Avid¨ Media Composer¨

Products Reference

Contents

Chapter 1 Settings Scroll List Settings Scroll List Elements ...... 10 Audio Settings ...... 15 Default Pan...... 16 Digital Audio Scrub Parameters ...... 17 Bin Settings ...... 18 Automatic Save and Backup Features...... 19 Double-Click ...... 20 Bin View...... 21 Composer ...... 25 Composer Window Settings ...... 26 Fast Forward and Rewind ...... 29 Color Framing ...... 30 Full-Screen Mode Options ...... 33 Miscellaneous Composer Options...... 34 Deck ...... 36 General Deck Options ...... 37 Deck Control Settings ...... 39 Digitize ...... 43 Digitize Settings ...... 44 Batch Digitize Settings...... 46 Selecting Telecine and AutoClean Settings ...... 48 Effects ...... 50 Film ...... 51 Film Settings Options...... 52

ii

Sequence Timecode Format ...... 52 Ink Number Format...... 53 Ink Number Displayed As...... 53 Auxiliary Ink Format...... 54 Auxiliary Ink displayed as...... 54 DAT TC Format ...... 54 Film to Video Transfer...... 55 Audio Transfer ...... 55 General ...... 56 Interface ...... 58 Keyboard ...... 60 Render...... 61 Script ...... 63 Title Style Sheet ...... 65 Trim ...... 67

Chapter 2 Master Command Palette First Group of Master Command Palette Buttons ...... 70 Second Group of Master Command Palette Buttons ...... 72 Third Group of Master Command Palette Buttons ...... 74 Fourth Group of Master Command Palette Buttons ...... 76 Fifth Group of Master Command Palette Buttons...... 78 Sixth Group of Master Command Palette Buttons ...... 79 Seventh Group of Master Command Palette Buttons...... 82

Chapter 3 Output Menu Digital Cut ...... 86 Cut List and Change List...... 89 Cut Lists and Change List Options ...... 90 Global Options ...... 90 Common Options ...... 94 Cut List Selection ...... 96 Assemble List ...... 96

iii

Optical List ...... 97 Dupe List ...... 98 Pull and Scene Assemble Lists ...... 99 Change List Options...... 101 EDL Manager...... 102

Chapter 4 AVR Specifications and Storage Capacities AVR SpeciÞcations...... 104 Screen Resolution ...... 104 Avid Video Resolutions (AVRs) ...... 104 Using AVR 75 and AVR 77...... 109 AVR 75 Requirements ...... 109 AVR 77 Requirements ...... 110 Mixable Resolutions ...... 110 About Storage and Playback ...... 111 Estimating Storage Requirements ...... 112 Maximizing Storage ...... 112 Improving Playback ...... 113 Storage Example ...... 113 AVR Storage Capacities...... 115

Chapter 5 Avid Logs Specifications Compatible Log Formats...... 121 Creating Avid Logs...... 122 Importing Logs into Media Composer or Film Composer . . . 123 Understanding Avid Log SpeciÞcations ...... 123 Example ...... 123 Sample Avid Logs ...... 130 Sample Avid Log for an NTSC Project ...... 131 Sample Avid Log for a 35-mm Film Project ...... 132 Sample Avid Log for a 16-mm Film Project ...... 133

iv

Chapter 6 List of Effects for Avid Models Chapter 7 Applications Supporting OMF Interchange Index

v

Tables Table 1-1 Settings Scroll List ...... 11 Table 1-2 Default Pan Options...... 16 Table 1-3 Digital Audio Scrub Options ...... 17 Table 1-4 Automatic Save and Backup Options ...... 19 Table 1-5 Double-Click Options ...... 21 Table 1-6 Bin View Column Headings ...... 22 Table 1-7 Composer Window Settings ...... 27 Table 1-8 Fast Forward/Rewind Options ...... 29 Table 1-9 Color Framing Options ...... 31 Table 1-10 Full-Screen Mode Options ...... 34 Table 1-11 Miscellaneous Composer Options...... 34 Table 1-12 General Deck Control Options...... 37 Table 1-13 Deck Control Options ...... 39 Table 1-14 Digitize Settings Options ...... 45 Table 1-15 Batch Digitize Options...... 47 Table 1-16 Digitize Settings for Media Station...... 49 Table 1-17 Effects Options ...... 51 Table 1-18 General Options ...... 57 Table 1-19 Interface Options...... 58 Table 1-20 Render Options ...... 61 Table 1-21 Default Script Options...... 64 Table 1-22 Title Style Options ...... 66 Table 1-23 Trim Settings Options ...... 68 Table 2-1 First Group of Buttons ...... 70 Table 2-2 Second Group of Buttons ...... 72

vi Table 2-3 Third Group of Buttons ...... 74 Table 2-4 Fourth Group of Buttons ...... 76 Table 2-5 Fifth Group of Buttons...... 78 Table 2-6 Sixth Group of Buttons ...... 80 Table 2-7 Seventh Group of Buttons...... 82 Table 3-1 Digital Cut Options ...... 87 Table 3-2 Global Options ...... 91 Table 3-3 Common Options ...... 94 Table 3-4 Assemble List Options...... 97 Table 3-5 Optical List Options ...... 97 Table 3-6 Dupe List Options...... 98 Table 3-7 Pull and Scene Assemble List Options...... 99 Table 3-8 Change List Options...... 101 Table 4-1 Single-Field AVRs 2s Ð 9s ...... 106 Table 4-2 Two-Field AVR 12 and AVRs 70 Ð 77 ...... 107 Table 4-3 MultiCamera AVRs 2m Ð 6m...... 108 Table 4-4 Storage: Single-Field AVRs 2s Ð 4s...... 115 Table 4-5 Storage: Single-Field AVRs 6s Ð 9s...... 116 Table 4-6 Storage: Two-Field AVR 12 ...... 117 Table 4-7 Storage: Two-Field AVRs 70 Ð 77 ...... 118 Table 4-8 Storage: MultiCamera AVRs 2m Ð 4m...... 118 Table 4-9 Storage: MultiCamera AVR 6m ...... 119 Table 5-1 Compatible Log Formats ...... 121 Table 7-1 Animation/DVE Applications ...... 145 Table 7-2 Audio Applications...... 145 Table 7-3 Editing Applications...... 146

vii Table 7-4 Graphics/Effects Applications ...... 147 Table 7-5 Interactive Applications...... 148 Table 7-6 Video Applications ...... 148

viii CHAPTER 1 Settings Scroll List

Click the Setting Name or Setting Type to open the associated dialog box.

Setting Name Custom Name Setting Type

9 Where to Þnd it Project window>Settings button

What it does Lets you customize an alphabetical list of Media Com- poser or Film Composer items to your work style, project, and system needs. You can copy settings pref- erences from editor to editor, project to project, and Composer system to Composer system.

How to use it After you customize the features, you can save them as defaults. This eliminates having to set each option every time you either log in to the system, or use one of the tools while editing a project.

Results When you select a project and identify yourself as the editor, the system loads your customized settings from your User Þle into the system.

Requirements and Several settings in the scroll list require the presence of restrictions external or standalone devices in order to display dia- log boxes; others can only be adjusted from within related tools; while others, such as Film settings, require the presence of a related project, in this case 24 fps. See Table 1-1 for details.

For more information See the getting started guide for your Media Com- poser product.

Settings Scroll List Elements

Table 1-1 brießy describes each item in the settings scroll list and lists any special requirements for viewing the associated dialog box. If the item has an associated dialog box or window, the table refers to the appropriate page for more information.

10 Table 1-1 Settings Scroll List

Setting For more Access dialog Description Name information box from the Settings Scroll List?

Audio See ÒAudio SettingsÓ Yes Sets the default audio pan and the number on page 15. of incoming and outgoing frames played during a digital scrub.

Avid See ÒDeck Control No This setting Þle is reserved for future Controller SettingsÓ on page 39. product development.

Bin See ÒBin SettingsÓ on Yes Sets the Auto-save and Double-click pref- page 18. erences for bins.

Bin View See ÒBin ViewÓ on Yes Selects and formats the information dis- page 21. played in bins from the Project window.

Burnin See the Avid Media Need Media Reader DeÞnes how the Burn-In tool imprints Reader Setup and UserÕs installed. timecode or key numbers over media as it Guide. is being digitized.

Change List See Chapter 3, ÒOut- No; select Change DeÞnes the content and format for a put Menu." List from the Out- change list. Only available for Þlm put menu. projects.

Composer See ÒComposerÓ on Yes ConÞgures the display and behavior of page 25. buttons and information in the Source and Record monitors.

Cut List See Chapter 3, ÒOut- No; select Cut List Allows you to deÞne the content and for- put Menu." from the Output mat for a cut list. Only available for Þlm menu. projects.

Deck See ÒDeckÓ on Yes DeÞnes parameters for tape deck control page 36. during digitizing and digital cuts.

Digital Cut See Chapter 3, ÒOut- No; choose Digital DeÞnes the parameters for previewing or put Menu." Cut from the recording a digital cut to tape. Output menu.

11 Table 1-1 Settings Scroll List (Continued)

Setting For more Access dialog Description Name information box from the Settings Scroll List?

Digitize See ÒDigitizeÓ on Yes DeÞnes how Media Composer or Film page 43. Composer digitizes and batch digitizes in speciÞc situations.

Effects See ÒEffectsÓ on Yes SpeciÞes which effect categories play in page 50. real time.

Film See ÒFilmÓ on page 51. Yes; only available Allows you to specify the settings for Þlm for Þlm projects projects.

General See ÒGeneralÓ on Yes DeÞnes several default values such as page 56. default starting timecode and edgecode for your project.

Interface See ÒInterfaceÓ on Yes SpeciÞes whether to display text labels on page 58. command icons and whether to show long menus.

Keyboard See ÒKeyboardÓ on Yes Maps commands from the Master com- page 60. mand palette to the keyboard.

MUI See ÒDeck Control Yes; requires MUI Customizes the function of your MUI SettingsÓ on page 39. hardware. (manual user interface) controller. A MUI controller allows you to easily mark, jog, and shuttle through footage.

Reader Avid Media Reader No; requires Media DeÞnes how the vertical internal timecode Setup and UserÕs Reader. Then select (VITC) and longitudinal timecode (LTC) Guide. Reader from Tools information on a tape will be read, inter- menu. preted, and stored in your bins when using a Media Reader with your Com- poser system.

Render See ÒRenderÓ on Yes Controls the size of imported graphics page 61. and rendered effects to ensure that the graphic or effect will be playable.

12 Table 1-1 Settings Scroll List (Continued)

Setting For more Access dialog Description Name information box from the Settings Scroll List?

Script See ÒScriptÓ on Yes Sets the default display options for scripts page 63. imported using script integration.

Serial Ports See the getting started No; choose Serial ConÞgures the serial ports on your system guide for your Media Ports from the Tools for deck control, Steenbeck hardware, Composer product. menu. EDL Transfer, and Media Reader.

Steenbeck See ÒDeck Control Yes; requires Steen- Customizes the function of your Steen- SettingsÓ on page 39. beck hardware. beck controller. A Steenbeck controller is a type of manual user interface that is famil- iar to editors with a background in Þlm editing.

Timeline See the userÕs guide No; you cannot If you save your Timeline settings, the View for your Media Com- view this Þle saved Þle appears as a Timeline View in poser product. directly. Select the settings scroll list. saved setting Þles from within the Timeline.

Timeline See the userÕs guide No; you cannot Contains the latest Timeline settings. for your Media Com- view this Þle poser product. directly.

Title Style See ÒTitle Style SheetÓ Yes Saves frequently used text and graphics on page 65. settings in the Title tool.

Trim See ÒTrimÓ on page 67. Yes SpeciÞes when to use Small trim mode or Big trim mode. You can also specify the amount of media that will play when you loop to view a transition.

User ProÞle See the getting started No; you cannot Contains the current User settings. guide for your Media view this Þle Composer product. directly.

13 Table 1-1 Settings Scroll List (Continued)

Setting For more Access dialog Description Name information box from the Settings Scroll List?

Video Input See the userÕs guide No; choose Video The Video Input tool allows you to cali- for your Media Input from the Tools brate either composite or component Composer product. menu. video when digitizing.

Video Output See the userÕs guide No; choose Video The Video Output tool allows you to cali- for your Media Com- Output from the brate output for composite or component poser product. Tools menu. video in a digital cut.

The following sections describe the dialog boxes and windows associ- ated with the Project Settings scroll list.

14 Audio Settings

Where to Þnd it Project window>Settings scroll list>Audio

What it does Sets the default pan and the number of incoming and outgoing frames played during a digital scrub. The incoming and outgoing frame values appear above the monitors.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information See the userÕs guide for your Media Composer prod- uct.

15 Default Pan

Top half of Audio Settings dialog box

Description

Default pan settings distribute up to four incoming audio tracks between two available channels. This setting is primarily designed for clips where the pan volume has not already been set using the Audio Mix window. Table 1-2 lists the default pan options.

Table 1-2 Default Pan Options

Option Description

Alternating Left - Places tracks 1 and 3 on the left channel and tracks 2 Right and 4 on the right channel for audio playback.

All Tracks Centered Plays all tracks through both speakers, creating a mono effect during audio playback.

16 Digital Audio Scrub Parameters

Bottom half of Audio Settings dialog box

Description

Audio scrub plays several frames of audio when you move the posi- tion indicator in either monitor. The audio scrub parameters set the number of frames played before and after the position indicator in both the Source monitor and the Record monitor. Table 1-3 lists the digital audio scrub options.

Table 1-3 Digital Audio Scrub Options

Option Description

Source Includes text boxes for setting the number of outgoing and incom- ing audio frames played when scrubbing audio in the Source monitor.

Record Includes text boxes for setting the number of outgoing and incom- ing audio frames played when scrubbing audio in the Record monitor.

17 Bin Settings

Where to Þnd it Project window>Settings scroll list>Bin

What it does Sets Auto-save and Double-click preferences.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information See the getting started guide for your Media Com- poser product.

18 Automatic Save and Backup Features

Top half of Bin Settings dialog box

Description

The top portion of the Bin Settings dialog box controls the Composer systemÕs automatic save features including the number of backups saved in the Attic folder. Table 1-4 lists the automatic save and backup options.

Table 1-4 Automatic Save and Backup Options

Option Description

Auto-save interval SpeciÞes the length of time between attempts to auto- matically save project Þles. The default is to save every 15 minutes. The Composer waits until the system is inactive before saving to avoid interrupting an edit. However, when the Composer reaches the designated Force auto-save at time, it will interrupt an edit to automat- ically save the project Þles.

Inactivity period SpeciÞes the length of time the Composer system waits when the system is inactive before automati- cally saving the project Þles. The default is zero sec- onds.

19 Table 1-4 Automatic Save and Backup Options (Continued)

Option Description

Force auto-save at SpeciÞes the maximum length of time between auto- saves. When the Composer system reaches this time, it will interrupt an edit to auto-save the project Þles. The default is 30 minutes.

Maximum Files in SpeciÞes the total number of Þles stored in the Attic attic folder. When a bin is saved, the Composer copies the previous version of the bin to a special folder called the Attic. The default is 30 Þles. Keep more Þles if there are many editors working on the system. This ensures that all the bins are backed up. When there are multiple editors working on one sys- tem, store bin settings as Site or Project settings. This will ensure that another user does not override your settings and delete your backups.

Maximum version of SpeciÞes the total number of single-bin copies stored any one bin in the Attic folder. This setting prevents Þlling the Attic with too many copies of one bin, at the risk of losing the others. The default is Þve copies.

Double-Click

Bottom half of Bin Settings dialog box

20 Description

Double-click settings determine what happens when you double-click an object in a bin. Table 1-5 lists the double-click options.

Table 1-5 Double-Click Options

Option Description

Opens new monitor Creates a new Pop-up monitor and automatically for clip. loads the clip when you double-click an object in the bin.

Loads clip into source Loads the clip or sequence into the Source or Record or record monitor. monitor when you double-click an object in a bin.

