
Copying or Moving Objects to Pages in a Rolling or Crawling Title
To copy or move an object to a title page: 1. Create a text block or any other title object. 2. Select the object, and choose Copy to Page or Move to Page from the Object menu. The Copy to Page or Move to Page dialog box appears. 3. Type a page number, and then click OK. The object is copied or moved, and the Title tool automatically adds pages if necessary.
42 Inserting Blank Pages in a Rolling or Crawling Title
To insert a blank page into a rolling or crawling title: 1. Choose Insert Page from the Object menu. The Insert Page dialog box appears. 2. Type a page number, and then click OK. A blank page is inserted and all objects after that page are moved by one page. n A page is inserted only if the left boundary of an object appears on the page whose number you typed. For example, you cannot insert a page in the middle of a long crawling title. n You cannot use the Insert Page command to add a blank page to the end of a roll or crawl.
Deleting Pages in a Rolling or Crawling Title
To delete empty pages from a rolling or crawling title: 1. Choose Remove Page from the Object menu. The Remove Page dialog box appears. 2. Type the page number of the page you want to remove, and then click OK. If the page is empty, the page is removed and all pages after the removed page are moved by one page. n If you choose Auto Size Mode from the Object menu, the Avid system removes excess pages at the end of the title.
43 Formatting Rolling and Crawling Titles
You can modify the text attributes of a rolling or crawling title with the same methods used to format still text elements: • To adjust font, point size, style, justification, kerning, and leading, see “Formatting the Text” in the “Creating Titles and Graphic Objects” chapter of the effects guide for your Avid system. • To create outlines surrounding the text, see “Selecting a Line or Border Width” in the “Creating Titles and Graphic Objects” chapter of the effects guide for your Avid system. • To adjust color and transparency, see “Selecting Colors and Setting Transparency” in the “Creating Titles and Graphic Objects” chapter of the effects guide for your Avid system. • To add a drop or depth shadow, see “Working with Shadows” in the “Creating Titles and Graphic Objects” chapter of the effects guide for your Avid system. n Crawling titles are software effects and are not created with downstream keying. Crawling titles must be rendered.
Playback Capabilities of Title Effects
DSK and non-DSK Title effects behave differently in terms of real-time playback during editing and adjustment of effect parameters. Table 3-2 lists the playback capabilities in various circumstances. n Playback that is usually possible in real time as described in Table 3-2 might not be possible for combinations of unusually complex background footage and title materials.
44 Table 3-2 DSK and Non-DSK Title Playback Capabilities
Operation DSK Title Playback Non-DSK Title Playback
Adjust foreground level Real-time Real-time
Adjust scale parameters Not available Real-time
Adjust position (vertical, horizontal) Not available Real-time
Adjust scroll position Real-time Not available (rolling titles only)
Adjust scroll position Not available Non-real-time (crawling titles only)
Adjust cropping Not available Real-time
Replace the filler track with video Not available Real-time
Apply to a layer above a non-DSK title Real-time Non-real-time
Apply to a layer below a DSK title Non-real-time Real-time
Key over extremely complex images Real-time Non-real-time
Title effects behave differently in terms of DSK capabilities and real-time playback during editing and adjustment of effect parameters. Title playback capability also depends on the number of video streams available. If your Avid system includes the single-stream uncompressed video option, playback capability with titles is limited when you are working with uncompressed video.
Playback Capabilities for Titles with Two Video Streams
Table 3-3 lists the playback capabilities in various circumstances when you are working with two video streams (using compressed resolutions or the two-stream uncompressed video option).
45 n Playback that is usually possible in real time as described in Table 3-3 might not be possible for combinations of unusually complex background footage and title materials.
Table 3-3 Title Effect Playback Capabilities
Non-DSK Titles on Non-DSK Titles on Avid Systems with Avid Systems DSK Titles on All the 3D Effects Without the 3D Operation Avid Systems Option Effects Option
Adjust foreground level Real-time Real-time Non-real-time
Adjust scale parameters Not available Real-time Non-real-time
Adjust position Not available Real-time Non-real-time (vertical, horizontal)
Adjust scroll position Real-time Not available Not available (rolling titles only)
Adjust scroll position Not available Non-real-time Non-real-time (crawling titles only)
Adjust cropping Not available Real-time Non-real-time
Replace the filler track with Not available Real-time Real-time video
Apply to a layer above a Real-time Real-time Non-real-time non-DSK title
Apply to a layer below a Non-real-time Real-time Real-time DSK title
Key over extremely Real-time Real-time Real-time complex images
46 Setting Marks in Rolling Titles
By default, a rolling or crawling title clip begins with the visible title just off screen. The clip ends after the last element disappears off screen.
You can mark IN and OUT points of rolling titles in the Source monitor to change the start and finish points; for example, you might want the title to start with the screen full of text rather than start off screen.
You can play and mark a rolling title clip in the Source monitor by using standard procedures. For more information, see the editing guide for your Avid system. n You can view a crawling title frame by frame if you choose Render On-the-Fly from the Special menu.
If you want to use the complete roll in the sequence, do not set marks. For information about adjusting the duration of the roll, see “Trimming the Duration of Rolling Titles” in the “Creating Titles and Graphic Objects” chapter of the effects guide for your Avid system.
47 CHAPTER 4 New Effects Features
The following sections describe new effects-related features: • Fit to Fill Button • Processing by Frame or Field When Using Scratch Removal • Image Stabilization AVX Plug-In (Windows Only) • Real-Time Moving Mattes • Re-creating Media for Real-Time Moving Mattes • Changes to the Effect Editor Interface
Fit to Fill Button
The Fit to Fill button is a new button on the Edit tab of the Command palette. This button performs an overwrite edit and uses a motion effect to fill the marked record duration. When you click the Fit to Fill button, the Avid system automatically selects variable-speed parameters so that the duration of the motion effect matches the IN to OUT duration marked in the Record monitor. The Avid system then overwrites the motion effect into the sequence.
The motion effect you create with the Fit to Fill button uses the parameters you set in the Render Settings and Media Creation dialog
48 boxes. If the Render preference is set to “Original Preference,” the new motion effect is rendered with duplicated fields. n To create an unrendered motion effect, press the Alt key (Windows) or the Option key (Macintosh) when you click the Fit to Fill button.
For more information on motion effects, see “Creating Motion Effects” in the “Basics of Effects Editing” chapter of the effects guide for your Avid system.
Processing by Frame or Field When Using Scratch Removal
When you use Scratch Removal with two-field media, your Avid system can now use either frame or field processing to determine the source of the replacement material that covers the flaw. Frame processing copies replacement material from both fields of a chosen frame to one or more flawed frames. Field processing copies replacement material from one field only to a series of subsequent fields.
To select frame or field processing when using Scratch Removal: 1. Move the position indicator to the effect’s icon in the Timeline. 2. Click the Effect Mode button in the Tool palette. The Effect Editor opens. 3. In the Effect Editor, click the Frame Processing button in the Mode parameter category of the Paint Effect or the Scratch parameter category of the Scratch Removal effect. If the Frame Processing button is selected (pink), the Avid system uses frame processing. The Frame/Field parameter slider is labeled Frame and is calibrated in one-frame increments from –5 to +5. For more information on frame processing, see “Understanding Frame Processing” on page 50.
49 Frame/Field parameter slider
Frame Processing button
If the Frame Processing button is deselected (gray), the Avid system uses field processing. The Frame/Field parameter slider is labeled Field and is calibrated in one-field increments from –10 to +10. For more information on field processing, see “Understanding Field Processing” on page 52.
Frame/Field parameter slider
Frame Processing button
n When you are working with single-field material, the Frame Processing button does not appear in the Effect Editor.
For complete information on working with the Scratch Removal effect, see “Scratch Removal” in the “Intraframe Editing” chapter of the effects guide for your Avid system.
Understanding Frame Processing
When the Avid system is using frame processing, replacement material is copied from both fields of the clean frame to the corresponding fields in the flawed frame. The Avid system copies replacement material from Field 1 of the clean frame to Field 1 of the flawed frame and from Field 2 of the clean frame to Field 2 of the flawed frame.
50 The following illustration shows the frame-processing method for a typical two-frame correction created by clicking the Scratch Removal button. The correction uses default parameter settings (Frame: 0; Offset: From Start) that result in material being copied from the first (clean) frame to the second (flawed) frame.
Clean Frame Flawed Frame
Field 1 Field 2 Field 1 Field 2
Arrows indicate how the Avid system copies material from each field of the clean frame to the corresponding field in the flawed frame.
Frame processing is the default processing method. It preserves full video resolution and provides the smoothest correction in most circumstances, particularly when the flaw you are correcting extends over both fields of a frame. Most flaws that originate in film source material, for example a scratch on a single frame of the film, extend across both fields of the video frame.
51 Understanding Field Processing
When the Avid system is using field processing, replacement material is copied from only one field.
The following illustration shows the field-processing method for a typical two-frame correction created by clicking the Scratch Removal button. The correction uses default parameter settings (Frame: 0; Offset: From Start) that result in material being copied from the first field of the effect segment to all of the subsequent fields.
Frame 1 Frame 2
Field 1 Field 2 Field 1 Field 2
Arrows indicate how the Avid system copies material from the first field of the effect segment to all of the subsequent fields.
Field processing results in a better-looking correction under certain circumstances because it allows you to select your replacement material with field accuracy. For example, in the previous illustration, changing the Field parameter value to +1 causes the Avid system to copy material from Field 2 of Frame 1 to both of the fields in Frame 2. A field-based correction might be a good solution when you want to correct a flaw such as video dropout, which does not necessarily occur on both fields of one or more frames. However, field processing always results in at least one instance where material from an odd field is copied to an even field, or vice versa. Depending on the nature of your video material, this might result in a slight jitter on playback.
52 Image Stabilization AVX Plug-In (Windows Only)
Release 10.5 introduces the Region Stabilize effect. This effect ships with Avid Media Composer and Film Composer as an AVX plug-in. The installation software automatically installs the plug-in and it appears in the Effect Palette under the Image category.
Image (Windows Only)
The Region Stabilize effect, in the Image category, defines and tracks an area of an image to eliminate unwanted motion in a clip, such as motion from an unstable camera. For more information, see “Stabilizing an Image (Windows Only)” on page 53 and “Region Stabilize Parameters (Windows Only)” on page 57.
Region Stabilize (Windows Only)
Effect Category Image (Windows Only)
Apply to Single-layer segments
Parameters Region Stabilize Parameters (Windows Only) – Model, Region of Interest, Auto Zoom
Description Used to eliminate unwanted motion in a video clip.
Stabilizing an Image (Windows Only)
The Region Stabilize effect eliminates unwanted motion in a video clip, such as motion from an unstable camera. Region Stabilize allows you to select an area of the image that you want to remain stationary and then uses the information to reposition each frame in the clip to keep the region steady.
53 Stabilization exposes black around the edges of the repositioned frames. You can resize (and, if necessary, reposition) the rendered clip to remove the exposed edges. Auto Zoom, in the Options parameter category, does this automatically.
The following illustration shows the Region Stabilize parameters.
To stabilize a segment: 1. Choose Effect Palette from the Tools menu. 2. Click the Stabilize category. 3. Drag the Region Stabilize Effect icon to the segment you want to stabilize. 4. Click the Effect Mode button in the Tool palette. A wire frame appears in the Effect Preview monitor to indicate the region of interest. This is the area you want to use in stabilizing the image.
54 5. Reposition and resize the wire frame by doing one of the following: t Use the sliders in the Region of Interest parameter category. t Click the wire frame and drag it in the Effect Preview monitor. Select a region that contains one or more features that do not change much from frame to frame, for example, objects such as buildings or rocks. Another approach is to shoot the scene with stabilization in mind: include an object, such as a reflective sticker, that you intend to use as your region of interest. 6. Choose the type of stabilization from the Model pop-up menu: - Translational keeps the region of interest steady along both the horizontal and the vertical axes. - Horizontal constrains horizontal motion in the region of interest. Features in the region of interest can move vertically but not horizontally.
55 - Vertical constrains vertical motion in the region of interest. Features in the region of interest can move horizontally but not vertically. 7. (Option) Turn on Auto Zoom: a. Open the Options parameter category. b. Select Auto Zoom. Stabilization exposes black around the edges of the repositioned frames. Auto Zoom compensates by resizing and, if necessary, repositioning the clip to remove the exposed edges. 8. Render and review the effect. If the rendered clip does not perform as expected, see “Making Adjustments to the Region of Interest (Windows Only)” on page 56. 9. (Option) Add keyframes to further refine the motion of the stabilized clip. 10. Continue to review and refine the effect until you achieve the results you want. 11. (Option) Resize and, if necessary, reposition the clip to eliminate black edges.
Making Adjustments to the Region of Interest (Windows Only)
If the Region Stabilize effect does not perform as expected, it might be due to one of the following: • Large motion. If an object in your region of interest moves too far away from the region from one frame to the next, the rendered clip might display unexpected results. • Extraneous motion. An object in your region of interest might move over the course of the clip in a way that unpredictably affects the stabilization. • Insufficient texture. The region of interest might not have enough features to allow Region Stabilize to track it effectively.
56 If the Region Stabilize effect does not perform as expected, experiment with the following adjustments: • Increase the size of the region of interest, or reposition it, to encompass large motion. • Decrease the size of the region of interest to eliminate extraneous motion that is affecting the stabilization. • Choose a new region of interest. • Add keyframes to reestablish or refine the region of interest over the course of the clip.
Region Stabilize Parameters (Windows Only)
Region Stabilize parameters appear only in the Region Stabilize effect. They allow you to establish the type of stabilization and the area of the image that is to remain stationary. For more information, see “Stabilizing an Image (Windows Only)” on page 53.
57 Model (Windows Only)
Parameter Type Global. For more information, see ”Global and Keyframeable Parameters” in the “2D Effects Reference” chapter of the effects guide for your Avid system.
Description Selects the type of stabilization. Available for the Region Stabilize effect only. For more information, see “Stabilizing an Image (Windows Only)” on page 53.
Options Translational Keeps the region of interest steady along both the horizontal and the vertical axes.
Horizontal Constrains horizontal motion in the region of interest. Objects in the region of interest can move vertically but not horizontally.
Vertical Constrains vertical motion in the region of interest. Objects in the region of interest can move horizontally but not vertically.
58 Region of Interest (Windows Only)
Parameter Type Keyframeable. For more information, see ”Global and Keyframeable Parameters” in the “2D Effects Reference” chapter of the effects guide for your Avid system.
Description Defines the area of the image that is to remain stationary. Available for the Region Stabilize effect only. For more information, see “Stabilizing an Image (Windows Only)” on page 53.
Use of Controls T (top) Sets the corners of the region of interest. Values are relative to the center of the screen. L (left)
B (bottom)
R (right)
n You can also change the size and position of the region of interest by dragging the wire frame in the Effect Preview monitor. See “Stabilizing an Image (Windows Only)” on page 53.
59 Auto Zoom (Windows Only)
Parameter Type Global. For more information, see ”Global and Keyframeable Parameters” in the “2D Effects Reference” chapter of the effects guide for your Avid system.
Description Stabilization exposes black around the edges of the repositioned frames. Auto Zoom compensates by resizing and, if necessary, repositioning the clip to remove the exposed edges. Available for the Region Stabilize effect only. For more information, see “Stabilizing an Image (Windows Only)” on page 53.
Real-Time Moving Mattes
You can use the Matte Key effect to create real-time moving mattes, with either two or three tracks of video. When you use three tracks to create the effect, the bottom track is the background image, the middle track is the foreground image (the fill), and the top track contains the matte or alpha channel.
You can also create a simple effect with the fill on the bottom track and the matte on the upper track. This is a way to create an image, such as a company logo, that is to appear in several sequences.
When you create a real-time moving matte, the effect appears in the active bin as a new effect clip. You then edit the effect into your sequence. For more information, see “Editing with Real-Time Moving Mattes” on page 65.
Once you apply the effect clip to a sequence, you can use the Re-create Media command to regenerate media that is offline. For more information, see “Re-creating Media for Real-Time Moving Mattes” on page 68.
60 Creating a Real-Time Moving Matte
To create a real-time moving matte with three tracks: 1. Using standard editing techniques, create a sequence with three video layers. 2. Edit the background image onto track V1. 3. Edit the foreground image (the graphic fill) onto track V2. 4. Load a high-contrast image (the matte) into the Source monitor, and edit it onto track V3. The matte can be an imported graphic, digitized footage, or a clip that you adjust within the Avid system. n You can adjust the contrast of the matte by applying the Color Effect and adjusting its parameters in Effect mode. For more information, see the “Creating Layered and Nested Effects” chapter in the effects guide for your Avid system.
5. Choose Effect Palette from the Tools menu. 6. Click the Key category. 7. Apply the Matte Key effect as follows: t If your matte was created with the Color Effect, press and hold the Alt key (Windows) or the Option key (Macintosh) and drag the Matte Key Effect icon from the Effect Palette onto the segment on track V3 to nest the Color Effect within the Matte Key effect. t If your matte on track V3 does not include a Color Effect, drag the Matte Key Effect icon from the Effect Palette onto the segment on track V3. 8. Click the Record Track Monitor button for track V3 in the Track Selector panel. You should see tracks V2 and V1 through the matte on track V3.
61 9. Select the segment with the Matte Key effect: a. Click the Extract/Splice-in button or the Lift/Overwrite button below the Timeline. The pointer changes to an arrow. b. Click the segment with the Matte Key effect. 10. Do one of the following: t Right-click in the track with the Matte Key effect and choose Make RT Moving Matte from the pop-up menu. t Choose Make RT Moving Matte from the Clip menu. The Create RT Moving Matte dialog box appears.
11. Choose a target bin and a target drive, and then click OK. A dialog box appears with a thermometer showing your Avid system’s progress in creating the real-time moving matte effect.
When your Avid system finishes, it places the effect in the active bin as an effect clip with a precompute. You can now edit the effect into your sequence.
62 Each effect clip appears in the bin with a Matte Key Effect icon. The clip name consists of the name of the first foreground clip, followed by “Matte.n.” Effect clips with the same foreground clip name are numbered sequentially.
n This process does not render the effect in the Timeline. Use the effect clip to apply the effect to your sequence.