Bin View

21 Where to Þnd it Project window > Settings > Bin View

What it does Selects the information displayed in bins from the Project window. There are three bin views available: Custom, Film, and Statistics. These are the defaults but you can use them to create additional bin views.

How to use it Include desired columns in the bin by clicking them in this dialog box. Click OK when done.

For more information See the userÕs guide for your Media Composer prod- uct.

Table 1-6 Bin View Column Headings

Heading Description

Name The name of the clip or sequence (you can rename a clip or sequence after it has been digitized).

Audio The audio resolution (sample rate).

Auxiliary Ink Auxiliary ink format settings allow you to display two types of ink numbers at the same time. This lets you track additional types of Þlm information for different Þlm gauges.

Auxiliary TC1 You can enter an auxiliary timecode, for example, Aaton, Arri, or some other timecode through TC5 for editing Þlm or audio timecode for Þlm.

Camera The camera used to Þlm this clip. This feature is used in multicamera shoots.

Camroll The camera roll containing this clip (Þlm projects only).

CFPS The captured frames per second.

Color Framing The color framing for the tape (Even or Odd).

Creation Date The date and time the clip was logged/digitized.

22 Table 1-6 Bin View Column Headings (Continued)

Heading Description

Disk The last known disk on which the media for that master clip existed.

Duration The length of the clip.

End The timecode of the clipÕs tailframe.

Film TC 24 fps timecode or ARRI timecode (Þlm projects only).

FPS The play rate: the number of frames to be displayed each second. The default is 30 for NTSC, 25 for PAL, and 24 or 25 for Þlm.

Frame Displays the same frame that is displayed when you select Frame view for the bin. You can perform the same operations on the frame that you can perform in Frame mode, as described in the userÕs guide for your Media Composer product.

Note that it can take longer for the screen to display frames than text. Because of this, working with frames can slow down the work that you do with bins.

IN-OUT The length of the marked segment, if any.

Ink Number The ink number for the clip (Þlm projects only).

KN Start The starting key number for the clip (Þlm projects only).

KN End The ending key number for the clip (Þlm projects only).

KN Duration The length of the clip, expressed in feet and frames (Þlm projects only).

KN Mark In The key number of the IN point, if you set one for the clip (Þlm projects only).

KN Mark Out The key number of the OUT point, if you set one for the clip (Þlm projects only).

KN IN-OUT The duration between the IN and OUT points, expressed in feet and frames (Þlm projects only).

Labroll The labroll containing this clip.

Lock SpeciÞes whether the clip is locked for editing.

23 Table 1-6 Bin View Column Headings (Continued)

Heading Description

Mark IN The timecode for the IN, if you set one for the clip.

Mark OUT The timecode for the OUT, if you set one for the clip.

Ofßine The track names for any media Þles that are ofßine.

Pullin The telecine pulldown of the Þrst frame of the clip. Pullin can have the values: A, B, C, or D.

Pullout The telecine pulldown of the last frame of the clip. Pullout can have the values: A, B, C, or D.

Project The project under which the media was originally digitized.

Scene The scene number of the clip.

Shoot date The date the footage was shot.

Slip The information on how much quarter frame slip is on this clip for sub-frame-syncing (Þlm projects only).

Sound roll The sound roll this clip came from (Þlm projects only).

Sound TC The timecode for audio (Þlm projects only).

Start The timecode of the clipÕs head frame.

Take The take number of the scene.

Tape The source tape name.

Tracks All tracks used by this media object.

VITC The vertical interval timecode.

Video The Avid Video Resolution (for example, AVR 1 through AVR 5) under which the media for that clip was digitized.

24 Composer

Where to Þnd it Project window > Settings > Composer

What it does Customizes various aspects of the appearance and behavior of controls in the Composer window.

How to use it Select options and click OK.

For additional See the userÕs guide for your Media Composer prod- information uct.

25 Composer Window Settings

Composer Settings dialog box

Where to Þnd it Project window>Settings scroll list>Composer

What it does Sets the Composer window preferences.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For additional See the getting started guide for your Media information Composer product.

Table 1-7 describes the Composer window settings. The following illustration shows the location of rows of info, rows of buttons, center duration, and the Big Source/Record monitors.

26 Second row of Big Source/Record monitors Center duration info

Second row of buttons

Table 1-7 Composer Window Settings

Option Description

First (lower) Row of Displays only one row of tracking, duration, and clip Info sequence title information above the Source and Record monitors.

Second Row of Info Displays both rows of information options above the Source and Record monitors.

27 Table 1-7 Composer Window Settings (Continued)

Option Description

Digital Scrub Parame- Displays the numbers for incoming/outgoing frames ters played during digital scrub for both Source and Record-side material within the second row of infor- mation.

Center Duration Displays duration data for the material loaded in the Source or Record monitor, depending on which mon- itor is active. See the illustration before this table for the displayÕs location.

Play Multicamera Toggles between the display of line cut and quad split Linecut while in Multicamera mode.

Big Source/Record Displays enlarged Source and Record monitors side Monitors by side.

16 x 9 Displays media in the Source and Record monitors in 16 x 9 format for standard NTSC and PAL signals. This preference allows you to display the full aspect ratio of wide-screen video in the Source and Record monitors during editing.

First Row of Buttons Displays only the top row of the Monitor command palettes.

Second Row of Displays a second row of buttons under the Source Buttons and Record monitors and includes mode buttons in the lower-center of Source/Record mode beneath the splice and overwrite buttons.

Tick Mark in Position Toggles the display of tick marks (duration indica- Bar tors) that appear incrementally along the position bar located directly beneath the Source and Record moni- tors. When deselected, the tick marks are invisible.

28 Fast Forward and Rewind

Composer Settings dialog box

Description

Sets the Fast Forward and Rewind preferences. These preferences often vary from editor to editor. Table 1-8 lists the options.

Table 1-8 Fast Forward/Rewind Options

Option Description

Stop at Head Frames Moves the position indicator to the Þrst frame (head frame) of the clip on the selected track. This option is the default Fast Forward and Rewind key setting. Each time you press either key, the blue position indicator moves to the next consecutive head frame.

Stop at Tail Frames Moves the blue position indicator to the last frame (tail frame) of the clip on the selected track.

Stop at Locators Cues the position indicator to the next consecutive frame containing a locator. For more information on using locators, see the getting started guide for your Media Composer product.

29 Table 1-8 Fast Forward/Rewind Options (Continued)

Option Description

Ignore Track Lights Ignores the selected tracks and cues directly to the start (head) frame of the next edit, regardless of the track on which it occurs. The position indicatorÕs Þnal location depends on whether the Stop at Head Frames or Stop at Tail Frames options have been enabled.

Color Framing

Composer Settings dialog box

Description

When preparing for an online edit using 1-inch, reel-to-reel sources, this option enables the system to check each edit in a sequence as you edit. This checking capability ensures that transitions do not cut between the four Þelds (two frames) required to create a complete NTSC color-sync signal phase.

The following illustration shows the location of the color framing indi- cator lights.

30 Color framing indicator lights

In Trim mode, color frame information is displayed on incoming and outgoing frames. The Composer system displays small green boxes on the top-adjacent frame corners. When the color sync signals are in phase, the boxes are aligned horizontally.

Color framing Indicator Lights

Incoming frame Outgoing frame

Boxes are out of alignment when the color sync signal is out of phase

For more information, see the userÕs guide for your Media Composer product.

Table 1-9 lists the color framing options.

Table 1-9 Color Framing Options

Option Description

On Displays green indicator lights (similar to LEDs) called color framing indicator lights beneath the Overwrite and Splice buttons. These indicator lights ßash when the color- sync signal is not in phase for that frame. Solid, nonßashing, green lights indicate a frame that is properly phased. If the green light is ßashing, Þnd the proper color phasing when editing by trimming the IN and OUT points by a frame or two until the ßashing stops. For more information, see the userÕs guide for your Media Composer product.

31 Table 1-9 Color Framing Options

Option Description

Off Prevents the color framing indicator lights from appearing beneath the Overwrite and Splice buttons. Select this option if you are not performing an online edit with material digitized from 1-inch, reel-to-reel tapes. This value is the default. If you turn the Color Framing option Off, you may have to make adjustments during online editing if your edits interrupt the color-sync, signals-per-frame Þelds in the sequence.

4-Þeld Select when using NTSC video.

8-Þeld Select when using PAL video.

32 Full-Screen Mode Options

Composer Settings dialog box

Description

The Full-Screen mode options determine where to display the Time- line and the Composer window (the Source and Record monitors) when the system is in Full-Screen mode.

Full-Screen mode is useful for customers that do not want to use the default three-monitor conÞguration. In the default conÞguration a third monitor is continually in Full-Screen mode. This allows you to view incoming media as it is digitized and to display a full-screen view of the media in the Composer window.

If you want to use only two monitors, you can purchase a monitor that is switchable from RGB to NTSC. Use RGB mode to view the Timeline Full-Screen and Composer windows in the monitor. To enter Full-Screen mode, mode button switch to NTSC and click the Full-Screen mode button.

You can also press the single quote key ( Ô ) on the keyboard to enter Full-Screen mode.

Table 1-10 lists the Full-Screen mode options.

33 Table 1-10 Full-Screen Mode Options

Option Description

Timeline Moves the Timeline display to the second monitor whenever the system is in Full-Screen playback mode. Deselecting this option hides the Timeline during Full-Screen mode.

Composer Moves the Source/Record windows to the second monitor whenever the system is in Full-Screen playback mode. Dese- lecting this option hides the monitors during Full-Screen mode.

Miscellaneous Composer Options

Composer Settings dialog box

Table 1-11 Miscellaneous Composer Options

Option Description

Sync Point Editing Overwrites material onto your sequence in such a way that a particular point in the source material is in sync with a particular point in the sequence.

Single Mark Editing Allows you to mark an IN or OUT point in the Source monitor and then per- form a splice, overwrite, or replace edit. The system uses the current position of the blue position indicator as the corresponding OUT or IN point.

34 Table 1-11 Miscellaneous Composer Options

Option Description

Phantom Marks Provides visual guidance when performing three-point edits. Phantom marks are gray IN or OUT mark icons that indicate one, two, or three edit points.

Auto-create New Whenever you load new source material into the Source monitor, the system Tracks automatically creates any new tracks in the sequence that match existing tracks on the Source side.

Auto-enable Source Whenever you load new source material into the Source monitor, the system Tracks automatically enables all existing source tracks.

Copy Source Locators If you have locators in a clip in the Source monitor, you can check this box to instruct the system to copy the locators when you edit the clip into the Record monitor.

35 Deck

Where to Þnd it Project window > Settings > Deck

What it does DeÞnes which tape deck is used during input and out- put. These settings also deÞne various parameters relating to deck control.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information For information on connecting tape decks, see the Avid Media Composer Products Connecting Audio and Video Equipment. Also see the userÕs guide for your Media Composer product.

36 General Deck Options

Top portion of Deck Settings dialog box

Table 1-12 General Deck Control Options

Option Description

Source SpeciÞes the Source deck that captures video. The default is Deck 1.

Record SpeciÞes the Record deck that records a digital cut. The default is Deck 2.

When No Tape in Deck Displays a pop-up menu that lets you choose the default timecode format Log as (drop frame or non-drop frame) to use when logging clips without a tape in the deck. (If a tape is in the deck, the Composer system automatically uses the existing timecode format on the tape.)

Sync Mode Displays a pop-up menu that determines the synchronization for the source deck, the record deck, or the system. This setting is only relevant if you have a VLAN or VLX interface.

Record Lock Ñ For use with a switcher with a time base corrector.

System Ñ For use with an Ampex 1-inch timeline VTR.

Source LockÑ The standard setting.

37 Table 1-12 General Deck Control Options (Continued)

Option Description

Pre-roll Determines how many seconds you want the deck to roll before a digitize or digital cut starts. The default is a 6 second preroll. Increasing the preroll time gives the deck more time to sync to the input signal before you start digitiz- ing.

Allow Assemble Editing Allows you to use assemble-edit settings in Media Composer, along with for Digital Cut assemble-editing capabilities of your record deck, to quickly record frame- accurate digital cuts without striping entire tapes in advance. For more infor- mation, see the userÕs guide for your Media Composer product and ÒDigital CutÓ on page 86.

Tips for Using Preroll

Increase the preroll time in the following cases: ¥ If you have trouble digitizing from a tape; the picture is unstable at the start of the digitize ¥ If you are get error messages concerning discontinuity in timecode when the timecode appears correct ¥ If there are other problems indicating that the deck is having trou- ble Þnding or syncing to the input signal

Decrease the preroll time if you have a break in the timecode before a section of media that you want to capture. You may have to reduce the preroll to avoid the timecode break that could prevent the clip from digitizing.

38 Deck Control Settings

Bottom portion of Deck Settings dialog box

Table 1-13 Deck Control Options

Option Description

Fast Cue Fast cue is only useful for decks that can read timecode in fast forward or rewind mode. If your decks can do this, fast cue can speed up long searches.

Switch to ff/rew This option instructs the system to switch to fast forward or rewind if the target timecode is farther than the speci- Þed number of seconds from your current location on the tape.

By default, the deck switches to fast forward or rewind to reach a target timecode that is more than 60 seconds away.

If your deck shuttles very quickly, you can increase this number so that the system only uses fast cue for long searches.

39 Table 1-13 Deck Control Options (Continued)

Option Description

Fast cue (continued) Switch to search This option instructs the system to switch out of fast for- ward or rewind when it is within the speciÞed number of seconds of the target timecode. By default, the system switches to search mode when it is 14 seconds from the target timecode.

Stop Key Pauses Deck DeÞnes how the stop key (Space bar) on the keyboard functions. If you select Stop Key Pauses Deck, the Space bar maps to the Pause button on the deck. If you deselect the box, the Space bar maps to the Stop button.

Note that in Stop Key Pauses Deck mode, if the video tape heads are down, pressing the Space bar brings up the heads and pauses the deck.

Note that the Stop button on the Digitize tool and Deck Controller tool always stops the decks. (Choose New Deck Controller from the Tools menu to access the Deck Controller tool.)

Shuttle Holds Speed Determines whether the Shuttle button will continue shuttling at a constant speed or stop when you release the Shuttle button.

VTR Emulation The Composer system supports Video Tape Recorder (VTR) Emulation for Parameters both play and record. The record feature is only available on the Media Sta- tion.

See the userÕs guide for your Media Composer product for VTR play emula- tion information. See the Avid Media Station UserÕs Guide for VTR record emu- lation information.

Device Code The device code identiÞes the VTR that the system will emulate. The default value identiÞes a Sony¨ PVW 2800, which performs all of the common play and record func- tions.

You should not have to change the device code value unless your edit controller does not recognize the VTR emulator or you have a speciÞc VTR that you want to emulate.

40 Table 1-13 Deck Control Options (Continued)

Option Description

VTR Emulation The device code is a 2-byte hexadecimal code deÞned by Parameters (continued) Sony in its protocol documentation. For a list of available device codes, type ÒdeckcodesÓ in the Console window.

Edit Delay The edit delay value is only used by Media Station. (frames) Every VTR has an edit delay value that it uses when per- forming frame-accurate edits. On an actual VTR machine, the edit delay corresponds to the time it takes for the recording heads to engage. The Composer system VTR emulation uses the edit delay time to switch from play to record mode. The default value is 12 frames. In other words, the Composer system can switch from play to record mode in the time that it takes to play 12 frames. The Composer system uses the edit delay value for both the IN point and OUT point for frame-accurate edits.

When you attach a deck to an edit controller the edit con- troller usually determines the edit delay value automati- cally. This does not happen with VTR emulation so you need to make sure that the value on the edit controller matches the Edit Delay value in the VTR Emulation Parameters. If the values donÕt match, your recording may always be a few frames off.

If the values donÕt match, adjust the value on the edit con- troller or on the Composer system. Acceptable values range from 4 to 30, inclusive. The optimum rate is 12. Val- ues below 8 might cause edits to start a few frames late. Note that there are 2 Þelds per frame, so a value of 12 cor- responds to 24 Þelds.