To create a real-time moving matte with two tracks: 1. Using standard editing techniques, create a sequence with two video layers. 2. Edit the foreground image (the graphic fill) onto track V1. 3. Load a high-contrast image (the matte) into the Source monitor, and edit it onto track V2. The matte can be an imported graphic, digitized footage, or a clip that you adjust within the Avid system. n You can adjust the contrast of the image by applying the Color Effect and adjusting its parameters in Effect mode. For more information, see the “Creating Layered and Nested Effects” chapter in the effects guide for your Avid system.
4. Choose Effect Palette from the Tools menu. 5. Click the Key category.
63 6. Apply the Matte Key effect as follows: t If your matte was created with the Color Effect, press and hold the Alt key (Windows) or the Option key (Macintosh) and drag the Matte Key Effect icon from the Effect Palette onto the segment on track V2 to nest the Color Effect within the Matte Key effect. t If the matte on track V2 does not include a Color Effect, drag the Matte Key Effect icon from the Effect Palette onto the segment on track V2. 7. Click the Record Track Monitor button for track V2 in the Track Selector panel. You should see track V1 through the matte on track V2. 8. Select the segment with the Matte Key effect: a. Click the Extract/Splice-in button or the Lift/Overwrite button below the Timeline. The pointer changes to an arrow. b. Click the segment with the Matte Key effect. 9. Do one of the following: t Right-click in the track with the Matte Key effect and choose Make RT Moving Matte from the pop-up menu. t Choose Make RT Moving Matte from the Clip menu. The Create RT Moving Matte dialog box appears.
64 10. Choose a target bin and a target drive, and then click OK. A dialog box appears with a thermometer showing your Avid system’s progress in creating the real-time moving matte effect.
When your Avid system finishes, it places the effect in the active bin as an effect clip with a precompute. You can now edit the effect into your sequence. Each effect clip appears in the bin with a Matte Key Effect icon. The clip name consists of the name of the first foreground clip, followed by “Matte.n.” Effect clips with the same foreground clip name are numbered sequentially.
n This process does not render the effect in the Timeline. Use the effect clip to apply the effect to your sequence.
Editing with Real-Time Moving Mattes
These guidelines apply to editing with real-time moving mattes: • You can promote a real-time Matte Key effect to a 3D Warp effect, and use the 3D manipulation parameters.
65 • If the Matte Key effect is not on the top video track of a multilayered composite, it must be rendered before it will play in real time. • If you add a motion effect to the matte and foreground, the effect will not play in real time until you render the motion effect. • Real-time moving mattes cannot be combined with real-time titles without rendering the effect, unless you are using DSK real-time titles. • Moving mattes in a 24p or 25p project play in real time in their native formats only. You must render moving mattes before you output the sequence in alternate formats using the Digital Cut tool. For example, a moving matte imported into or created in a 24p NTSC project will not play back to the PAL format on output unless you render it first.
Considerations When Working with Real-Time Moving Mattes
This section provides information about problems you might encounter when working with real-time moving mattes.
Incompatibility with Previous Releases c Real-time moving mattes created from video on your Avid editing system do not work on previous releases of the application. You will get errors when you load the sequence into the Record monitor.
Video Underrun and Real-Time Moving Mattes
If you experience video underrun when using real-time moving mattes, you might be exceeding your Avid system’s capacity to play a sequence in real time. For example, if you use a real-time moving matte along with two streams of uncompressed video, DSK titles or rolling titles, and all of the audio channels, you might see video
66 underrun. Other combinations might also cause video underrun depending on the complexity of individual components.
Checking for Noise in Mattes
Complex mattes contribute to video underrun. Real-time moving mattes that you create from video are more likely to be complex due to noise in the video source material. This results in a matte with areas that appear uniform in color but are not. The slight variations in luma range generate too much information to compress well.
If you have an analog matte, make sure your video is digitized as cleanly as possible. Also, a matte signal that you import from a digital source (tape or tape deck) is comparatively cleaner than a matte signal imported from an analog source. n A clean matte is important for a convincing visual result. Taking extra care to create a clean matte will produce the best composite.
You can inspect a matte for noise by using one of your Avid system’s color pickers to check the color levels of the opaque and transparent areas.
To check for noise in mattes using the Color Effect: 1. View the matte channel by selecting the track on which the matte is placed. 2. Apply the Color Effect from the Image category and enter Effect mode. 3. Place the pointer over the Luma Range W Point (white) or B Point (black) color preview window to activate the eyedropper. 4. Click the eyedropper, drag it to the part of the matte you want to inspect, and release the mouse button. The Luma Range W Point or B Point parameter adjusts to show the value of the point you chose.
67 Transparent areas should be 16, and fully opaque areas should be 235. n You can also export a matte image and use Adobe® Photoshop® or other image manipulation software to inspect the image.
n Even if a matte is free from noise, it can still be too complex to play in real time. If so, you will need to render the sequence for real-time playback.
Re-creating Media for Real-Time Moving Mattes
You can use the Re-create Media command to: • Change the resolution of precompute media. If you batch digitized a sequence at a resolution different from the resolution at which the sequence was originally created, for example, you can use this command to re-create the precompute media at the new resolution. • Re-create precomputes for media that was offline.
To change the resolution of a real-time moving matte effect clip: 1. Redigitize the original media in the new resolution. For information on redigitizing media, see “Redigitizing Your Material” in the “Digitizing” chapter of the input and output guide for your Avid system. 2. Use one of the following procedures to re-create the precompute media at the new resolution.
Before you re-create precompute media for real-time moving mattes, make sure that the media used to create the effects is online. n If the media used to create the real-time moving mattes is not online, these procedures will not work.
68 c The Re-create Media command removes any nested edits made inside a real-time moving matte, replacing the edits with the new graphic and alpha tracks.
You can select the effects for re-creation either in the Timeline or in a bin. The following procedures explain each method.
To re-create precompute media for real-time moving mattes in the Timeline: 1. Load the sequence containing the real-time moving matte effect into the Record monitor. 2. Mark IN and OUT points in the sequence surrounding all the effects for which you want to re-create media. 3. In the Track Selector panel, select the Record Track button for each track that contains effects you want to re-create. 4. Choose Re-create Media from the Clip menu. The Re-create Media dialog box appears.
69 n When you re-create matte media, the Avid system ignores the Resolution menu setting and uses the resolution of the effect media file to re-create the precompute media. If you choose Re-create Title Media, you can choose a new resolution setting, but it affects only the title media.
5. Choose a drive on which to store the re-created precompute media. 6. Choose Re-create Matte Media. 7. Click OK. The Avid system re-creates the precompute media file.
70 To re-create precompute media for real-time moving mattes in a bin: 1. Select the effects in the bin. To do this, click one of the effect icons. To include more effects, Ctrl+click each additional icon. 2. Choose Create Media from the Clip menu. The Create Media dialog box appears.
n When you re-create matte media, the Avid system ignores the Resolution menu setting and uses the resolution of the effect media file to re-create the precompute media. If you choose Re-create Title Media, you can choose a new resolution setting, but it affects only the title media.
3. Choose a drive on which to store the re-created precompute media.
71 4. Choose Re-create Matte Media. 5. Click OK. The Avid system re-creates the precompute media file.
Changes to the Effect Editor Interface
The following sections reflect changes to the Effect Editor interface and replace the sections of the Avid Media Composer and Film Composer Effects Guide that discuss entering Effect mode and customizing the effect display. Some buttons formerly displayed in the Effect Editor are now in the Effect Preview Monitor toolbar.
Opening the Effect Editor
After you add an effect to a sequence, you must open the Effect Editor to change the parameters of the effect. When you open the Effect Editor, the Record or Playback monitor becomes the Effect Preview monitor.
To enter Effect mode: 1. Move the position indicator to the effect’s icon in the Timeline. 2. Click the Effect Mode button in the Tool palette. Your Avid system opens the Effect Editor and displays the values for the current effect in the window. At the same time, the Record or Playback monitor becomes the Effect Preview monitor. Both the Effect Editor and the Effect Preview Monitor toolbar display buttons for controlling and adjusting the effect. For more information, see “Effect Editor Controls” on page 76 and “Understanding the Effect Preview Monitor” on page 74.
72 Effect Preview Effect Editor monitor
Timeline
n If the Effect Editor is blank, click an effect icon in the Timeline and then click in the Effect Editor.
Customizing the Effect Display
You can adjust the appearance and function of various aspects of the Effect display by resizing windows and images, by displaying tracking information, or by displaying guidelines for the placement of effects and titles, as described in this section.
73 Understanding the Effect Preview Monitor
The Effect Preview monitor displays the selected effect in the sequence where the position indicator is located in the Timeline. The effect’s position bar, located directly below the Effect Preview monitor, represents only the selected effect, not the entire sequence.
Tracking information Current position in effect
Length of effect Effect Preview monitor
Effect’s position bar
Keyframe Effect’s position indicator (blue line) Effect Preview Monitor toolbar Pop-up scale bar for expanding the position bar
n If the effect you expect does not appear in the Effect Preview monitor, make sure that you have selected the Record Track Monitor button in the Track Selector panel. If a black frame appears in the Effect Preview monitor, the position indicator might be at a location in the Timeline where an effect has not been applied to the sequence.
Effect Preview Monitor Toolbar Buttons
The Effect Preview Monitor toolbar has buttons for controlling effect position and adjustment. Table 4-1 describes the buttons in the toolbar that you use to play and adjust the effect.
74 Table 4-1 Effect Preview Monitor Toolbar Buttons
Button Description
Render Effect Renders the effect.
Rewind Places the position indicator at the first frame of the sequence.
Fast Forward Places the position indicator at the last frame of the sequence.
Play Loop Plays back the current effect repeatedly in a loop. Click again or press the space bar to stop play. Real-time and rendered effects play at full speed; unrendered effects play at single-frame rate.
Play Plays the effect from the current position in the effect’s position bar. Click again or press the space bar to stop play. Real-time and rendered effects play at full speed; unrendered effects play at single-frame rate.
Play Preview Plays back a wire-frame preview of an unrendered effect.
Add Keyframe Creates a keyframe at the current position of the position indicator in the effect’s position bar. Alt+click (Windows) or Option+click (Macintosh) to delete the selected keyframe.
Reduce Reduces the size of the image in the Effect Preview monitor.
Enlarge Enlarges the size of the image in the Effect Preview monitor.
Effect Mode Click to exit Effect mode.
75 Effect Editor Controls
This section describes the controls in the Effect Editor. Not all controls apply to each effect. If a control is not applicable, it does not appear in the Effect Editor for that effect.
Figure 4-1 shows the location of controls within the Effect Editor. Table 4-2 describes each control in detail.
Other Options button Effect name Effect icon
Triangular opener
Parameter category
Slider used to adjust parameter
Parameter name
Render Effect button 3D Promote button
Outline/Path Transition Effect Duration box button Grid button Transition Effect Alignment button
Figure 4-1 Sample Effect Editor Controls and Parameters
76 Additional buttons appear in the Effect Editor, depending on which effect you are using. For example, if you are working with a 3D effect, a set of 3D-specific buttons appears along the right side of the Effect Editor. For more information on 3D-specific Effect Editor buttons, see the effects guide for your Avid system.
Table 4-2 Effect Editor Controls
Control Location Description
Triangular opener Left side of Click to display or hide the parameter category. A Effect Editor downward-pointing triangle displays the parameter category; a right-pointing triangle displays only the parameter name.
Other Options Inside some Click to access additional parameters for some button parameter effects, including access to the Windows Color categories dialog box or the Macintosh Color Picker for color selection. For more information, see the effects guide for your Avid system.
Render Effect Bottom of Click to render the current effect. button Effect Editor
Outline/Path Bottom of Click to display a wire-frame path to illustrate the button Effect Editor movement of an effect from the first keyframe through the last keyframe.
Grid button Bottom of Click to display the Safe Title and Safe Action Effect Editor guidelines.
Transition Effect Bottom of Click to open a pop-up menu with options for Alignment button Effect Editor selecting the alignment of a transition effect relative to the cut point.
Transition Effect Bottom of Click in this box to type a duration for the Duration box Effect Editor transition effect other than the duration displayed.
77 Table 4-2 Effect Editor Controls (Continued)
Control Location Description
3D Promote button Bottom right Available for title effects, Picture-in-Picture effects, corner of Effect and imported matte keys on Avid systems with 3D Editor effects capabilities. Click to promote the effect to a 3D effect. For more information, see the effects guide for your Avid system.
The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview effects. For more information, see “Understanding the Effect Preview Monitor” on page 74.
78 CHAPTER 5 New Input and Output Features
The following sections describe new input and output features: • Changes to Digitizing and Decompose Options • Selecting Media Creation Drives • Batch Import Changes • Exporting as an MPEG-1 or MPEG-2 File • Exporting Video in DV Stream Format • Audio Input and Output on Two-Channel Audio Systems
Changes to Digitizing and Decompose Options
The options for digitizing, batch digitizing, and decompose have been modified. For information about digitizing and decompose, see the “Digitizing” chapter of the input and output guide for your Avid system.
79 This section describes the changes made to the following dialog boxes: • Digitize Settings Dialog Box • Decompose Dialog Box • Batch Digitize Dialog Box
Digitize Settings Dialog Box
The Digitize Settings dialog box now has a Media Files tab. The following options were moved from the General tab to the Media Files tab: • Digitize to multiple files • Maximum (default) digitizing time n minutes (formerly the “Prepare multiple files for n minutes” option) • Switch to emptiest drive when n minutes left
Two additional options appear on the Media Files tab: • Digitize to a single file, 2 GB limit When this option is selected, digitizing stops when the digitized media occupies 2 gigabytes (GB) of storage space on the media drive. • During digitize, clip is updated in Asset Manager This option appears if your Avid system is configured with an asset manager, such as Avid Unity™ MediaManager. You can specify the segment length in time (1–5 minutes) or size (2 GB).
80 The remaining options on the General tab have been rearranged for ease of use.
81 Decompose Dialog Box
The options in the Decompose dialog box have been rearranged for ease of use and a new option was added.
82 The changes to the Decompose dialog box are: •“Offline media only” was previously named “Decompose only those items for which media is currently unavailable.” •“All clips in a group edit” was previously named “Decompose all clips in a group edit.” •“Extend handles beyond Master Clip edges” is a new option. This option allows the handles to extend before the beginning and after the end of the current master clip. When you batch digitize, this option prevents digitizing across a discontinuous timecode error. For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, a batch digitize will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00.
83 Batch Digitize Dialog Box
The options in the Batch Digitize dialog box have changed.
The changes to the Batch Digitize dialog box are: •“Offline media only” was previously named “Digitize only those items for which media is currently unavailable.” •“All clips in a group edit” is a new option. This option allows digitizing of each clip in a group clip. •“Extend handles beyond master clip edges” is a new option. This option allows the handles to extend before the beginning and after the end of the selected master clips. When you batch digitize, this option prevents digitizing across a discontinuous timecode error. For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, a batch digitize will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00.
84 Selecting Media Creation Drives
The Media Creation dialog box has two new tabs: Drive Filtering and Motion Effects. Because media is very large, you can remove your Avid system and application drives (Windows) or volumes (Macintosh) from the list of storage locations, and store your media on other drives with ample space.
To remove the drive where your operating system is located and the drive where the Avid application is located from the list of available drives: 1. Click the Drive Filtering tab. 2. Select a drive (Windows) or volume (Macintosh) to filter out.
Select To
Filter Out System Remove as a storage choice the drive on which the Volume operating system resides.
Filter Out Launch Remove as a storage choice the drive on which Volume your Avid application resides.
85 This allows you to choose to store media only on drives with sufficient space. The drive or drives you select do not appear in the other Media Creation tabs as possible locations where you can store media. They also do not appear in other drive selection menus in the application except for the Import, Export, and Relink dialog boxes. 3. To prevent digitizing media to drives that do not have sufficient speed to play the media, select Filter Based on Resolution. If you select this option, the drives affected by drive filtering are unavailable when you try to access them with the Digitize tool. n Drive filtering does not verify the drive speed when you select a drive while rendering effects. Use care when you select your target drive for rendering to be sure it is fast enough to play the media.
To choose a drive for motion effects: 1. Click the Motion Effects tab. 2. Choose a drive (Windows) or volume (Macintosh) from the Video Drive pop-up menu.
n Because no audio is associated with titles or motion effects, you can choose only a video drive on the Motion Effects tab.
86 3. To apply your drive selection to all the Media Creation tabs and the rest of the application, click Apply to All. 4. Click OK. n Your settings are not saved until you click OK.
Batch Import Changes
The following sections describe the changes for batch importing. • Batch Import Dialog Box - Selected Clips Section - Import Target Section - Import Options Section • Starting the Reimport Process
Batch Import Dialog Box
The Batch Import dialog box allows you to select a source file for each master clip that you selected in a bin. Your Avid system finds the source file automatically if the source file is located in the same folder where you last imported the file. The Batch Import dialog box appears when you select a master clip or sequence and choose Batch Import from the Clip menu.
87 Selected Clips section
Video Resolution pop-up Import Target menu section Video Drive pop-up menu Import Options Audio Drive section pop-up menu
Selected Clips Section
The Selected Clips section shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them were found and are available to be imported. Clips displayed in black were found and will be imported. Clips displayed in red were not found in their original location. The Set File Location button finds the source files for clips that were not
88 found. If you select one or more clips and click Skip This Clip, the clips are removed from the list and are not imported.
Import Target Section
The Import Target section allows you to choose a resolution and destination drives. • Video Resolution pop-up menu: Allows you to choose a video resolution. • Video Drive and Audio Drive pop-up menus: Allow you to choose a destination drive for the media files.
Import Options Section
The Import Options section contains global settings that affect all the files you are importing. • Use source compression for OMFI: When selected, the resolution for OMFI files compressed with native resolution types (4:1s, 3:1, 1:1) is used. This allows for fast import of these files. When deselected, the resolution in the Video Resolution pop-up menu is used as the resolution for import. This option always overrides the OMFI Resolution setting in the Import Settings dialog box. • Override clip settings with current settings: Allows you to change the Import settings for all imported files. By default, each file imports using the Import settings from the last time it was imported. n If you change the Import settings by using the Import Options section, the new settings apply to all the files you are importing.