Consult the documentation that came with the edit con- troller to determine how to assign the edit delay value on your edit controller.

Runup (frames) Each deck has a runup value which corresponds to the amount of time it take the deck to start playing from a Stop position. The time is measured in frames.

41 Table 1-13 Deck Control Options (Continued)

Option Description

VTR Emulation When the runup time of two video devices is similar, it is Parameters (continued) easier for the edit controller to synchronize the devices during preroll. If your Avid VTR emulator does not sync up as often as you would like, try adjusting this value so that the two devices attain full speed at nearly the same time. The default is value is 5 frames.

Editing Controller Selects an editing controller. Editing controllers allow you to perform a collec- tion of functions with one hand that are normally controlled by the keyboard or mouse. See the getting started for information on these controllers.

Use the default Òno controllerÓ setting unless you have one of the following controllers attached to your system.

MUI Manual user interface (pronounced ÒMoo-eeÓ). This con- troller allows you to easily mark, jog and shuttle through footage. Several movable parts allow you to arrange the controls in a variety of positions to suit your personal preference. For more information, see the getting started guide for your Media Composer product.

Steenbeck A Steenbeck controller is a type of manual user interface that is familiar to many editors with a background in Þlm editing. For more information, see the getting started guide for your Media Composer product.

Avid Controller Reserved for future development. For Media Composer, Film Composer, and Media Station releases greater than 6.5, see the Release Notes for availability of additional controllers.

After you install and select an editing controller, the Composer system enables a corresponding entry in the Settings scroll list (one each for MUI, Steenbeck, and Avid Controller). Choose the corresponding entry in the Set- tings scroll list to customize the options associated with your edit controller.

42 Digitize

These options only appear for Film projects

Media Composer and Film Composer

Media Station with Telecine option

43 Where to Þnd it Project window > Settings > Digitize

What it does Chooses how the Composer system digitizes and batch digitizes in speciÞc situations.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information See the userÕs guide for your Media Composer prod- uct. If you use Media Station with the Telecine option, see the Avid Media Station UserÕs Guide.

Digitize Settings

Top half of Digitize Settings dialog box

Description

SpeciÞes how to digitize video clips. Table 1-14 lists the general digi- tize settings options.

44 Table 1-14 Digitize Settings Options

Option Description

Always display incoming video Select to have the Edit monitor display incoming video as soon as you in the Edit monitor. open the Digitize tool. Deselect to have the Edit monitor display incoming video only after you click the V track in the Digitize tool. Note that for systems with a third Full-Screen video monitor, this set- ting is not necessary because the Composer system displays incoming video in the third monitor.

Ask before discarding a can- Select to have the system ask, after you click the Trash icon, if you celed clip. want to keep or discard the incomplete clip. Deselect to have the system discard canceled clips without veriÞca- tion.

Capture a single video frame Select to have the system digitize a single frame, video only, from only. your clip. The clip can be used as a freeze-frame, or for animators, sin- gle-frame clips can be used as key frames prior to Òin-betweening.Ó

Digitize across timecode breaks. Select to have the system digitize sections of discontinuous timecode on a tape as separate clips. Also allows the system to switch to another storage disk with a designated amount of time remaining. See the userÕs guide for your Media Composer product for complete instruc- tions. Deselect to have the system stop digitizing and report errors at time- code breaks.

Combine Þelds. This option only appears for Film projects and only applies to single Þeld media (see Chapter 4 for information on single Þeld media).

If this box is left unchecked, the Composer system only digitizes one Þeld for each frame. If you check this box, the Composer system com- bines (interlaces) the two Þelds into a single Þeld and compresses the result.

45 Table 1-14 Digitize Settings Options (Continued)

Option Description

Use pulldown ßag while This option only appears for Film projects. When working with a tele- digitizing without an In point. cine Þlm-to-tape transfer system, such as Evertz, which can incorpo- rate the white ßag pulldown frame indicator, this option instructs the system to automatically use the white ßag frame as the mark IN. A pop-up menu allows you to designate the frame location of the ßag.

Deselect this option if you intend to determine the pulldown and mark the IN point manually. See the ÒDigitizingÓ chapter of the Avid Film Composer UserÕs Guide.

Batch Digitize Settings

Bottom half of Digitize Settings dialog box

Description

SpeciÞes how to batch digitize video clips. Table 1-15 lists the batch digitize options.

46 Table 1-15 Batch Digitize Options

Option Description

Log errors to the console Select to have the system continue the Batch Digitize process when errors and continue digitizing. occur, and report the errors to the console (choose Console from the Tools menu to view the console window). When deselected, the system will stop when an error occurs. See the userÕs guide for your Media Composer prod- uct for complete instructions.

Digitize the tracks logged Select to digitize the tracks that were entered when the clip was logged. for each clip. Deselect to choose which tracks from the logged clip to digitize in the Digitize tool. Note that you cannot digitize more tracks than were actually logged.

Use the audio compression This option does not apply to Media Composer and Film Composer logged for each clip. Release 6.0 or later because you must manually switch between audio compression settings on the Avid Digidesign¨ Audio Interface hardware.

Use the video compression Select to use the video compression logged for each clip. To determine the logged for each clip. current compression setting, display the Video column heading in the bin. Deselect to use the video compression setting selected in the Compression tool or the Digitize tool.

Switch to the emptiest Select to have the system switch to the target disk with the greatest amount drive if current drive is full. of available space for media Þle storage when the current target disk becomes full during batch digitizing. The Composer system switches before digitizing the clip based on the number of minutes in the clip. See the userÕs guide for your Media Composer product for complete instruc- tions. Deselect to have the system stop digitizing when a drive becomes full.

Stop deck when done Select to specify whether the deck should stop or pause after digitizing. Pause deck when done

47 Selecting Telecine and AutoClean Settings

If you use Media Station with the Telecine option, the system displays a different dialog box when you choose Digitize from the settings scroll list. The dialog box contains a number of settings that directly affect the way the system captures source material during the transfer process.

The following illustration shows the dialog box.

n The Composer system only displays this dialog box when the Digitize tool is in telecine slave mode.

Table 1-16 lists the settings speciÞc to Media Station.

48 Table 1-16 Digitize Settings for Media Station

Option Description

AutoDeleteª clips shorter than Select and choose a clip duration to have the system automatically delete clips shorter than the chosen limit. During telecine transfer, this automatically eliminates partial clips accidentally leftover during the process of cueing and recueing source footage and record tapes.

Master Clips & Subclips. Select one of these options to autodelete master clips and Master Clips Only. subclips or master clips only.

AutoCleanª Events

Clean when event is logged. Select this option to have the system automatically clean away any overlapping timecodes that are logged inaccu- rately for each event, due to the process of cueing and recording during the telecine process.

Clean when exiting REMOTE. Select this option to have the system automatically clean away overlapping timecodes when exiting remoteÑin other words, when the telecine process is Þnished.

Assemble virtual tape. Select this option to automatically assemble the clips cre- ated during the telecine process into a Òvirtual tapeÓ or sequence in the bin that can be loaded as a single clip.

Insert Þller when timecode breaks. Select this option to have the system insert a clip of Þller between timecode breaks when assembling a Òvirtual tapeÓ in order to maintain continuous timecode between clips.

Allow remote track arming Allows you to use the track arming buttons on the con- troller. The track arming buttons allow you to select the tracks to record. This option only applies to Media Reader mode

49 Effects

Where to Þnd it Project window > Settings > Effects

What it does SpeciÞes which effect category to play in real time.

How to use it Select an effect category and click OK. After you cus- tomize the features, you can save them as defaults.

For more information See the Avid Media Composer and Film Composer Effects Guide.

Description

There are two effect categories Ð Wipes and Keys Ð that you can play as real-time effects. However, you can play only one type in real time at any one time. Use the Effect settings described in Table 1-17 to specify which effect category plays in real time. n These settings do not apply to systems with the 3D Effects option since those systems can play real-time wipes and keys in the same sequence.

50 Table 1-17 Effects Options

Option Description

Wipes Enables Wipe effects to play in real time. When Wipes is selected, Key effects will not play in real time. In this case, Wipe effect icons display with orange dots and Key effect icons appear with green dots.

Keys Enables Key effects to play in real time. When Keys is selected, Wipe effects will not play in real time. In this case, Key effect icons appear with orange dots and Wipe effect icons appear with green dots.

Film

51 Where to Þnd it Project window > Settings > Film

What it does SpeciÞes the settings for Þlm projects.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

Requirements and Only available in Film Composer. restrictions

For more information See the ÒWorking with the Project WindowÓ chapter in the Avid Film Composer Getting Started Guide.

Description

Film settings contain default values for options that are speciÞc for Þlm projects, such as the format and display of ink numbers, audio transfer rate, and pulldown on Þlm-to-video transfer.

Film Settings Options

This section describes the options for the Film Settings dialog box. Note that some options are dimmed when a project is already digi- tized.

Sequence Timecode Format

Allows you to specify the master timecode for the sequence.

Choose Video if you are working on a video project with Matchback. When you use this option, it usually means that you will output an EDL, cut list, or digital cut. Matchback users also often output a com- bination of EDL, cut list, or digital cut.

52 Choose Film if you are working on a true Þlm project at 24 fps. When you use this option, it usually means that you will generate a cut list for conforming a negative.

Ink Number Format

Allows you to choose between industry-standard ink number formats. The code you choose depends on your production lab standards and your Þlm format.

Ink Number Displayed As

Allows you to specify the format for ink numbers as displayed in bins and cut lists.

53 Auxiliary Ink Format

Auxiliary ink format settings allow you to display two types of ink numbers at the same time. This lets you track additional types of Þlm information for different Þlm gauges.

Auxiliary Ink displayed as

This option allows you to specify the format for auxiliary ink numbers as displayed in bins and cut lists.

DAT TC Format

DAT TC Format settings allow you to specify the digital audiotape (DAT) timecode format. This timecode format must conform to the timecode format on your original DAT tapes.

30 fps is referred to as drop frame timecode. 29.97 fps is referred to as non-drop-frame timecode.

54 Film to Video Transfer

Film to Video Transfer settings allow you to specify the type of Þlm-to- tape transfer you digitize in Film Composer. The above example shows Video Rate dimmed because the material has already been digi- tized in a Þlm-to-tape transfer using pulldown. n Video Rate is supported in PAL but not in NTSC.

Audio Transfer

Audio Transfer settings allow you to specify the type of audio that you will use.

Choose Film Rate for direct input of sound at the original sample rate (either 44,000 or 48,000 Hz) when digitizing from original sound sources. In this case the Pull Down switch on the Digidesign Audio Interface is set to x1.00.

Choose Video Rate when digitizing sound locked to video reference. For example, when you are using a PAL videotape transfer or an NTSC videotape transfer using pulldown, the Pull Down switch on the Digidesign Audio Interface would be set to x.1.00 for PAL and x.99 for NTSC.

55 General

Video Project

Film Project

56 Where to Þnd it Project window > Settings > General

What it does DeÞnes several default values for your project.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information See the getting started guide for your Media Com- poser product.

Table 1-18 General Options

Option Description

Drive Filtering Based Prevents digitizing high-resolution media to drives that do not on Resolution have sufÞcient speed to play the resolution. If you select this option, the drives affected by drive Þltering are dimmed when you try to access them with the Digitize tool. Drive Þltering does not verify the drive speed when you select a drive while rendering effects. Use care when selecting your target drive for rendering to be sure it is fast enough to play the media.

Default Starting Timecode SpeciÞes the timecode value you want the system to use as the default starting timecode for each new sequence.

Default Starting Edgecode SpeciÞes the edgecode value you want the system to use as the default starting time for each new sequence. This option is for Film projects.

NTSC Has Setup This option allows systems using Japanese NTSC to use the correct color mapping. Japanese NTSC users should use Òwithout setupÓ (leave the box unchecked). All other systems should check the box.

Project Format Displays the format currently selected for the project (NTSC, PAL, or Þlm). It cannot be changed.

57 Interface

Where to Þnd it Project window > Settings > Interface

What it does Determines how to display menus and command pal- ettes.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information See the getting started guide for your Media Composer product.

Table 1-19 Interface Options

Option Description

Short Menus Displays a condensed list of menu items in the pulldown menus of your Composer system. Short menus display only the most com- monly used menu items. Deselect the Short Menus option to dis- play all menu items.

58 Table 1-19 Interface Options (Continued)

Option Description

Show Labels in Icon Menus Shows text labels with the icons in the icon menus. The illustration below shows the location of the icon menus. If this option is not selected, the menus contain only the icon for the commands.

Show Labels in Full Command Shows text labels with the command icons in the full command Palette palette. This is the command palette that you display by choosing Command Palette from the Tools menu. The full command palette is also known as the Master command palette. See Chapter 2 for more information.

Show Labels in Small Command Shows the text labels with the command icons in small command Palette palettes. To create a small command palette, tear off one of the icon menus.

Icon menus

Icon menu

59 Keyboard

Where to Þnd it Project window > Settings > Keyboard

What it does Allows you to customize the functions of keys on the keyboard to Þt your editing style. You can drag icons from the Master command palette to the keys dis- played in the Keyboard Settings window.

Requirements and The system saves the new keyboard layout immedi- restrictions ately after you drag a command to a key. You cannot revert to the original settings. However, if you saved the original settings in a Settings Þle, you can reload the original settings into the Project window. Or you can restore the Avid default keyboard by choosing Restore to Default from the Special menu.

For more information For information on mapping commands to the key- board, see the getting started guide for your Media Composer product.

60 Render

Where to Þnd it Project window > Settings > Render

What it does Controls the size of imported graphics and rendered effects to Þt within a playable range.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information For information on rendering, see the Avid Media Com- poser and Film Composer Effects Guide.

Table 1-20 Render Options

Option Description

Limit rendered frame size SpeciÞes a percent of the AVRÕs default limit. The to n% of default limit effectÕs AVR is the same as the sequenceÕs AVR. The default is 100%.

61 Table 1-20 Render Options (Continued)

Option Description

If frame size exceeds The threshold is established by the above percent. threshold Three options are available: Soften Image Ñ The Composer system increases compression of the picture, losing some of the detail. DonÕt Soften Image Ñ The Composer system stops rendering or importing the PICT. Ask me Ñ Displays a dialog box (that appears after this table) that checks if you want to soften the image. This is the default option.

If you select ÒAsk meÓ and the threshold is exceeded during render- ing, the following dialog box appears:

62 Script

Where to Þnd it Project window > Settings > Script

What it does Selects default settings for displaying imported scripts. Script integration allows you to create direct links between the lined script and clips in the source bin.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information For information on script integration, see the userÕs guide for your Media Composer product.

63 Table 1-21 Default Script Options

Option Description

Font Selects the font for imported scripts. The default is Courier.

Size Selects the font size. The default is 12 points.

Left Margin (pixels) SpeciÞes the left margin size. The default is 40 pixels.

Take Coloring SpeciÞes the color that the Composer system will apply to takes.

Show Frames Show Frames in take slates.

Show All Takes Show all takes in each slate. If you deselect this option the Composer system will only display one take per slate.

64 Title Style Sheet

Sample window

Style name

Where to Þnd it Project window>settings scroll list>Title Style

What it does Used for creating templates for the Title tool. Style sheets allow you to deÞne and select basic text and drawing parameters that you can use with the Title tool.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information See the ÒCreating and Editing Titles and Graphic ObjectsÓ chapter in the Avid Media Composer and Film Composer Effects Guide.

65 Table 1-22 Title Style Options

Option Description

Check boxes When you create a style from within the Title tool, you select an object and choose the current attributes of the object that you want to include in the style. For example, you might want to use all of the font attributes but not use the current color. Use the check boxes to specify the attributes that you want to use.

Style name This is the name of the style. This name appears in the Style list in the Title tool and in the settings scroll list.

Refresh The Refresh button appears after you change an item on the dialog box. Click Refresh to display the new change in the sample window.

Select All Allows you to select all or none of the check boxes. Select None

Revert Return to the settings used when the style was last saved.

Done Closes the dialog box and saves your changes.

Window close button The Macintosh close button in the upper left corner of the dialog box acts as a Cancel button. A dialog box appears asking whether you want to cancel or save your changes.

If you created a new style from within the Title tool window, choosing can- cel means that the new style will not be created.

66 Trim

Where to Þnd it Project window > Settings > Trim

What it does Customizes the Trim mode environment. Trim mode provides a unique set of controls for Þne-tuning edits such as removing or adding frames to the incoming or outgoing material at transitions, or slipping or sliding shots.

How to use it Select options and click OK. After you customize the features, you can save them as defaults.

For more information See the userÕs guide for your Media Composer prod- uct.

67

Table 1-23 Trim Settings Options

Option Description

Never Use Small Trim Always enter Big Trim mode when you perform any of the operations that Mode activate Trim mode. In Big Trim mode, both Source and Record windows are replaced by displays of outgoing and incoming frames.

Goto Transition Uses Enter Small Trim mode only when you click the Go to Previous or Go to Small Trim Mode Next buttons.

Always Use Small Trim Enter Small Trim mode when you perform any of the operations that acti- Mode vate Trim mode. Small Trim mode leaves the Source monitor display, Infor- mation Row displays, user command palettes, and some Monitor menu functions intact. This allows you to continue to perform basic editing func- tions.

Auto Focus when entering Automatically enlarges the Timeline at the transition selected for trimming. Trim Mode

Arrows at Selected Replaces the standard trim rollers with arrows at selected transitions in the Transitions Timeline.

Render On-The-Fly Allows you to display the result of effects as soon as you create them. Note that this can slow down the editing of the sequence.

Dual Image Play Enables dual image play (also known as dual rolling trim). Dual rolling trim allows you to shave or add the same number of frames to both sides of a transition. See the userÕs guide for your Media Composer product for more information.

Transition Play Loop DeÞnes the preroll, postroll, and intermission duration before and after the transition. The play loop feature continuously replays the last trim you per- formed for review purposes.

68 CHAPTER 2 Master Command Palette

The Master command palette includes a button for every editing com- mand and function in the system. You can use the Command palette to conÞgure buttons in pop-up, Source, and Record monitors and to reconÞgure the keyboard, Steenbeck buttons, or the manual user inter- face (MUI) keys. You can also enter commands directly from the pal- ette. n For information on conÞguring buttons and keys, see the getting started guide for your Media Composer product.

You can use the Interface Settings dialog box to turn the text in the Master command palette on and off (see ÒInterfaceÓ in Chapter 1). Note that the following buttons are only available on systems with the 3D Effects option.

3D Effects buttons

69 First Group of Master Command Palette Buttons

Table 2-1 First Group of Buttons

Button Icon Name Description

Mark IN Marks the current frame as the IN point for an edit. In Capture mode: marks the start of the clip to be logged or digitized.

Mark OUT Marks the current frame as the OUT point for an edit. In Capture mode: marks the end of the clip to be logged or digitized.

Mark Clip Marks the start and end of the current clip.

Go to IN Moves to the marked IN point.

Clear IN Clears the marked IN point.

Clear OUT Clears the marked OUT point.

70 Table 2-1 First Group of Buttons (Continued)

Button Icon Name Description

Clear Both Clears the marked IN and OUT points.

Go to OUT Moves to the marked OUT point.

Script Mark Synchronizes individual lines of a script with matching points in digi- tized clips. See the userÕs guide for your Media Composer product for more information.

Find Script Locates the portion of a script that matches the sync point of a loaded clip that has been marked using script integration.

Option Key Adds the Option key modiÞer to the function already associated with a button. Drag this button onto another button in order to add the Option key modiÞer to the function already on the button.

Control Key Adds the Control key modiÞer to the function already associated with a button. Drag this button onto another button in order to add the Control key modiÞer to the function already on the button.

71 Second Group of Master Command Palette Buttons

Table 2-2 Second Group of Buttons

Button Icon Name Description

Step Back 1 Jogs one frame back.

Step Forward 1 Jogs one frame forward.

Go to Prev Edit Moves to the previous transition on the currently selected tracks. Press and hold the Option key to go to the previous transition on any track, regardless of the current track selection. In Source/Record mode: The system goes to the previous edit and enters Trim mode. Use the Rewind button in Source/Record mode to go to the previous edit without entering Trim mode.

Go to Next Edit Moves to the next transition on the currently selected tracks. Press the Option key to go to the next transition on any track, regardless of the current track selection. In Source/Record mode: The system goes to the next edit and enters Trim mode. Use the Fast Forward button in Source/Record mode to go to the next edit without entering Trim mode.

72 Table 2-2 Second Group of Buttons (Continued)

Button Icon Name Description

Step Back 10 Jogs 10 frames back.

Step Forward 10 Jogs 10 frames forward.

Rewind Rewinds to previous head, tail, or locator, depending on the cur- rent Composer settings.

Fast Forward Fast forwards to the next head, tail, or locator, depending on the current Composer settings.

Remove Effect Removes a transition effect at the current position.

Motion Effect Creates a motion effect at the current position.

Quad Split Splits the Source monitor into four quads to simultaneously dis- play four tracks of a group.

Add Locator Adds a locator mark. The Composer system places the mark in the Timeline and in the corresponding frame.

Multicamera angles one through four.

73 Third Group of Master Command Palette Buttons

Table 2-3 Third Group of Buttons

Button Icon Name Description

Splice Inserts material from a source clip into a sequence.

Overwrite Copies material from a source clip over a section of a sequence.

Replace Edit Replaces the clip at the current position in the Record monitor. Uses the current position as a sync mark and ignores IN and OUT marks.

Add Edit Adds an edit at the current position on the selected tracks. Press and hold the Option key to add edits in all Þller clips at the current posi- tion.

If you map the Add Edit button to a key on the Macintosh keyboard, then you can press the key to add edits while you play the sequence. The edits appear when you stop playback.

Extract Removes the material between the marked IN and OUT points and closes the gap, shortening the sequence.

74 Table 2-3 Third Group of Buttons (Continued)

Button Icon Name Description

Lift Removes the frames between the marked IN and OUT points, leav- ing Þller. The sequence length is unchanged.

Copy to Copies the frames between the marked IN and OUT points to the Clipboard Avid Clipboard. Choose Clipboard Contents from the Source Moni- tor menu to see the contents of the Clipboard or edit the material back into a sequence.

Extend Extends a transition back to a mark IN or forward to a mark OUT.

Segment Mode Enters Extract/Splice Segment mode. When this button is active you Extract/Splice can extract and splice segments by dragging them from one location to another in the Timeline. Click again to return to Source/Record mode.

Segment Mode Enters Lift/Overwrite Segment mode.When this button is active you Lift/Overwrite can lift and overwrite segments by dragging them from one location to another in the Timeline. Click again to return to Source/Record mode.

Slip Left In Source/Record mode: Slips the segments at the current position in the sequence on the currently selected tracks to later material. The duration of the segments and their positions in the sequence are unchanged.

Slip Right In Source/Record mode: Slips the segments at the current position in the sequence on the currently selected tracks to earlier material. The duration of the segments and their positions in the sequence are unchanged.

Multicamera angles Þve through eight.

75 Fourth Group of Master Command Palette Buttons

Table 2-4 Fourth Group of Buttons

Button Icon Name Description

Play Reverse Plays in reverse.

Pause Pauses on the current frame.

Play Forward Plays the material.

Stop Stops playback.

Play IN to OUT Plays the clip or sequence from the marked IN point to the marked OUT point.

Play to OUT Plays the clip or sequence from the current position to the marked OUT point.

76 Table 2-4 Fourth Group of Buttons (Continued)

Button Icon Name Description

Play Transition In Trim mode: Plays the selected transition repeatedly. Click again or press the Space bar to stop playback. In Source/Record mode: After you make an edit, repeatedly reviews edit at the head of the shot you just added. Click again or press the Space bar to stop playback.

In Effects mode: Play the effect repeatedly. Press the Space bar or click in the keyframe window to stop playback.

Mouse Shuttle Controls shuttling with the mouse. Move the mouse to the right to increase the shuttling rate, and to the left to decrease the shuttle rate. Press and hold the mouse button to jog (frame-by-frame). Release the mouse button to continue shuttling. Press the Space bar to quit shuttling/jogging with the mouse.

Slip Left Slips left one perf (Þlm projects only). Used for 4-perforation sub- frame syncing of audio.

Slip Right Slips right one perf (Þlm projects only).

Mouse Jog Controls jogging with the mouse. Move the mouse to the right to jog frame-by-frame forward, and to the left to jog back. Press and hold the mouse button to shuttle. Release the mouse but- ton to continue jogging. Press the Space bar to quit jogging/shut- tling with the mouse.

77 Fifth Group of Master Command Palette Buttons

Table 2-5 Fifth Group of Buttons

Button Icon Name Description

V1, V2 Selects and deselects track V1 or V2.

Mute Turns off the speakers.

Cycle Pict Selects record tracks. Click repeatedly to cycle through the track selection options. The track selection options are: select all audio tracks, select all video tracks, select all tracks.

Selects and deselects tracks A1 through A4.

Trim Left 10 Trims left ten frames.

Trim Left 1 Trims left one frame.

78 Table 2-5 Fifth Group of Buttons (Continued)

Button Icon Name Description

Trim Right 1 Trims right one frame.

Trim Right 10 Trims right ten frames.

Add Keyframe Adds a keyframe in Effects mode. Also used for adding break points when using the Audio volume gain automation feature (also known as audio rubber-banding).

Corner Pin Enables the interactive tool for corner pinning a 3D Effect. See the Avid Media Composer and Film Composer Effects Guide.

Crop Enables the interactive tool for cropping a 3D effect.

Scale Enables the interactive handles for scaling a 3D effect.

Sixth Group of Master Command Palette Buttons

79 Table 2-6 Sixth Group of Buttons

Button Icon Name Description

Source/Record Changes the Edit monitor to display the Composer window with Mode the Source and Record monitors and the Timeline for basic editing.

Trim Mode Changes the Edit monitor to display Trim mode for trimming transi- tions and slipping and sliding edits.

Effect Mode Changes the Edit monitor to display Effect mode for adjusting effect parameters and previewing and rendering effects.

Toggle Full Toggles to a full screen. See ÒFull-Screen Mode OptionsÓ on page 33.

Trim A Selects the outgoing material at a transition for trimming.

Trim AB Selects both the outgoing and incoming material at a transition for trimming.

Trim B Selects the incoming material at a transition for trimming.

Cycle Trim In Trim mode: Selects material for trimming. Click repeatedly to Selection cycle through the selection options. The selection cycle is: trim out- going, trim both, trim incoming, trim both. In Source/Record mode: Toggles between the Source and Record monitors.

Toggle Source Toggles between the Source monitor or a Pop-up monitor and the Timeline.

80 Table 2-6 Sixth Group of Buttons (Continued)

Button Icon Name Description

Transition Corner Displays the four corner frames where there is an effect at the transi- Display tion.

Focus Centers the current position in the Timeline and expands or com- presses the Timeline to a scale useful for Timeline editing. Click again to return to the previous Timeline scale.

Fade Title Fades the title of a sequence.

Axis Enables the interactive handles for moving the center of rotation for a 3D effect. See the Avid Media Composer and Film Composer Effects Guide.

Z Rotate Enables the interactive handles for rotating a 3D effect around the Z axis.

X Rotate Enables the interactive handles for rotation around the X axis.

Y Rotate Enables the interactive handles for rotation around the Y axis.

81 Seventh Group of Master Command Palette Buttons

Table 2-7 Seventh Group of Buttons

Button Icon Name Description

Toggle Source/ Toggles between the Source and Record monitors. Also returns you to Record Source/Record mode from any other mode.

Match Frame Finds the source clip for the frame currently displayed in the Record monitor. Loads the source clip into a Source monitor, cues to the match frame, and marks an IN point to prepare for an edit. Finds a match only for the currently selected tracks (for example, if V track is selected, Þnds source clip that has the same V track). If the V, A1, and A2 tracks are selected but are from different sources, the sys- tem Þnds the Þrst match on one of the tracks.

Gang Monitors Gangs the Source monitor or Pop-up monitor or both to the Record monitor. Jog or shuttle in one of the ganged monitors; the other ganged monitors jog or shuttle in sync. Play at the full frame rate (30 fps NTSC, or 25 fps PAL) is not matched in the ganged monitors; but the ganged monitors update when play stops.

Fast Menu Provides a menu of edit commands. This command displays the small command palette described in ÒInterfaceÓ on page 58.

82 Table 2-7 Seventh Group of Buttons (Continued)

Button Icon Name Description

Make Subclip Creates a subclip.

Find Bin Locates a bin in the project.

Find Frame Helps you locate the source footage for the frame currently displayed in the Source, Record, or Pop-up monitor. The Composer system prompts you to load the appropriate tape, then cues to the frame. This is useful for replacing damaged media, corrupted clips, or for color correcting shots.

Safe Title/ Displays the safe title and safe action borders in the Record monitor. Action

Add Dissolve Adds a dissolve effect.

Render Effects Renders effects. For details, see the Avid Media Composer and Film Composer Effects Guide.

Collapse Collapses several layers of effects into one submaster effect. This allows you to build your effect at the topmost level and, when you are Þnished, collapse the layers automatically into one submaster effect.

Path Enables the 3D Effects Motion Path editor. See the Avid Media Com- poser and Film Composer Effects Guide.

XY Position Enables the 3D Effects interactive handles for moving the image on the XY plane (horizontally and vertically). See the Avid Media Com- poser and Film Composer Effects Guide for a description of 3D Effects.

83 Table 2-7 Seventh Group of Buttons (Continued)

Button Icon Name Description

XZ Position Enables the 3D Effects interactive handles for moving the image on the XZ plane (horizontally and front to back). See the Avid Media Composer and Film Composer Effects Guide.

Reduce Enables the Reduce Outline Scale feature for a 3D effect. See the Avid Media Composer and Film Composer Effects Guide.

Enlarge Enables the Enlarge Outline Scale feature for a 3D effect. See the Avid Media Composer and Film Composer Effects Guide.

84 CHAPTER 3 Output Menu

This chapter describes the dialogs, windows, and available options for the Digital Cut, Cut List, Change List, and EDL methods of output in Media Composer.

Where to Þnd it Menu Bar>Output

What it does Provides you with several methods of output.

Requirements and To access Digital Cut, Change List, Cut List, and EDL Restrictions functions and options, you must have a sequence loaded in the Record monitor. Cut List and Change List require Film Composer, Media Composer with Film Options, or Media Station. EDL launches the EDL Manager application, so you must have the application loaded on your system.

85 Digital Cut

Play button

Custom screen

Video project with Custom Screen option selected

Film project with Record to Video project with Record to Tape option selected and Tape option selected “Allow Assemble Editing for Digital Cut” selected in Deck Settings dialog box.

86 Where to Þnd it Output>Digital Cut

What it does DeÞnes the parameters for making a digital cut to tape. The Play button in this window generates the digital cut.

Requirements and Your Composer system must be connected to a deck in Restrictions order for you to create a digital cut (you can create a preview digital cut without a deck connected). You must also have a sequence loaded in the Record Moni- tor.

For more information See the userÕs guide for your Media Composer prod- uct.

Table 3-1 Digital Cut Options

Option Description

Entire Sequence Instructs the system to ignore any IN or OUT points found on the sequence and to play the entire sequence from start to Þnish.

With Countdown If you deselect the Record to Tape option, you can select this option to insert a computer-generated countdown containing a graphic image prior to sequence playback. This is convenient for cueing purposes, especially if you use a deck without timecode, as it allows the operator a few seconds to move from the system to the deck in order to start recording.

Custom Screen This option allows you to personalize and change the countdown screen displayed before recording. You can change number size, font, color, and background image. The default is the Avid logo. To access this screen, click the With Countdown and Custom Screen options in the Digital Cut window. Then click the colored button.