89 Starting the Reimport Process
n Before beginning the reimport process, consider mounting any removable media drives that held the original graphics.
To reimport imported files: 1. Open the bin, and select the imported master clips and sequences that you want to reimport. 2. Choose Batch Import from the Clip menu. A message box appears.
3. Click one of the following: t Offline only: Reimports only the selected imported master clips that are missing their media files. t All clips: Reimports all the selected imported master clips. For example, click this button if you need to change the video resolution of the imported master clips. The message box disappears and the Batch Import dialog box appears. 4. Click Skip This Clip to remove a clip from the list. It will not be imported.
90 5. Locate the sources for files that weren’t found by doing the following: a. Select a clip or clips displayed in red in the Selected Clips section. b. Click Set File Location. The Locate File dialog box appears. c. Navigate to the location of the source file. If you select more than one clip displayed in red, the Avid system attempts to find the rest of the clips in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder. When the clips are found, they are displayed in black. 6. Choose a video resolution for all the reimported files from the Video Resolution pop-up menu. 7. Choose a destination drive or drives for all the media files from the Video Drive and Audio Drive pop-up menus. You can separate video and audio onto different drives. 8. (Option) By default, the file is imported using the Import settings from the last time it was imported. You can change the Import settings for all clips being imported by doing the following in the Import Options section: a. Select “Override clip settings with current settings.” b. Click Current Settings to open the Import Settings dialog box. c. Select the appropriate options. d. Click OK to close the Import Settings dialog box. 9. Click Import. The file is imported.
91 Exporting as an MPEG-1 or MPEG-2 File
n Only the MPEG-1 export is new for Release 10.5. MPEG-1 files are used for Web downloads, CD-ROM distribution, and other digital formats. They have a high compression rate and are therefore relatively small. MPEG-2 files are used by DVD authoring packages such as DVDit!™ by Sonic Solutions, and are larger and better quality than MPEG-1 files.
If you want to output your sequence directly to a DVD-R burner without first using a DVD authoring package, see “Creating Files for a DVD” on page 109.
To export a clip or sequence as an MPEG-1 or MPEG-2 file: 1. Select the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, select those tracks in the Track Selector panel, and deselect all others. t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. t To export the entire clip or sequence, make sure the topmost track is monitored. 2. Select a clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. Ctrl+click to select multiple clips or sequences. n For more information, see “Preparing to Export a Sequence” in the “Exporting and Exchanging Material” chapter of the input and output guide for your Avid system.
3. Choose Export from the File menu.
92 The Export As dialog box appears. 4. Click Options. The Export Settings dialog box appears.
5. Choose MPEG-1 or MPEG-2 from the Export As pop-up menu.
93 6. Do one of the following: t Select Use Marks if you are exporting a marked sequence. t Select Use Enabled Tracks if you are exporting specific tracks in a sequence. t Deselect Use Enabled Tracks and Use Marks if you are exporting an entire sequence. n Use Enabled Tracks is selected by default. 7. Drag the Bit Rate slider to select a bit rate between 4 and 8.5 megabits per second. Low rates produce lower quality; high rates produce higher quality. 8. Select the aspect ratio. 9. Click Save, and then click Save again. The Avid system processes the sequence and creates the following file in the destination folder: - filename.mov.m1v for MPEG-1 - filename.mov.m2v for MPEG-2
You can use the generated MPEG-2 video file with a DVD authoring package such as DVDit! by Sonic Solutions. n To obtain the audio from the sequence, perform a separate audio export using the WAVE format. See “Exporting Tracks as Audio Files” in the “Exporting and Exchanging Material” chapter of the input and output guide for your Avid system. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
94 Exporting Video in DV Stream Format
Use the DV Stream format when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track.
To export in DV Stream format: 1. Choose Export from the File menu. The Export As dialog box appears. 2. Click Options. The Export Settings dialog box appears.
95 3. Choose DV Stream from the Export As pop-up menu. 4. Select options as described in Table 5-1.
96 Table 5-1 Export Settings Dialog Box (DV Stream Options)
Option Description
Use Marks When you select this option, the Avid system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.
Use Enabled Tracks When you select this option, the Avid system uses tracks that are enabled in the Timeline. To export the entire clip or sequence, deselect this option.
Format Options Click this button to select a video format and an audio format for export.
Video and Audio Select this option if you want to export an entire clip or sequence.
Video Only Select this option if you want to export only the video.
Color Levels Select this option to set color to RGB or ITU-R 601.
File Field Order These options allow you to select the field that is the upper field during export. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd (Upper Field First): Select this option if you are working in a PAL project. In forming the export frame, field 1 becomes the upper field; that is, field 1's lines become the odd-numbered lines in the frame (counted starting from 1). Field 2's lines become the even-numbered lines. Even (Lower Field First): Select this option if you are working in an NTSC project. In forming the export frame, field 1 becomes the lower field; that is, field 1's lines become the even-numbered lines in the frame. Field 2's lines become the odd-numbered lines. Single Field: Select this option if you want the output file to consist of only field 1. In this case, the single field of 243 lines for NTSC (288 lines for PAL) will be resized to fit the frame as specified in the width and height selections.
5. Click the Format Options button. The DV Export Settings dialog box appears.
97 6. Select a video format and an audio format. For compatibility with DV cameras that require unlocked audio, deselect Locked. 7. Click OK, click Save, and then click Save again. The file is exported and appears at the chosen destination.
Audio Input and Output on Two-Channel Audio Systems
Some aspects of audio adjustment are specific to Avid systems with the two-channel audio option. If your Avid system has the two-channel option, use the information in the following sections when adjusting audio input or output levels. • Adjusting Audio Input on Two-Channel Audio Systems • Adjusting Audio Output on Two-Channel Audio Systems n For information on configuring an Avid system with the two-channel audio option, see the setup guide for your Avid system.
98 Adjusting Audio Input on Two-Channel Audio Systems
If your Avid system has the two-channel audio option, you adjust the audio input level across both channels using a single slider control that you access from the Audio tool.
For more information on using the Audio tool, see “Using the Audio Tool” in the “Preparing to Digitize” chapter of the input and output guide for your Avid system.
To adjust global audio input: 1. Open the Audio tool by doing one of the following: t Choose Audio Tool from the Tools menu. t Click the Audio Tool button in the Digitize tool. The Audio tool opens.
Show/Hide Input Control button
2. Click the Show/Hide Input Control button (the Microphone icon). The Audio tool expands to display a microphone and a single slider control.
99 Input slider control
3. Drag the slider to raise or lower the audio input level.
Adjusting Audio Output on Two-Channel Audio Systems
You can use the Audio tool to make adjustments to audio output parameters for output from your Avid system. c You should leave the output level at the factory preset of 0 dB. Adjust the level only when necessary to raise or lower the overall volume based on the headroom parameters of the record format, or for consistently overmodulated or undermodulated source material.
By default on Avid systems with the two-channel audio option, the volume scales for Output sliders in the Audio tool reflect levels for consumer-grade VCRs and recording devices.
For more information on controlling audio output, see “Preparing for Audio Output” in the “Generating Output” chapter of the input and output guide for your Avid system.
100 To adjust the output parameters: 1. Choose Audio Tool from the Tools menu. The Audio tool opens.
Show/Hide Setup Mix Mode Selection Control button pop-up menu
Show/Hide Output Control button
IN/OUT toggle buttons
Peak Hold pop-up menu
Output Control slider (master attenuator)
2. Click the Show/Hide Output Control button (the Speaker icon) to display the master attenuator (slider). 3. Click the Show/Hide Setup Control button to open the Setup Options panel. 4. Choose a type of output from the Mix Mode Selection pop-up menu: t Choose Stereo to mix the currently monitored audio tracks into a stereo pair. t Choose Mono to pan all the currently monitored tracks to center.
101 5. You can select Clip Gain, RT EQ, or Auto Gain from the Bypass pane to disable the customized volume, real-time EQ, or automation gain effects you applied with the other audio tools. 6. Click the In/Out toggle buttons above the meters to display O for Output. 7. Play back one of the following sources of reference audio: t Choose Play Calibration Tone from the Peak Hold pop-up menu. t Play back a representative sequence or clip containing audio. 8. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, you must use the Audio Mix tool. 9. Close the Audio tool.
102 APPENDIX A New Features from Release 10.1
The following features were added to Avid Media Composer and Film Composer Release 10.1. They are in the Help but are not yet in the hardcopy or PDF versions of the documentation.
Table A-1 lists all the new features that were added for Release 10.1.
Table A-1 New Features in Release 10.1
Feature Description For More Information
Keyboard shortcut for You can use a keyboard shortcut for saving See “Keyboard Shortcut for saving titles titles. Saving Titles (Macintosh (Macintosh only) Only)” on page 105.
Render Ranges default The default setting for “Render Ranges in See “Change to Default Setting setting change the timeline” has been changed from None for Render Ranges” on to Partial Only. page 105.
Holding slates on screen When you work with slates in the Script See “Holding Slates On Screen in the Script window window, you can choose to hold slates on in the Script Window” on screen. page 106.
103 Table A-1 New Features in Release 10.1 (Continued)
Feature Description For More Information
Importing CamCutter® You can import clips recorded with See “Importing Editcam Files” clips Ikegami’s disk-based Editcam™. on page 106.