Enable BurnIn Enable the BurnIn feature that imprints timecode or key numbers over media as it is being output during a digital cut. Requires Media Reader.

87 Table 3-1 Digital Cut Options (Continued)

Option Description

Record to Tape Tells the deck to seek a speciÞed timecode or marked point before begin- ning to record the digital cut to tape. Choose one of the following menu items: Sequence Time - Start the recording at a timecode on tape that matches the start timecode of the sequence. Record Deck Time - Start recording wherever the destination tape is cur- rently cued. If you want to cue a particular timecode location, choose New Deck Controller from the Tools menu and use the deck controls. Custom Time - Enter a start timecode other than the sequence timecode in the Timecode text box that appears. The IN point on tape will match this timecode when the digital cut is completed.

Insert/Assemble Edit Allows you to use assemble-editing capabilities of your record deck to quickly record frame-accurate digital cuts without striping entire tapes in advance. Normally all recording to tape is done with the insert editing capability of your deck. However, if your deck supports assemble editing, you can use this option to switch between the two editing capabilities. Before opening the Digital Cut tool, open the Deck Settings dialog from the Settings scroll list and choose ÒAllow Assemble Editing for Digital CutÓ. To enable the feature in the Digital Cut tool, Þrst select Record to Tape. See the userÕs guide for your Media Composer product for more infor- mation.

Film Rate (100%) These options only appear for Film projects. The message the system Video Rate (100%) displays under the menu item depends on the setting of the pulldown switch on the Video Slave Driverª. See the Avid Film Composer UserÕs Guide or the Avid Media Station UserÕs Guide for a description of these options.

88 Cut List and Change List

Cut List Tool, Assemble List selected

Where to Þnd it Output>Cut List Output>Change List

What it does Cut lists and change lists provide breakdowns of exactly which frames should be cut from the work- print or original negative.

Requirements and Available for Film Composer, Media Composer with Restrictions Film options, and Media Station.

89 For more information See the ÒOutput Options for FilmÓ chapter in the Avid Film Composer UserÕs Guide or the Avid Media Station UserÕs Guide

Cut Lists and Change List Options

This section describes the options for the Cut List and Change List out- put tools.

Global Options

The global options appear when you select Global from the list in the center of the Cut List or Change List dialog box. Global options affect all lists. Table 3-2 describes the global options.

90 Table 3-2 Global Options

Option Description

Template Avid Columnar Use Avid Columnar to display columns of selected infor- mation in the simplest information-display format. This option is not available for change lists.

Avid Log Exchange Avid Log Exchange format is the standard log format for the Film Composer; it is mainly used to translate cut lists into the FLEx format (which is used for standard Þle exchanges across non-Avid products).

Optical Block List all opticals graphically (instead of textually).

Picture Selects the conforming method that is used to conform the Picture. This option has Conforming no effect on sound lists. This affects how standard-length dissolves and fades are treated. This option is not present for change lists, which always assume A-Roll conforming.

A-Roll (Single Strand) All transition effects, regardless of type or length, are treated as opticals.

A/B Roll (Double Strand) Standard-length dissolves, fade-ins and fade-outs are placed directly in the assemble list, and are not treated as opticals unless they are part of some other optical effect such as a motion effect. The standard lengths are: 16, 24, 32, 48, 64, and 96 (frames).

Conform Using SpeciÞes which set of numbers is used to conform the picture. This value is used internally to ensure that those numbers exist for all sources. If a source is found that lacks the required numbers, the Cut List tool displays an error dialog box.

Key Numbers Ink Numbers Aux. Ink Numbers Film TC

91 Table 3-2 Global Options (Continued)

Option Description

Sound SpeciÞes which set of numbers is used to conform the sound tracks. This value is Conforming used internally to ensure that those numbers do in fact exist for all sources. If a source lacks the required numbers, the Cut List tool displays a message dialog box.

Ink Numbers Aux. Ink Numbers

Show Durations Total Frame Count 65mm Ð 15fr/ft (8 perf) As: 35mm Ð 16 fr/ft 65mm Ð 12 fr/ft (10 perf) 16mm Ð 40 fr/ft 65mm Ð 8 fr/ft (15 perf) 16mm Ð 20 fr/ft 35mm Ð 32 fr/ft (2 perf) 65mm Ð 24 fr/ft (5 perf) 35mm Ð 8 fr/ft (8 perf)

Font Choose from different font style options for cut list and change list displays and printing. The default font is Courier (shown in boldface type in the font list). In general, monospaced fonts give the best results because they assure alignment of columns in your generated lists. However, some other fonts such as Courier also work well even though they contain a few off-size characters that prevent them from satisfying the deÞnition of a Þxed-pitch font.

Size Choose a font point size for cut list or change list displays and printing. Be careful not to select a print size that is too large because some text might be lost on the right side of the page when you print the list.

Summary List Generates a summary of all the cut lists.

Separate List for When this option is not checked, the Cut List tool generates one set of lists for all Each Channel selected picture tracks combined. This is the normal mode of operation. When this option is checked, the Cut List tool generates a separate set of lists for each selected picture track. Multitrack effects are ignored, and replaced with the fore- ground track from the effect. Single-track effects are treated as usual. This option affects how the Channel selectors behave on the Cut List window.

Matchback Info This option is only available when editing at 30 fps. Select this option to show what modiÞcations were made during the matchback process. Note that this option does not control whether matchback is performed. You determine whether matchback is performed when you create the project.

92 Table 3-2 Global Options (Continued)

Option Description

Disable Perf Slip Instructs the Cut List tool to ignore any audio perf slipping when displaying ink numbers.

Frame Images Select to display a thumbnail frame image for each clip in the cut list or change list. The Film Composer displays the starting frame from each event in the sequence.

Icons Select to include representative icons in your assemble listÕs footage column to iden- tify each A/B Roll fade-in, fade-out, dissolve, dupe, jump cut, short cut, and freeze frame in the sequence (not applicable to single-strand A roll/workprint). These icons reference only standard length dissolves; therefore, a 7-frame dissolve is referenced as an optical in the cut list, not as a dissolve. Icons used in change lists are different: they reference each deletion, trim, or insertion required to update the workprint.

Show PreÞx Select to identify cuts in the cut list or change list by displaying the entire Þrst and last key number for each cut. The generic preÞx includes the code at the start of each key number, as in KN 12 3400. Deselect this option to include the entire key number for the Þrst frame of each cut but only the footage and frame count for the last frame of each cut, less the KN preÞx.

Show Options Displays the options in the list.

93 Common Options

These options are common to all lists and appear in the top portion of each display (except for the Global display). Table 3-3 describes the common options.

Table 3-3 Common Options

Options Description

Key Numbers Film reference numbers based on data from the KN Start and KN End columns in the bin.

Ink Numbers Select to generate additional reference information from cut list or change list Auxiliary Ink Numbers data from corresponding columns in the bin. If there is no corresponding col- Lab Roll umn in your projectÕs bin, this means you did not log this data during digitiza- Camera Roll tion. The system can only display information that was logged for the project. Sound Roll Reel Slate Scene & Take

Clip Name Name of the master source clips used in your sequence

Sequence Footage This is the footage for the sequence.

94 Table 3-3 Common Options (Continued)

Options Description

Comments Select to include in the cut list or change list any comments about cuts or transi- tion effects that you added to the sequence by using the Comments command from the Record monitor menu.

Locators Select to reference sequence locators in the cut list or change list. Locators are markers applied to particular frames during an edit session to indicate special attributes such as music cues, sound effects, clap markers and so on. If the edi- torÕs locators contain comments, they are also displayed in the cut list when you select this option.

Custom Column From Select this option to display information from a custom column in the bin. Bin

Bin Column text Þeld Type the heading of the column of information you want to display. Use the same spelling and case as used for the column heading in the bin.

Time code options Select these options to display Source timecode (based on the timecode logged in columns in the bin.

Address TC Ð analog timecode Record TC Ð timecode that the Film Composer generates for a particular sequence VITC Ð digital timecode Film TC Ð Þlm timecode generated during the telecine transfer Sound TC Ð address-track timecode Aux. TC 1 through Aux. TC 4 Ð custom or duplicated timecode

95 Cut List Selection

There is one group for each type of list. These groups contain com- mand and global options as well as those options that only affect that type of list. Each of these groups has a button that controls whether that list will be generated.

The following sections show the portion of the display that is common to the particular list.

Assemble List

This option group has a checkbox for selecting whether to generate this kind of list. The options within this group affect only assemble lists (see Table 3-4).

96 Table 3-4 Assemble List Options

Option Description

Mark Short Cuts Shorter If this option is selected, the Cut List tool searches than the assemble list for cuts that are shorter than a user-speciÞed minimum. All such cuts are ßagged with a comment.

Mark Jump Cuts If this option is selected, the Cut List tool searches Shorter than the assemble list for jump cuts that are shorter than a user-speciÞed minimum. All such cuts are ßagged with a comment. A jump cut is where a short piece of material is ÒmissingÓ between adja- cent cuts from the same source material.

Show Trans FX as Cuts If this option is selected, the Cut List tool shows transition effects, such as dissolves, as comments in the assemble list rather than as opticals.

Optical List

The options within this group affect only optical lists (see Table 3-5).

Table 3-5 Optical List Options

Option Description

Key Frames Controls whether optical key frames are taken from the composition. This might have a signiÞ- cant effect on change lists: if you change the key frame parameters of an effect, that change is only reßected in the change list if you select this option.

97 Table 3-5 Optical List Options

Option Description

Optical Footage Shows footage relative to the beginning of each optical.

Page Break Between Each optical starts a new page. Opticals

Dupe List

The options within this group affect only dupe lists (see Table 3-6).

Table 3-6 Dupe List Options

Option Description

Tolerance Sets the size of handles during dupe checking. The given number of frames is added to both the beginning and the end of each clip before checking for overlap. The handles are not actually reßected in any list, but are only used for internal calculations.

Handles Sets the size of handles after dupe checking. The given number of frames is added to both the beginning and the end of each clip in the list.

98 Pull and Scene Assemble Lists

Pull and Scene Assemble Lists

These lists include the common list of options plus additional sorting options (see Table 3-7).

Table 3-7 Pull and Scene Assemble List Options

Option Description

Sorting These options control how a list is sorted. They only affect the various types of pull lists. They do not affect assemble, optical, or change lists.

You can select up to three sort Þelds (criteria).

Sorting (contin- First Sort Field Lab Roll ued) Camera Roll Sound Roll Scene & Take Clip Name (none)

Second and third Sort Fields Same choices as First Sort Field

Sort Order Heads Out (ascending edge numbers) Tails Out (descending edge numbers)

99 Table 3-7 Pull and Scene Assemble List Options (Continued)

Option Description

Place Separators This option controls where separators are placed in the list. The separatorÕs appearance depends on the template; usually it appears as a horizontal line of hyphens.

First Sort Field Second Sort Field Keycode or Ink PreÞx PreÞx or every 1000 ft (no separators)

Include Opticals These entries specify whether to include opticals and lead- Include Leader ers in the list.

100 Change List Options

Options specific to Change Lists

The options within this group affect only change lists (see Table 3-8).

Table 3-8 Change List Options

Options Description

Show Only Changes If selected, the change list will only contain inser- tions, deletions, trims, and moves. There will be no explicit indication of sections to remain unchanged. If this option is not selected, the change list will also contain events that explicitly show sections that remain unchanged.

101 Table 3-8 Change List Options (Continued)

Options Description

Combine Deletions If selected, each group of adjacent deletions will be combined into a single event. Also, the discard list will be unavailable (dimmed). If this option is not selected, each deleted clip will have its own event in the change list.

Change Pull Lists This option group has a checkbox for selecting whether to generate this kind of list. The options within this group affect only change pull lists.

Change Discard List This option group has a checkbox for selecting whether to generate this kind of list. The options within this group affect only discard lists.

EDL Manager

When you choose EDL (edit decision list) from the Output menu, the Composer system launches the EDL Manager application. See the Avid EDL Manager UserÕs Guide for details on using the EDL Manager.

102 CHAPTER 4 AVR SpeciÞcations and Storage Capacities

This chapter provides speciÞcations and storage capacities for all single-Þeld and two-Þeld Avid Video Resolutions (AVRs). It also includes information and tips on mixing resolutions within a sequence.

103 AVR Specifications

This section describes the screen resolution of the Composer system, and speciÞcations of the various AVRs.

Screen Resolution

Screen resolution of the Composer system is as follows: ¥ NTSC resolution is 720 x 486 nonsquare pixels covering all of the active video. This also includes 10 lines of blanking or VITC per frame (5 lines per Þeld). ¥ PAL resolution is 720 x 576 nonsquare pixels covering all of the active video. This also includes 16 lines of blanking or VITC per frame (8 lines per Þeld).

Avid Video Resolutions (AVRs)

Avid Video Resolutions (AVRs) are compression algorithms that affect the image quality and storage requirements for the video you digitize. The higher the AVR number at which you digitize, the better the reso- lution and image quality, and the more disk space required for the same amount of material.

AVRs are divided into three groups: ¥ Single-Þeld AVRs: These are generally ofßine quality. ¥ Two-Þeld AVRs: These are generally online quality, except for AVR 12. ¥ m resolutions: These are used for multicamera editing and are not compatible with the 3D effects option.

You can mix each group of AVRs within a single sequence (except for m resolutions), but you cannot mix AVRs from these different groups within a sequence.

104 Before selecting an AVR setting, you need to know: ¥ How much material (in terms of duration) you need to digitize ¥ How much available disk space in gigabytes you have on your system ¥ The AVR compression parameter that provides adequate picture quality to complete the project effectively c To achieve the optimal performance required to sustain and play back two or more streams of AVR 70 material or higher in complex sequences, you may need to stripe two drives. See the AVIDdriveª Utility UserÕs Guide.

Tables 4-1 through 4-3 list speciÞcations for all AVRs. c Kilobytes-per-frame values are the maximum frame sizes for each AVR. Actual frame sizes vary depending on the complexity of the footage. For estimated storage ranges, see the section ÒAVR Storage CapacitiesÓ on page 115.

105 Table 4-1 Single-Field AVRs 2s Ð 9s

AVR Maximum Dimensions Playback Striping/Playback Uses KB/frame (pixels) streams Requirements

2s 15 720 x 243 Single or Single stream from For storage efÞciency, (NTSC) Dual Macintosh SCSI. or for playback from 720 x 288 (PAL) devices on the Macin- Dual stream with ATTO tosh SCSI bus. SCSI accelerator.

3s 19 720 x 243 Single or Single stream from For storage efÞciency, (NTSC) Dual Macintosh SCSI. or for playback from 720 x 288 (PAL) devices on the Macin- Dual stream with ATTO tosh SCSI bus. SCSI accelerator.

4s 30 720 x 243 Single or Requires ATTO SCSI accel- For clear images with (NTSC) Dual erator. acceptable storage 720 x 288 (PAL) requirements.

6s 55 720 x 243 Single or Requires ATTO SCSI accel- For very clear ofßine (NTSC) Dual erator. For reliable play- images with acceptable 720 x 288 (PAL) back of real-time effects, storage requirements. use 4 or 9 GB drives or AVIDdrive Tower 60e.

8s 130 720 x 243 Single or Requires ATTO SCSI accel- For high-quality single- (NTSC) Dual erator and striped drives: Þeld images with high 720 x 288 (PAL) 4 or 9 GB drives, AVID- storage requirements. drive 8 GB Striped Dual Drive, or AVIDdrive Tow- ers 51es.

9s 150 720 x 243 Single Plays on current striped Highest quality single (NTSC) drives on PCI systems. Þeld currently avail- 720 x 288 (PAL) able. Use for clearest Plays dual streams on graphics and titles. fast/wide drives or 4-way striped drives.

106 Table 4-2 Two-Field AVR 12 and AVRs 70 Ð 77

AVR Maximum Dimensions Playback Striping/Playback Uses KB/frame (pixels) streams Requirements

12 33 720 x 486 Single or Requires ATTO SCSI accelera- For mixing ofßine- (NTSC) Dual tor. quality footage and 720 x 576 (PAL) storage efÞciency with online AVRs 70, 71, 75, and 77.

70 100 720 x 486 Single or For reliable playback of real- For online produc- (NTSC) Dual time effects, use striped tion. 720 x 576 (PAL) drives: 4 or 9 GB drives, AVID- drive 8 GB Striped Dual Drive, or AVIDdrive Towers 51es.

71 130 720 x 486 Single or Requires ATTO SCSI accelera- For broadcast-qual- (NTSC) Dual tor and striped drives: 4 or 9 ity online produc- 720 x 576 (PAL) GB drives, AVIDdrive 8 GB tion. Compatibility Striped Dual Drive, or AVID- with Broadcast drive Towers 51es. products.

75 200 720 x 486 Single or Requires ATTO SCSI accelera- For broadcast-qual- (NTSC) Dual tor and striped drives: 4 or 9 ity online produc- 720 x 576 (PAL) GB drives, AVIDdrive 8 GB tion. Striped Dual Drive, or AVID- drive Tower 51es. See ÒUsing AVR 75 and AVR 77Ó on page 109. Real-time AVR 75 requires fast/wide drives or 4- way striped drives.

77 301 720 x 486 Single Requires fast/wide drives or 4- Highest quality two (NTSC) way striped drives. Þeld currently 720 x 576 (PAL available.Use for clearest graphics and titles.

107 Table 4-3 MultiCamera AVRs 2m Ð 6m

AVR Maximum Dimensions Playback Striping/ Uses KB/frame (pixels) streams Playback Requirements

2m 13 360 x 243 Single or Single stream from Best storage efÞciency. (NTSC) Dual Macintosh SCSI. 360 x 288 (PAL) Dual stream with ATTO SCSI accelera- tor.

3m 19 360 x 243 Single or Native PCI from Provides good storage (NTSC) Dual Macintosh SCSI or efÞciency/image qual- 360 x 288 (PAL) ATTO card on ity ratio. Very effective NuBus. for PAL.

4m 28 360 x 243 Single or Requires ATTO Also provides good (NTSC) Dual SCSI accelerator. storage efÞciency/ 360 x 288 (PAL) image quality ratio. Good image quality for NTSC.

6m 40 360 x 243 Single or Requires ATTO Highest quality images (NTSC) Dual SCSI accelerator. for these AVRs. 360 x 288 (PAL)

AVRs 2m through 6m are used for full-motion multicamera playback with the Avid MultiCamera Play option installed. Note that multicam- era playback can also be used in a 24 fps Film project.

These AVRs are often used for Film projects because they have a good storage efÞciency/image quality ratio, especially for PAL. Also refer to the information on combine Þelds following Table 4-8 on page 118.

108 Using AVR 75 and AVR 77

The superior image qualities of AVR 75 and AVR 77 require a high kilobyte-per-frame compression ratio. This section describes how to use these two AVRs.

AVR 75 Requirements

Two-Stream Video for AVR 75

To play two video streams at AVR 75, you must use either 4-way striped drives (that is, 4 drives striped together across two SCSI con- trollers) or fast wide drives. Fast wide drives require 2-way striping.

Single-Stream Video for AVR 75

If you donÕt use 4-way striped drives or fast wide drives, you must treat AVR 75 as a single-stream-only resolution. This means that you must render all real-time effects.

When digitizing and working with AVR 75 material as single-stream video, observe the following: ¥ Use striped drives only: 4 or 9 GB drives, AVIDdrive 8 GB Striped Dual Drive, or the AVIDdrive Towers 51es. ¥ Spread AVR 75 material between striped groups. ¥ Target separate striped groups for audio and video tracks. ¥ Render all real-time effects. ¥ Render all real-time audio EQ effects.

For more information on targeting drives (and striped groups) during digitizing, see the userÕs guide for your Media Composer product.

109 AVR 77 Requirements

AVR 77 can only be used as single-stream video. The requirements for AVR 77 are the same as those for two-stream AVR 75: To play single- stream video at AVR 77, you must use either 4-way striped drives (that is, 4 drives striped together across two SCSI controllers) or fast wide drives. Fast wide drives require 2-way striping.

When digitizing and working with AVR 77 material, observe the fol- lowing: ¥ Use striped drives only: 4 or 9 GB drives, AVIDdrive 8 GB Striped Dual Drive, or the AVIDdrive Towers 51es. ¥ Spread AVR 77 material between striped groups. ¥ Target separate striped groups for audio and video tracks. ¥ Render all real-time effects. ¥ Render all real-time audio EQ effects.

For more information on targeting drives (and striped groups) during digitizing, see the userÕs guide for your Media Composer product.

Mixable Resolutions

You can mix AVRs as follows: ¥ AVRs 2s Ð 9s are mixable within a sequence. ¥ AVRs 70 Ð 77 and AVR 12 are mixable within a sequence. ¥ AVRs 2m Ð 6m are mixable within a sequence. Systems equipped with the MultiCamera Play option, however, cannot play back mixed AVRs in a full-motion quad split. ¥ You cannot mix AVRs among the three groups described above within a sequence.

110 The ability to mix resolutions saves time and effort in a variety of cir- cumstances: ¥ You can do most of your work at an AVR that can play back real- time effects and digitize only the most complex shots and graphics at a high quality, single-stream, AVR such as AVR 77. ¥ You can digitize complex footage at the draft-quality online AVR and edit along with other online AVRs for storage and playback efÞciency. ¥ You can avoid some redigitizing by importing complex graphics at a high AVR, and digitizing the remaining footage at draft quality during the ofßine phase. ¥ You can exchange material between projects with a minimum of redigitizing. ¥ You can develop material among workstations at different AVRs, and bring the material together for a Þnal cut without redigitizing.

Refer to your Composer product release notes for any limitations con- cerning playback with mixed AVRs.

About Storage and Playback

You can plan the use of drive volumes in advance, based on the num- ber of drives available, the chosen AVR, and the amount of source material to be digitized. This is especially helpful when digitizing numerous reels. The following are some tips for achieving the most efÞcient storage and playback of your digital media. These recommen- dations apply to compatible drives of any size.

111 Estimating Storage Requirements

To estimate your storage requirements, use the following three tips: ¥ You can estimate the amount of storage remaining on your various drives by opening the Hardware tool, as described in the getting started guide for your Media Composer product. n If you open the Hardware tool in Capture mode, the window will display no available space on the drives because the Digitize tool takes control of the drives. Exit Capture mode to get an accurate view of available storage.

¥ To estimate the storage requirements for your clips, do the follow- ing: a. Get a total duration for all the clips to be digitized using the Get Bin Info procedure described in the getting started guide for your Media Composer product. b. Use the storage tables provided in the section ÒAVR Storage CapacitiesÓ on page 115 to estimate the storage requirements based on the total duration and the chosen AVR.

Maximizing Storage

If your storage space is limited, and/or you are digitizing a large amount of source material, consider the following tips for maximizing storage:

For more information ¥ Digitize only the audio channels required for the edit. on batch digitizing, redigitizing, and using ¥ Log in advance and batch digitize only the footage required for the Compression tool, the edit. see the userÕs guide for your Media Composer ¥ Digitize at a lower AVR for editing, and then redigitize only the product. clips included in the Þnal cut at a higher AVR. ¥ Use the Color (reduced chroma) storage-reduction option in the Compression tool.

112 Improving Playback

If you are working with complex video images at high resolution, mul- tiple video layers, multicamera material, or any combination of these, consider the following tips for improving playback: ¥ For more effective playback of multiple streams of video at higher resolutions (AVR 70 or higher), stripe your drives using the AVIDDrive Utility. ¥ For more effective playback of multiple streams of video at higher resolutions without drive striping, distribute the video tracks as evenly as possible among available drives, and target separate drives for audio and video. ¥ To avoid switching drives while digitizing the same reel, target one volume per reel whenever possible.

Storage Example

Storage requirements For illustrative purposes, this example involves the following parame- are based on the tables ters: provided in ÒAVR Stor- age CapacitiesÓ on ¥ A single-camera production shot on six tapes page 115. ¥ Approximately 45 minutes of material on each tape to batch digi- tize at AVR 3s ¥ 2-channel audio at 44.1 kHz from tapes 3 and 4 only ¥ For storage, two 4-gigabyte drives, with 2-gigabyte partitions

You might distribute the media for this project as shown in the follow- ing illustration:

113 Source reels Tracks digitized Storage required Targeted volume

1 1 gigabyte

2 1 gigabyte

3 1.5 gigabytes (or target separate drives for A and V tracks)

4 1.5 gigabytes

5 1 gigabyte

1 gigabyte 6

For added playback efÞciency, you can also target separate drives for the video and audio. This is just one example. Plan your own storage based on your system conÞguration and the needs of your project.

114 AVR Storage Capacities

The tables in this section present estimated storage capacities accord- ing to minutes-per-gigabyte (GB) for video digitized at the new AVRs. The following are some tips for interpreting the information presented in the tables: ¥ Minutes per GB are approximately the same for PAL (25 fps) and NTSC (30 fps) because PAL video contains approximately 17 per- cent fewer frames per second, but each frame contains approxi- mately 16 percent more pixels. ¥ An example of simple footage is a medium shot of a talking head with a plain background. An example of complex footage is a wide panning shot of a forest. ¥ Ranges for 24 fps (Þlm projects) apply only to NTSC format. Minutes-per-gigabyte storage capacities for letterbox Þlm-to-tape transfers will be slightly greater. ¥ Storage requirements are affected by the number of channels of audio, not the frequency of the digitized audio signal. In other words, the difference in storage capacities between 44.1 kHz and 48 kHz audio is negligible, while the difference between 2 or 3 channels is more signiÞcant, as reßected in the tables.

Table 4-4 Storage: Single-Field AVRs 2s Ð 4s

Parameters AVR 2s AVR 3s AVR 4s

FPS Audio tracks Simple Complex Simple Complex Simple Complex

30/25 0 74 40 57 32 40 19

30/25 1 53 33 44 27 33 17

30/25 2 41 28 35 24 28 15

30/25 3 34 24 29 21 24 14

115 Table 4-4 Storage: Single-Field AVRs 2s Ð 4s (Continued)

Parameters AVR 2s AVR 3s AVR 4s

FPS Audio tracks Simple Complex Simple Complex Simple Complex

30/25 4 28 21 25 19 21 13

24 0 93 50 71 40 50 24

24 1 62 39 51 33 39 21

24 2 47 32 40 28 32 19

24 3 37 28 33 24 28 17

24 4 31 24 28 21 24 16

Table 4-5 Storage: Single-Field AVRs 6s Ð 9s

Parameters AVR 6s AVR 8s AVR 9s

FPS Audio Simple Complex Simple Complex Simple Complex tracks

30/25 0 33 11 13 5 11 3

30/25 1 28 10 12 5 11 3

30/25 2 24 10 11 5 10 3

30/25 3 21 9 11 4 9 3

30/25 4 19 9 10 4 9 3

24 0 41 14 16 6 14 4

116 Table 4-5 Storage: Single-Field AVRs 6s Ð 9s

Parameters AVR 6s AVR 8s AVR 9s

FPS Audio Simple Complex Simple Complex Simple Complex tracks

24 1 33 13 15 6 13 4

24 2 28 12 14 6 12 4

24 3 24 12 13 6 12 4

24 4 21 11 12 6 11 4

Table 4-6 Storage: Two-Field AVR 12

Parameters AVR 12

FPS Audio Simple Complex tracks

30/25 0 34 18

30/25 1 28 16

30/25 2 24 15

30/25 3 21 14

30/25 4 19 13

117 Table 4-7 Storage: Two-Field AVRs 70 Ð 77

Parameters AVR 70 AVR 71 AVR 75 AVR 77

FPS Audio Simple Complex Simple Complex Simple Complex Simple Complex tracks

30/25 0 11 5 11 4 8 3 5 2

30/25 1 11 5 11 4 8 3 5 2

30/25 2 10 5 10 4 7 3 5 2

30/25 3 9 5 9 4 6 3 5 2

30/25 4 9 5 9 4 6 3 5 2

Table 4-8 Storage: MultiCamera AVRs 2m Ð 4m

Parameters AVR 2m AVR 3m AVR 4m

FPS Audio Simple Complex Simple Complex Simple Complex tracks

30/25 0 93 47 72 26 36 21

30/25 1 62 37 53 23 30 19

30/25 2 47 31 42 20 26 17

30/25 3 37 26 35 19 23 15

30/25 4 31 23 29 17 20 14

24 0 116 58 91 33 45 27

24 1 71 44 62 28 36 24

24 2 51 35 47 24 30 21

118 Table 4-8 Storage: MultiCamera AVRs 2m Ð 4m (Continued)

Parameters AVR 2m AVR 3m AVR 4m

FPS Audio Simple Complex Simple Complex Simple Complex tracks

24 3 40 29 38 22 26 19

24 4 33 25 32 20 23 17

Film projects using m resolutions can use the Òcombine ÞeldsÓ option when digitizing. On average you will see a 10 percent storage improvement with combined Þelds. For more information, see ÒDigi- tize SettingsÓ on page 44.

Table 4-9 Storage: MultiCamera AVR 6m

Parameters AVR 6m

FPS Audio Simple Complex tracks

30/25 0 30 14

30/25 1 26 13

30/25 2 23 12

30/25 3 20 11

30/25 4 18 11

24 0 38 18

24 1 32 16

24 2 27 15

119 Table 4-9 Storage: MultiCamera AVR 6m (Continued)

Parameters AVR 6m

FPS Audio Simple Complex tracks

24 3 24 14

24 4 21 13

120 CHAPTER 5 Avid Logs SpeciÞcations

This chapter explains how you can create logs in the Avid format, entering data about your source tapes and clips according to Avid speciÞcations. For more information, see the ÒLoggingÓ chapter of the userÕs guide for your Media Composer product.

Compatible Log Formats

Table 5-1 displays the various Avid-compatible log formats, indicating whether the log can be imported directly using the File Import com- mand or whether conversion is required using Avid Log Exchange. n On Macintosh systems earlier than System 7.5, DOS Mounter is required in order for the Macintosh to read logs stored on DOS formatted disks.

Table 5-1 Compatible Log Formats

Log Requirements File Name Indications

AatonBase Conversion required Files end with .ATN or .ATL

Avid Logs Create with text editor Files end with .ALE and import directly

121 Table 5-1 Compatible Log Formats (Continued)

Log Requirements File Name Indications

CMX EDL Conversion required Files end with .CMX

Evertz Import directly (conver- Files end with .FTL sion optional)

Excalibur Conversion required Files end with .ALE or .FLX

FLEx Conversion required Files end with .FLX

Keyscope Import directly Files end with .KSL

Log Producer Conversion required Files end with .LLP

Log Right Import directly Files end with .ALE

OSC/R Conversion required Files end with .ASC

Creating Avid Logs

Prepare an Avid log on any type of Macintosh computer using any text editor. When Þnished creating Avid logs, you can import them directly into Media Composer, Film Composer, or Media Station bins.

You can make a separate log for each videotape, or log clips from sev- eral different videotapes in one log.

122 Importing Logs into Media Composer or Film Composer

If you are importing Þlm and plan to transfer Þlm to NTSC or PAL video, then capture the video at 24 fps using the Film Composer appli- cation. See the Avid Film Composer UserÕs Guide for more information about logging clips.

Understanding Avid Log Specifications

This chapter uses the following conventions to explain how to format an Avid log: ¥ ¥ ¥ [Tab and Return keys are written in standard brackets.]

Example

FPS [Tab] <24>

<25>

<29.97> [Return] Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video.

To enter the previous information, type FPS and press the Tab key. Then enter one of the four possible valuesÑfor example, 24Ñand press the Return key. The notes explain that the FPS heading must be included in the Avid log.

When you create an Avid log, start the Þle with global headings. Refer to the following sample for information about data in global headings.

123 GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional, but may be necessary for your job. Do not use more than 64 headings in the Þle, counting both the global and column headings.