Creating files for DVD If you plan to output your sequence to a See “Creating Files for a DVD” DVD, choose Create DVD from the File on page 109. menu.
Exporting MPEG-2 files MPEG-2 files are used by DVD authoring See “Creating Files for a DVD” packages such as DVDit! by Sonic Solutions. on page 109.
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)” on override changes you make in the Film page 111. Settings dialog box.
Open Project dialog box The Open Project dialog box name has See “New Name for Open name change changed to the Select User and Project Project Dialog Box” on dialog box. page 112.
Reformat effects The quality of the Reformat effects has been See “Using the Reformat Effects (including Pan and Scan) improved. There is increased sharpness and the Pan and Scan Effect” in when you resize 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. Service” on page 112.
AvidLinks change The Avid Applications for AvidLinks Export See “Using AvidLinks” on table has changed. page 119.
Preserving vertical If your facility uses the vertical blanking See “Preserving Information in blanking information for interval portion of a frame for storing the Vertical Blanking Interval” digitizing and digital information such as edgecodes or on page 120. cuts closed-captioning codes, you can preserve the information before you digitize or create a digital cut.
104 Table A-1 New Features in Release 10.1 (Continued)
Feature Description For More Information
Using a GPI device with Your Avid system can send signals to a See “Using a GPI Device with the Audio Punch-In tool V-LAN® VLXi® deck controller and a the Audio Punch-In Tool” on general-purpose interface (GPI) device that page 127. triggers GPI actions.
Sharing bins and You can share bins and projects using See “Sharing Bins and Projects projects with Avid Unity Avid Unity MediaNet. on Avid Unity MediaNet” on MediaNet page 135.
Screen resolutions Screen resolutions for imported graphics See “Screen Resolutions for and sequences vary depending on your Imported Graphics and resolution. Sequences” on page 143.
Keyboard Shortcut for Saving Titles (Macintosh Only)
You can use k+Shift+S to open the Save Title dialog box. This shortcut is the same as choosing Save As from the File menu.
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. For more information, see “Customizing Render Ranges Display” in the “Customizing Effects with the Effects Editor” chapter of the effects guide for your Avid system. n You need to create a new user to see the new default.
105 Holding Slates On Screen in the Script Window
When you are working with slates in the Script window, you can 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.
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 Editcam Files
You can import clips recorded with Ikegami's disk-based Editcam or Editcam-station products. The Editcam is a digital news-gathering (DNG) camera that uses Avid's CamCutter technology.
106 To import EditCam files: 1. (Option) Choose Mount All from the File menu. Performing this step in all cases is good practice, but is not necessary if you performed it previously or if you inserted the FieldPak® before starting the Media Composer or Film Composer application. 2. Open a bin. 3. Choose Import from the File Menu. A dialog box appears. 4. Choose EditCam from the Files of Type pop-up menu. 5. Select the CamCutter bin as follows: a. From the desktop, select the FieldPak by selecting the FieldPak drive letter (Windows) or FieldPak volume name (Macintosh). b. Open the bin folder on the FieldPak. c. Select the CamCutter bins or select the .spl files to be imported. n The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported, but can be.
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 Avid 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 or volume is not listed, go back to step 1 and follow the procedure again.
107 10. Complete the import process.
The Avid system creates entries in the selected bin that reference the clips on the FieldPak.
For more information on importing files, see the “Importing Files” chapter in the input and output guide for your Avid system.
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 used only to record and play back clips. If multiple streams of video are required to perform advanced effects, it is possible that the data cannot be supplied fast enough for proper operation. If this situation occurs, you can do one of the following: t Render the effects. t Consolidate the sequence to a valid media drive. t Import the CamCutter clips as OMFI files. This effectively copies the clips to a media drive.
For additional information regarding Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the following Web page: www.nltek.com.
108 Creating Files for a DVD
If you plan to output your sequence to a DVD, see the following procedure.
To create files for output to 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 in the “Exporting and Exchanging Material” chapter of the 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 DVD writing hardware is attached to your Avid system, you can select 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. You can then move the DVD volume to a system that has DVD writing hardware and software. - Export MPEG-2 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.
109 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 the status of the export. 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 Avid system renders all effects and creates MPEG-2 files from the video media. The Avid system also creates .wav files from the audio media.
Creating a DVD Volume
When you select the Create DVD Volume on Disk option, the Avid 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 Avid 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. n The Create DVD Volume on Disk option also allows you to save the resulting MPEG-2 and .wav files. The Avid system prompts you with a dialog box after the volume is created.
110 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.
111 New Name for Open Project Dialog Box
The name of the Open Project dialog box has changed to Select User and Project. n The printed and PDF versions of the documentation and some portions of the Help do not yet reflect this name change.
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
112 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. 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.
Reviewing and Approving Material
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 117. 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.
113 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 that 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 (Windows) or volume (Macintosh). n A Review & Approval file usually has an .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 115. 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 editing guide for your Avid system.
114 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.
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.
115 3. Select the Review & Approval files 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 Choose Details from the Locators Fast menu. 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 editing guide for your Avid system.
Using Locator Colors with Review & Approval Files
The Import R&A Color command displays a menu with the available colors. By default, the Avid system cycles to the next color in the list each time you open a new Review & Approval file.
116 To select the color of the locators in the next Review & Approval file you open: t 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 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.
Internet Streaming Options
The Review & Approval documentation suggests that you use the Prepare for Internet Streaming Fast Start option when you create a QuickTime file. Table A-2 provides updated information on Internet Streaming options. The Prepare for Internet Streaming option is part of the QuickTime Movie Format Options table in the input and output guide for your Avid system.
Table A-2 Internet Streaming Options
Option Suboption Description
Prepare for Internet Fast Start Allows a movie to begin playing over the Internet Streaming without downloading the entire movie first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server.
117 Table A-2 Internet Streaming Options (Continued)
Option Suboption Description
Fast Start - A better choice for progressive downloading. This Compressed header option works the same as Fast Start but compresses the header information. 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: www.apple.com/quicktime/products/tutorials/ hinttracks.html.
118 Using AvidLinks
AvidLinks enables you to send data from your Avid system to other Avid applications. The AvidLinks option provides you with a choice of several OMFI Export templates. The resulting files will be either composition only or composition with embedded audio or video.
You can use AvidLinks to export to any of the applications listed in Table A-3. n For the exported file to be useful in the target application, you must choose one of the supported media objects.
Table A-3 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 Illusion™ (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 Release 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, deselect this option and the exporting process will be faster.
119 Preserving Information in the Vertical Blanking Interval
You can choose whether or not to preserve 5 lines above each field in NTSC and 8 lines above each field for PAL. These lines can be used to store additional encoded information such as closed captioning, edgecodes, or key numbers for film projects, or various interactive or enhanced TV codes. This section describes when it is useful to preserve the information and highlights some compromises that you might have to make when preserving these lines. n In the majority of cases, you should not preserve these extra lines when you digitize. Only do so if you have a special need for the information.
Line Ranges
Media Composer and Film Composer are capable of digitizing 248 lines per field in NTSC or 296 lines per field in PAL. For NTSC, only 243 of these lines are in RP-187’s production aperture. For PAL, the number is 288. The additional lines in each field are located immediately above the active part of each of the two fields. These lines (5 per field in NTSC and 8 per field in PAL) can be used for carrying additional data.
The following table lists the extra vertical blanking lines for both NTSC and PAL:
Field Video Raster Extra Line Number Ranges
NTSC (5 Lines/Field) PAL (8 Lines/Field)
Field 1 16–20 15–22
Field 2 278–282 328–335
120 Preserving Vertical Blanking Information
By default, Avid systems blank these extra lines by overwriting the area with black. This blanking is done because certain effects and color correction operations can act on these black lines to produce color or gray-tone levels that would be unacceptable for certain 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 Vertical Blanking Information” on page 124.
You can instruct the Avid system to preserve any information on these lines that originated from an upstream source. You can later erase that information if necessary.
You might want to preserve the following vertical blanking information: • Edgecode or key number information for a film project You 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 you are repurposing a finished sequence for another market, you might want to retain closed-captioning codes that were added after the tape was output from the Avid system. This would allow you to perform some basic editing on the redigitized sequence and not have to reapply the closed-captioning codes afterward. n The Avid system does not interpret the vertical blanking information (that is, encoded data). It treats the coded values simply as pixels in the video frame. If you want to read the vertical blanking information during editing, you must connect an external vertical blanking information reader to the Avid system.
121 c If you preserve vertical blanking information when you digitize, compressed video (other than 1:1) will lose some quality. See “Potential Problems with Preserving Vertical Blanking Information” on page 124.
To preserve vertical blanking information when you digitize: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click General. The General Settings dialog box appears. 3. Select “Preserve Specific Vertical Blanking Lines.” 4. Click OK.
If you want to keep the vertical blanking information when you digitize and remove it when you create a digital cut, select the “Preserve Specific Vertical Blanking Lines” option before digitizing and deselect it before you perform a digital cut.
Using a Partial Wipe Operation to Insert or Delete Vertical Blanking Information
A partial wipe can be used to overlay material containing vertical blanking information on lines from one frame over the same lines of another frame. The procedure described in this section is necessary only under the following circumstances: • If you are working on projects developed from a film source. This includes projects based on long-form, episodic, or entertainment material. • If you need to keep edgecodes or key numbers from the original film source as part of the finished master.
122 In these scenarios, the majority of the editing is performed offline at a low resolution and then handed to an editor to be finished at a higher resolution.
To wipe in lines from a duplicated sequence: 1. Perform the offline edits at a low resolution as usual. 2. Redigitize the sequence at a higher resolution. Make sure you instruct the Avid system to preserve vertical blanking information as described in “Preserving Vertical Blanking Information” on page 121. 3. Perform the online reformat editing, including operations such as adjusting trim, performing scratch removal, and performing color correction. This creates a revised master. 4. Duplicate the revised master and remove effects that might modify or remove the vertical blanking information. This basically reduces the duplicate sequence to a series of straight cuts without effects. See “Effects Can Modify the Vertical Blanking Information” on page 126. 5. Render all effects on the revised master. 6. Edit the duplicated and modified sequence onto the highest track or create a track that rides above all other tracks on the revised master. 7. Apply a vertical wipe effect to the duplicated sequence. 8. Enter Effect mode and wipe everything except the top scan lines of the highest track. 9. Output the sequence as a standard digital cut. n When vertical blanking information is present on a frame, it is visible along the top of the frame on the Source and Record monitors.
123 Potential Problems with Preserving Vertical Blanking Information
Several problems can occur if you preserve vertical blanking information when you digitize footage: • Compressed video in the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines. See “Preserving Vertical Blanking Information Can Affect Compressed Video Quality” on page 125. • Effects can modify the color or brightness of the vertical blanking information to make it unreadable by a vertical blanking information reader, or make the signal on those lines unacceptable for certain end uses. See “Effects Can Modify the Vertical Blanking Information” on page 126. • 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 and NTSC’s setup. See “Effects Can Modify the Vertical Blanking Information” on page 126.
124 Preserving Vertical Blanking Information Can Affect Compressed Video Quality
For resolutions other than 1:1, preserving vertical blanking information when you digitize can affect the video quality in the rest of the frame. For example, depending on the compression ratio, a video frame might look more blocky with vertical blanking information included.
The Avid system performs the following operations when digitizing a frame: 1. It captures the entire frame (including the 5 or 8 extra lines per field) as an uncompressed frame. 2. It blanks these extra lines if necessary: - If vertical blanking information should not be preserved (default), the Avid system fills the vertical blanking interval with video black (R=G=B=16). - If vertical blanking information should be preserved, the Avid system does not modify the extra lines that were captured during the digitize operation. 3. It compresses the frame if compression is selected.
If the frame contains vertical blanking information, the picture quality of the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines. If you want to preserve vertical blanking information, either use 1:1 resolution or experiment by digitizing with vertical blanking on and off to make sure that the picture quality is acceptable for your use.
Depending on the compression ratio, the vertical blanking information itself may be distorted. Either use 1:1 compression or experiment with different compression ratios to make sure the vertical blanking information is not unacceptably distorted by the compression.
125 Effects Can Modify the Vertical Blanking Information
Since the vertical blanking information is part of the video frame, any effect that modifies the top portion of a frame might affect the vertical blanking information and make it unreadable by a vertical blanking information reader. For example, the following effects can modify the vertical blanking information on a frame: • Dissolves or Flips and Flops • Any segment effects that change the size or position of the frame
Effects that use the 3D effects hardware (including Pan and Scan resizes) automatically blank the vertical blanking area of the affected portion of a sequence. To work around this problem, you can render the effect and wipe in the vertical blanking information from the original clip as described in “Using a Partial Wipe Operation to Insert or Delete Vertical Blanking Information” on page 122.
You can also use the wipe technique to replace vertical blanking information that was modified by an effect such as a color correction or dissolve.
Cross-Format Conflicts with Respect to Black Levels
When digitizing in SDI and playing back out in SDI, the blanking levels on the vertical blanking 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 vertical blanking information black level to be below blanking.
126 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 Avid system sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 128. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 130. • Configure the V-LAN VLXi deck 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 131.
127 Understanding GPI Trigger Signals
Your Avid 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 continues 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 “Working with Audio” chapter in the editing guide for your Avid system.
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.
128 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 Avid 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 Set action (to turn the light on) and a setting linking the Stop Out signal from the Avid system to the GPI 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 131.
129 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 A-1. For more information on connecting V-LAN equipment to your Avid system, see the setup guide for your Avid system.
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 (15.24 meters) must have a terminator. For more information on configuring the V-LAN, see the Videomedia VLXi User’s Guide.
GPI terminals (for connections to external hardware)
IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT VLXi-GT (GPI) SERIAL LAN CF AC
1 2 3 4 5 6 Terminator (required when V-LAN connection cable length is more than 50 feet [15.24 meters])
TIMECODE A TIMECODE B V-LAN VLXi SERIAL PARALLEL REF SERIAL AINOUT SERIAL B IN OUT LAN CF AC
VLX TRANSMITTER VLX 2R DUAL RECEIVER VLXi transmitter serial input
Serial cable to serial port connector on Avid system
Note: All cables are customer supplied.
Figure A-1 V-LAN VLXi Controller and VLXi-GT GPI
130 Configuring a V-LAN VLXi Controller and GPI
Once you have a V-LAN VLXi controller and VLXi-GT GPI connected to your Avid 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.
131 Creating a GPI Setting
To create 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. Double-click the VLXi-GT text box. The GPI Settings dialog box appears. 4. Select the appropriate settings. Table A-4 describes the GPI Settings options. 5. Click Add. The GPI Node Settings dialog box appears. 6. Select the appropriate settings. Table A-5 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 A-4 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.
132 Table A-4 GPI Settings Options (Continued)
Option Description
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.
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 A-5 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 GPI Trigger Signals” on page 128 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 device.
133 Table A-5 GPI Node Settings Options (Continued)
Option Description
Action Select an action: • Set activates a command. • Reset deactivates a command. • Pulse switches the state between active and inactive.
Editing an Existing GPI Setting
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.
134 Deleting a GPI Setting
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.
Sharing Bins and Projects on Avid Unity MediaNet
Read this section if you are working in an Avid Unity environment that does not use Avid Unity MediaManager. If you are using Avid Unity MediaManager, see the Avid Unity MediaManager User’sGuide.
About 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.
135 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.
Each user can perform tasks from his or her own computer. The Avid system provides a simple locking mechanism to help you keep track of who is currently working in a bin. The method allows one writer and multiple readers of 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 mapping workspaces, see the Avid Unity MediaNet for Windows 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 this method, you store the project on your local computer 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 Avid system 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.
136 • Displays a second column of information for the bin that identifies the computer that currently has the bin locked. • Uses bold text to identify bins that are locked by another user.
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 Avid system uses the following methods to identify information from each computer using the shared workspace: • Creates a project folder for each computer that accesses the project. The Avid system adds the computer’s 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 for 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 editing guide for your Avid system. • Displays an extra column in the Project window that identifies the computer 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 the Avid system will store in the Unity Attic folder (using the Bin Settings dialog box).
The following illustration shows the Project window for a shared project.
137 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
Opening a Shared Project
To open an existing project on the shared volume: 1. Start your Avid Media Composer or Film Composer application. 2. In the Select User and Project dialog box, navigate to the project on Avid Unity MediaNet.
138 The following illustration shows an example of opening a project on Avid Unity MediaNet.
The Project window opens. For a description of the Avid Unity-specific elements of the Project window, see “Sharing Methods” on page 136. 3. Open one of the bins as usual by double-clicking the Bin icon. The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications.
139 The following illustration shows locked and unlocked bins.
Unlocked bin
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 142.
The Bin Lock Status button does not appear if the bin is not on Avid Unity MediaNet.
Working with Locks
The Avid system uses a simple locking mechanism to help you keep track of who is currently working in a shared bin. This allows one writer and multiple readers of a bin.
Default Locking Mechanism
The user who opens the bin first gets the lock and obtains write access to the bin. The Avid system 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.
140 If one user has the lock and another 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 red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.
To open a bin without taking the lock: t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project window.
Overriding the Default Locking Mechanism
You can instruct the Avid system 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, and then click the right mouse button. 2. Choose Lock Project Bin from the shortcut 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 Right-click the bin in the Project window and choose Unlock Project Bin from the shortcut menu. n The Lock Project Bin and Unlock Project Bin commands are also available from the Clip menu.
141 Restrictions and Limitations for Locked Bins
The following restrictions apply to bins that are 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. • If you drag from a locked bin to a writable bin, the Avid system will create a duplicate (not a copy) of the selection in the writable 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 Avid system 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 application will see the duplicates of the contents of these bins and 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.
142 Screen Resolutions for Imported Graphics and Sequences
Table A-6 shows the frame size to use when importing graphics and sequences for interlaced resolutions for NTSC (30i) and PAL (25i) projects. For example, when you are using an application such as After Effects® to process a sequence that you want to bring into Avid Media Composer and Film Composer, use these values when you render the sequence.