Heading [Return] Required This marks the start of the glo- bal headings.

FIELD_DELIM [Tab] [Return] Required Enter TABS to show that the Þle is Tab-delimited.

VIDEO_FORMAT [Tab]

[Return] Required

AUDIO_FORMAT [Tab] <22 kHz>

<24 kHz>

<44 kHz>

<48 kHz> [Return] Audio sampling rate for digitiz- ing. You can override this for individual clips.

TAPE [Tab] youÕre logging. If you omit this heading, the Þle name becomes the global tape name. You can override this for individual clips.

FPS [Tab] <24>

<25>

<29.97> [Return] Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video.

124 [Return] Press Return a second time after entering the FPS value. This marks the end of the global headings.

When you create an Avid log, enter the column headings after the glo- bal headings. Refer to the following sample for information about data in column headings.

COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Include all required headings; every statistical column heading that is available in an Avid bin can be included. Other headings are optional, but may be necessary for your job. Do not use more than 64 headings in the Þle, counting both the global and column headings.

Column [Return] Required Indicates the start of the column headings.

Name [Tab] Required Heading for clip name.

Tracks [Tab] Required Heading for tracks you select for digitizing.

Start [Tab] Required Heading for video timecode of sync pointÑthe time- code IN for clip. From address track of video.

End [Tab] Required Heading for timecode OUT for clip. From address track of video.

AUDIO_FORMAT [Tab] Heading for audio sampling rate for digitizing individ- ual clip. If omitted, the global entry for AUDIO_FORMAT applies.

Auxiliary TC1 [Tab] Heading for auxiliary timecode.

Auxiliary TC2 [Tab] Heading for auxiliary timecode.

Auxiliary TC3 [Tab] Heading for auxiliary timecode.

Auxiliary TC4 [Tab] Heading for auxiliary timecode.

125 Auxiliary TC5 [Tab] Heading for auxiliary timecode.

CFPS [Tab] Heading for video capture rate for digitizing individual clip. If omitted, the global entry applies.

Color Framing [Tab]

Creation Date [Tab] Heading for date of clip creation.

Disk [Tab] Heading for target disk ID.

Duration [Tab] Heading for timecode Start to timecode End, the length of the video clip.

FPS [Tab] Heading for video frames per second rate for digitizing individual clip (NTSC = 29.97, PAL = 25, Film = 24). If omitted, the global entry applies.

IN-OUT [Tab] Heading for duration between clipÕs Mark IN and Mark OUT (if present).

Mark IN [Tab] Heading for timecode of clipÕs Mark IN (if present).

Mark OUT [Tab] Heading for timecode of clipÕs Mark OUT (if present).

Ofßine [Tab] Heading for tracks currently without digitized media Þles online.

Tape [Tab] Heading for source tape ID for individual clip. If omit- ted, the global entry applies.

Video [Tab] Heading for AVR.

Labroll [Tab] Heading for lab roll ID for clip. Lab rolls are a combina- tion of several camera rolls.

Camroll [Tab] Heading for camera roll ID for clip.

126 Sound TC [Tab] Heading for Nagra time code, Aaton code, Arri code, and so on, at the sync point. Syncs with the Start time- code. Required if tracking the sync sound. Capture rate can be 25 or 30 fps.

Soundroll [Tab] Heading for sound roll ID for clip.

Scene [Tab] Heading for scene ID for clip.

Take [Tab] Heading for take ID for clip.

DESCRIPT [Tab] Heading for description of clip.

COMMENTS [Tab] Heading for comments about clip.

[Tab] Tab between each heading. Do not Tab after the last heading. Add any category of information you want. Add as many headings as you want, but do not use more than a total of 64 global and column headings in the Þle.

[Return] [Return] Press Return twice (not Tab) after the last heading.

DATA: The word Data marks the start of the data for each clip.

Data [Return] Required Enter the word Data to mark the start of the logged clip entries.

127 CLIP DATA: Enter a line of data for each clip youÕre logging. Enter the information under the appro- priate column headings. Enter a Tab instead of data if you want to leave an optional category of information blank for a particular clip. Enter a Return at the end of each line. Include all the required data. Other data is optional. Note that Media Composer and Film Composer support up to 4 Audio tracks in imported and exported logs.

[Tab] Required Under Name heading. Enter a clip identiÞer (32 charac- ters maximum).

[Tab] Required Under Tracks heading. Enter the tracks you want digi- tized for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound.

<22 kHz>

<24 kHz>

<44 kHz>

<48 kHz> [Tab] Under AUDIO_FORMAT heading. Audio sampling rate for this clip only. If omitted, global entry applies.

[Tab] Under Tape heading. Source videotape ID for this clip only.

<24>

<25>

128 <29.97> [Tab] Under FPS heading. Video capture rate for this clip only. If omitted, global entry applies. Use 25 fps for PAL video, 29.97 fps for NTSC video, or 24 fps for Film Composer.

[Tab] Required Under Start heading. Video timecode for sync point, the Þrst frame in clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02).

[Tab] Required Under End heading. Video timecode for last frame of clip.

[Tab] Under Duration heading. Length of video clip, Start to End.

[Tab] Under Labroll heading. Identify the lab roll using let- ters and numbers.

[Tab] Under Camroll heading. Identify the camera roll using letters and numbers.

[Tab] Under Auxiliary TC heading. Enter a Nagra timecode, Aaton code, Arri code, and so on, for the sync point. Syncs with the Start timecode.

[Tab] Under Soundroll heading. Identify the sound roll using letters and numbers.

[Tab] Under Scene heading. Identify the scene using letters and numbers.

[Tab] Under Take heading. Identify the take using letters and numbers.

[Tab] Under DESCRIPT heading. Write about the clip.

[Tab] Under COMMENTS heading. Comment on the clip.

129 [Tab] Tab between each heading. Do not Tab after last head- ing. Under the headings you created yourself, enter the appropriate information.

[Return] Press Return (not Tab) after the last entry for the clip.

Enter an additional line of data for each remaining clip.

Sample Avid Logs

These samples show Avid logs for an NTSC video project, a 35-mm Þlm project, and a 16-mm Þlm project. Formatting keys are shown in brackets (for example, [Tab] and [Return]).

130 Sample Avid Log for an NTSC Project

Heading [Return] FIELD_DELIM [Tab] TABS [Return] VIDEO_FORMAT [Tab] NTSC [Return] AUDIO_FORMAT [Tab] 44khz [Return] TAPE [Tab] 001 [Return] FPS [Tab] 29.97[Return] [Return] Column [Return] Name [Tab] Tracks [Tab] Start [Tab] End [Tab] [Return] Data [Return] CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Return] CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Return]

131 Sample Avid Log for a 35-mm Film Project

Heading [Return] FIELD_DELIM [Tab] TABS [Return] VIDEO_FORMAT [Tab] NTSC [Return] FILM_FORMAT [Tab] 35mm, 4 perf [Return] AUDIO_FORMAT [Tab] 44khz [Return] TAPE [Tab] 001 [Return] FPS [Tab] 24 [Return] [Return] Column [Return] Name [Tab] Tracks [Tab] Start [Tab] End [Return] [Return] Data [Return] CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Return] CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Return]

132 Sample Avid Log for a 16-mm Film Project

Heading [Return] FIELD_DELIM [Tab] TABS [Return] VIDEO_FORMAT [Tab] NTSC [Return] FILM_FORMAT [Tab] 16mm [Return] AUDIO_FORMAT [Tab] 44khz [Return] TAPE [Tab] 001 [Return] FPS [Tab] 24 [Return] [Return] Column [Return] Name [Tab] Tracks [Tab] Start [Tab] End [Tab] KN Start [Tab] Pullin [Return] [Return] Data [Return] Shot 12/1 [Tab] V [Tab] 01:00:00:00 Tab] 01:14:12:01 [Tab] KJ123456-1234+00 [Tab] A [Return]

133 CHAPTER 6 List of Effects for Avid Models

This chapter lists the effects available in the Composer system. The Composer model you have determines which effects you have.

Key to Effect Type:

MLS = multilayer segment effect SLS = single-layer segment effect T = transition effect S = standard and not real-time effect RT = real-time effect PT = standard effect with ProTools Package on MCX * = real-time with MCX Real Time Package or 3D Effects package ** = real-time with 3D Effects package AE = standard effect with Media Station Assistant Editor option UL = unlimited number of keyframes supported for this effect n The information in this chapter is accurate as of Media Composer and Film Composer Release 6.5. Note that the available effects can change with a new release of the system and may not be reßected in this document. n Media Station effects are play only.

134 See the Avid Media Composer and Film Composer Effects Guide for a description of effects.

Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Blend Dip To Color T RT RT RT RT PT* RT RT RT

Blend Dissolve T RT RT RT RT S* RT RT RT

Blend Fade From Color T RT RT RT RT PT* RT RT RT

Blend Fade To Color T RT RT RT RT PT* RT RT RT

Blend Picture-In-Picture T and RT RT RT S PT** AE S MLS

Blend Superimpose MLS RT RT RT RT PT* RT RT RT

Box Wipe Bottom Box T and RT RT RT RT PT* RT RT RT MLS

Box Wipe Left Box T and RT RT RT RT PT* RT RT RT MLS

Box Wipe Lower Left T and RT RT RT RT PT* RT RT RT Corner MLS

Box Wipe Lower Right T and RT RT RT RT PT* RT RT RT Corner MLS

Box Wipe Right Box T and RT RT RT RT PT* RT RT RT MLS

Box Wipe Top Box T and RT RT RT RT PT* RT RT RT MLS

Box Wipe Upper Left T and RT RT RT RT PT* RT RT RT Corner MLS

135 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Box Wipe Upper Right T and RT RT RT RT PT* RT RT RT Corner MLS

Conceal Bottom Left to T and RT RT RT S PT** AE S Top Right MLS

Conceal Bottom Right to T and RT RT RT S PT** AE S Top Left MLS

Conceal Bottom to Top T and RT RT RT S PT** AE S MLS

Conceal Left to Right T and RT RT RT S PT** AE S MLS

Conceal Right to Left T and RT RT RT S PT** AE S MLS

Conceal Top Left to T and RT RT RT S PT** AE S Bottom Right MLS

Conceal Top Right to Bot- T and RT RT RT S PT** AE S tom Left MLS

Conceal Top to Bottom T and RT RT RT S PT** AE S MLS

Edge Wipe Horizontal T and RT RT RT RT PT* RT RT RT MLS

Edge Wipe Horizontal Open T and RT RT RT RT PT* RT RT RT MLS

Edge Wipe Lower Left T and S S S S PT S S S Diagonal MLS

136 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Edge Wipe Lower Right T and S S S S PT S S S Diagonal MLS

Edge Wipe Upper Left T and S S S S PT S S S Diagonal MLS

Edge Wipe Upper Right T and S S S S PT S S S Diagonal MLS

Edge Wipe Vertical Open T and RT RT RT S PT* RT RT RT MLS

Edge Wipe Vertical T and RT RT RT RT PT* RT RT RT MLS

Film 16x9 Mask SLS RT RT RT RT RT

Film 1:1.66 Mask SLS RT RT RT RT RT

Film 1:1.85 Mask SLS RT RT RT RT RT

Film 1:2.35 Mask SLS RT RT RT RT RT

Film Blowup SLS RT RT S

Film Film Dissolve T RT RT RT

Film Film Fade T RT RT RT

Film Mask SLS RT RT RT RT RT

Image Color Effect SLS RT RT RT RT PT* RT RT RT

Image Flip SLS RT RT RT S PT** RT S S

Image Flip-Flop SLS RT RT RT S RT S S

137 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Image Flop SLS RT RT RT S PT** RT S S

Image Mask SLS RT RT RT RT PT* RT RT RT

Image Resize SLS RT RT RT S PT** RT S S

Image Sub-master MLS RT RT RT RT RT RT RT

Key Chroma Key T and RT RT RT RT PT* RT RT RT MLS

Key Luma Key T and RT RT RT RT PT* RT RT RT MLS

Key Matte Key MLS S S S S S S S S

Key frames Maximum UL UL UL UL 225 4 4 4 number for PIP supported and 3D

4 for others

Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

L-Conceal Bottom Left T and RT RT RT S PT** AE S MLS

L-Conceal Bottom Right T and RT RT RT S PT** AE S MLS

138 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

L-Conceal Top Left T and RT RT RT S PT** AE S MLS

L-Conceal Top Right T and RT RT RT S PT** AE S MLS

Matrix Wipe Block Spiral T and S S S S PT S S S MLS

Matrix Wipe Grid T and S S S S PT S S S MLS

Matrix Wipe One-Way Row T and S S S S PT S S S MLS

Matrix Wipe Speckle T and S S S S PT S S S MLS

Matrix Wipe Zig-Zag T and S S S S PT S S S MLS

Motion Fit to Fill SLS S S S S S S S S

Motion Freeze Frame SLS S S S S S S S S

Motion Strobe SLS S S S S S S S S

Motion Var. Speed SLS S S S S S S S S

Peel Bottom Left T and RT S** S** S PT** AE S Corner MLS

Peel Bottom Right T and RT S** S** S PT** AE S Corner MLS

Peel Bottom To Top T and RT S** S** S PT** AE S MLS

139 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Peel Left To Right T and RT S** S** S PT** AE S MLS

Peel Right To Left T and RT S** S** S PT** AE S MLS

Peel Top Left Corner T and RT S** S** S PT** AE S MLS

Peel Top Right T and RT S** S** S PT** AE S Corner MLS

Peel Top To Bottom T and RT S** S** S PT** AE S MLS

Push Bottom Left To T and S S S S PT AE S Top Right MLS

Push Bottom Right T and S S S S PT AE S To Top Left MLS

Push Bottom To Top T and S S S S PT AE S MLS

Push Left To Right T and S S S S PT AE S MLS

Push Right To Left T and S S S S PT AE S MLS

Push Top Left To Bot- T and S S S S PT AE S tom Right MLS

Push Top Right To T and S S S S PT AE S Bottom Left MLS

Push Top To Bottom T and S S S S PT AE S MLS

140 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Saw Tooth Horizontal T and S S S S PT S S S Wipe Open Saw MLS Tooth

Saw Tooth Horizontal T and S S S S PT S S S Wipe Saw Tooth MLS

Saw Tooth Vertical Open T and S S S S PT S S S Wipe Saw Tooth MLS

Saw Tooth Vertical Saw T and S S S S PT S S S Wipe Tooth MLS

Shape Wipe 4 Corners T and S S S S PT S S S MLS

Shape Wipe Center Box T and RT RT RT RT PT* RT RT RT MLS

Shape Wipe Circle T and S S S S PT S S S MLS

Shape Wipe Clock T and S S S S PT S S S MLS

Shape Wipe Diamond T and S S S S PT S S S MLS

Shape Wipe Ellipse T and S S S S PT S S S MLS

Shape Wipe Horizontal T and S S S S PT S S S Bands MLS

Shape Wipe Horizontal T and S S S S PT S S S Blind MLS

141 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Shape Wipe Vertical Blind T and S S S S PT S S S MLS

Spin X Spin T and S S S S PT AE S SLS

Spin Y Spin T and S S S S PT AE S SLS

Spin Z Spin T and RT RT RT MLS

Squeeze Bottom Cen- T and RT RT RT S PT** AE S tered MLS

Squeeze Bottom Left T and RT RT RT S PT** AE S MLS

Squeeze Bottom Right T and RT RT RT S PT** AE S MLS

Squeeze Bottom To Top T and RT RT RT S PT** AE S MLS

Squeeze Centered Zoom T and RT RT RT S PT** AE S MLS

Squeeze Horizontal T and RT RT RT S PT** AE S Centered MLS

Squeeze Left Centered T and RT RT RT S PT** AE S MLS

Squeeze Left To Right T and RT RT RT S PT** AE S MLS

Squeeze Right Centered T and RT RT RT S PT** AE S MLS

142 Effect Effect Name Effect MC MC MC MC MCX Film Media MC Category Type 8000 4000 1000 900 Mac Comp Station Ofßine

Squeeze Right To Left T and RT RT RT S PT** AE S MLS

Squeeze Top Centered T and RT RT RT S PT** AE S MLS

Squeeze Top Left T and RT RT RT S PT** AE S MLS

Squeeze Top Right T and RT RT RT S PT** AE S MLS

Squeeze Top To Bottom T and RT RT RT S PT** AE S MLS

Squeeze Vertical Cen- T and RT RT RT S PT** AE S tered MLS

Title Tool Title MLS RT RT RT RT S* RT RT RT

143 CHAPTER 7 Applications Supporting OMF Interchange

The following tables list the Þrms, their products, and the platforms they use while supporting OMF (Open Media Framework) Inter- change. For the latest information, see the OMF web site: http://www.avid.com/omf

The site also contains some simple OMF utilities for inspecting OMF Þles.