Table A-6 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)
143 Index
A B C D E F G H I L M N O P R S T V W Z
Numerics Avid Unity MediaNet 135 AvidLinks, exporting with 119 3D Promote button (Effect Editor) 78 AvidProNet Review & Approval service 112
A B
Aaton InDaw, batch digitizing deleted media Batch Digitize dialog box 84 from 33 Batch digitizing Aaton InDaw, reimporting media from 33 deleted media from Aaton InDaw 33 Add Keyframe button (Effect Preview Monitor Batch Import dialog box 87, 89 toolbar) 75 Batch importing procedure 90 Add Page command (Object menu) 42 Bins Adding displaying audio information in 32 pages to a rolling or crawling title 41 sharing on Avid Unity MediaNet 135 Audio Buttons media from Aaton InDaw 33 3D Promote (Effect Editor) 78 media from Zaxcom Diva 33 Add Keyframe (Effect Preview Monitor Audio file information toolbar) 75 displaying in bins 32 changing separation of 28 Audio Punch-In tool changing shading depth of 26 using a GPI device with 127 changing style of 30 Audio transfer rate Crawling Title (Title tool) 39 defining 111 Enlarge (Effect Preview Monitor toolbar) 75 viewing in Info display 111 Fast Forward (Effect Preview Monitor Auto Size mode (Title tool) 37 toolbar) 75 Auto Size Mode command (Object menu) 37 Fit to Fill 48 Auto Zoom parameter 60 Grid (Effect Editor and Tool palette) 77
144 145 in Effect Editor 76 scrolling through 40 in Effect Preview Monitor toolbar 74 setting text formatting for 37 Outline/Path (Effect Editor) 77 size limits on 36 Play (Effect Preview Monitor toolbar) 75 typing text for 39 Play Loop (Effect Preview Monitor toolbar) workflow options for 38 75 Play Preview (Effect Preview Monitor toolbar) 75 D Reduce (Effect Preview Monitor toolbar) 75 Render Effect (Effect Editor) 77 Decompose dialog box 82 Render Effect (Effect Preview Monitor Deleting toolbar) 75 pages from crawling titles 43 Rewind (Effect Preview Monitor toolbar) 75 Dialog boxes Rolling Title (Title tool) 39 Batch Digitize 84 Transition Effect Alignment (Effect Editor) Batch Import 87 77 Decompose 82 Digitize Settings 80 Media Creation 85 C Open Project name change 112 Digitize settings CamCutter files, importing 107 Media Files options 80 Changing interface components Digitizing button separation 28 preserving vertical blanking information button style 30 124 color 22 selecting drives for 85 shading depth 26 Drives Color choosing for motion effects 86 changing in interface 22 filtering 85 Crawling Title button (Title tool) 39 removing from storage list 85 Crawling titles selecting for digitizing 85 adding pages to 41 storing media on 85 copying or moving objects to 42 DV Stream format creating 34 exporting in 95 defined 35 options 96 deleting pages from 43 DVD formatting text in 44 creating files for 109 going to a page in 41 creating volume 109 inserting a blank page into 43 page count limits for 36 playback capabilities 44 resizing width of 40
146 E G
Effect Editor General-purpose interface (GPI) device controls in 76 configuring with VLAN-VLXi controller 131 opening 72 trigger signals 128 Effect Preview monitor using 127 described 74 using with V-LAN VLXi controller 130 toolbar 74 GPI settings 132 Effects Graphics (image) files field processing 52 import specifications 143 frame processing 50 Grid button (Effect Editor and Tool palette) 77 processing when using Scratch Removal 49 Region Stabilize 53, 57 troubleshooting Region Stabilize effect 56 H Enlarge button (Effect Preview Monitor toolbar) 75 Holding slates on screen 106 Exporting files for a DVD 109 in DV Stream format 95 I MPEG-1 or MPEG-2 files 92 using AvidLinks 119 Import Options section (Batch Import dialog box) 89 Import R&A Color command 116 F Import Target section (Batch Import dialog box) 89 Fast Forward button (Effect Preview Monitor Importing files toolbar) 75 batch import 87 Fast Start Internet Streaming option 117 CamCutter 107 Field processing 52 specifications for graphics files 143 FieldPak Interface Appearance settings importing files from 107 button and toolbar shading depth 26 Files button separation 28 specifications for importing graphics 143 button style 30 Filtering drives 85 color 22 Fit to Fill button 48 options 20 Formatting Interface appearance templates 31 rolling or crawling titles 44 Interface components Frame processing 50 changing button and toolbar shading depth of 26 changing button separation of 28
147 changing button style of 30 Re-create Media (Clip menu) 69, 71 changing color of 22 Remove Page (Object menu) 43 Interlaced resolutions Model parameter specifications for 143 of Region Stabilize effect 58 Internet streaming 117 Modifying rolling or crawling titles 44 MPEG-1 file, exporting 92 L MPEG-2 file, exporting 92
Limitations to size of rolling or crawling titles 36 N Line ranges in vertical blanking information 120 New features 15, 103 Locator colors using with Review & Approval files 116 Locators O Review & Approval process 112 Locking and unlocking Opening bins on the Avid Unity Network 140 project 111, 112 Review & Approval files 115 Outline/Path button (Effect Editor) 77 M Mapping P buttons to Timeline top toolbar 32 Marks Page count limits for rolling and crawling titles setting in rolling titles 47 36 Mattes Page number display in Title tool 41 real-time moving 61, 63 Play button (Effect Preview Monitor toolbar) 75 Media Play Loop button (Effect Preview Monitor from Aaton InDaw, reimporting 33 toolbar) 75 from Zaxcom Diva, reimporting 33 Play Preview button (Effect Preview Monitor Media Creation dialog box 85 toolbar) 75 MediaNet Project settings Avid Unity 135 audio transfer 111 Menu commands Project window Add Page (Object menu) 42 Info display, using 111 Auto Size Mode (Object menu) 37 Projects Copy to Page (Object menu) 42 sharing on Aid Unity MediaNet 135 Insert Page (Object menu) 43 Move to Page (Object menu) 42
148 R preparing for Internet streaming 117 using locator colors with 116 Real-time moving mattes Rewind button (Effect Preview Monitor toolbar) checking for noise 67 75 considerations when working with 66 Rolling Title button (Title tool) 39 creating with three tracks 61 Rolling titles creating with two tracks 63 creating 34 editing with 65 defined 35 re-creating media for 68 deleting pages from 43 Re-create Media command (Clip menu) 69, 71 formatting text in 44 Re-creating going to a page in 41 titles 68 inserting a blank page into 43 Reduce button (Effect Preview Monitor toolbar) page count limits for 36 75 playback capabilities 44 Region of Interest parameter 59 resizing width of 40 Region Stabilize effect scrolling through 40 Auto Zoom parameter 60 setting marks in 47 described 53 setting text formatting for 37 Model parameter 58 size limits on 36 parameters 57 typing text for 39 Region of Interest parameter 59 Rounding buttons and toolbars 26 troubleshooting 56 types of stabilization 55 Reimporting S media from Aaton InDaw Diva 33 media from Zaxcom Diva 33 Safe title/action area Reimporting imported files 90 displaying 77 Removing drives from storage list 85 Scratch Removal 49 Render Effect button (Effect Editor) 77 Script integration Render Effect button (Effect Preview Monitor holding slates on screen 106 toolbar) 75 Scrolling through rolling or crawling titles 40 Render ranges Selected Clips section (Batch Import dialog box) default setting 105 88 Rendering Selecting default for ranges in Timeline 105 media creation drives 85 Resizing rolling or crawling titles 40 new user and project 112 Review & Approval files user and project 111 described 112 Setting text formatting for rolling and crawling displaying locator creation information 116 titles 37 opening 112, 115
149 Settings rolling or crawling, going to a page in 41 GPI 132 rolling, defined 35 Interface Appearance 20 scrolling through rolling or crawling 40 Timeline, showing toolbar 32 setting marks in rolling 47 Slates (script integration) setting text formatting for rolling or holding on screen 106 crawling 37 Specifications typing rolling or crawling text for 39 graphics file import 143 workflow options for crawling 38 Stabilize Toolbar, top Timeline 32 See Region Stabilize effect Transition Effect Alignment button (Effect Stabilizing an image Editor) 77 Region Stabilize parameters 57 Transition Effect Duration box (Effect Editor) 77 using Region Stabilize 53 Troubleshooting Region Stabilize effect 53 vertical blanking information problems 124 T Typing text for rolling and crawling titles 39
Timeline render ranges in 105 V top toolbar 32 Title effects Vertical blanking information duration of rolls 47 line ranges in 120 Title tool overlaying 122 Auto Size mode 37 preserving 121 Crawling Title button 39 problems with preserving 124 Rolling Title button 39 procedure for wiping in lines 123 Titles Video resolutions adding pages to 41 specifications for interlaced 143 copying or moving objects to 42 V-LAN VLXi controller crawling, defined 35 configuring with general-purpose interface creating rolling or crawling 34 (GPI) device 131 formatting rolling or crawling 44 using with general-purpose interface (GPI) inserting a blank page into a rolling or device 130 crawling 43 page count limits for rolling or crawling 36 playback capabilities for two video streams 45 playback capabilities of effects 44 re-creating 68 resizing rolling or crawling width of 40 rolling or crawling, deleting pages from 43
150 W
Workflow options for crawling titles 38 Workspaces on the Avid Unity MediaNet 135
Z
Zaxcom Diva, reimporting media from 33
151