OMF software is available free to software developers. Download the software from the OMF web site or send email to: [email protected]

Applications can support OMF Interchange even if they canÕt support all the objects contained in the OMF Interchange Þle. If an application Þnds objects that it doesnÕt recognize, it ignores those objects.

See the userÕs guide for your Media Composer product for informa- tion on importing and exporting OMF Þles.

144 Table 7-1 Animation/DVE Applications

Company Product Platforms

Electric Image, Inc. ElectricImage Anima- Macintosh tion System 2.7

ELECTROGIG GIG3DGO¨ 3.0.1 Silicon Graphics, Sun, Hewlett-Packard

Engineering Animation, VisLab¨ Engineering Silicon Graphics, Inc. Software 2.0 Hewlett-Packard

USAnimation, Inc. USAnimation 3.1 Silicon Graphics, Hewlett-Packard

Vertigo Technology, Inc. Vertigo 3D Software 9.6 Silicon Graphics

Xaos Tools nTitle¨ Silicon Graphics

Table 7-2 Audio Applications

Company Product Platforms

Airworks Corp. S/Link 2.1 Macintosh

AMS Neve PLC AudioFile 11.10 Proprietary Transputer Based

Avid Technology, Inc. AudioStationª 3.52 Macintosh

Avid Technology, Inc. AudioVision¨ 3.52 Macintosh

Aware, Inc. Speed of Sound Library Macintosh, SGI, Windows

Digidesign Pro Tools¨ Macintosh

Fairlight USA Fairlight MFX3 13.0 Proprietary

145 Table 7-2 Audio Applications (Continued)

Company Product Platforms

Merging Technologies PyraMix Virtual Studio Windows 95 NT

OSC Trans.port 1.0 Macintosh

Solid State Logic Axiom Proprietary

Solid State Logic OmniMix Proprietary

Solid State Logic Scenaria Proprietary

Studer Editech Corpora- Posttrio Dyaxis 3.0 Macintosh tion

TimeLine, Inc. Studioframe 6.20 PC

TimeLine, Inc. MMR-8 PC

Wmd GmbH DAR 4900 Windows

Table 7-3 Editing Applications

Company Product Platforms

Avid Technology, Inc. AirPlay¨ MP Macintosh

Avid Technology, Inc. Film Composer Macintosh

Avid Technology, Inc. MCXpress Windows NT

Avid Technology, Inc. MCXpress Macintosh

Avid Technology, Inc. Media Composer Macintosh

146 Table 7-3 Editing Applications

Company Product Platforms

Avid Technology, Inc. Media Fusionª Silicon Graphics

Avid Technology, Inc. Newscutter¨ Macintosh

RGB Computer and AmiLink CIP 2.30 Amiga, Macintosh, Video, Inc. Windows

RGB Computer and AmiLink POST! 2.30 Amiga, Macintosh, DEC Video, Inc. Alpha, Silicon Graphics

Table 7-4 Graphics/Effects Applications

Company Product Platforms

Avid Technology, Inc. Elastic Reality¨ 3.0 Silicon Graphics, Windows NT, Power Macintosh

Avid Technology, Inc. Matador¨ 3.0 Silicon Graphics

Avid Technology, Inc. Media Illusionª 3.0 Silicon Graphics

ELECTROGIG GIGVIZ 3.0.1 Silicon Graphics, Sun, Hewlett-Packard

Equilibrium DeBabelizer Toolbox Macintosh 1.6.5

PowerProduction Soft- Storyboard Artistª 2.0 Macintosh ware

Vision Images Animator Broadcast 3.2 Silicon Graphics

Wmd GmbH IM-ACCESS Windows

Wmd GmbH HMR 9400 Windows

147 Table 7-5 Interactive Applications

Company Product Platforms

Sybase SYBASE Intermedia 1.0 Video Servers, STBs, PC

Cinebase Software CINEBASE¨ 1.1 Silicon Graphics

Illustra Information Illustra OMF Datablade Silicon Graphics Technologies, Inc. 1.0

Mezzo Technologies Mezzo Media Archiver Macintosh 2.1.1

Table 7-6 Video Applications

Company Product Platforms

Alias/Wavefront Composer 3.6 Silicon Graphics

Discreet Logic, Inc. Flame 4.0 Silicon Graphics Onyx

Discreet Logic, Inc. Flint 4.0 Silicon Graphics Indigo IMPACT

Discreet Logic, Inc. Inferno 1.0 Silicon Graphics Onyx

Discreet Logic, Inc. Fire 1.0 Silicon Graphics Onyx

Eastman Kodak Co. Cineonª Digital Film Silicon Graphics System 3.0

Energy Film Library Energy Interactive Cata- Macintosh log 2.0

Evolving Video Antero 1.2 Silicon Graphics Technologies

148 Table 7-6 Video Applications (Continued)

Company Product Platforms

HEURIS/Pulitzer MPEG Power Profes- Power Macintosh, sional 1.0 Windows NT

Ikegami Electronics DNS-11 and DNS-101 Avid AVR 70 Digital Disk Cameras

Ikegami Electronics CamCutter, Dockable Avid AVR 70 Disk Recorder

Intelligent Resources Video Explorer¨ Macintosh Integrated Systems

Leitch, Inc. STILL-FILE All

Radius, Inc. VideoFusion¨ 1.6.1 Macintosh

Wmd GmbH HMR 8300 DOS

149 Index

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Numerics compression 47 format and Avid logs 125 16x9 display format 28 Mute button 78 3D commands resolution, bin view 22 Axis 81 settings scroll list 15, 65 Corner pin 79 storage capacities 115 Crop 79 track selection commands 78 Enlarge 84 transfer for film 55 Path 83 AutoClean events 48 Reduce 84 Auto-create new tracks 35 Scale 79 Auto-enable source tracks 35 X Rotate 81 Auto-focus in Trim mode 68 XY Position 83 Auto-save, settings scroll list 19 XZ Position 84 Auxiliary timecode 22, 125 Y Rotate 81 Avid Z Rotate 81 effects by model 134 logs specifications 123, 125, 128 Avid Video Resolution A gigabyte (GB), minutes per 115 specifications 104 Add storage capacities 115 Dissolve command 83 using AVRs 75 and 77 109 Edit command 74 AVR. See Avid Video Resolution Keyframe command 79 Axis command 81 Locator command 73 Assemble-edit 38 Attic, settings scroll list 20 Audio

150 B Command Palette buttons Backup, bin settings 19 fifth group defined 78 Big Source/Record monitors 28 first group defined 70 Bin fourth group defined 76 column headings 22 second group defined 72 Find Bin command 83 seventh group defined 82 settings 18 sixth group defined 80 view 21 third group defined 74 Buttons 70 Commands first and second row 28 Add Dissolve 83 See Also Commands Add Edit 74 Add Keyframe 79 Add Locator 73 C Axis 81 Clear IN 70 Camera roll Clear Mark 71 bin view 22 Clear OUT 70 cut lists 94 Clipboard Contents 75 Capture video 37 Collapse 83 Center duration 28 Control Key 71 Change list Copy to Clipboard 75 options 89, 101 Corner pin 79 settings scroll list 11 Crop 79 Clear Cycle Tracks 78 IN command 70 Cycle Trim Selection 80 Mark command 71 Effect Mode 80 OUT command 70 Enlarge Outline Scale 84 Clipboard Contents command 75 Extend 75 Clips Extract 74 Avid log specifications 128 Fade Title 81 cut lists 94 Fast Forward 73 Collapse command 83 Fast Menu 82 Color framing Find Bin 83 bin view 22 Find Frame 83 display 30 Find Script 71 Color-sync signal 30 Focus 81 Column headings Full-screen 80 Avid 125 Gang Monitors 82 bin view 22 Go to IN 70 Combine fields option 45 Go to Next Edit 72

151 Go to OUT 71 Toggle Source 80, 82 Go to Prev Edit 72 Transition Corner Display 81 Lift 75 Trim A 80 Make Subclip 83 Trim Left 78 Mark Clip 70 Trim Mode 80 Mark IN 70 Trim Right 79 Mark OUT 70 V1, V2 78 Match Frame 82 X Rotate 81 Motion Effect 73 XY Position 83 Mouse Jog 77 XZ Position 84 Mouse Shuttle 77 Y Rotate 81 Multicamera angles 73, 75 Z Rotate 81 Mute 78 Composer, settings 25 Option Key 71 Compression Overwrite 74 audio 47 Path 83 AVR storage capacities 115 Pause 76 digitize 47 Play 76 Control Key command 71 Play IN-to-OUT 76 Copy to Clipboard command 75 Play Reverse 76 Corner pin command 79 Play to OUT 76 Crop command 79 Play Transition 77 Cut list Quad Split 73 options 89 Reduce Outline Scale 84 settings scroll list 11 Remove Effect 73 Cycle Render Effect 83 Tracks command 78 Replace Edit 74 Trim Selection command 80 Rewind 73 Safe Title/Action 83 Scale 79 D Script Mark 71 Segment Mode 75 DAT (digital audiotape) Select audio tracks 78 timecode format 54 Slip Left 75, 77 Deck Slip Right 75, 77 Fast cue 39 Source/Record Mode 80 settings scroll list 36 Splice 74 shuttle 40 Step Back 72, 73 Default pan 16 Step Forward 72, 73 Device code for VTR emulation 40 Stop 76 Digidesign Audio Interface 55 Toggle Full 80 Digital Audio Scrub 17

152 Digital cut 37 Bin view headings 23 assemble-edit 38 digitize 46 settings scroll list 11 general settings 57 Digital Scrub parameters 28 settings scroll list 51 Digitize Find batch 46 Bin command 83 error messages 47 Frame command 83 settings scroll list 44 Find Script command 71 Digitizing First row of info 27 storage guidelines 111 Focus command 81 tips for improving playback 113 Fps (frames per second) Dissolve command 83 and storage capacities 115 Double-click, bin settings 20 Avid logs 126 Drive filtering 57 bin view 23 Drop frame timecode 37, 54 Frame size threshold 61, 63 Full command palette 59 E screen mode 33 See Also Command Palette Edgecode 53 default starting 57 Edit delay 41 G EDL Manager 102 Effect Gang Monitors command 82 list by model 134 General settings 57 Mode command 80 Global Render Effect command 83 headings, Avid logs 123 wipes and keys 50 options, Cut lists 90 Enlarge Outline Scale command 84 Go to Extend command 75 IN command 70 Extract command 74 Next Edit command 72 OUT command 71 Prev Edit command 72 F Fade Title command 81 H Fast cue 39 Fast forward 29 Head frame 29 command 73 Fast Menu command 82 Film options

153 I clip data 128 column headings 125 Icon global headings 123 cut lists 93 Long menus 58 menus 59 Indicator lights, color framing 30 Ink number 53 M bin view 23 Interface settings 58 Make Subclip command 83 Intermission duration 68 Manual user interface (MUI) 42 Mark and park editing 34 J Clip command 70 IN command 70 Japanese NTSC 57 OUT command 70 Master command palette 59 Match Frame command 82 K Matchback and cut lists 92 Key number and timecode 52 bin view 23 Media Station cut lists 94 digitize 48 Keyboard settings 60 VTR emulation 40 Keycode 53 Menus cut lists 100 icon menus 59 Keyframe, Add command 79 short and long 58 Keys, real-time 50 Mixable resolutions 110 Motion Effect command 73 Motion Path editor command 83 L Mouse Jog command 77 Labels in icons 58 Shuttle command 77 Lift command 75 Multicamera Linecut/quad split toggle 28 angle commands 73, 75 Locator AVRs 108 Add Locator command 73 linecut toggle 28 copy from Source monitor 35 Mute command 78 FF/Rew 29 Logs Avid sample, created with text editor 130 Avid specifications

154 N Q

Non-drop frame timecode 37, 54 Quad Split command 73 Quad split/linecut toggle 28

O R OMFI supported applications 144 Real-time, wipes and keys 50 graphics, list of products 147 Record Option Key command 71 deck 37 Outline Scale commands 84 Reduce Outline Scale command 84 Overwrite commands 74, 75 Remove Effect command 73 Render Effect command 83 P on the fly 68 settings 61, 63 Pan, default audio tracks 16 Replace edit command 74 Path command 83 Resolution Pause command 76 mixable 110 Phantom marks 35 online and offline 104 Play storage capacities 115 Forward command 76 using AVRs 75 and 77 109 IN-to-OUT command 76 Rewind 29 Reverse command 76 command 73 to OUT command 76 Rotation commands 81 Transition command 77 Runup value 41 Playback digitize performance tips 113 Post-roll 68 S Pre-roll and transitions 68 Safe Title/Action command 83 deck settings 38 Sample rate, bin view 22 tips for using 38 Scale command 79 Project format 57 Script integration 63 Pulldown Script Mark command 71 digitizing 46 Segment Mode commands 75 switch 55 Sequence timecode 52 Pullin, bin view 24 Serial Ports 13 Pullout, bin view 24 Settings scroll list 9 Audio 15, 65

155 Avid Controller 11 options for cut lists 99 Bin Settings 18 Sound roll Bin View 21 bin view 24 Change List 11 cut lists 94 Composer 25 Source Cut List 11 deck 37 Deck 36 Source/Record Mode Digital Cut 11 command 80 Digitize 44 Speakers, Mute command 78 Effects 50 Splice command 74 Film 51 Steenbeck 42 General 57 Step Interface 58 Back commands 72, 73 Keyboard 60 Forward commands 72, 73 MUI 42 Stop command 76 quick reference 11 Storage Reader 12 example of 113 Render 61, 63 guidelines for digitizing 111 Serial Ports 13 Sync mode, deck settings 37 Steenbeck 42 Sync point editing 34 Timeline 13 Timeline View 13 Trim 67 T User Profile 13 Video Input 14 Tail frame 29 Video Output 14 Telecine Short menus 58 bin view 24 Shuttle digitize 48 deck settings 40 Templates, cut list 91 mouse 77 Tick marks 28 Single field resolution Timecode storage capacities 115 and Avid logs 125 Single mark edit 34 auxiliary 22 Slip DAT 54 Left command 75, 77 default starting 57 Right command 75, 77 drop frame 37, 54 Small film 23 command palette 59 master 52 trim mode 68 Timeline Soften image 61, 63 settings scroll list 13 Sort view, settings scroll list 13

156 Toggle W Full command 80 Source command 80, 82 Wipes Track lights 30 real-time 50 Tracks audio track selection command 78 auto-create 35 X auto-enable 35 select and deselect command 78 X Rotate command 81 Transition Corner Display command 81 XY Position command 83 Trim XZ Position command 84 Cycle Trim command 80 settings scroll list 67 Trim A/B commands 80 Y Trim Left/right commands 79 Trim left/right commands 78 Y Rotate command 81 Trim Mode command 80 Two field resolution storage capacities 117, 118 Z

Z Rotate command 81 U

User profile, settings scroll list 13

V

V1, V2 commands 78 Video input, settings scroll list 14 output, settings scroll list 14 resolution, minutes per GB 103 VITC (Vertical Interval Timecode) and Bin View headings 24 and screen resolution 104 VLAN and VLX interface 37 VTR emulation 40

157